Amelia’s Magazine | Music Listings


“It’s nice everyone getting dressed up and making an effort, hospital stomach round Christmas time ‘n that”, generic slurred an old man at the bar after telling me this was his local. Halloween did he mean? A gaze and a nod.

Peggy Sue (there were some pirates but they’ve long since fled to the Caribbean to find themselves) have a knack of adding a distinct flavour to everything they do. Brewed in soulfulness and peppered with giggles, they are an intoxicating concoction of many lovely things; compared to the likes of Lauryn Hill and Regina Spektor in a single breath, all manner of genres tossed in their direction.

But references aside, that tend to reduce everybody to something regurgitated, there’s lots of other good stuff – like a compilation CD released for every month (100 copies only, complete with artwork), like how their voices emulate astonishing power and soft effortlessness all at once; or that their low-fi sound is brought together with honeyed harmonies, punctuated Spektor-like noises and an unending supply of bizarre percussion instruments. It is finally exquisitely tied together with lyrics that detach our body-parts as things to be stolen, tell stories of the woes of superheroes, and give life to ‘those fragile little things’ that live inside. It all feels very refreshing, and nicely homemade – ‘Peggy Who?’ asks the drum-face.

The Horror Movie Marathon had the Peggy stamp all over it, made apparent in its details. A projection screen hung behind them playing classic horror gems; a new horror song, complete with screams had been written for the occasion; and the widely acclaimed ‘superman’ was illustrated by a live puppet-show on stage. The wide-eyed Alessi’s Ark and feet-shuffling Derek Meins were there to support, marking the beginning of the Triptych Tour – one bus, two weeks, three acts. Catch them if you can in a venue near you! But what oh what does Triptych mean?


Be Prepared, sildenafil long the motto of the Scouts, is now being added to by The London Climate Camp Social Group with Be Inspired and Be Involved. A series of nights around town broadly divided into these three headings encouraging all to socialise and fund-raise for Climate Camp.

Be Prepared nights fund-raise with bands, djs and comedy. It’s one to bring your friends who may not be into all the “eco stuff” but would be interested in finding out more about Climate Camp.
Be Inspired focuses on what’s going on at the moment. Film screenings, speakers and debates wil inform people what is happening and why Climate Camp is doing what its doing.
Be Involved is the actions based adventures, such as Climate Rush, the forthcoming Day of Action and what ever else happens in the future.

The first one is tomorrow and is a Be Inspired night held at The Old Crown, 33 New Oxford St starting at 19:00. The line up consists of Alistair James playing music, Leo Murray introducing his excellent animation Wake Up, Freak out and Get A Grip, a short presentation from Climate Camp about what is being done right now and where it’s going and why, including two ladies instrumental in organising Climate Rush. Plus plenty of music to dance the night away.

The Old Crown
33 New Oxford St (corner of Museum street),
London WC1A 1BH.
Between Holborn and Tottenham Court road tube station.

Hotel International 1993

Dear Tracey, discount

It wasn’t so long ago that I really thought I’d had it up to my neck with you. I think it was one of your columns in the Independent that did it. You’d had a bad day, page you know, one of those ones when you don’t particularly feel like getting out of bed in the morning and then when you do, you burn your toast, or scald yourself in the shower or something. And instead of having a quick cry, or swearing, or generally getting on with things as most people might do, your especially bad day led you toward one overarching question: ‘did my dad ever really love me?’ I thought it was a tad dramatic. So upon hearing about your retrospective at the Scottish National Gallery of Modern Art I was expecting 20 years of torment in the space of a few rooms. And you didn’t disappoint. But what I wasn’t expecting was that I was going to leave the exhibition liking you. Feeling for you, maybe. Being critical of you, definitely. But actually liking you? No, I wasn’t expecting that. But there is a reason that we hear so much about you Tracey, because you know what, you’re actually a pretty good artist.

Emin’s exhibition opens much like one would expect it to, throwing the viewer head-first into the deep-end. The first work we encounter is a tribute to her deceased grandmother; the second, a graphic description of a traumatic abortion. All the staple Emin classics are here: the neon signs, the tapestries, expressionist etchings, and of course, the infamous bed. And yet after the piss-stains, the used condoms, the confessional video diaries, the purging of torment and the sheer tragedy of it all, something beautiful remains. Emin’s letter to her uncle Colin is a striking example of this. Lucid and incredibly moving, Emin succinctly describes her emotions as she learns of the horrific accident that caused her beloved uncle’s death. Exploration of the Soul, a work comprised of 32 sheets of handwritten text, is similar in its expressive eloquence. You may baulk at the several spelling mistakes, shudder at the sadness of other people’s lives or smile at the moments of humanity within it; Emin will fail to leave you unmoved.

My Bed 1998

The further we continue through the exhibition the more we feel as though we are Emin’s confidante; her scars are ours now and they are weighing us down. To enter, toward the end, a room removed of much of the abject excess of the others, comes as welcome relief. Two sculptures in particular reveal the diversity of Emin’s talent as an artist. Self Portrait (Bath) comprises a rusty bath filled with bamboo, barbed wire, chicken wire and a contorted neon streak entwined to create a work of great textual interest. In the same room a rollercoaster of reclaimed wood, It’s Not The Way I Want to Die from 2005, dominates the space. Constructed entirely from old crates, the past life of the wood seems to echo Emin’s own (one plank retaining it’s FRAGILE label), but is here reworked into a somewhat rickety yet undeniably beautiful piece.

It’s Not The Way I Want to Die 2005

Emin is a chameleon, expressing herself in several mediums and seemingly mastering them all. Love or loathe her – you won’t easily forget her, and to my mind, that’s what makes her continue to be worth talking about.

The Perfect Place to Grow 2001

Images courtesy of Scottish National Gallery of Modern Art

September marked the official UK launch of the new shopping/networking website, ampoule ShopStyle. Already popular amongst fashion followers in the US, viagra the best way to describe this new digital phenomenon would be a ‘Google for fashion with a MySpace twist‘. Shopstyle offers a unique online shopping experience, which enables users to browse the rails of thousands of brands through a simple search box option. Just like Google, ShopStyle carries out all the hard work trawling through shopping sites in order to bring you any matching items to your keywords. Users can also narrow down their searches by price, brand, store and size so only the most relevant results are displayed.

The site proved to be heaven sent in my own hunt to unearth a descent pair of gladiator heels, presenting me with options from new and smaller brands that I wouldn’t usually consider in my shopping choices.

ShopStyle’s nifty social networking twist means even those of us a little strapped for cash can still muzzle in on the spirit of fashion. The StyleBook tool allows users to play around and create their own fashion look books based on their own personal tastes and styles. These can be viewed by fellow users who are free to comment and discuss ideas. Unlike other virtual stores, ShopStyle embraces a love for fashion and creativity, moving beyond the simple idea of consumption.


Keep an eye out next month as three emerging designers, selected by stylist to the stars, Bay Garnett, get the opportunity to display their collection on the site.


Creaturemag sets out to bring together artists from all around the world, adiposity and produce an online publication, which works as one big collaboration. Being the arty literate types that they are, they’ve also created a sort of character out of the Creaturemag concept. This has led to an entertaining, if not ever so slightly confusing, interview with themselves, or Creaturemag – you kind of have to read it to understand.

They have just released Creaturemag festival edition – a diary of their activities over the summer. Its content though is a little more in depth than trudging through mud and drinking cider though. The wonderful cover has been done by long time Amelia’s contributor Nikki Pinder! It also features interviews with up and coming musical geniuses Alessi and Zombie Zombie.

Being the creative types that they are though, no pages go without a little artistic decoration. A group of top notch illustrators have contributed – bringing the entire thing to life.

Crafty pirate


Floating from festival to festival over the summer, the creatives behind Creaturemag have compiled pieces on the more out there festivals like Secret Garden Party and End Of The Road. The festival edition acts as a sort of guide to how they have often created their own arty fun at festivals this year. Perhaps the most intriguing of which is the feature on concrete mushrooms that were taken to festival all over the country. It is also a testament to how devoted they are to their art. The idea of dragging massive concrete mushrooms on top of the mounds of bags and tents I always end up hauling to campsite doesn’t appeal to me.

Concrete mushrooms


The whole thing just makes it look like the guys behind it have had the best summer ever, and it really makes me want to go back to a festival.


As an entity we usually take in music that is self-consciously/appointed art-rock. It is often forgotten that this art-rock did not just pop out of Andy Warhol’s arse as he stood watching the Velvet Underground, more about he just brought an audience to Reed, buy Cale, see Morrison and Tucker’s genius. Although visual art did have an influence, it is the avant-garde classical that clashed with rhythm and blues to start this musical mongrel. LaMonte Young and the Fluxus movement popularised drones; Cage, Reich and Glass atonality and chance. Karlheinz Stockhausen is another visionary whose contribution cannot be forgotten. The great German- who sadly passed away last year- was a key contributor to the zygote cell stage of electronic music and developed his own musical language of complexity and rapturous transcendental irregular noise. Without him the work of- to mention a few acolytes- Kraftwerk, Zappa, Bjork, Can, Aphex Twin, Faust and Sonic Youth would be very different and have a few less words to rely upon in their collective musical lexicon.

The Royal Festival Hall and Purcell Rooms hosted Klang which was intended as a tribute for Stockhausen’s eightieth birthday. I was privy to two nights of the retrospective which proved to be one of the most amazing musical experiences I have ever had. The Friday night in the smaller Purcell Rooms began with Joy the second hour of Stockhausen’s incomplete twenty-four hour cycle. This was a piece composed for two harpists. The two former students of Stockhausen sat illuminated by a single spotlight dressed in white. They completely subverted my expectations of what a harp could do as the cut up fragments of a medieval German hymn mixed plucked or bashed arrythmic textures with youthful voices making strange phonetic noises. Subsequently, Cosmic Pulses (the thirteenth hour) was archetypal Stockhausen electronic music on 24 different tape loops played at differing speeds through eight surrounding speakers in the dark with a single moon like spotlight on stage. Bjork says Stockhausen mixed modernity with the primordial and natural ferocity of a thunderstorm. This displayed that contradictory dialectic as it buzzed brilliantly with unpredictable electric whip crack on rumbling menace.

I feel privileged to have seen the final night at the Royal Festival Hall. First as short electronic work was played, a token gesture for what was to follow. Lucifer’s Dance was utterly batshit. Performed by the Royal Northern College of Music Wind Orchestra, a solo drummer, flautist and opera singer dressed up as Lucifer himself. It was a comment on the spirit of contradiction and independence via the conduit of an orchestra pretending to be a grimacing demonic face. However, Stockhausen made people use their instruments idiosyncratically and it wasn’t a conventional (not that I have been to many) classical concert. The musicians had to dance, uncomfortably, in their chairs as they blew discordant squalling devil’s frown lines. The cameo from the amazing jazz drummer was particularly good, he represented nostrils. Weirdness. As we left the hall from the rooftops Michael’s Farewell was trumpeted over the Thames, a stunning experience, older fans were getting visibly emotional it may as well have been Karlheinz’s farewell for them. Many of his students, collaborators and friends were in attendance. People left with sad smiles and general wonder from what they had just experienced.

I realised the other day that it had been quite some time since I had rocked out – it kind of just fell out of favour. Mainly because rocking out became so cringeworthy all of a sudden. The connotations appeared to have fallen into something deeply uncool, capsule instead of being the epitomy of it.

The answer to this life problem comes in the form of two bands. Rolo Tomassi; a band that are undeniably too fun for metal and too out there for indie, more about and Fucked Up!; a relentless hardcore band whose live show is almost more about what the lead singer is doing physically, rather than their ear punishing music.

Rolo Tomassi took to the stage and instantly impressed with their musicianship. The music skips from segment to segment with time signatures that befuddle the mind. They’re like some experimental jazz band, in the way that they take an anything goes approach, only more like a jazz band that has been raised by wolves – or something equally ridiculous.

Their set was simply fantastic, though with the catalog of songs they have on their album that came as no surprise. Their keyboard player came into his own during Abraxas, his assault on the keys reproducing something of an assault on my ears. They leave the audience thoroughly shaken, and all I could think about was how I couldn’t wait to see them again some time.


With a name like Fucked Up! there is a certain amount of characteristics expected. They live up to, if not exceed, any kind of expectations imaginable. As soon as the lead singer hoists himself on stage he is something of a dominating presence, like some jurassic being – I was genuinely scared of this guy. On first hear they sound like a pretty standard American hardcore band, and it’s not until you see them live that you get a full understanding. The lead singer’s nonsensical ventures into the crowd, his hilarious jibes between songs and the general raucous in the crowd caused by their show somehow allows it to make sense.

I left the gig with a level of adrenaline that I haven’t felt whilst walking away from a gig in years. I’d recommend some time at a metal gig of this calibre to anyone, it is still a case of being careful though. As a genre it deals with both end of a spectrum. Prepare to listen to an awful lot of guff before you find the genre’s best bits.

Here at Amelia’s Magazine we’re all about nurturing design newbies, advice particularly if they’re as innovative and inspiring as Karen Karem. We first encountered Karen way back in the days of issue 6. Fresh out of Central St Martins and brimming with ideas, for sale she caught our eye with her funky range of horse shaped bags inspired by childhood dreams of magical fantasy lands. After two long years of hard work and some good ol’ fashioned elbow grease, information pills she’s now back to launch her debut Spring/Summer 09 clothing collection, Hard Cover Candy.

A peak into Karen’s treasure trove of inspirations reveals a concoction of nostalgic teenage memorabilia combined with a haphazard assortment of British items from eras past. Kitch accessories and pastel coloured cupcakes bump shoulders with jars of jellybeans, fluffy cotton candy, 60′s platforms, teenage heartthrobs and images of elegant ladies at brunch.

The collection itself consists of a range of dresses. Each contain a childlike quality but still manage to maintain a sense of femininity and elegance. Like her playful horse bags, Hard Cover Candy is for women who remember raiding their mothers wardrobes and dressing up in pretty frocks for birthday parties at the age of 9. They’re for women who like to daydream and still feel like little girls at heart.



With a mixed colour palette of soft pastels and vibrant electrifying tones, Karen’s selection of baby doll dresses and floor length evening gowns use chiffon and ruffles to ensure a high level of grace and movement.



With Vogue and Vanity Fair already showing an interest in the collection, it’s likely that Karen Karem will soon be sweeping us all along into her magical daydream world.


To make music relaxing without descending into something boring requires great amounts of skill in arrangement and more often than not melody. These are two things that Finn has in milk tanker sized loads.

The music on this album rises and falls like a souffle. Beginning with the settling whispers of Half-Moon Stunned. Perhaps not the most exciting song on the album it introduces you to the subtle yet brooding voice of Finn. The restrained yet beautiful melodies of this song have an air of Sigur Ros, illness though on a much smaller scale.

Midway though the album things become a little more unsettled, with the romper that is Julius Caesar. All semi off key, there is a sense of panic in his voice – a device that reminds me of Thom Yorke‘s solo efforts. It pulls at the heartstrings purely through it’s melody, even without the hard hitting, blood spill heavy lyrics.

One of my favourite selections from the album is The Truth Is A Lie, again opting for those obtuse melodies, only this time with some very 60s percussion. This sets it off magnificently, making it far less dreary even though it’s steeped in melancholy. Only problem is, about halfway you remember what it really reminds me of. It does sound kind of like Duffy, if she was in a fowl mood and had a record label who had a conscience and would stop forcing that drivel upon us all.
Here’s one for the fashionettes, pharm the glam goddesses, purchase the couture collectors and anyone who dreams in fairytale fashion time. Make way for a new fashion address. Wembley is now the place to head for a truly avant-garde adventure.

Come December, a distinctly unfashionable warehouse on the outskirts of the city, in Wembley, should expect a style onslaught in the form of savvy shoppers and gracious costumiers, each of them on the hunt for a piece of design history. Think hand-sewn sequins and starry silhouettes. Or you might spy a vintage muse in second hand leather and spiky heels falling over flapper dresses and wartime headwear.

For the first time ever, Angels, Europe’s biggest, brightest and most iconic film and theatrical costumier, stages a mammoth clothing sale. More than 30, 000 items of vintage clothing, accessories and jewellery, including pieces featured in films, TV dramas and pop promos, are set for a starring role as a bargain addition to your wardrobe.


The timing couldn’t be better. Bang in the middle of the credit crunch party season Angels have dropped the frou-frou price tag in favour of a far more festive payment system. You purchase an empty shopping bag on arrival, costing between £10 and £20, and fill it up with lush, lavish or downright ornamental day and eveningwear.


Tucked away in the fashioned up folds of this supersize event are gowns by Christian Dior and Jean Muir. Perhaps you’ll even come across a corset fresh from its debut on the silver screen. More exciting still for anyone inspired by street style looks are the High Street labels of yesteryear, including Chelsea Girl, Bus Stop and Artwork Blue. The sale acts as an archive of fashion’s forgotten favourites and is a snapshot of retro design pioneers.



Whatever you find, the event has widespread appeal, from members of the bargain hunter public to history of design scholars. The shopping elite can snatch at consumptive fulfillment in these credit crunch climes without having to settle for the mindless monotony of minimalism, a look traditionally touted by fashion forerunners in times of economic hardship. As the trend for re-wearing, recycling and reworking style statements from the past continues, fashion, at least, can still be fanciful and frivolous. This authentic collection of costumes stalks a precious historical timeline and offers the chance for you to put a new slant on generations of style. So steal yourself away from the urban high street shopping throng and spin North in your second hand heels. This is could be one of the shopping highlights of the season.


MONDAY 17th November

Amazing Baby, sick Stricken City – The Lexington, viagra sale London
Yo Majesty! – Barfly, London
The Black Keys – The Academy, BRISTOL
White Denim – The Plug, Sheffield

TUESDAY 18th November

Baddies, Dan Black – Hoxton Bar & Grill, London
Metronomy – Rough Trade East, London
Little Noise Session feat. Ladyhawke, Noah and the Whale
The Notwist – Club Academy, Manchester

WEDNESDAY 19th November

TV on the Radio – Shepherd’s Bush Empire, London
Tony Christie – Cadogan Hall, London
Jay Jay Pistolet – The Enterprise, London
Fucked Up – Roadhouse, Manchester

THURSDAY 20th November

Micachu – Corsica Studios, London
Jay Reatard – The Faversham, Leeds
Sway – The Syndicate, Bristol
White Lies – Guildhall, Gloucester

FRIDAY 21st November

Andrew Bird, St Giles Church, London
RAR! All Ages Event feat. Street Riots, Poppy and the Jezabels, Partyshank
The Faint – Brighton Digital, Brighton
Golden Silvers – The Macbeth, London

SATURDAY 22nd November

Buraka Som Sistema – Shoreditch Studios, London
Screaming Tea Party – The Macbeth, London
The Sugars – Bardens Boudoir, London

SUNDAY 23rd November

Those Dancing Days – Thekla, Bristol
Clinic – Scala, London
Koko Von Napoo – Rough Trade East, London
Greg Weeks – Luminaire, London

Categories ,Amazing Baby, ,Andrew Bird, ,Baddies, ,Buraka Som Sisterma, ,Clinic, ,Fucked Up, ,Golden Silvers, ,Greg Weeks, ,Jay Jay Pistolet, ,Jay Reatard, ,Koko Von Napoo, ,Ladyhawk, ,Listings, ,Little Noise Session, ,Metronomy, ,Micachu, ,Music, ,Noah and the Whale, ,Poppy and the Jezabels, ,Screaming Tea Party, ,Stricken City, ,Sway, ,The Black Keys, ,The Faint, ,The Sugars, ,Those Dancing Days, ,Tony Christie, ,TV on the Radio, ,White Denim, ,White Lies, ,Yo Majesty!

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Amelia’s Magazine | Kate Stelmanis of Austra talks about touring Europe with her debut album Feel It Break

Austra by Karolina Burdon
Austra by Karolina Burdon.

Truth be said, pills I have been thoroughly wowed by the debut album from Austra. Maybe it’s the strong influence of The Knife, medicine a band I absolutely adore, malady or the sweetest of vocals from the classically trained Canadian lead singer Katie Stelmanis. Either way Feel It Break has been on repeat for many weeks or more. From the throbbing beats of Beat and the Pulse, with its 80s-esque gymnastic dance video, to the lush loops and yearning wails in Lose It, Austra has me hooked.

Austra Sleeve
I spoke with Kate Stelmanis, the Toronto-based brains behind Austra. A very independent lady: we like.

What was the best part about being a singer in the prestigious Canadian Children’s Opera Chorus and then the Canadian Opera Company?
Being in a choir was a very social thing for me. I loved my friends. But most importantly, it is such a powerful experience performing in a huge group like that. Standing in a choir and being surrounded by voices, each person singing their specific harmonies that all come together so unexpectedly was the most amazing thing for me.

Austra by Clive McFarland
Austra by Clive McFarland.

How has your voice changed, now that you sing dark electronica?
My voice has changed a lot since my training. I’ve basically abandoned all of it and over the years, being in lots of different types of bands, developed my own sound.

How have your inspirations shaped the way you sing and make music?
My greatest inspiration is classical music and opera. That is what I grew up on, and so that is what I am most familiar with. My music is very influenced by these genres.

Austra Kate Stelmanis

What has been the best and worst parts of managing your whole career independently?
I have had help from lots of people, the Blocks Recording Club provided me with the resources to learn how to be a band. And Mike from Fucked Up acted as my manager for years. He is more of a mentor really, I respect his opinion and his ideas immensely. Nowadays it’s becoming more difficult to stay on top of things, but I don’t want to chose a manager until I’m sure it’s the right fit. Essentially a manager is almost like another band member, so I will chose carefully.

YouTube Preview Image
Beat and the Pulse.

How does being based in Toronto affect your life and creation of music? Why are Canadians not as receptive to your music as Europeans?
I don’t think it’s that Canadians are not receptive to my music, I think its more so that because we are so sparsely populated and such a large country that it’s difficult to promote smaller sub-genres. Canada is known for its folk and rock music, not for its electronic scene. Though people here are ready for it it’s just difficult to grow in a country that isn’t set up to support that particular genre. Things will evolve though I’m sure. Toronto has been a great place to make music, mostly because of the huge amount of people making music successfully in the city – which is great inspiration and motivation to continue with my own project.

Capture Something Rare by Abi Heyneke.

What do you most recommend a new visitor to do in Toronto?
You should visit Trinity Bellwoods Park, the Ossington restaurants, Kensington Market vintage shopping and make sure you check out the cheap eats.

YouTube Preview Image
Lose It.

What can an audience expect from your live performance?
I am currently performing as a six piece with two back up singers and an extra keyboard player. We play a mixture of analog and electronic instruments.

Kate Stelmanis of Austra

What have you learnt about Europe that has been most surprising, whilst on tour?
It’s terribly hard to find hummus in many parts of Europe, and far too easy to find cheese.

Feel It Break is out now on Domino Records. I strongly urge you to check it out! Kate Stelmanis and co will be on tour in the UK during July.

Categories ,80s, ,Abi Heyneke, ,album, ,Austra, ,Beat and the Pulse, ,Blocks Recording Club, ,canada, ,Canadian Children’s Opera Chorus, ,Canadian Opera Company, ,Clive McFarland, ,Domino Records, ,electronica, ,Feel It Break, ,Fucked Up, ,Karolina Burdon, ,Kate Stelmanis, ,Kensington Market, ,Lose It, ,opera, ,Ossington restaurants, ,The Knife, ,Toronto, ,Trinity Bellwoods Park

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Amelia’s Magazine | The Hills Have Riffs, The Demons, Bad Guys – Cable Street Studios – Live Review

sr-jamboree lamps+tomAll Photos courtesy of Richie Troughton

I’ve been going to see The Demons (or to give them their full name You’re Smiling Now But We’ll All Turn Into Demons, which is a bit of a mouthful) play since I was 19, that’s 7 years of watching the same four guys playing music. Over the years they’ve honed their craft to the point that they are able to write incredible, balls to the wall, rock songs which send tingles up your spine and cause your entire body to nod along.

This is what brings me along to Cable Street Studios near Limehouse on a Friday night. It’s a nice, small, intimate venue with a low-key atmosphere. It’s been a few months since I last caught them playing in London and I’m eager to hear the songs from their new(ish) self produced album ‘Contact High Wit Da Demons’.

The Hills Have Riffs solo set has started by the time I arrive so I miss part of it. What I do hear sounds pretty good. There’s plenty of reverb on the guitar, as he sings some haunting lo-fi songs. He also looks like a mountain man who’s just come out of his cabin in order to entertain the crowd.

sr-hills have riffs

It’s not long before The Demons take to the stage. Singer/Bassist Richie Troughton is rocking an interesting roll neck sweater/crucifix and black glove ensemble that makes him look like the sort of person you’d cross the street to avoid.

They kick things off with The Recidivist which is a rollicking monster of a song with a huge bass line which dominates the room. I can see everyone in the small room nodding their heads in appreciation and my girlfriend, who hasn’t heard the band before, turns to me smiling, saying “this is really good”, and it is. The drum and bass line anchors the song while the two guitarists riff over the top of it, creating a wall of sound that penetrates my ears.


The highlight of the set is Throne Control which is very  sloooooooow and incredibly HEAVY and is stretched out longer than on record. It conjures images of the American West. It slowly builds to a huge juggernaut of a song and has many people headbanging along, albeit at a much slower tempo than one is used to.

The last three songs are new, so new in fact that they still haven’t been named, so I am unfamiliar with them. However they make a good show of the bands talent for writing catchy hooks and big riffs.

The last band I watch are Bad Guys. They came to some attention last year by playing their first gig in a chalet at The Melvins/Mike Patton ATP. It’s reported that it was completely over run by people, including the drummer from Big Business, forcing their way through the window in order to hear them.  It was eventually broken up by the Butlins security, but not before they’d done untold damage to the room and the mass of people crowdsurfing in the tiny living room space.

sr-bad guys in their pants-1

I have to say they are pretty impressive; they have two guitarists, and no bass player. Both guitarists pull clichéd rock poses as they churn out heavy riffs, but it’s all done with tongue firmly planted in cheek. The singer soon joins in with his hoody up and a huge beard growling into the microphone. With the success last year of Fucked Up, who Bad Guys sound similar to, I can definitely see them doing well if they keep on playing like this. Oh yeah, they all end up in just their pants at the end of the gig as well, which is pretty rock n roll.

Categories ,Bad Guys, ,Cable Street Studios, ,Fucked Up, ,The Demons, ,The Hills Have Riffs, ,You’re All Smiling Now But We’ll Turn Into Demons

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Amelia’s Magazine | Rolo Tomassi and Fucked Up!


I realised the other day that it had been quite some time since I had rocked out – it kind of just fell out of favour. Mainly because rocking out became so cringeworthy all of a sudden. The connotations appeared to have fallen into something deeply uncool, instead of being the epitomy of it.

The answer to this life problem comes in the form of two bands. Rolo Tomassi; a band that are undeniably too fun for metal and too out there for indie, and Fucked Up!; a relentless hardcore band whose live show is almost more about what the lead singer is doing physically, rather than their ear punishing music.

Rolo Tomassi took to the stage and instantly impressed with their musicianship. The music skips from segment to segment with time signatures that befuddle the mind. They’re like some experimental jazz band, in the way that they take an anything goes approach, only more like a jazz band that has been raised by wolves – or something equally ridiculous.

Their set was simply fantastic, though with the catalog of songs they have on their album that came as no surprise. Their keyboard player came into his own during Abraxas, his assault on the keys reproducing something of an assault on my ears. They leave the audience thoroughly shaken, and all I could think about was how I couldn’t wait to see them again some time.


With a name like Fucked Up! there is a certain amount of characteristics expected. They live up to, if not exceed, any kind of expectations imaginable. As soon as the lead singer hoists himself on stage he is something of a dominating presence, like some jurassic being – I was genuinely scared of this guy. On first hear they sound like a pretty standard American hardcore band, and it’s not until you see them live that you get a full understanding. The lead singer’s nonsensical ventures into the crowd, his hilarious jibes between songs and the general raucous in the crowd caused by their show somehow allows it to make sense.

I left the gig with a level of adrenaline that I haven’t felt whilst walking away from a gig in years. I’d recommend some time at a metal gig of this calibre to anyone, it is still a case of being careful though. As a genre it deals with both end of a spectrum. Prepare to listen to an awful lot of guff before you find the genre’s best bits.

Categories ,Barfly, ,Fucked Up!, ,Live, ,Music, ,Review, ,Rock, ,Rolo Tomassi

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Amelia’s Magazine | Music Listings

Most of us pat ourselves on the back at the thought of having ‘done our bit‘, symptoms information pills whether it’s recycling or bringing a load of old clothes to a charity shop. Robert Bradford, ailment in that case, deserves a rather large pat on the back. Not only did he ‘do his bit’, but also got rather creative doing it.



Whilst staring at his children’s box of discarded toys, a beam of light shun down from the heavens, a choir of angels sung and everything was still. Well, perhaps inspiration doesn’t happen like that in real life, but Bradford defiantly had a light bulb moment. Instead of taking the toys to local charity shop, Bradford decided to make sculptures out of them. Bradford assembles the toys into kaleidoscopic life-size dogs and people. Since his foray into toys, Bradford has also transformed other would-be discarded items. Crushed Coca-cola cans, combs, pegs and washing up brushes have also been made into extra family members and man’s best friend. Using what most would describe as rubbish, Bradford is one artist who wouldn’t mind his work being so called. It says so on his website.


Images courtesy of Robert Bradford

Monday 27th October

Connan Mockasin and Drop The Lime – Durr at The End, mind London
Noah & The Whale – Academy 3, dosage Manchester
Jesus & Mary Chain, Black Box Recorder and British Sea Power – The Forum, London
Mystery Jets – Glee Club, Birmingham

Tuesday 28th October

Alphabeat, Das Pop and Pandering and The Golddiggers – Shepherds Bush Empire, London
Fleet Foxes – Waterfront, Norwich
Smokers Die Younger, Wild Beasts, Stricken City, Cats In Paris, Tender Maulings DJs – The Deaf Institute, Manchester
George Pringle and No Bra – The Social, London

Wednesday 29th October

Yo Majesty – Pure Groove Records, London
Lords – The Portland Arms, Cambridge
Ipso Facto, S.C.U.M and Kasms – The Roundhouse, London
The Presets and Micachu – The Royal, Derby
Neon Neon and Yo Majesty – Koko, London

Thursday 30th October

Black Kids and Ladyhawke – Astoria, London
Hot Chip – Corn Exchange, Cambridge
Florence and The Machine and The Big Pink – Bush Hall, London
Anthony and The Johnsons with London Symphony
Orchestra – Barbican Centre, London
Primal Scream – UEA, Norwich
Wave Machines and Micachu and The Shapes – hush at Royal Albert Hall, London

Friday 31st October

Release The Bats – Shellac, Les Savy Fav, Lightning Bolt, Om, Wooden Shjips and Pissed Jeans – The Forum London
El Guincho, The XX, The Big Pink and A Grave With No Name – No Pain In Pop at Goldsmith’s Tavern, London
Peggy Sue and The Pirates, Alessi’s Ark and Derek Meins – The Windmill, London
Pete and The Pirates – The Fly, London
Underworld and Autokratz – Brixton Academy, London
Metronomy – ULU, London

Saturday 1st November

ddd – Barfly, London
The Metros and Lion Club – Push at Astoria 2, London
The Week That Was and The Ruby Suns – Crawdaddy, Dublin
Grammatics – Forum, Tunbridge Wells

Sunday 2nd November

Does It Offend You, Yeah?, The Joy Formidable, The Operators and Young Fathers – 229, London
Ned Collette Band, Lawrence Arabia and The Boat People – The Windmill, London
Good Books, Polka Party and The Molotovs – Proud Galleries, London

Monday 27th October
Camden Arts Centre, advice ‘Wallace Berman’: Untl 23rd November
Arkwright Road, drugs London NW3 6DG
Considered as a major mover and shaker in the beat generation in the late 50s and 60s, view Wallace Berman’s (1926-1976) jazz record covers, art publications are all on display. Also his 16mm film ‘aleph’ is screened as well as posters, book covers and postcards. Most people recognise his portrait on the cover of The Beatles’ ‘Sgt Pepper’s Lonely Hearts Club Band’ but he’s got plenty of other art to have a gander over.


Tuesday 28th October
White Cube, Sam Taylor-Wood: Yes I No: Until 29th November
Mason’s Yard and No 1 The Piazza, Covent Garden, London WC2E 8HA
This show includes three groups of photographs and a large scale film installation on the subject of absensce and morality. Other photos based on Wuthering Heights with desire and suffering playing key themes.


Wednesday 29th October:
V&A Museum of Childhood, Tom Hunter’: until 9th November
Cambridge Heath Road, Bethnal Green E2 9PA
Exploring the changing face of the East End, Hunter’s photographs focus on people, places and community in and around the area.


Thursday 30th October:
Stephen Friedman Gallery, ‘Catherine Opie’: Until 15thNovember
25-28 Old Burlington Street?London W1S 3AN
The exhibition title, ‘The Blue of Distance’, is inspired by Rebecca Solnit, a writer on photography and landscape. Here, Opie continues her investigation with two new series of work capturing the remote beauty of the Alaskan landscape.


Friday 31st October:
Whitecross Gallery, ‘Girlie’: Daphne Plessner: Until 21 November
122 Whitecross St, London EC1Y 8PU
Whitecross Gallery welcomes you to ‘Girlie’, an exciting and thought provoking solo exhibition of luscious new paintings by talented artist Daphne Plessner.?Her work combines uncompromising social critique with colourful, elaborate surface decoration, and beautifully crafted, exquisite attention to detail.


Saturday 1st November:
ICA, ‘Rafael Lozano-Hemmer’ Retrospective: Until 23rd November
The Mall, London SW1Y 5AH
In tandem with Under Scan on Trafalgar Square, a retrospective of Lozano-Hemmer’s moving-image works, via a series of documentaries, spanning the past decade of his career. Lozano-Hemmer has been commissioned for events such as the millennium celebrations in Mexico City, the Cultural Capital of Europe in Rotterdam (2001), the United Nations World Summit of Cities in Lyon (2003), the opening of the Yamaguchi Centre for Art and Media in Japan (2003) and the expansion of the European Union in Dublin (2004).



Warm and jubilant and wholesome. That’s how a Tilly and the Wall gig will leave you – and the title to their debut album in 2004, check Wild Like Children, cheapest is an indicator as to how. Add to this Slow Club, who when I saw several months ago in a weekly slot at The Enterprise in Camden, had brought along home-baked goods to pass round, and you’re wholly rejuvenated.

The ULU played host to this delectable recipe on Saturday, and they do compliment each other incredibly. Dulcet boy/girl harmonies, songs that pay homage to the bliss of youth and spontaneity, and full sounding percussion that is hard to put your finger on until you see it; The Slow Club often bang their drumsticks on chairs, and the percussion for Tilly is tap-dancer Jamie on a mic’ed up wooden box (they used to steal road-signs for the purpose but have since become more legit).

Tilly’s latest release, “o” was produced by acclaimed producer, Mike Mogis. Their kaleidoscopic sound has gotten bigger and fuller, but maintaining to the familiarity of Tilly ingredients. “I feel like I know them”, I heard someone say, and when the encore brought them back on stage with Charles and Rebecca from the Slow Club in tow, tambourines in hand, it felt like we all did. Clapping and stamping along, I thought the experience perhaps drew a thin line next to what I’d imagine an evangelist Sunday session to be like, only without strings attached, a drink in hand, and prophets that chant out about first loves, recklessness and “life that is so wonderful it shines like fire” (Let it Rain – Tilly); so put that in your wine glass and sip it.

Across the pond in Portland, viagra buy Oregon environmental art group Leave No Plastic Behind (LNPB) are holding a month long art exhibit intitled “Haste Management” and a one off film night, “Plastic Fantastic” to showcase the creative ways that plastic can be saved from the landfill. So it’s a given that you can recycle paper, aluminum and glass, but shiny plastic has been left behind. LNPB focus on avoiding plastic for this very reason, and not relying on recycling.

The “Haste Management” exhibition runs from the 6th-30th November and includes contributions from the wonderful>>>>>
On Nov 23rd “Plastic Fantastic”, a special film event from performance artsist and film maker Devon Damonte will be screened.

Wednesday, October 29, 2008
Contact: Jessica Lyness | | 503-913-3882

Environmental Group- Leave No Plastic Behind
Presents a Plastic Art Show and Film Event
November 6-30

(Portland, OR). Recycling paper, check. Recycling aluminum, check. Recycling glass, check. Recycling plastic? Not so fast. Environmental art group Leave No Plastic Behind (LNPB) urges consumers to curb plastic habits through reducing, reusing and creating. Concentrating on single-use plastic, LNPB focuses on avoiding the material and not relying on recycling. The Portland based group present a month-long art exhibit “Haste Management” and a special film night, “Plastic Fantastic” to showcase creative ways that plastic can be saved from the landfill.

The “Haste Management” exhibition begins on First Thursday, November 6 with an artist reception and Opening Night party at Visage, 1047 NW Johnson Ave. The Exhibition continues through Sunday, November 30. A special film event from performance artist and filmmaker Devon Damonte entitled “Plastic Fantastic”, takes place on November 23 at the Waypost, 3120 N Williams Ave. Following the exhibition, artist’s work will be available for view online at

Artists participating in this exhibition are from all around the country including Waterville, ME, San Francisco, CA, Olympia, WA and Portland, OR. Each participant engages in a three month “episode” to live a plastic-free lifestyle, wherein any plastic they do collect, they make art out of it. Participants include filmmakers, photographers, musicians, and activists. In the past two years, over 50 artists have participated in an episode of LNPB.

LNPB presents art exhibits and creative events year round to raise awareness about the damaging effects of single use plastic and offers alternative suggestions on how to reduce and reuse. LNPB continues to be inspired by Captain Charles Moore and the Algalita Marine Research. This collective considers the true costs of modern convenience and demonstrates the importance of collaborative resourcefulness.
Photos: Gawain Hewitt

Portuguese party starters Buraka Som Sistema are perhaps one of the most hyped up musical endeavors to hit our shores in recent years. They launched onto the stage at cargo and turned the lackluster Tuesday night, ask tired from work, health crowd into a bunch of whooping partygoers.

Buraka’s set up onstage is a little out of the ordinary, but it works. Essentially it’s a DJ and MC set up, but with some added percussion in the form of a guy on bongos and a drummer. I can’t help but always get excited by the addition of bongos to live show; everyone loves bongo players.



The only problem with tonight’s gig may be that people don’t know an awful lot of their stuff, having not released their album yet. They get round this though by breaking out their own interpretations of Around The World by Daft Punk and Thunderstruck by AC/DC. These seem to have quite an effect in rousing the crowd. Some people were actually shaking their booty so much that my friend had to move out of their way – honestly; some people just have no manners.

My favourite track of the night was Luanda Lisboa, a track that genuinely gives me the jitters if I listen to it very loud. I’ve only heard the instrumental version of it before now, but live the MCs managed to get the crowd particularly on side, even though the vast majority had absolutely no idea what they were talking about.


What seemed to get the crowd most excited was Sound Of Kuduro, which has been thrown into popularity largely because it features M.I.A on vocals, and it has really good video. Live it was brought to life by the female MC they have live.

I’ve seen DJ sets by these guys before, but the live show is a much more engrossing experience. I was left blown away by their show, though what really excited me about them is their production skills – which is so often the case with electronic music.

Tuesday 4th November

Sigur Ros – Civic Hall, buy Wolverhampton
Stars Of Sunday League and Catriona Irving – Wilmington Arms, rx London
The Feeling and Das Pop – Hammersmith Apollo, viagra order London
The Kills – Oran Mor, Glasgow
Screaming Tea Party, Artefacts For Space Travel, This Is Pop and Ice Sea Dead People – Buffalo Bar, London
Why?, The Dead Science and Munch Munch – Upset! the Rhythm at Scala, London

Wednesday 5th November

Eugene McGuinness and Swanton Bombs – The Luminaire, London
Al Green and Gabrielle – Royal Albert Hall, London
George Pringle – Hoxton Square Bar & Kitchen, London
MGMT – Academy, Leeds
The Boat People – The Fly, London
Fleet Foxes – Shepherds Bush Empire, London

Thursday 6th November

Dan Le Sac vs Scroobius Pip and The Clik Clik – Emergency Playground at Astoria 2, London
I Haunt Wizards, The Pity Party, Little Death and Kilkane – The Macbeth, London
Yo! Majesty – Oran Mor, Glasgow
Fucked Up, Rolo Tomassi and Invasion – Xposure at Barfly, London
Hot Chip, Wiley and Max Tundra – Brixton Academy, London
Threatmantics – Milkwood Jam, Swansea
Jackie O Motherfucker and True Primes – Bardens Budoir, London
Alessi’s Ark, Peggy Sue and Derek Meins – Club Fandango at 229, London

Friday 7th November

The Irrepressibles – The Great Court of The British Museum, London


The Irrepressibles will be playing two sets as part of an event to support a forthcoming display of contemporary art installations at the museum including works by Damien Hirst, Marc Quinn, Ron Mueck, Antony Gormley and Noble and Webster. Best of all, it’s completely free. Perfect for these crunchy credit times.

Thomas Tantrum – Koko, London
Fleet Foxes – Vicar Street, Dublin
Mr Scruff – Matter, London
Howling Bells – Academy, Birmingham
My Tiger My Timing, A Human and Underground Railroad – The Last Days of Decadance, London

Saturday 8th November

FrankMusik, Dels, Kamerakino and Tin Can Telephone – Club Motherfucker at Bardens Boudoir, London
Little Boots – Proud Galleries, London
Ezra Bang and Hot Machine, Maths Class and Mayor McCa – The Monarch, London
Glasvegas, White Lies and Cage The Elephant – Little Noise Sessions at Union Chapel, London
Ebony Bones, Riddler, King of Conspiracy and Minipuma – Rhythm Factory, London

Sunday 9th November

Nas, Mos Def, Supernatural and Scratch – Rock The Bells at Indigo2, London
Goldfrapp and Eugene McGuinness – Brixton Academy, London
Nigel Of Bermondsey and The Razzle – Monto Water Rats, London
Razorlight, Florence and The Machine, Esser and Skint And Demoralised – Little Noise Sessions at Union Chapel, London

Categories ,Alessi’s Ark, ,Artefacts for Space Travel, ,Cage the Elephant, ,Eugene McGuiness, ,Fleet Foxes, ,Florence and the Machine, ,FrankMusik, ,Fucked Up!, ,Glasvegas, ,Goldfrapp, ,Hot Chip, ,I Haunt WIzards, ,Jackie O Mother Fucker, ,Listings, ,Little Boots, ,Little Death, ,MGMT, ,Mr Scruff, ,Munch Munch, ,Music, ,Peggy Sue, ,Sigor Ros, ,The Feeling, ,The Kills, ,This is Pop, ,White Lies, ,Yo Magesty

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