Sleep will return to the UK this May, appearing alongside Slayer and Melvins amongst others at the London I’ll Be Your Mirror Festival. The band have also announced dates in Glasgow and Leeds, as well as a new remastered re-issue of their classic Dopesmoker LP.

Sleep’s Al Cisneros wanted to breathe some new life into the old LP, Dopesmoker, enlisting the help of Southern Lord to do so. Southern Lord was ecstatic about taking the reigns for the project that has been touted as one of the most important recordings in the history of heavy metal. The re-issue features brand new artwork by long time Sleep artist Arik Roper, and remastering by Ashes Rise guitarist Brad Boatright. Southern Lord’s vision was to enhance the original recording without changing it drastically. He has made an epic opus sound invigorated and more powerful with renewed clarity. Miraculously, the band have enthusiastically approved his work.

Sleep will play Stylus at the Leeds University Union on 24th May.
Tickets are available here.

Cheshire based band Above The Underground are set to release their highly anticipated EP, Autumns, this friday. It is rumoured to take the pop-punk scene by storm, plus, it’s going to be absolutely free!

The four-piece hardcore pop-punk band have recently been signed to Lazy bear Records have been described as “some of the most genuine and hardworking guys in this industry”.

Autumns will captivate you from the beginning with endless gang vocals and catchy riffs that will make you shout along. Nick Barlow, Above The Underground’s bassist, explained how “Autumn has always been the season for us, its when we’ve done the most things and been the most productive”, creating the theme for their new EP as the band break their way through into the pop-punk scene.

The EP will be available digitaly from iTunes, Spotify and Bandcamp from May 18th and has the potential to become the soundtrack to the summer, despite the seasonal title. As well as the digital release, Autumns will also be available on limited edition CD and Vinyl.

Bandcamp//Facebook

The Lines

Brudenell Social Club

10/5/12

8/10

words: Max Bruges

The first thing to be said of The Lines, beyond the usual buzzwords of indie-post-punk-guitar-upcoming-breakout, is that they have a pulse. Not in a wishy-washy, PR advertorial, struggling-to-think-of-an-opening-review-line kind of way, but in a very real and (all pretention aside) essentially musical way. Every chord is accented, every beat raised on the shoulders of giants by the liberal application of bass drum, and every line of lyric rocks on and up with the swaying of frontman Alex.  In a lesser band, this is a sure-fire soporific guarantee of mediocrity, usually meriting the fateful condemnatory adjective of ‘plodding’. But, through sheer gall and variety, The Lines manage to shrug off this deadly concession, elevating themselves to its vaunted linguistic cousin ‘hypnotic’.

“We’ve had a lot of different line ups over the last couple of years, as well as a few set-backs; but we’ve changed a lot.” Alex stoically intones, sipping on a pre-show beer and nodding at the self-styled “crazy sample noise-making man”, lead guitarist Dean. “We’ve all got different styles, so we like to try and revisit old tracks whenever we can. I mean–” agrees Dean, before being cut off by the entrance of drummer, Danny. “Ai’ight lads,” he grunts, The Muppet’ sAnimal with human proportions and a grubbier t-shirt, “you know I’m the most important, right?” Oh really? “Yeah, I’m something. I’m very special.” I can see. “He doesn’t really have a lot of hair,” Alex drily mutters, “it’s just a very large head.”

I start with the standard-issue gambit ‘of all your venues, isn’t Leeds just the best?’, soliciting polite nods from Alex and Dean. Danny, of course, has other ideas: “S’alright. Outside Cardiff was better, though. Proper Shameless crowd, plenty of underage sla–”, before the dictaphone tactfully fails. PR may not be any drummer’s strong point, but they certainly know how to conjure an interesting gig tagline.

It helps, of course, to have an excellent roster of songs: a set-list embarrassingly full and developed for a single-album back-catalogue. A casual browse of Spotify might leave the passing under the impression of the band as little more than light, Intragram re-imagining of the guitar-heavy formula that has already been perfected by groups like the Pidgeon Detectives.

But the transferral from disc to stage brings something else to the band, another eerie layer of depth to the otherwise somewhat shallow sound. Pre-recorded strings, copious reverb, mesmeric vocals, all contributing to more than a little Kasabian nostalgia, and all allowing the band o admirably fill the room with the sort of post-punk belligerence that so befits the slightly groggy and frayed decor of the Brudenell Social Club.

Most importantly, however, there’s humour, an element so often lacking from the set-lists of angry, talented young men with six-strings. Nothing obnoxious, but blink-and-you’ll-miss-it gags that keep an skeptical audience member (ahem) on their toes: from the surreptitious cowbell of El Matador, to the self-aware electronic tomfoolery and bombastic drumming of Loudmouth. It’s not a flawless set, but it’s bloody good fun.

There’s something slightly ill-fitting about a band like I Like Trains playing on an afternoon. Dense soundscapes and spooky guitar lines falling nowhere short of first class, I’m surrounded by eeriness. It’s quite bizarre. Particularly given that its only 3pm on a Saturday and Live at Leeds has not long been underway. My ears are telling me it’s the cold and lonely end to an evening as an overwhelming sense of eeriness and chill grasps the atmosphere. Then again, perhaps the haunting of lead vocalist David Martin’s forlorn tones may have ensured an onset of spook-fuelled insomnia should the set have taken place any later.

I Like Trains are on top of their game. With a set including numerous tracks from new album ‘The Shallows’, there may be a preconceived sense of uncertainty, both in delivery and reception of the new tracks, but the Leeds 5-piece’s ever melancholically beautiful sound doesn’t once fail to emote, as grim lyrics sit among a hazy mesmerisation which fills the room as it progresses into moments of exhilaration, led by driving drums.

What I Like Trains have is somewhat extraordinary. Despite an entirely appropriate limited interaction with the crowd, there is a timid evidence of appreciation for their hometown crowd. Though portraying the image of the distant performers that we may associate with such a strong sense of encircling, emotional post-rock, I Like Trains entirely win over the crowd. Be it with their intriguing and incredible music, or their innocent gratefulness, for a band 5 years down the line, and with 3 albums to their discography, I Like Trains could not be getting it more right at the moment.

9/10

Words:  Charlotte Stones

Photos: Daniel Heaton / Andrew Benge

I’d really love to like Howler… really, I would. Debut album ‘America Give Up’ was just what I wanted and expected from them, a long list of summer-perfect tracks and yet live performances have somewhat prevented me from becoming  a true ‘fan’, or sadly, somewhere close to that. Perhaps that seems a little harsh and unfair considering their evident popularity as crowds flock to Cockpit to hear songs like ‘Beach Sluts’ and ‘America’, which successfully break the crowd into dancing. And yet, on seeing the set, myself, I felt disappointed. Otherwise great album tracks seemed lost, and a little emotionless. There wasn’t the fun and carefree element offered by their album, or if there was, it was entirely lost among the Minneapolis 5-piece’s irritating immaturity.

Rating :  6/10

Words: Charlotte Stones

Photos: Ben Bentley

There’s no doubt that as a band co-headlining a multi-venue city festival like Live at Leeds, you rely heavily on the hype surrounding your band (or as venue hopping takes its toll, the luck of playing at a venue with the cheapest drinks and even a comfy chair or two), and for Los Campesinos!, drawing in the crowds proved no difficulty for the Cardiff (though confusingly un-welsh) 7-piece. Packing out Stylus with sweaty, angst-filled teenagers proved effortless, with the floor almost filled even before catching glimpse of the band. As they enter the stage, among the familiar tones of new favourite ‘By Your Hand’, standard of most Los Campesinos! sets; a teen frenzy of sweaty moshing begins, as the crowd scream along with tuneless accompaniment.

Blasting through their impressive, indie-pop four album discography, Los Campesinos! reel out crowd-pleasers, one after another, such pleasers in fact that numerous technical issues barely blemish an otherwise excellent set. Possibly aided by frontman Gareth’s witty and sarcastic commentary throughout, bravely declaring ‘I love Leeds, but I hate your football team’.

Teen-anthems ‘Romance is Boring’ and ‘Songs about your Girlfriend’ prove perfect examples of the Los Campesinos! song formula, as heart-wrenching cries of desperation sit amongst bouncy guitar melodies and big choruses. As does set highlight, so-called ‘song about the FA cup final’ ‘You! Me! Dancing!’, proving that the juvenile crowd had far from shown their support until now.

There’s one thing for sure, Los Campesinos! really do know the workings of a great song. Be it their endless list of anthemic indie-pop dance beats like ‘Death to Los Campesinos!’ or their emotionally challenging ‘The Sea is a good place to think about the future’, the 7-piece’s popularity is most definitely worthy, making them one of the highlights of this year’s Live at Leeds.

Rating : 9/10

Words: Charlotte Stones
Photos: Carl Fleischer

Musical misdirection annoys even the most patient of us. There may be hype surrounding bands; telling us who is worth a listen and who isn’t, yet genre choice is what gives us an immediate impression of a band. Leeds’ very own, This Many Boyfriends stick insipidly to thatgenre, you know, ‘indie-pop’, and yet, for once, they couldn’t deliver more of what we want from a new and exciting indie-pop band. Live atLeeds may not have provided the band with the largest and liveliest of gig-goers, but on taking to the more than intimate stage at The Faversham, This Many Boyfriends remained somewhat in the grip of excitement throughout the set. They appear grateful, a welcome relief and a sight putting smiles upon the most tired of faces.

It’s understandable where comparisons to greats such as The Smiths stem from as frontman Richard’s voice rings with Morrisey-esque nonchalance. This Many Boyfriends really perfect the indie anthem and though they may not see the popularity they deserve in its entirety, there’s no escaping the stomping sing-along melodies of songs such as ‘Young Lovers Go Pop!’ and ‘Starling’, which prove popular with the crowd.

This Many Boyfriends are a real example of the joy of the indie genre. Showing pop music doesn’t always have to carry an association of embarrassment and regret, the room dances along, gleefully appreciating the simplicity and smiles of good music. Others take note.

words: Charlotte Stones

rating: 8/10

Niki & The Dove vs The FA cup final. With the large amount of lager lining the stomachs of Live at Leeds goers, the mid-afternoon sets face football competition, yet Niki & The Dove successfully grab the attention of the crowds, filling the O2 Academy from front to back. Though tipped for big things this year, the Swedish 3-piece may have success on the surface, with pulsating dance-beats providing the first opportunity of the afternoon for the Leeds crowd to move, perhaps coincidentally after previous gig drinks begin to take their toll, however, there’s an evident lack of song-writing talent. It’s not that they’re completely off the point; when they deliver successfully melodic winners, they almost live up to the hype that enclosed them for the early part of this year. ‘The Drummer’ particularly enthrals the crowd, some even appear entirely transported. Whether deemed ‘rightly so’ or not, there’s no doubt that Niki and The Dove are charming Leeds.

Though not always musically on track, the band have an inescapable innocence. Before the set, front woman Niki Dahlström lingers at the side of the stage, seemingly nervous. However as the performance time approaches, she transforms. Gone is the girlish shyness as Dahlström channels her inner Kate Bush and commands the set.

They may not hit the musical spot with what they do, but the set shows glimmers of hope for dancefloor favourites, and with Dahlström’s enthusiastic and dramatic performances, the future of Niki & The Dove may actually be what we’d expect from such a hyped up band.

Rating 4/10

Words: Charlotte Stones

Photos: Andrew Benge

Lianne’s performance was carried by her intensely powerful and rich vocals and quirky harmonics. The soulful power of “Forget” and “Final Form” were by far the outstanding songs of the set. The lyrical intensity of the recurring “forget” was packed with an insistence which ensured that would be the last concern on the audience’s mind. From a personal point of view, Lianne’s version of Everything Everything’s “Final Form” is what interested me in the first place. A deconstructed, bluesy version of the original riff slowly opens up the song into a mobile chaos of drums and the vocal strength akin to the likes of Adele or Beyonce. However, rather than just being merely a vocal exercise, Lianne adapts her soulful tones to a Madeline Peroux-esque acoustic in “Age” that has the classical resonances of another era. Touting her music with style and grace, the smiling figure of Lianne offered by far the best vocal performance of the entire Live at Leeds showcase. The one drawback? Although Lianne can clearly adapt to a diverse range of songs, it needs to be ensured that as her content grows, her songs move out of the “samey” category.

4/5

Words: Jasmine Andersson

Photos: Danny Payne

After fitting in a cheeky interview with these Leeds Alumni prior to their performance, it is an absolute pleasure to see them taking off. Upon being asked where they see themselves in a year’s time, frontman Joe Newman spoke of “making consistent, interesting live performances that involve the audience.” Alt-J have most definitely already hit the nail on the head. The bass drop alone in “Fitzpleasure” has the transportational ability of most band’s catalogues put together. Everything about the band is executed with absolute precision, from their mind-blowing harmonies to the ice-cut drumming. Be it casanets, maracas, waves of synth and sound boards, a clear stream of move-inducing beats ooze from the quartet. Despite this instrumental flourish, Alt-J maintain a minimalistic approach to their music that is engagingly cool, calm and creative. However, the experimental allure of the group is not just some sort of obscure hipster experimentation. Amidst the Joyceian themes of “Tesselate” and “Fitzpleasure”, “Matilda” and “Breezeblocks” offer lyrical pathos in the power -evoking “she needs you” and “I love you so”. Do I think they are the best band I have seen this year? Absolutely. The affable four-piece have taken creative music to the next level, and are sure to move their synth-inspired genius (not a word I use lightly) into the mainstream soon.

5/5

Words: Jasmine Andersson

Photos: Danny Payne