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EDITOR - Richard Cheetham - richard@highvoltage.org.uk

DESIGNER - Andy Cake | | www.andycake.co.uk

LISTINGS EDITOR - Mike Caulfield - listings@highvoltage.org.uk

CONTRIBUTORS - Benjamin Thomas, Neil Condron, Denise Tench, Fran Donnelly, Daniel Pratley, Jonathan Hopkins, Sophie Armour, Grace Brown,

Alistair Beech, Alex Lynham, Harry Garne, Andy Best, Mke Caulfield, Liam Pennington & Deirdra-Eden Keane

Want to join the award winning HighVoltage team? We’re looking for talented writers & designers, volunteers and all round music fans to help out. Get in touch with richard@highvoltage.org.uk

4 MANCHesTeR News 15 siNGLe ReViews 16 ALbuM ReViews18 FiLM // LiVe ReViews 20 LisTiNGs 22 New NOise

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manchesternewsAUTUMN TOUR ALERTOh where to start. With more venues than ever before Manchester gig goers have never had it so good. Not only are the four Academy buildings chock full of quality nights, namely Black Mountain (15/9), Grinderman (29/9), NME Radar Tour (feat Chapel Club and The Joy Formidable - 4/10) and Yeasayer (20/10) but several churches in the area are providing an alternative stage, with Manchester Cathedral hosting Mystery Jets (22/10) and Beach House (19/11) whilst the incredible Perfume Genuine plays at St Phillips (18/10). Though we’ll probably be spending a lot of time at

Deaf institute as they host – deep breath – PVT (28/9), Deer Tick (30/9), Crocodiles (4/10), Errors and The Twilight Sad (6/10), Clinic (22/10) and Warpaint (24/10). in the Northern Quarter the picks look like Sky Larkin (Night & Day – 16/9), Shout Out Louds (Ruby Lounge – 23/9), This Will Destroy You (Moho – 27/9), Kirsty Almeida (Band on the Wall – 30/9) and Dungen (Roadhouse – 15/11). Let’s not forget centre page stars Hurts (Ritz – 5/10) and the awesome LCD Soundsystem / Hot Chip doubleheader (Apollo – 15/11).

WAREHOUSE PROJECT RETURNSClearing the difficult hurdle of establishing itself as one of Manchester’s heavyweight, here-to-stay club nights, the Warehouse Project has announced a stunning series of lineups for the latter end of 2010.The 14-week stretch of ridiculously impressive acts is in honour of WHP’s fifth birthday, with all events to be held in the space underneath Piccadilly Train Station.Kicking off the programme are Geordie rockers Maximo Park on Thursday 23rd September, followed by Kelis on Saturday 2nd October. One night getting us hot under the collar is the one headlined by Doves (pictured) on 16th October. Also

on the bill that night are HV faves Steve Mason and Field Music, with DJ slots from Now Wave, TRAMP! and, your very own, High Voltage. The rest of the programme is just as diverse so head over to the WHP website for full details. But here are our highlights - Delphic / The Whip / Fenech Soler show on 30th Oct, then in November Booka Shade on the 12th and Four Tet, Caribou, Mount Kimbie and Theo Parish on 20th.

Last year's in The City signaled a shift in focus for the annual music conference. Having concentrated on unearthing the next big thing through official industry showcase events, the appearance of The Drums and Frightened Rabbit on the bill represented a desire to move towards an all encompassing new music festival. iTC will take place from 13-15th October and relocates to Manchester's Northern Quarter. Entry to three nights of shows costs a measly £29. With an option to add accommodation at the Hatters hostel for an extra £50.

High Voltage's showcase will take place on 13th October at Mint Lounge. Check the website for more details. We'll have more updates for you very very soon. Here's the current confirmations: No Age, Sky Larkin, Mount Kimbie, Male Bonding, Yuck, Crystal Fighters, Factory Floor, oOoOO, Porcelain Raft, O Children, Chad Valley, White Ring, Skepta, Kisses, ital Tek,Teeth, Mazes, & Spectrals.

More info on www.inthecity.co.uk

iNT RO DuC iNGSHRAG MORNiNG PARADE

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> “People think it’s an attempt at a pun on the word ‘shag’. That was the last thing on our minds,” cringes Helen King as she ponders the origins of her band and its curious moniker. “unfortunately, that’s the burden you have to shoulder if you choose a name like shrag.”That weight may just be starting to lighten. The ‘Sussex Heights Roving Artists Group’ have come a long way since the joke ‘art’ exhibition that christened them, releasing a string of seven-inches (eventually compiled on last year’s self-titled ‘debut’) and touring with The Cribs and The Pains of Being Pure at Heart. Now, Brighton’s latest indie heroes are set to etch their odd name proudly next to yours, inside a big love heart, with their “first proper album”, Life! Death! Prizes!.

Bolder and definitely broader, the record is the sound of a band mid-eureka, bursting from a lo-fi chrysalis into a blur of primary pop colours, whether it’s the glint of sharpened teeth on 'A Certain Violence' or the golden warmth of 'Rabbit Kids' and 'Coda'. “i think we’ve got more of a sense of what we’re capable of,” explains Helen, main vocalist and lyricist with the band. “We’re very aware of our limitations, but we’ve thought, ‘let’s be brave’.”

Lyrically too, there has been progression. “With the first album, i’d hide behind ‘this is a song about shoplifting’ or ‘this one’s about people talking too much during sex’,” says Helen, who professes her admiration for the lyrics of Elizabeth Morris of Allo Darlin’. “This time, i’ve tried to write about things that are happening to me – things that i might not know how to deal with.”

Around the release of the record, Shrag will set out on their first headline UK tour, before travelling to the US for the CMJ music marathon and a few East Coast dates. Having played with a handful of iconic modern indie bands – including Helen’s treasured Love is All – are there any other support slots they’d kill to take?

“Suede would be great. i saw them close to 25 times when i was a teenager! But i don’t think it’d work,” laughs Helen. “There’s not a lot of correlation between us and them! And the rest of my band wouldn’t do it – i don’t think they like Suede at all.” Musical differences notwithstanding, Shrag’s members look poised to step out of their heroes’ shadows this autumn. Who’s ready for a new national treasure?

Life! Death! Prizes! is out on Where it’s at is Where You Are on October 4th.

www.myspace.com/shrag

Words by Neil Condron, pictures by Alison Wonderland

After sharing a stage with Kylie last weekend (at a secret pub show in somerset, according to the sun) Morning Parade are gathering a small village of press as they record their debut album. Five essex natives trading in star gazing indie-rock and with enough pop-synth hooks to keep Delphic on their toes, it’s no surprise Morning Parade recently signed with Parlophone.Few words have been spoken by Morning Parade and press shots remain in the cutting room, while only three songs have appeared online. ‘A&E’ is dressed to the nines in reverb and stadium guitar bluster, while the clever build ups and break downs suggest the band have studied the art of indie rock and are close to mastering it. ‘Youth’ is up tempo, poppy and purposeful; powered by Coldplay ‘Clocks’ era piano it seems destined to be a target for a major radio push next year.

Our pick is ‘Marble Attic’, an unashamedly brash pop rocker with buzzing synths, skinny, Editors-engineered guitar lines

and a pummelling rhythm section.

With pop taking chances in the dole-ite grandeur of Hurts, it’ll be interesting to see whether Morning Parade’s well packaged anthems translate from initial blogger excitement to mainstream attention. A strong live show is clearly a key element, and it’s worth noting the band have already toured with Florence, Glasvegas and er, Tinchy Stryder.

Morning Parade are currently recording their debut album to be released in 2011, with live dates promised for the autumn.

http://www.myspace.com/morningparade

Words by Alistair BeechIN THE CITY

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!!!back in 2007, High

Voltage celebrated its fourth birthday with one of its most legendary nights when !!! (Chk Chk Chk) came to storm The

Ritz. Manchester packed out the old ballroom and pushed the sprung dancefloor to its limit as our favourite punk-funkers brought the place down with their furious fusion. This October, they return after too-long an absence, but according to frontman Nic Offer, the band are a whole new proposition after their night on High Voltage.

“That night was the beginning of a lot of changes for us, and i think these days we’re actually a lot better live. we’ve played some amazing gigs in Manchester, but in many ways that was a pivotal show.”Three years later and these changes are not just to be found on stage. !!!’s much-anticipated fourth LP has seen the transatlantic collective return with a leaner, more-rhythmically honed work that their guttural-voiced singer agrees is their best yet.

“i think it’s more what we’ve always wanted. it’s funkier and it’s got a little more depth than our previous records. it’s straight to the point and catchier, capturing a lot more of what i like about music.”

Most striking of these improvements is the darkness which now underpins !!!’s power. This may be owing to the band’s decamp to Berlin, captivated by the city that never sleeps and inspired by the German capital’s sonic reputation. From 70s Eno atmospherics to contemporary minimal techno, !!!’s Berlin record was the one just waiting to be recorded.

“Being there certainly changed the way we wanted to sound. You’d probably say the most Berlin-sounding song would be one like ‘Jump Back’. That song was the product of a late-night jam session, and it’s the closest we got to that typically Berlin sound.

“However, there are parts of the album that were written and recorded in America and they’ve changed the sound of the record too.”

This conflict of sounds – caught somewhere between the both heady and vitriolic ‘Even Judas Gave Jesus a Kiss’, and the sunny grooves of ‘Steady As The Sidewalks Crack’ – is appropriately expressed in the album’s title, ‘Strange Weather, isn’t it?’, something Offer relates to his tumultuous mood at the time.

“it came from a Wong Kar-wai film i was watching called ‘in The Mood For Love’. The two main characters experience this change between them and there’s so much they need to say to each other, but they don’t know where to begin. So one of them just says ‘Strange weather, isn’t it?’

“For me, that just summed up how i felt about the record. Sitting back and

looking at it, i couldn’t even begin to address how bitter it was. it felt like i was trying to avoid the subject, or something.”

Despite Offer’s ambivalence, it is clear how proud he is of the record. Few, if any, bands out there come close to combining punk and funk as innovatively as his cohort do, and while those of us in the know will attest to this, it’s something they’ve received precious little recognition for.

“i think every band thinks they deserve to be on the next level from where they’re at, and i try not to read the reviews too much, but in the english press we got reviewed by Mojo and Q magazine and they gave us three stars. Three fucking stars!?

“it’s not as if it’s a difficult record, and i think the reviewers haven’t listened to this album as much, or as closely, as i’d have liked this time.”

The disappointment is understandable given the work that Offer puts into the group, whether it’s in his gyrations up on stage, or in overseeing the band’s numerous personnel changes. Since 2007’s similarly underrated Myth Takes album, the five-piece have seen the departure of vocalist John Pugh and the untimely death of drummer, Jerry

Fuchs at the end of last year. Their singer, however, claims that some degree of conflict comes with the territory of being a !!! member.

“i think that continual frustration is something that comes with being an artist, but also you’ve got to be happy with your work on some level. The difference is that with this record, we feel like we’ve still got somewhere to go after it now.”

it’s encouraging to hear, but with the disbanding of DFA friends, LCD Soundsystem, supposedly on the near horizon, HV can’t help but wonder if Nic thinks !!! are going to be keeping us in disco sounds for the foreseeable future.

“i think so. it’s difficult because the band’s been together for 14 years, and if everybody wanted to give up then it wouldn’t be sustainable. But at the same time i think it’s a very healthy creative relationship that we have.

“i’d really like to continue, but it would make sense if it had to end after 14 years.”

if it did, it would mark the end of one of our most charismatic, energetic and floor-filling acts, so starting with their UK tour this autumn, long may the dance continue.

!!! play Manchester Academy on October 28th. ‘Strange Weather, isn’t it?’ is out now on Warp records.

Words by Fran DonnellyOne listen to the

elecro-disco-house sounds

of their breakthrough singles 'Lies' and 'stop And stare' is enough to convince most people that east midlands quartet Fenech-soler are every bit as French as baguettes, brie and Thierry Henry. The band's vocalist and frontman Ben Duffy agrees that it's an easy mistake to make. “French acts like Daft Punk and albums like Homework or Discovery have undoubtedly influenced me in some way. i guess that Fenech does resemble the word ‘French’ so people automatically assume that we’re French or something. it’s in fact a Maltese name and part of my surname”, he clarifies. “According to my granddad it was quite a influential name and as a result my uncle was christened at Saint Peter’s Basilica in the Vatican City. Hopefully the name will bring us some good fortune.”

being initially talent spotted by renowned French indie label Kitsuné did little to dispel those Gallic misconceptions “Featuring on the Kitsuné compilation was one of the highlights of the year for me. Those compilations have had so many great acts on them over the years so to be on Maison 9 was certainly a bit of a personal milestone.”

Soon, their profile climbed a steep trajectory, leading to their first

stateside tour: “We had nearly finished the album and were still unsigned at the time and it was my was my first international flight so it was quite a big deal for me. it felt like we had a lot to prove and we didn’t know what to expect or how our music was going to go down over there.”

Subsequently, a meeting with legendary dance music twosome Tom Findlay and Andy Cato of Groove Armada saw the two groups enter the studio together: “Tom saw us play in March 2009. After that show we received an offer to play at [Groove Armarda curated London

festival] Lovebox and soon after that Andy and Tom asked if we would be interested in doing a track with them on the new album. We couldn’t believe it.”

Yet far from being starstruck by their new famous friends, Fenech-Soler remain a close family, quite literally in fact as Ben's brother Ross is also a member of the band. But to date, there have been no fisticuffs of the kind we've come to expect from the likes of Noel and Liam Gallagher: “To be honest we’re not the kind of band which resorts to violence to resolve an issue but i can’t say it’s never happened. i think when you're writing

and spending so much time with the same group of people they're inevitably going to piss you off at some stage. Sometimes it’s healthy to have a shout and get it out of your system, it’s all part of the process”, although he admits that “we are about to go on a six week tour so my answer might be different after that”.

And as they travel the world there's no chance of homesickness as they frequently return to their headquarters to work on new material: “Recording at home is a decision we made mainly because it gives us full control of what we do. i think being a completely independent band counts for a lot these days and it means you don’t have same constraints that working with a million different people brings. i don’t see the point with just working with loads of people for the hell of it.”

whilst not busy remixing the likes of Marina And The Diamonds and sunday Girl via a process described as “email tennis”, Fenech-soler have found time to finish their own album, scheduled for release in september: “Apart from the obvious singles that people may know us for there are some real diverse tracks that show a completely different side to us. i would like to think there is something on the album for everyone. it's something we’ve worked hard on for the past year plus so to finally know that it’s coming out is a great feeling and slightly nerve racking.

Fenech-Soler have no need to fear, because if their self-titled debut lives up to the high standards they've set so far, they'll soon be winning new fans on both sides of the Channel and beyond.

The self-titled LP is out on 27th September.

Words by Benjamin Thomas

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sky Larkin can be considered part of the new wave of indie bands - such as Los Campesinos and Slow Club - that have recently been “rebelling”

against the North’s electro-synth scene. While their sounds are not necessarily similar, they do share a similar “indie” outlook and attitude: Nestor elaborates, “We’re really great friends with those guys and i think it’s great that listeners have access to a whole range of better quality music that’s around at the moment. Being compared to bands such as Los Campesinos is fine because it enables our fans to get to know other bands they might not have heard of otherwise, and visa versa, so it’s definitely a good thing.”

Sky Larkin are also united with their musical peers in that their music too is not defined by place; in the same way that Delphic do not sound traditionally Mancunian, Sky Larkin do not identify their music as being typically northern: “We never set out to be a Yorkshire band, or even a UK band.” According to Nestor. “Katie however, has always thought there are similarities in the attitude and ethos between North West American artists and those in the North West of England. We never set out to appear influenced by the US or the UK, our priority is to make music that sounds good.”

it does not take much listening time to figure out what Sky Larkin are about. Take their debut record The Golden Spike: in amongst the high intensity, the effervescent pop sensibility and the guitars, it conveys a sound with its heart in Portland and its head and lyrical references rooted firmly in the UK. While the first album was fraught with excitement and energy Nestor suggests that their latest record, Kaleide, has been a slightly different experience. The result is a subtle change in the bands composure, while it still retains everything that attracted us to Sky Larkin in the first place

Nestor explains: “With the first album we were excited but also nervous about finally doing it. This time round the songs are much fresher because we’ve had time to grow together as a band; we’ve been refining how we play our instruments, and just talking to each other. i think that we’ve grown as musicians and that we’re more experimental on this record as a result.”

The recording of Kaleide saw Sky Larkin decamp to Seattle to record with Death Cab for Cutie and more recently Los Campesinos producer

John Goodmanson. Nestor explains. “it was an amazing experience. As we had been there before, there was no ‘new place tension’ so we were in a good mental state. Seattle is an inspirational city because there is so much music and creativity everywhere, with a community spirit not dissimilar to the North West here.’’

Sky Larkin are a band who understand the industry they are in, but also acknowledge that attention to detail points toward their investment in producing a quality to their sound, and stretches their creative output as a band. The true extent of their originality is evident in several innovative promotional items launched ahead of Kaleide’s release, including a limited edition watch with a download code for ‘Beeline’ as well as ‘Antibodies’ being released in near-antique cassette format. “We were thinking of ways to resurrect the idea of a single, as it’s become a bit of a throwaway concept. Since cassettes are rare things these days we tried to put some value back into the single. it was a way for people to appreciate music in a physical way.” This notion of cassettes is reminiscent of making music to share with friends so there is an intimate and lasting quality to it by contrast to the almost automatic approach of listening to downloadable music.

From the original extras accompanying the release of Kaleide, to the unusual choice of recording locations, there is certainly a lot to Sky Larkin that arouses interest. For the recording of their tracks ‘Spooktacular’ and ‘Matador Acoustic’ the trio headed to the depths of Yorkshire, to the crypt of an old Victorian church. When asked if the location adds to the atmosphere and energy of the record Nestor replied, ‘Yes definitely. We were looking for a quiet and unusual space to write and hone the songs and i think that comes across in the tracks – that bit of magic’. it was the same space where the group trialed material for Kaleide and seems an apt beginning for an album translated from Greek to mean ‘beautiful forms’, and points toward a flutter of thought-provoking ideas and experiences that culminate in their 12 track album.

For ardent fans Kaleide is the natural progression of a band getting to know itself and becoming comfortable and confident with a traditional indie makeup; but with the feminine yet powerful energy Katie brings to the record. it’s a tried and tested formula that Sky Larkin makes their own.

Kaleide is out now on Witicha Records.

sKY LARKiN

F ollowing their nomination in this years ‘BBC ones to watch’ list, matched with their 2008 single ‘Suffragette

Suffragette’ still ringing in our ears, and their debut album ready to launch, the diversely eclectic Manchester quartet Everything Everything look set to stamp their mark on 2010.

it’s been a relatively drawn out journey from 2008’s Suffragette Suffragette to the bands debut LP Man Alive which is released this month, an issue that the bands vocalist and general noisenik Jonathan is keen to address. “it wasn’t entirely our choice, there was a long time between the first single and us getting signed as we are not perceived as a safe bet by labels. We’re a pretty weird band and when people first heard us they are not sure what to think, so labels weren’t sure we could sell records. it really started happening when Zane Lowe got behind us though, and helped us to open the right doors”.

The momentum achieved through Lowe’s endorsement ensured the band were picked up by Geffen, and began work on their debut album Man Alive. “When writing it, we tried to set out our stall to give us lots of options” explains Jonathans

passionately, “its very diverse. You can tell that ‘Schoolin’ or ‘MY KS YR BF’ are by the same band but then there are things on there like ‘Photoshop Handsome’ that just don’t relate to the same style”

But does the band feel the finished article reflects the initial goals? “Yes definitely,” Jonathan quips ”we wanted it to be a record that you can put on at a party, but also one that is equally as good with headphones on walking down the street. it’s a hard balance to get.”

After numerous listens, Man Alive’s balance and depth of songs is clear to hear. it’s a record with a unique, often arty feel, without being pretentious.Jonathan, as with the rest of the band has immense pride in the finished article and is more than willing to reflect over the specific production methods used to create it.

“We feel the changes of production add a real balance to the album. The song ‘Tin’ for example, is basically

the demo version, it appears on the album almost exactly as i recorded it myself just in my bedroom. i did a lot of things in that song that i had not done before. i wanted to leave all the weird breathing and sniffing in and not clean it up like some of the other tracks. The singles were much more polished, so it gives a good stability to the album. Also at the end of ‘Weights’ it just cuts out to the sound of outdoors, as that’s where we were recording it. The mic’s were left on by accident and when we heard it we all thought how uncontrolled it sounded, and non chaotic, so we left it on the album”.

For a band with such a diverse and complex sound, the music can not be constructed from a ‘jamming it and see what happens’ attitude, a process confirmed by Jonathan “Yeah i write primarily on a laptop, it offers much less constraints. it allows you to create what’s in your mind not just in your hand. We still like Jamming, which is how we came up with the track ‘Photoshop’, but most songs stem from experimenting through software.

Although it's hard to pin down a central sound to Everything Everything's music, they claim that R&B is an influence. With Destiny's Child included in their Myspace top friends.

“We were all really into American R&B when we got together, that and American pop. How we view this as an influence is more about the musical vibe. A lot of bands forget about the rhythm and enjoyment of playing together in their music, which is strong in R&B, and an element we wanted for our sound”.

its obviously nice to receive recognition for your craft, and with the Mercury music awards in September, EE can see a possible nomination for 2011. “We are all pretty excited about this year’s nominations, as Wild Beasts and Foals are directly in our ball park and that bodes pretty well for us next year.” Proclaims Jonathans enthusiastically, “as a band it would be fantastic to be nominated, but i would not want to win as it’s seen as a poisoned chalice to past winners. A nomination gives the band a massive spotlight, like with the BBC list we were in at the start of the year” before concluding “This year it’s all about the Wild Beasts though, they are the best band on the list.

The bands debut album Man Alive is out now with a UK tour in October, seeing them call at Manchester’s Deaf institute on the 12th

eVeRYTHiNGeVeRYTHiNG

Words by Deidra-Eden keane

Words by Andy Best

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Despite making the BBC’s Sound of 2010 list, along with a hotly anticipated LP primed for

release, this could be a difficult year for Gold Panda.

it’s no secret that Essex’s electronic prodigy prefers to let his music do the talking, yet his profile is sure to get much bigger. “i’m pretty apprehensive about the album, it just means that the live shows will be much more difficult, as there will be more pressure.” Explains Derwin, the man behind the guise. “i have always seen this as more a past-time, tunes that i write and record alone, i often find the live aspect all a bit daunting as i don’t like the thought of people just stood watching me with my laptop”.

Gold Panda’s debut LP Lucky shiner is released in October. Named after his grandmother, and including tracks such as ‘i’m with You but i’m Lonely’ & ‘Marriage’ you would be right to think its quite a personal album. Albeit one laden with minimalist techno, hip hop beats and an underlying summery warmth. “i suppose it wasn’t a conscious effort to make it personal, they are just songs that i have played around with,

and some are references to other influences. ‘Parents’ for example is actually about the 60’s all girl group The Shaggs, who were all sisters, and whose father pushed them into it. i really wanted the album to be a complete piece, rather than just beats i wanted a start, a middle and an end to it”.

Many years of record collecting for samples, along with the hours of tinkering ensured that Lucky Shiner had to be cut down from 40 plus tracks “A lot of the tracks were incomplete, or works in progress, so it was easier than i thought to cut it down. i recorded the whole album in just 2 weeks, then took it to James (Shaw from Simian Mobile Disco) in London to mix it and put it together. it was important to have another pair of ears to the production process”. in these 2 weeks Derwin relocated to his aunt and uncles house in the country to record. This was more a situation of circumstance, than a conscious decision; “They went on holiday and asked me to look after their dog Daisy, so i moved in around Christmas and recorded the album, it was peaceful and gave me time to think and bring it together”.

Behind the stories on Lucky Shiner, hides a very adventurous album. ‘Parents’ consists largely of an acoustic guitar, with the artist all to willing to state that he doesn’t know how to play guitar. Sounds are constructed and layered between

ambient electronic loops, from the old battered Yamaha organ purchased on eBay for 99p, to the squelches and bleeps that are rich throughout.

So for an artist who feels uncomfortable in the limelight, how is all this attention sitting with him?

“i find some of it strange, the bbC sounds or 2010 list annoyed me to be honest, and i’m extremely sceptical about it. i was reading online an article from the bbC about the 2009 list; it was really negative about where they are now and how many records they have sold. it talked about Little boots and The Temper Trap, and referred to them as relative failures as they hadn’t sold millions of records. it’s all a bit of a ‘build them up to knock them down’ mentality.”it’s always refreshing to hear a musician speak passionately about

their art, and Gold Panda is no exception. if you can take praise and reviews with a pinch of salt you can’t lose. “it’s strange as i have never seen what i do to be a job. i much prefer to be recording music than playing live, but i still like to gauge people’s reactions to my music. i guess for me it’s just more of a hobby”.

Lucky shiner is released 11th October, with a gig at Manchester’s Ruby Lounge the week before on the 6th.

Gold Panda

On the eve of their set at the edinburgh

Fringe, HV managed to get sleepy sun’s frontman, bret Constantino to take a break from his busy day and have a chat. Touring their recent ATP-released Fever record, they’re going from strength to strength, playing a string of European festival dates before returning to the States to play at ATP in New York.

“We’re having the time of our lives!” is the answer i get to my first question, which is encouraging in a role where you often hear mainly doom-and-gloom from emerging artists; apparently, life on the road suits this band: “Every job or lifestyle has highs or lows. We face the same problems as everybody else, just on a different canvas. We don’t have a ‘home’ to go back to, but it’s quite liberating to have no anchor.” Bret elaborated, “You get to see a lot of the world, and it’s a good

experience. Hopefully it’ll be the fuel for the new record…”

Pre-empting my next question, he was eager to talk of their plans for the follow-up to Fever. “We’re pretty much touring ‘til the end of the year… but we’re already marking off time for it.” A well-earned rest then? “We do our fair share of partying. There are certain legs of the tour where we are more exhausted than others.” i asked what has been the best part of the tour, and he explained that it was different for different members of the band, but for him, “meeting people is one of the best things about touring” and reflected that “being in comfortable and uncomfortable situations builds character.”

Sleepy Sun’s sound spawns instant associations as well as questions; what influenced them more, their environment, or bands like The Grateful Dead and guitar players like Hendrix and Santana? Turns out that it’s a mixture, as these things often are; Bret was more than happy to tell me about how his early life and the band’s formation had influenced their music: “i grew up in a very small town in the foothills of the Sierra Nevada. Rural environments are a huge influence on me obviously, recreating that peaceful and serene… vibration, i

guess.” Unlike the other band members though, music wasn’t his focus until rather more recently- “i’ve always been into music, but i was a late bloomer. i didn’t start playing until college in Santa Cruz when i met the band. The environment there is special” Special? “Well, there’s a famous bumper sticker that says ‘Keep Santa Cruz Weird’- it’s that kind of atmosphere.”

Though Sleepy Sun has apparently only been a serious band for “two or three years”, they have already had some clear career highs and Bret obliged with a couple of stories. “When we played Primavera was the first. it was a beautiful setting, and we got to see Neil Young and Sonic Youth later… everyone was smiling and having a great time. We also performed with a children’s choir at SXSW this year- there was just an ecstatic sense of joy in performing.”

Reaching this point was thanks to embracing the world of downloading, as Sleepy Sun gave away their debut, Embrace, free “for about a year” before ATP picked it up. He explained, “we just wanted people to hear it and react to it… that ended up working really well for us.” When it comes to downloading others’ music, he’s no less candid. “i download music, but if

i really like it, i’ll go out and buy it.” He added that he couldn’t afford to buy all the albums “his ears demanded”, but shrugged “if i had the money, i’d pump lots of it into the industry by buying records, but it’s better to go to a show and buy a t-shirt or a poster anyway.”

He’s similarly black and white about what makes a great band. “Make a connection with the audience. You have to try and reach them in some way.” Winning them over in the first place is important, Bret says, because if they aren’t receptive then you can’t connect at all; but how do you do that? “The fact that we believe in our music can be very convincing. People can tell right off the bat if it’s a genuine expression, real or fabricated. We just try and conjure positive energy and entertain.” So, clearly the band have learned their Stagecraft 101 well, but i had to ask, is there any life or career advice he would give to his younger musicians that he’s learned along the way? “Uhm, life is much simple than sometimes it’s made out to be… sometimes you need to breathe and forget the extraneous distractions.”

sLeePY suNWords by Alex Lynham

Words by Andy Best

12 13

stylishly ambivalent and dramatic in equal doses, Theo Hutchcraft and Adam Anderson of Hurts are worlds apart from the plethora of Mancunian

bands’ near-compulsive modeling on the Factory’s output. With their dulcet tones and deadpan posturing they were hailed as one of the influential BBC’s Sound of 2010 bands, without having played a single gig. Hurts had caused quite a stir before they even began.

High Voltage caught up with Adam Hurts ahead of their forthcoming album release Happiness to discuss their staggering ascent, Hurts as a provocative assault on the senses; and Kylie.

Hurts focus on style and substance. They make use of potent dramatic imagery and reinvent the edgy synth pop and coordinated harmonies perpetuated by 80s bands such as Ultravox and Blancmange. According to Adam, their pop concept has been in the making for a while. He explains that, “Even though Hurts is only

sixteen months old, we started making music together four years ago, so for us it does feel a long time coming. in many ways we've been working towards this album since we met.”

Their forthcoming album Happiness is a triumph in how to create a modern pop record with a soul, for a well-versed listener educated in 80’s pop. When asked whether this record, with a combination of orchestral undertones and razor sharp synthesised tracks was the album they set out to make, Adam responds “The last year has been a massive emotional roller-coaster. in January 2009 we'd been on the dole for two and a half years and didn't have any money or prospects...i didn't even have a house to live in. We wrote some songs, like 'Wonderful Life' during that period where we were desperately unhappy but wanted so much to get out of the situation, that it fed into our songs… That journey is what holds the album together.”

Hurts appear to have come out of nowhere and prior to their debut gig

at the apt surroundings of St. Phillips Church in Salford, Adam explains why they decided to forgo the traditional gig circuit in building their name “We'd played so many pointless gigs in our last band that we refused to do it with Hurts…in Hurts we decided to focus on the songs, get the live show watertight and then play a special gig.”

As evident in their meticulous attention to detail and style, Hurts are a product of discipline. When asked whether the visual aspect of Hurts is integral to their music Adam responds “Music is a very visual thing for the two of us. We were watching a lot of David Lynch films when we started making the album and he was a big influence on us. i think with the videos we have made, we have given people a snippet of a world, which is perhaps a

little uncertain and challenged people to make up the details for themselves.”

However, their discipline extends further than the physical dimension of Hurts. Referring to the process of placing equal importance on the lyrics and the sound Adam elaborates, “The most consuming aspect of what we do is making sure the atmosphere and the details within the music are as interesting and have as much depth as possible. Writing actual songs can sometimes be the easy part. There's not a sound on the album that hasn't been cared for and considered. We wanted to make pop music that could be appreciated after more than a few listens.“

it is evident quite early into listening to Happiness that this is a group for which nothing is unachievable. Discussing the need to be ambitious in the current musical climate Adam states, “Ambition is built into us as people. i come from a small town where the mentality is naturally unambitious…i wanted to be more than that and so i followed a dream

even though it was massively risky…. in our last band we were constantly trying to attract attention from the south, which would often end in disappointment or a broken promise... Even though with Hurts we stopped caring about pleasing anyone, it has still informed who we are as people and what we sound like.”

Hurts controlled approach to their creative output, their performances and their imagery hints at the foundations of a strong brand rather than a one trick pony. On the subject of whether the opera singers and the old school couture exterior are consistent themes in Hurts, Adam explains “We've started in a simple place so we could go anywhere next. it's exciting. We've been to so many amazing countries in the last few months and i'm sure that will influence us. it's hard to know whether we'll make the next album in Manchester. Perhaps not. When you write a song in a bed-sit in Longsight and then play that song to 11,000 in a stadium in Greece...it opens the world up to you.”

The construction of a ballad is undoubtedly a difficult balancing act, as each component that goes into creating a pop song for a discerning musical audience must be closely monitored to stop it erring into westlife territory. Adam admits “i suppose writing ballads is considered a risk… One of my friends said 'Blood Tears & Gold’ reminded them of Westlife. it made me laugh. We're not on some elevated platform where that is considered a massive insult. We write pop music. We've as much in common with Take That as we do with Joy Division and we've never once denied that.”

There is an air of perfectionism surrounding their work and Hurts is a striking visual force as much as an aural one. So it is hardly surprising that an ambitious pair with their sights on selling millions of records would not feel uncomfortable asking everyone’s favourite pop crush, Kylie Minogue, to feature on their track ‘Devotion’. Adam explains how the collaboration with Kylie came about “We felt like there was a place on the album for the redemption of a woman and we thought, this time last year we were on the dole, why not just ask the most famous woman in Britain to sing on our song? We emailed her and a few days later she got back to us saying she loved the track. We recorded it the week after that in London. it’s a moment of release on the album. She sounds like Kate Bush.”

Hurts is intense but exciting pop music, but the edgy pop persona that chimes throughout Happiness may be hard to replicate as the band continue to grow under all the Hurtsteria. if a sense of despair from

their environment fed into their debut, their subsequent material may well take them in a different direction as they go from being one’s to watch to the one’s everybody wants to work with.

You also get the impression that it is all or nothing with Hurts and from the very beginning Hutchcraft and Anderson have reached for nothing less than perfection. “One day we might do something with just the two of us but for now we like the drama of having a full band behind us.” Adam says, referring to their live performances. “it's very easy to be an electronic act and just push play on the backing track. it’s more convincing if you try and elaborate on the recordings, bring them to life even more if you can. So that's what we're trying to do. We have an opera singer, which in any other context would be completely ridiculous but for us, at the right moments, it really works.”

HuRTs

14 15fifteen

MiA - 'it Takes A Muscle'Big electronic dub track (complete with all the cliches, of course) showcasing a softer side of MiA. Sounds like Grace Jones on a good morning. 'it takes a muscle to fall in love' is an excellent lyric too.

Ratatat - 'Drugs'Soft piano intro throws itself head long into the world of electronics which is starting to sound dated. Justice/Chromeo/Digitalism wails and blips which amble along. That said, the video is a total mind bend of obscured normality. Win some, lose some.

Olof Arnalds - 'Crazy Car'Sounds as lonely and isolated as you can imagine iceland is on a sad February evening. For me, folk needs a voice which shakes your heart or an interesting concept to succeed. This drifts away from that towards just being boring.

Denis jones - 'Clap Hands'Machine-like drum sounds and lo-fi fuzzing bass. An odd, yet interesting, cover of the American standard 'The Clapping Song'. Sounds like Beck on ketamine.

Tokyo Police Club - 'bambi'A voice which shares it's tone with Alan Donohoe (The Rakes) and Chris Difford (Squeeze) and a nice little melee of nervous electronics and guitars. All in under 3 minutes. So if that description sounds like your worst nightmare, it won't last long.

band of Horses - 'Dilly' i didn't even notice this was playing until it stopped. The type of soft, bearded, countryside, tail-inbetween-your-legs indie which just floats around in a vacuum in your consciousness. Next...

Fenech soler - 'Lies' (b-unique)A good little song from a new band on form. Files next to Delphic and Friendly Fires but stands out alone. Can't go wrong with a few dancing babes in your video either.

Paul weller - 'Fast Car / slow Traffic'i half expected to turn this on and want to boil my own head, since Paul from The Style Council's later stuff has often made me feel that way. But this is brilliant. As experimental as i've ever heard him and more fresh and modern sounding than a lot of the other singles.

Yeasayer - 'Madder Red' Yeasayer are a good band. So intricate an fresh sounding. And a live sight to behold. This is less quirky than they can be, but still works really well in it's progression.

Howls - 'Hammock' Crisp and empty production and the soft, clean vocals of Stephen Fretwell turn the Southern Gothic feel into something much more British. Was getting into it until the words 'Larry Hagman' came up in the chorus.

singlesTheo from Hurts has a solid pair of ears. so what does he make of the hottest jamz out in september and October? Let's find out...

17th Sept - Kraak (Stevenson Square)FLORRIE

w/ Seerauber Jenny // Projectionists //MAY68 DJs8pm - 2am, £5 adv

23rd April // Deaf InstituteISLET

w/ Slow Motion Shoes // Unconscious JungleDoors 8pm, £5 adv

11th Oct - Deaf InstituteMAPS & ATLASES

w/ Tall ShipsDoors 8pm, £7 adv

13th Oct - Mint Lounge - In The CityOH NO ONO

w/ Teeth / Dog is DeadDoors 6pm, tickets from www.inthecity.co.uk

25th Oct - Deaf InstituteBEACH FOSSILS

w/ Lawrence Arabia // Three Blind WolvesDoors 8pm, £7 adv

28th Oct - Deaf InstituteEL GUINCHO

W/ SPECiAL GUESTSDoors 8pm, £7.50 adv

29th Oct - RoadhousePULL IN EMERGENCY

w/ Oxygen indexDoors 8pm, tickets £5 adv

17th Nov - Academy 3HOLY FUCK w/ special guests

Doors 7.30pm, £9 adv

19th Nov - Deaf InstituteBATHS

w/ Vegans / Pogo DJs8pm - 3am, £5 adv

23rd Nov - Deaf InstituteMARNIE STERN

w/ Special guests8pm, £7.50 adv

live

We're thrilled that local lads Dutch Uncles have been picked up by Memphis industries to release new recording 'Fragrant' (Memphis industries), which is out on 11th October. The track features lead singer Duncan's trademark falsetto along with a crunching rhythm section. it's a step forward from 'The ink' - released back in May - and means that their debut LP can't come soon enough.

Also from round these parts is the release of 'Hands' (Columbia) by The Ting Tings, the first cut from their second album. Matching the

success of their first album must have been on the duo's mind, as their infectious electro-pop spread across the world. As a result this track sounds a little too calculated, and lakes the freshness of

others. That said, Klaxons' first single from their album left us non-plussed, so there's still hope that Katie and Jules will produce a stellar LP.

in a similar ball park are Seerauber Jenny, a band project based around Brighton's Fran Barker but given a Manchester focus thanks to the

involvement of Mint Royale's Neil Claxton. There's a lo-fi edge to new single 'Push it Away' (Label Fandango) but it has the ambition to match the previously mentioned duo.

Another act also not short of ambition is David's Lyre, a moniker adopted by Paul Dixon. His new single 'Tear Them Down' (East City Records) is out at the start of September, and it's a delicate blend of lush harmonies and rising guitar parts. Certainly one to watch.

ALsO OuT THis MONTH

16 17

After remixes for the likes of Bloc Party, Health and Simian Mobile Disco, and three critically-lauded EPs already knocking around it is fair to say that GP’s debut is eagerly anticipated, and it doesn’t disappoint. Lucky Shiner is a combination of chilled breaks and beats, ingredients which could have ended on the coffee table but remain on the right side of the pleasurable/pedestrian divide due to its endearing invention and warmth.

The record starts with the sound of a cassette tape loading, followed by the future proof beats of ‘You’; it’s a great juxtaposition between old and new technologies, both signalling that this is superior to what has come before and making the cut-

and-paste loops sound like something from inside a time machine. As an opener it sets the tone, melding old-school ideas and condensed beats in an easy to digest, accessible way, although the hypnotic, metronomic tone also flags up the fact that the record could perhaps do with a few more changes of pace. But what it lacks in energy it more than makes up for in design.

For an album without lyrics the whole thing feels peculiarly personal, simultaneously non-threatening and reassuring – perhaps that’s down to song titles like ‘You’, ‘Parents’ and ‘Marriage’, or the fact Lucky Shiner is the name of Gold Panda’s grandma (brilliant name

for a grandmother incidentally). GP spent time in Japan and you can hear the influence occasionally drifting in and out, from the coda in ‘Vanilla’ to the bells of ‘Same Dream China’. These are musical postcards, and a baring of something: like Four Tet telling you about his weekend.

it’s Mylo with odd bits, Thom Yorke’s elevator music or Caribou on a Sunday, and although its destined to be stolen by the modern equivalent of Mondeo Man it remains a debut with impressive depth and real scope.

Harry Garne

Sometimes when you’ve had a busy week listening to music (oh, how hard is my life?), you’re a bit crushed under some of the more average stuff out there, of which there is an abundance, but apparently this serves a function: to pave the way for the entrance of the Solar Bears. Catalysed by not hearing anything too far out in a couple of weeks, this record really caught me off guard.

in particular, ‘Twin Stars’ is like a hyperkinetic version of Team Sleep’s trip-hop classic ‘Ataraxia’, at once beguilingly beat-driven and sparsely atmospheric. Track four, the title track, bears some welcome resemblance to Curve’s

‘Hung Up’, and ‘Head Supernova’ sounds like it could be straight off the Blade Runner soundtrack. For near comparisons, perhaps Underworld are the nearest to a sound-alike band, but in truth this record is mysteriously and elusively original.

The shifts in dynamics are masterfully executed, while the texture ebbs and flows between thick terraces and sparse ambient samples. There’s a very high level of songwriting evidently behind this record, and the sometime lack of clear melodies never causes the album to drag, because so much thought has been taken over

what is going on at every point in the mix.

if i had a record of the week award, it’d be this, because it’s staying on my stereo. Do yourself a favour and have a listen.

Alex Lynham

When an album receives the kind of lavish praise Microcastle did, the pressure to follow it is intensified; but Deerhunter have exceeded expectation on their second album Halycon Digest. it demonstrates bags of depth, with a rich tapestry of sound interwoven throughout the disc.

Some of the distortion found on previous releases may have gone; but Deerhunter’s ability to mix ambient sounds with heavy doses of pop sensibilities most certainly has not. Album opener ‘Earthquake’ has a slower tempo than most Deerhunter offerings, but it seduces the listener with its delightful arpeggio, low-mixed vocal and sexual lyricism. Other highlights include first single

‘Revival’, a song which should ensure substantial airplay (on 6music at least), and the fantastic ‘Fountain Stairs’, which contains a magnificent riff from Lockett Pundt. indeed, Pundt’s guitar skills come to the fore in many of these tracks, especially the ones which he had a hand in writing the music for. ‘Desire Lines’ is one such example; musically entrancing, it contains a joyous, Marr-style riff that is a delight to hear again and again.

This could just be the best album of the year so far. With the brilliant song-writing abilities of Cox and Pundt, Deerhunter possess genuine ability. They have received some vitriolic criticism in the past from certain music blogs but the

quality of the band’s output makes such hyperbolic disapproval seem absurd. its time the whole music world fully embraced the enormous talent that is Deerhunter.

Rob Pollard

Pull in Emergency are an extremely promising outfit. Their adeptness at writing well-crafted indie songs belies their tender age and, if their well of influences grows and matures, they are likely to go on and produce some excellent work. Produced by Gordon Raphael -who himself worked with The Strokes - the album offers a brash set of songs that cite a youthful attitude.

The LP offers 10 succinct tracks that are sure to please indie types with an ear for the latest thing. Tales of young, unrequited love are delivered with an energy that is infectious, with each song packing a fair old punch. The stand-out track on the album is ‘Cold Hands’, a song where Faith Barker ditches her regular mockney-esque

delivery for a slightly more haunting and edgy vocal. This works well and offers an example of the charisma that she possesses. There are hints of Karen O in Barker’s singing technique, offering the most unique aspect of the band’s approach. The final track, ‘Hold Still’, incorporates distorted sounds and some nice backing vocals, providing a sweet end to a solid first album.

With a charismatic front woman and a band which knows how to piece together catchy material P.i.E look set to make a breakthrough in the indie arena. This album provides a solid platform on which this band can build. if they are prepared to develop their sound further and incorporate a more diverse set of influences, they should

acquire the tools needed to become an even more impressive outfit.

Rob Pollard

Solar Bears - She Was Coloured InPlanet Mu5|5

Deerhunter – Halyon Digest4ADRating 5|5

Pull in Emergency – Pull in EmergencyMute4|5

albumsALBUM OF THE MONTH

if you thought the spirit of Peter Gabriel had chosen Vampire Weekend as the vehicle for his world-y rumblings and no one else, then think again: it seems there's plenty to go around. Maps & Atlases are four laid-back-kinda-guys from art school in Chicago, illinois, who make the kind of playful, exotic mathy pop which Band Of Horses might make on a gap year.

David Davison’s caramel tones might be the big story behind Maps & Atlases, but this is to do a disservice to the multiple directions each track on Perch Patchwork takes. ‘Pigeon’ is a case in point: starting a little close to Paulo Nutini for comfort, drums build and horns layer until it reaches something closer to Amadou & Miriam. it doesn’t just shift genre, it traverses continents. Elsewhere the sounds are a little more blended, from the sun-baked harmonies of ‘israel Caves’ to the slow-stepping night jangle that underpins ‘Was’, but there’s always a sense of not knowing what’s coming up next.

Having the word ‘Patchwork’ in the title is more than a little apt as it at least flags up the disparate (and at times slightly jarring) elements, such as the final breakdown on the title track which aims for TV on the Radio but doesn’t quite get the balance right between eyebrow-raising crossovers and total confusion. Having said all that, it’s unlikely a more ambitious record will appear this year, and with summer on the wane one last blast of beach weather is always welcome. ‘Catchy-weird’ did Yeasayer the world of good; perhaps it’s the year’s most unlikely bandwagon?

Harry Garne

They’re right about the name, Root For Ruin. Every song on this fifth studio album features the shiny and distracting, the pointers which remind why Les Savy Fav are so relevant despite continuing to be bewilderingly underrated.

With a straight-faced “Show us your teeth and show us your tits,” off bounds first track ‘Appetites’ surrounded by rolling guitars and sharp punk drums, siding up to ‘Lips n Stuff’ with its nonchalant New York twang. “i don’t know where to look, i cannot hold your gaze, our eyes are filled with smoke...” seems honest enough, only for a punch line to flip the sentiment upside down; “i wouldn’t say we kissed, just rubbed together our lips n stuff.”

Less varied than predecessor Let’s Be Friends, this is nevertheless come-back rather than come-down, with straighter balls delivered on favourable ground. Having influenced and bypassed the dance/punk/indie house parties over the past few years, the five members are safely ensconced away to carry on regardless. What could be regarded throwaway by their standards – ‘High and Unhinged’ could be a ‘zine title from the 80s – clearly acts as a riposte to the copy-cats who claimed the spotlight. Throw in the more blatant “i am 17, kick me in the teeth” – and the general character here should be fairly self-evident.

As much hubris as ever, and with the sweaty scent of a career best, overlooking this would be foolish.

Liam Pennington

Gold Panda - Lucky ShinerWichita 4|5

Maps & Atlases - Perch PatchworkFatcat4|5

Les Savy Fav - Root For RuinFrenchkiss / Wichita4 |5

18 19

We’re not stretching the truth by saying that the main stage of Reading and Leeds has a distinctly non-2010 feel. There is of course one exception (see later), but for the majority it’s an opportunity for the scene statesmen to fortify opinions. For example, take a flick through Saturday afternoon; Limp Bizkit, Cypress Hill, Weezer, Paramore topped off with Blink 182; an onslaught of pasty punk to be adored or abhorred. But with such a monstrous festival, avalanches of inspiration can be found, and Leeds 2010 is in no short supply.

Leading the charge, The Walkmen open the main stage with frenetic quality and class. Whilst fiddling with the OC may have damaged their credibility, new tracks from the soon to be released sixth album indicate a real return to form.

Modest Mouse however show us why they remain confined to bedroom anoraks. Extensive back catalogues are the blight of the quirky, and with MM being at the top of the sectioning list, the potential existed for disappointment. Lacking the sobering influence of Johnny Marr

the bumpkins favoured the mentally challenged, with little nod to songs more illustrative of their brilliance.

And whilst MM were the biggest disappointment, they weren’t the sole offenders. Let’s start with the Joy Formidable. Crimes to music aside, elfin songstress Ritz’s attempt at imbuing credibility by daintily trashing her guitar during the opening song swiftly hoodwinks the crowd; and whilst the gathered cheer at her newly acquired rock credentials, we can’t help but cringe at the prosaic lameness of it all. Similarly the Wild Beasts’ set leaves a funky taste in our mouths. it’s hard to articulate the cause, maybe it’s just a general apathy, but they produce a stagnant performance of what is a brilliant album.

For all those wasting time, there are also those squeezing every second from their allocated slots. Local Natives deliver a confident and enigmatic debut full of militant precision and joyous harmonies (and also criminal facial hair), only to be defeated by a zealous sound-man stopping the set mid samba.

The plug was also prematurely yanked from LCD Soundsystem’s pulsating set, only to re-instate it once realising the mistake. This Stalin-esque attitude, although necessary, didn’t bode well for lord of the dance Axl who had already encountered the hand of the man in Reading. Arriving onstage a mere 30 minutes late Rose skipped back and forth in his twinkly threads with the aged grace of Bruce Forsyth. ‘Welcome to the Jungle’ was purged early and a few pyrotechnics later we’d had our fill of the pompous performance and left to the stench of burning cups.

Headliner of the weekend, without question goes to the Arcade Fire. Previous Neon Bible era festival slots had left us underwhelmed, possibly due to the overblown pretention of Neon Bible, but the Suburbs offers a toned rawness that their catalogue missed. Contrary to the record ‘Rococo’ emerges as a powerful live force whilst album climax ‘Sprawl ii’ struggles somewhat, hopefully dismissing all talk of the latter being their new direction (live at least).

Daniel Pratley

Harmony Korine intended that Trash Humpers have an air of found VHS. This is certainly the case. Static flecked, saturated by rain and composed of overexposed scenes divided by brash cutting, it could easily be the home movie or Youtube upload of Leatherface’s offspring. Elsewhere, there’s seemingly no rhyme or reason to this 77 minutes of film.

i spent those 77 minutes trying to decipher what to make of Trash Humpers. On one level it plays like the characteristically debased folly of a bored and provocative indie director. Amusing, unsettling, shocking and potentially a victim of its own regressive agenda, yet at points i couldn’t help but draw comparisons to directors such as Werner Herzog (Even Dwarf

Started Small) and Lars Von Trier (The idiots). There are strong themes of insanity that run through the film. The decision by Korine to feature in Trash Humpers possibly a way by which he throws off the shackles of conformity in film as he cackles maniacal behind the lens. There’s something about madness that’s intrinsically anti-establishment.

Trash Humpers concerns itself with four grotesque protagonists of which little is known other than their delectation for humping trash and trees. There’s murder, discarded naked bodies, home invasion and kidnap. Everything else is up for debate, and while there’s no solid narrative, there are strong themes that occur throughout the film. The whole process of watching Trash Humpers is

unsettling. The candid style of cinematography and continual jump cuts, hazy aesthetic and VHS static add disorientating nuances to the film. it’s both frightening and hilarious, disturbing yet strangely beautiful. in a series of short cuts, ordinarily mundane scenes are given an appealing beauty. With a mass of low quality videos now saturating the internet, to have someone mimic that slipshod style is refreshing.

Naysayers will dismiss Trash Humpers as lowbrow trash. People will hate it and i like it for that reason. The best art is that which provokes a response, polarizes opinion. i like to think that simply by existing it acts as a catalyst for public discussion.

Jonathan Hopkins

Leeds Festival

Trash HumpersDirected by Harmony Korine

reviewsGiG OF THE MONTH

FiLM OF THE MONTH

20 21

sept Wed 1st ian Bramwell @ Hardrock Cafe

Thurs 2nd Women @ Deaf institute

Fri 3rd The Like w/ Golden Glow / The Sticks @ The Ruby LoungeThe Bloody Beetroots Death Crew 77 @ Academy 2

Sat 4th Neon indian w/ Chad Valley @ Deaf instituteMuse @ LCCCEels @ Academy 1Orphan Boy @ Club AcademyThe Vortex @ Band On The Wall

Sun 5th

Mon 6th Cymbals Eat Guitars @ Deaf institutePhosphorenscent @ Night & CafeJonsi @ Academy 1

Tues 7th

Wed 8th The New Pornographers w/ Freelance Whales @ The Ruby LoungeAbandon @ Night & Cafe

Thurs 9th Sucioperro @ The RoadhouseElectric Eel Shock @ Sound ControlHomelife, Denis Jones & Nancy Elizabeth @ Band On The Wall

Fri 10th Folk Face @ Fac 251Da Katz Whiskaz @ Deaf instituteProud Mary @ Sound ControlGong @ Academy 1Manchester Academy Metal Festival @ Academy 3Kath Bloom @ Band On The Wall

Sat 11th Divide & Rule @ The Ruby LoungeThe Soundcarriers w/ Plank @ Ducie BridgeElliot Minor @ Club AcademyMr Scruff Keep it Unreal @ Band On The Wall

Sun 12th John Head @ Deaf instituteSlaraffenland w/ Driver Drive Faster @ Academy 3

Tues 14th The Moody Blues @ The ApolloHorse Feathers @ Kings ArmsBreed 77 @ MohoThe Black Twig Pickers + Charles Parr @ Band On The WallWed 15th Marcus Foster & Pete Rowe @ Night & CafeBlack Mountain w/ Wolf People @ Academy 3

Thurs 16th Fyfe Dangerfield @ Sound ControlOlof Arnalds @ DulcimerSky Larkin @ Night & DayThe Brute Chorus @ The Ruby LoungePierre Bensusan @ Band On The Wall

Fri 17th Florrie w/ Seerauber Jenny + MAY68 DJs @ Kraak

Sat 18th Joanna Newsome @ Palace TheatreHere We Go Magic w/ Allo Darlin / internet Forever @ Deaf instituteSage Francis @ The RoadhouseA Boy Called Doris @ Sound ControlBarenaked Ladies @ The ApolloTwo Door Cinema Club @ Academy 2Stolen Peace @ Academy 3The Locals @ Club Academy

Sun 19th Raghu Dixit @ Band On The Wall

Mon 20th Liam Frost @ Sound Control

Tues 21st Willy Mason @ Deaf instituteThe Traveling Band @ Sound ControlTommy Reilly @ The Ruby LoungeFraming Hanley @ Academy 3The Magnets @ Band On The Wall

Wed 22nd Delta Spirit @ The Ruby Lounge

Thurs 23rd The Vaselines @ Deaf instituteThe Answering Machine @ Sound ControlThe Shout Out Louds @ The Ruby LoungeThe Wilderness Of Mantitoba @ Night & CafeGlenn Hughes @ Academy 3Testimony @ Band On The WallMetronomy w/ Chapel Club / Metronomy @ WHP

Fri 24th Paul Heaton @ Academy 1Adam Bayer w/ Steve Lawler @WHP

Sat 25th Mt. Desolution @ Deaf instituteHexstatic @ Sound ControlThe ZZ Tops @ The Ruby LoungeEric Prydz w/ Basement Jaxx / Felix Da Housecat @ WHP

Sun 26th Damien Jurado w/ Richard Swift @ Deaf instituteMGMT @ The ApolloPete Molinari @ Academy 3

Mon 27th Lisbee @ Deaf instituteThis Will Destroy You @ MohoThe Union @ The Ruby LoungeBring Me The Horizon @ Club Academy

Tues 28th PVT w/ Electricity in our homes / 2:54 / Books @ Deaf instituteRicky Warwick @ The Ruby Loungeislet w/ Slow Motion Shoes / Unconscious Jungle @ islington Mill The Magic Numbers @ Academy 23OH!3 @ Academy 3Kano @ Club AcademyDarren Hayman @ Godlee Observatory

Wed 29th Bury Tomorrow @ The RoadhouseDetachments @ Sound ControlRosie Vanier @ Night & CafeGrinderman @ Academy 1Example @ Academy 2

Thurs 30th Deer Tick w/ Caitlin Rose @ Deaf instituteTruman Peyote@ Night & CafeGet Cape Wear Cape Fly @ Academy 3Kirsty Almeida @ Band On The Wall

Oct Fri 1st Tiffany Page @ Deaf instituteExit Calm @ The RoadhouseViolens @ The Ruby LoungePhiladelphia Gand Dury @ Night & CafeBasshunter @ Academy 1For Those About To Rock @ Academy 2Joy Diversion @ Academy 3Steve ignorant @ Club AcademyPolar Bear @ Band On The WallBoys Noize w/ Fake Blood @ WHPShrag w/ Standard Fare @ Kraak Gallery

Sat 2nd The Airbourne Toxic Event @ Deaf instituteSantana @ M.E.N ArenaMumford & Sons @ The ApolloRandom Hand @ Night & CafeMark Ronson & The Business intl @ Academy 1Y & Y @ Academy 3Architects @ Club AcademyTerry Callier @ Band On The WallNowhere Again w/ Dune / Adam Farnell @ FuelKelis w/ Calvin Harris / Starsmith @ WHP

Sun 3rd The Baseballs @ Club Academy

Mon 4th Crocodiles @ Deaf institute The Miserable Rich @ The Ruby LoungeNME Radar Tour @ Academy 3

Tues 5th Frankie & The Heartstrings Summer Camp @ Deaf instituteThe Lines @ The Ruby Lounge Hurts @ The RitzSparrow and The Workshop @ Night & CafeOf Montreal @ Academy 2City Of Fire @ Academy 3Lonnie Liston Smith @ Band On The Wall

Wed 6th Errors + The Twilight Sad @ Deaf instituteGold Panda @ The Ruby LoungeBobby Long @ Night & CafeMayday Parade/ The Maine @ Academy 3Blood Red Shoes @ Club Academyimaad Wasif @ The Corner

Thurs 7th Junip @ Deaf instituteFinley Quaye @ Sound ControlMice Parade @ The Ruby LoungeSivert Hoem @ Night & CafeSublime with Rome @ Academy 2FM @ Club AcademyFocus @ Band On The Wall

Fri 8th Jagular Skills @ Deaf instituteKassidy @ The RoadhouseKid British @ MohoSteve Miller Band @ The ApolloCorinne Bailey Ray @ Academy 2Delays @ Academy 3Paul Van Dyk w/ John Dahlback @ WHPNapolean iiird w/ Pagan Wanderer Lu @ Kings Arms

Sat 9th Cats and Cats and Cats @ The RoadhouseJean Michel Jarre @ M.E.N ArenaOcean Colour Scene The ApolloGroove Armada @ Academy 1imelda May @ Academy 2August Burns Red @ Academy 3introducing plays DJ Shadows Endtroducing @ Club AcademyAndy C w/ David Rodigan / Luke Vibert @ WHP

Sun 10th The Black Angels @ The Ruby LoungeKorn @ The Apollo

Mon 11th Maps & Atlases w/ Tall Ships @ Deaf instituteDetroit Social Club @ The Ruby LoungeDan Mangan @ Night & CafeSabaton @ Academy 2 Chameleons Vox + Artery @ Band On The Wall

Tues 12th Everything Everything @ Deaf institute22-20’s @ The Ruby LoungeKate Nash @ The RitzSheryl Crow @ The ApolloDarwin Deez @ Academy 3Hassan Erraji @ Band On The Wall

Wed 13th Joe + Keith Sweat @ Academy 1Ufomannut @ Star & GarterDoom w/ Hudson Mohawke / Jamie XX @ WHP

Thurs 14th General Fiasco @ Sound ControlManic Street Preachers @ The ApolloBowling For Soup @ Academy 1Sky Parade @ Academy 3Professor Green @ Club Academy

Fri 15th The Jim Jones Revue @ Sound ControlJoe Bonamassa @ The Apollo Plan B @ Academy 1Cherry Ghost @ Academy 2Mark Chadwick @ Academy 3Yuck w/ Spectrals / Porcelain Raft @ Band On The WallWino @ Star & GarterRichie Hawtin w/ Minus @ WHP

Sat 16th Attack! Attack! @ Sound ControlThe Charlatans The ApolloGoldblade @ Academy 3Fozzy @ Club AcademyDoves w/ Steve Mason / Field Music @ WHP

Sun 17th My Passion @ The RoadhouseJoe Satriani @ The Apollo Josh Radin @ Academy 1Attack Attack! (US) @ Academy 3

Mon 18th Guns n’ Roses @ M.E.N ArenaTinie Tempah @ Academy 2We Are The Ocean @ Academy 3

Tues 19th Dave Arcadi @ The Ruby LoungeAmy Macdonald @ The ApolloAlter Bridge @ Academy 1Robyn @ Academy 2Peter Broderick @ Academy 3

Wed 20th ALOE BLACC @ Sound ControlMelt Banana w/ The EX / Pocketknife @ islington Mill Yeasayer @ Academy 1Easy Star All Stars @ Academy 3Forever Never @ Club Academy

Thurs 21st Gavin Creel @ Deaf instituteDinosaur Pile Up @ The Ruby LoungeJeff Beck @ The ApolloJay Brannan @ Night & CafeHot Hot Heat @ Academy 3Ozric Tentacles @ Band On The Wall

Fri 22nd Clinic @ Deaf instituteMystery Jets w/ Egyptian Hip Hop @ Manchester CathedralCrystal Castles @ Academy 2Travis McCoy @ Academy 3Lau @ Band On The WallRicardo Viallalobos @ WHPKellermensch @ Roadhouse

Sat 23rd Carl Barat @ Deaf instituteEllen and The Escapades @ Night & CafeTrain @ Academy 1Vans Off The Wall Music Night @ Academy 2Saul Williams @ Band On The WallChase & Status w/ Scratch Perverts / Jaguar Skills @ WHP

Sun 24th Warpaint @ Deaf institutePontiak @ The Ruby LoungeFeeder @ Academy 2Sketch Pistols @ Band On The Wall

Mon 25th Beach Fossils w/ Three Blind Wolves @ Deaf instituteThe Midnight Beast @ Sound ControlTweak Bird @ The Ruby LoungeBedouin Soundclash @ Night & CafeTrentemoller @ Academy 2Sketch Pistols @ Band On The Wall

Tues 26th The Answering Machine @ Deaf instituteiLiKETRAiNS @ The Ruby LoungeThe Psychedelic Furs @ The Ritz The Cat Empire @ Academy 1Dan Le Sac Vs Scroobius Pip @ Academy 2i Blame Coco @ Academy 3Oli Brown Band @ Band On The Wall

Wed 27th Avenged Sevenfold + Stone Sour @ Academy 1Lissie @ Academy 3Chrome Hoof @ Band On The Wall

Thurs 28th El Guincho @ Deaf instituteThe Strange Death Of Liberal England @ The Ruby LoungeOne Night Only @ Academy 3Twenty Twenty @ Club AcademyFrancis Dunnery Band @ 2Band On The Wall

Fri 29thPull in Emergency @ The RoadhouseYann Tiersen @ Manchester CathedralCatherine Feeny @ Night & Cafe!!! Chk Chk Chk @ Academy 2Leaether Strip @ Academy 3Wiley @ Club AcademyMagnetic Man w/ Flying Lotus / Joker / Katy B @ WHP

Sat 30th Bearsuit @ Night & CafeFoals @ Academy 1Swans @ Academy 2Syd Bozko @ Academy 3Dillinger Escape Plan @ Club AcademyMaceo Parker @ Band On The WallDelphic w/ The Whip / Fenech Soler @ WHP

Sun 31st The Duke and The King @ Deaf instituteMarina and The Diamonds @ The RitzPaloma Faith @ The Apollo

To post your event in the HighVoltage listings email your event details to Mike Caulfield... listings@highvoltage.org.uk

listings sept - Oct

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SEND YOUR NEW BAND TiPS TO RiCHARD@HiGHVOLTAGE.ORG.UK TO APPEAR iN THE NEXT NEW NOiSE ROUND-UP…

New NOiseSeerauber Jenny

Stemming from founder Fran Barker’s interest in the weird and wonderful of musical instruments, Manchester’s Seerauber Jenny concoct an intriguing blend of earthy shoe gaze folk with an electronic edge thanks in part to the other member in the duo being Neil ‘Mint Royale’ Claxon.

With a sound both rich in experimentation and self-belief, they create warm textures of guitars and atmospheric electronics.

The twosome release their debut double A side ‘Push it Away’ / ‘Waste Of Time’ on 27th September.

Recommended Track ‘Push it Away’

www.myspace.com/seerauberjennyuk

Andy Best

Youthless

Portuguese quartet Youthless are dead on when they describe themselves as ‘Club/garage’. They mix heavy bass lines and crashing drums with danceable guitar licks and sing-along choruses.

‘Casper Butterflip’ has all the fundamentals of a good rock track – agro lyrics, banging drums and extra distortion. ‘Monsta’, on the other hand, is poppy as anything The Gossip ever released, with a riff that begs movement and “You’re always on my mind” in the chorus.

This is our favourite new band from Portugal.

Recommended track: ‘Monsta’

www.myspace.com/youthless

Sophie Armour

Dog is Dead

Dog is Dead are a five piece band from Nottingham whose brand of jubilant indie pop could turn even the dampest British summer into perfect BBQ weather. imagine what Foals would sound like if they had Saxophones, or what the Mystery Jets would sound like if they were rougher, and you’ve got the very essence of Dog is Dead.

As well as the release of their debut single, ‘Glockenspiel Song’ Dog is Dead have toured with Ok Go, Local Natives, and Mumford and Sons... and they’re only 18.

Recommended Track: Young

www.myspace.com/dogisdeadband

Grace Brown

Kisses

Kisses are coming all the way from Los Angeles to play their first UK shows in Manchester at this year’s in The City festival.

Their sound has a laid-back, California vibe. Slightly tropical percussion and buzzing guitars are dominated by airy vocals that float over strong-yet-chilled rhythms. On ‘Bermuda’, shiny synths are layered over rhythmic organs that sound more upbeat, but still remain calm.

if you’re after an ultra-cool sound to end the summer, LA is where it’s.

Recommended track: ‘Bermuda’

www.myspace.com/blowkissess

Sophie Armour

Unconscious Jungle

The local quintet released a glorious EP, on the hush back in May and are already recording tracks for their debut album, which they hope to release soon.

There’s a folk sensibility to their music, but on tracks like ‘Foxtrot Hymn For The Stars’ a sprawling full band sound emerges. it rolls from an earnest beginning into a noisy deluge that Arcade Fire would be proud of. This charm is captured brightly on ‘The Midnight March’, thanks in part to a glorious saxophone solo.

Recommended track ‘Foxtrot Hymn For The Stars’

www.myspace.com/unconscious-jungle

Richard Cheetham

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