Paramore

So the brothers Farro have left Paramore, I think secretly we all knew it was coming... but still, I heard myself gasp in... well disappointment if nothing else.


Paramore are the band that accompanied my teen years, Pressure was an anthem for me and my oddball gang and we relished in the fact that they were female led, the girls wanted to be Hayley and the guys wanted to be with Hayley.


Of course now, Paramore are a huge, stadium filling mainstream act, with press coverage everywhere and whole internet sites dedicated to them. But back then they were ours, All We Know was released and it was on almost constant repeat in my room, the funny thing is that the album itself got a one K rating in Kerrang and was described and a poor attempt and very boring... now however, the band have graced their cover on more than one occasion.


And then came Misery Business.


Goodbye small, indie and personal.... Hello big time. It cannot be denied the song is immense; catchy, fiesty and really quite poppy... a recipie for success.  And success they got, the track was played on Radio One (they even got themselves a live lounge out of it) the next thing you know, all me and my friends heard was 'have you listend to that new band paramore?'


It's something nearly every fan of music has to go through, letting go of something that you believed to be yours... the premise is a ridiculous one at best, music isn't there to be owned by fans, it's there to be enjoyed. nevertheless, the ordeal is a painful one.


So Riot! was released and it was official, Paramore had gone mainstream. Besides all this however, the band appeared on and off stage to be as tight as ever, five friends enjoying their new found fame and fans. The live shows were awesome and were a great reward to all the original fans who had long been waiting for the lights and graphics that could propel Paramore's live perofrmances even further.


The Final Riot! dvd was put out and left the fans with a little something to go on with whilst the band went off to record album number three.


For me personally, this album was highly anticipated. As a general rule of thumb by album three a band has established it's sound and either runs with it (if they haven't had major success by this point) or goes in a different direction (if they have) ... as Paramore were now a staple band within the music industry it could be assumed that they would choose the latter and go for something a little different, but I couldn't help but think it would be all too easy for them to release a 'Riot! Part Two' and go on to have a steady and similar level of recognition this way. After all, with the band comprising of teenagers, fairly new to the idea of success, it would be a reasonable enough option.


But then came Brand New Eyes, a decidedly different and quite suprising sound. The sound itself was less produced and slightly rawer; less poppy, headbang -worthy rock and more.... something new.


The lead single Ignorance it could be argued was a throw back to the tried and tested Misery Business, but through listening to the lyrical content it was clear tha this wasn't just another song filled with bitchy teen angst, it was about real troubles.


After giving it a few listens, it was clear to me, and to those I knew who were avid Paramore fans, that it was about Josh.... and perhaps other members of the band.


Hardore fans would of course know that Hayley and Josh were once an item, and were the closest of friends.. as were the rest of the band. But now, either through the strain of broken hearts or the stress of the new direction the band was heading, it had caused tension.


Several interviews later and our fears were confirmed, during the writing process the members had all but stopped communicating with eachother, the writing was stale and the atmosphere dead. But then in a glorious outpour of emotionally lead creativity came Brand New Eyes. All the interviews ended with a repeated and strong message that the band were now totally back on track and happier then ever. Or so they said.


Once again the tour was a hit and the shows were outstanding, the new songs gelled well with the old hits and  a whole new wave of fans were welcomed in.


Yet slowly it was becoming apparent that Paramore: The band was becoming Paramore: Hayley Williams, with interviews starting to involve the other band members less and less and music videos show casing Hayley more and more, we knew it wouldnt be long.


The music video for Playing God being a prime example of the new Paramore, based soley around Hayley and her troubles within the band, creativly the video was excellent but the undertones were transparent.


So with the official release of a blog explaining and indicating the departure of original two members of the band, we as fans, can only hope that Paramore can survive...... as Paramore and not as The Hayley Williams Show.


http://www.paramore.net/blog/announcement/

"Music is the literature of the heart, it commences where speech ends."  Alphonse de Lamartine.

Emarosa - 5th December O2 Academy 2 Birmingham

Tonight is a highly anticipated night, for me personally anyway. As a long standing fan of Emarosa my life thus far has been filled with constant website checks and ticking off days on my calendar.

With an ever growing fan base, and the release of a new album earlier this year, there’s no doubt many people would sympathise will my slightly obsessive behaviour of late, and perhaps have indulged in it themselves.

And for this reason predominantly, it is why the gig is...  in the simplest terms, a bit of a letdown.

The night starts well, the first support act All Forgotten bound on stage and  throw out some easy rock songs, perhaps edging a little too far towards the pop rock for tonight’s bill but nevertheless the reception they receive is agreeable. As a band having toured with Paramore in their early days and discussing recording their second EP there’s obvious room for development and further achievement, and after their short set this appears to be very possible.

The second of tonight’s support bands is Yashin, the band stand alone as having considerably more success than the openers and this is demonstrated within the crowd reception. Lead singers Kevin Miles and Harry Radford do their utmost to tempt the crowd into getting involved in a mass moshpit, which at one point is mildly successful, yet there’s no real sense of occasion during their set.

By 10pm the headliners have taken the stage, and at this point the small crowd that have turned out tonight do begin to show some signs of excitement and eagerness. They start the set with the tried and tested The Past Should Stay Dead; Jonny Craig spills into the epic first line and it seems that tonight is going to be historic.

However, as they progress through the set, with a mix of old songs from second album Relativity and the decidedly different sounds from their new self titled release, in some ways the two don’t gel as well as they might tonight. 

This teamed with the elephant in the room situation regarding the sound, makes some points very cringe worthy, the issues with sound causing Jonny’s famous vocals (which are not on form tonight anyway) to become lost  towards the back of the room. The set itself is very short and the crowd participation begins to dwindle as the fans begin to voice their thoughts on the problem with the sound guy.

The band comes back for a one song encore and Jonny Craig makes his expected mini speech ‘ I don’t care if you like my band or not..’ it does inspire some movement from the crowd but it all seems rather  too little too late. Despite this their last song Set It Off Like Napalm is sung brilliantly and was easily the best song of the night.

Regardless of the technical problems and the perhaps slightly strained atmosphere at points tonight, the band can come away from this opening night of the tour mostly unscathed.  The hardcore fans will of course place the difficulties with sound solely onto the sound guy and everyone else is likely to put it down to a just a one off bad gig.

But let’s hope for the band and the fans sake that things can only get better, because after tonight’s performance I don’t think they could get that much worse.

The Sunday Times - Ozzy Osbourne Tattoos

“There are times when even I wake up and look at the smiley face I drew on my knee and think, ‘What the f**k did I do that for?’ Getting them done hurts like crazy too.”

This small piece concludes with a quote from Ozzy, this sums up the piece as it includes everything that has been mentioned, it also highlights and demonstrates the attitude of Ozzy and adds a light hearted element.

Feature - Xan Brooks (The Guardian) Tom Waits interview 2009

What should a feature include?
Angle: Disussing Waits part in the film Imaginarium of Doctor Parnassus
People: Tom Waits and Xan Brooks
Strong intro: The introduction is striking and captivating, sets the scene well and gives a strong impression of Waits early on and the direction in which the interview may go.
All the w's: Tom Waits, his role in the new film and discussion of his previous works, his background in music and his personal life.
Readable: Easy to follow, active voice with a light hearted tone.
Quotes/headers: Large quotes used, headings for new topics of conversation based on the quotes given by Waits.
Names/ages/adresses: not much mention of personal details, although interviewe is a well known actor.
Spelling and grammar: All correct
Anecdotes: several anecdotes used

Mixmag - Circoloco

Ibizan promoters Circoloco hold a five hour best driven water rave for four hundred party goers, on an Ocean Scene Cruiser. The weather is not at it's best but this doesn't deter those involved as the main action is taking place on middle deck. Headliners Matthais Tanzmann and Dan Ghencia carry the tunes untill they dock at 9.30 pm, where the party continues onto Junk.

Kerrang! - Dillinger Escape Plan

Guitarist Ben Weismann of Dillinger Escape Plan finds inspiration from an abandonded, run down mental asylum. The guitarist explains that, as a child, he would walk past the hospital and on one occasion encountered  a patient who has escaped from the asylum. The impact that this had on Weismann lead him to vist Greystone more often, describing it as ' literally the most frighening place i've ever seen in my life'.

Stereolab - Not Music

The opening to Stereolab’s twelfth offering ’ Not Music’ offers a jingly, upbeat and almost playful welcome to the album, a quality which continues throughout the 13 track piece.

What stands out whilst listening to the album is the sense of occasion that the music provokes, orchestral elements including brass and strings mixed with electronic synths create an inspiring and powerful sounding combination.

By the time we reach ‘equivalences’’ the tone has changed by some measure, the sunshine, happy electric pop has been placed to one side and a slightly darker and understated sound has taken hold momentarily; in many ways this highlights the joining of Stereolab’s earlier sounds with the slightly new direction in which ‘Not Music’ is taking them.

Laetitia Sadier’s delicate vocals work their magic yet again and inspire a dreamy atmospheric sensation, the fusion of the heavily layered, and sometimes chaotic, electronic pop with the restrained mellow timbre creates a highly unique and capturing sound.One aspect that is apparent, whether you are an avid fan of Stereolab or a first time listener is the sheer musicianship. The complicated combinations produced within these synth soaked melodies animate a real appreciation of music itself; something with is sometimes lost in other genres or styles.

‘Not Music’ may be a little too much for some people to listen to on a regular basic, their experimental, alternative sound could prove slightly overwhelming, however for the unadulterated musicianship Stereolab’s newest endeavour is a very worthwhile listen.

Pitch for Dave Poulton - Glastonbuy feature

Title: Dave Poulton - Glastonbury.

Outline: Interview with Dave Poulton discussing the music scheme and his involvement in the links Solent has with the festivals.  Research into Glastonbury and what Solent students have achieved whilst there.

Why is this of interest?: Written for Vibe whose readership includes students within the music scheme and lecturers, this feature wold be of interest as it involves a well known character within the music scheme whose involvement is well documented.  Many older students have been involved in Solent's work with Glastonbury, therefore entertaining and varied stories can be researched; also prospective students may have an interest in what Solent has to offer them as well as current students within the music sheme .

Contacts: Dave.Poulton@solent.ac.uk

Music Scheme at Solent

If you are studying any course within the music scheme at Solent, the name Dave Poulton will, should, needs to be imprinted within your memory.

Known as technician instructor for media and visual arts Dave Poulton is involved in several areas of the music scheme, namely the links Solent has with the festival scene. Ask almost anyone and the first thing that springs to mind upon mentioning his name is Glastonbury.

Students from Solent have been arriving in the usually mud drenched fields of Somerset for over 7 years, from 2000 to present and there seems to be no signs of things changing.

Throughout the time spent working at Glastonbury, students within the music scheme have been offered numerous outstanding opportunities and real ‘once in a lifetime’ experiences. Organised mainly by Dave Poulton, with the involvement of a variety of other lecturers, those lucky enough to be involved boast achievements such as: filming short documentaries, filming bands and artists performances and even interviewing the musicians – such as Fat Boy Slim and Klaxons in 2007.

For those passionate about music and willing to work hard and work together Solent’s music scheme has more than enough to offer it would seem life changing opportunities are their speciality.

Freddie and the Freeloaders

The two most notable things as you enter the soul cellar’s top floor tonight is the heat and the electric atmosphere, the room is near packed and it becomes apparent from the off that tonight is a real celebration of music.

Through the buzz of the crowd the sounds of soul and jazz classics can be heard in the Dj’s foot tapping introductory set, a steady increase in tempo readies the audience for the bands entrance.

Freddie and the Freeloaders take the stage and the array of instruments indicates that their set is going to be a musical treat. Their cover of Madcon’s ‘Beggin’ starts off the night and evokes more than a subtle head bop, the crowd sing a long and despite some minor technical issues the band perform well.

As they reach Stevie Wonder’s ‘Signed sealed delivered’ the technical glitches are long gone, the cover inspires mass appreciation and gets the majority of the crowd up and moving; but it is their funk tinged cover of Gnarls Barkley’s ‘Crazy’ that receives the biggest cheer.

By this stage there could be a danger of them sounding like no more than a ‘wedding band’ but the sheer showmanship and musical ability more than succeeds in setting them apart from this label. Riveting solos from all members are a throwback to the1960’s soul era and showcase this bands true potential, lead singer Will Brown’s vocal performance is spot on and suits the range of covers in tonight’s two part set.

The night ends on a high, the groups up lifting, dance – worthy choice of songs proves successful and the crowd leave fully enthused, if you’re looking for a happy – go – lucky night out, Freddie and the Freeloaders 
are the band for you.

Max Raptor

After being sat at the back of the surprisingly tiny room, in which tonight’s headliners Max Raptor will soon be embracing, it becomes apparent that a good 80 % of the spectators are in deed friends and family.

As the first of the support bands begin to set up, people are still at the bar, mid way through conversations, more interested in their phones than anything else…but this changes to a degree when the band begin their set.

The lead singer spills into their first song, running in and out of the small gathering and shaking the hands of those not paying enough attention. Even with the chaotic guitars and scratchy vocals, for the most part, the band aren’t fantastic and in some instances sound very much like a local pub band, but what they have gained is the attention of almost every person in the room.

Next is a more straight up indie inspired band, they take the stage and begin a short but tight set, which creates some more movement amongst the growing crowd. Similarly to the first act, they do well and produce all the right sounds but something is lacking in their performance.

Max Raptor take the stage and produce hit after hit, with catchy tunes and chant worthy vocals. It’s clear from the off that this band are going to be great. Their addictive mash of indie tinged punk anthems are lapped up by the crowd and provoke more than a subtle foot- tap. Should this continue, I can see them becoming firm favourites on a considerably bigger scale.

How do editorial teams function?

 Functions of editorial teams within Weekly and monthly mags.

Editor

·         Decides what goes into the mag

·         Decides who writes for the mag

·         Deals with laws/copyright

·         Managers members of the editorial team

Example: Krissi Morrison, Editor for Nme

Editors PA

·         Helps with administration

·         Deals with writers/photographers fees

Deputy Editor

·         Backs up the editor

·         Deals with commissioning the writers/photographers

·         Becomes temporary editor when necessary

Example: Martin Robinson, Deputy editor for Nme

Features Editor (assistant editor)                     

·         Hands on relationship with the writers

·         Briefs writers on themes/questions for interviews

·         Matches a writer to a ‘piece’

·         Naturally opinionated

Reviews Editor

·         Break new bands

·         Act as ‘taste-makers’

·         Inform perhaps tell audiences what to think

News editor

·         ‘Breaking news’

·         Tour  dates

·         Band breakups

·         New album releases

Gig Guide Editor

·         Prints up and coming gigs

·         Guide acts as a sort of feature

·         User friendly  layout (weekly shows)

Art director

·         Decide on the look of the mag

·         Colours/layout

·         Commission photographers

Photo Director

·         Picture researcher

·         Liaises with agencies to produce photographers

Production Editor

·         Processes the mag

·         Checks everything is in place/correct

·         Prints final copy

Advertising

·         Tour dates advertised

·         Display sales

·         Sponsored events

·         Events – awards shows

·         Digital advertising

·         Classified ads

·         Inserts

Publishing

·         Distribution

·         Circulation of mag

NME weekender - best bands of 2010

Chapel Club: A seemingly Smiths inspired sound, an enjoyable listen yet by the third play they have already become tedious.
　
Egyptian Hip Hop: A sometimes chaotic mix of melodic synths and indie inspired rock, inspiring a different but not unique sound.

Babeshadow: A laid back sound, creating pretty indie pop songs, a nice listen but not remarkable.

Sharks: A bright, sing-a- long offering, with a rocky, uplifting and almost anthemic quality.

Chew Lips: Feminine electronic melodies infused with pop hooks and catchy lyrics.

Music Bio

Music was and has always been a welcome guest in my house, whether it's my sister blaring chart music before a night out, mother singing to classic 80's cheese whilst ironing or having to sit through my 10 year old brother's dance routine to a 'chipmunk version' of snow patrol.

From an early age I was influenced and introduced to a vast amount of various different music styles and genres, mainly due to the differing tastes of my parents.
80’s was THE decade for music in my parents eyes, however what they took from this era varies somewhat.

Anyone who has met my mother will invariably know that her favourite teen crush was based firmly around the lead singer of the ‘band’ Kajagoogoo, this therefore gained them one of their biggest fans… I’m almost certain I knew all the words to ‘too shy’ from birth.

My dad however, was taken in by the metal scene during the late 70’s through to the 80’s, bands such as Black Sabbath, Whitesnake and Guns ‘N Roses can still be frequently heard playing in his car; for the most part I believe this is where I picked up my love of heavier sounding music and awesome guitar riffs.

The first ever album I was given was Savage Gardens self titled debut in 1997 for Christmas (by this time I would have been 6) and I fell in love with it. I played the cassette to death and spent a lot of time sat next to the radio on a Sunday afternoon waiting for their single to play.

Needless to say by the time they released their second album, I’d moved on to another cheese filled pop offering.

I still have a soft spot for pop music and enjoy listening many mainstream bands and artists, however my taste has broadened over time and I would like to say I listen to a variety of things, not everything… but a bit of everything.

At the moment I’m obsessed with anything Jonny Craig releases or is a part of, Emarosa’s new album gets at least one play a day and I‘m counting down the days until their show on 5^th December. Another firm favourite of mine is City and Colour, being a huge Alexisonfire fan hearing Dallas Green’s dulcet tones in more than one genre is very pleasing.

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Boy!ohBoy!