Broken Hands are a quartet originating from Kent. Consisting of two brothers, Callum and Dale Norton, in addition to the two other members, Jamie Darby and Thomas Ford, Broken Hands are an indie band that are preparing to release their new single If You Need to Lie later this month on May 28. The four-piece have been very busy in recent months, having toured Europe as the opening act for Band of Skulls, in addition to selling out their first show in London. Despite being in the relatively early stages of their career, Broken Hands have received a warm reception and have been announced as performers at this year’s T in the Park concert, a feat that is sure to boost the band’s profile even further. If You Need to Lie, the band’s latest release, is an upbeat song, with the tempo changing midway through the track for a while, allowing the lead singer to show off his unique vocals. If You Need to Lie is a very strong song, featuring excellent verses, which build into the catchy chorus, causing the song to remain embedded in the listener’s head.

Be sure to catch Broken Hands as they perform numerous dates in the UK in the coming months, including gigs in Brighton on May 19, Coventry on May 28, and of course, T in the Park on July 7.

James Golunski

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As I’m sure you all know, 80s is the new black at the moment, whether it’s Jordans on everyone’s feet or acid wash jeans, it’s all about sporting those nostalgia prompting items; keepin’ it old skool.

Friends, an indie pop band from Brooklyn nail everything right about the 80s trend in their video named Mind Control, which really pushes the boat out in regards to music video production. Too often do we see mainstream music videos showing barely clothed bodies on screen whilst rejoicing consumerism in its most acute forms. Mind Control however, cleverly unites the messages told in the song with interpretations of a range of 80s science fiction movies based on conspiracy themes and world domination.

As Mind Control begins, viewers may think the video is the opening to some kind of James Bond inspired movie; an importantly dressed man holding a briefcase appears with shots of surveillance cameras rotating. The solid 80s feel created by the music seems momentarily out of place, with a simple, but hard-hitting bass-line and perfectly fitted tabla drums and spaghetti-western style riffs echoing from a guitar. Things then crescendo into synchronisation as the lead singer Samantha Urbani appears on an old-style T.V. screen

It becomes clear that the video is inspired by 80s science fiction movies. Specifically, They Live – a science fiction conspiracy movie about an alien takeover, Brainstorm – a movie in which people can ‘live out’ other peoples experiences recorded on tape and Scanners, exploring the possibility of telekinesis within society. The witty references to these movies within the video shows real thought behind putting images to sound; band member Lesley Hann in glasses shooting at the humanoid camera is directly influenced by the aliens in the movie They Live, who can only be detected by humans with special glasses.

The upbeat retro feel of the video reflects the mood of the song in a very charming manner. For the kind of vibe Mind Control goes for; 80s disco translated into sounds easily digestible for listeners of today, Friends does not disappoint. The Teena Marie influence vocalist Samantha Urbani projects adds a strong sexy personality to the band and compliments Daft Punk-like keyboards and synths.

Movies of the 80s will remain close to our hearts, especially in our current eighties-centric fashion trend. Mind Control reflects that, staying true to the gist of the lyrics. An awesome video to a great song. Definitely not one to miss!

Jenner Cole

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The notion of a foreign director coming into the martial arts industry and changing it is not a new one. One of the most important Chinese martial arts films that established countless conventions (King Boxer) was directed by a Korean, which in the early 70s was unheard of. Over 40 years later we have someone from Wales – Gareth Evans – shooting his second Indonesian film. That film is the Raid.

The story told is slender, because as per genre expectations violence is king. What we do have is Iko Uwais is Rama, a member of a crack squad of police who march into a tower block owned by one of the most powerful crime lords in the city, although they were ready for a fire fight this squad of around 20 men had no idea what they were getting into. Along the way they’re plot beats detailing the truth behind the raid and Rama’s relationship with someone who lives in the Block, a story is there but it’s thin on the ground. Needless to say, don’t expect vast characterisation and deep layered storytelling.

Before this review descends into a torrent of superlatives, the soundtrack redesigned by Mike Shinoda of Linkin Park must be addressed. The martial arts genre may not be well-regarded for its compositions given its status as a cinematic outsider. However, such a truth is dismissive to a genre that both enthuses with the colour of its country of origin as well as a momentum that keeps the adrenaline pumping when it’s necessary and the excitement palpable when it’s not.  Shinoda’s work is an empty ploy to get bums on seats in the West. While this new score does get the job done, it is achieved with such a perfunctory outcome; his work could have been taken from any generic action film and pasted over the top. It would have been more complimentary, richer and organic to include the original score by Aria Prayogi and Fajar Yuskemal.

Being from Indonesia, this is not kung fu or Muay Thai, this is Pencak Silat an umbrella term used to describe Indonesian martial arts. Stylistically it’s a simple martial art with a fluidity that makes it as brutal and dangerous as it is and the raid has two master practitioners at its heart. The first, Iko Uwais, is a national champion, and the second is Yayan Ruhian, the fittingly titled mad dog. Ruhian teaches the Indonesian police force how to fight, this is one of the toughest forces in the world, and he is every bit as tough as that suggests.  Together the two work as action choreographers and choreograph they do.

When the opening blows are drawn, guns are used and that shakycam tool which is used to mask a lack of technique in lesser films is implemented to great effect by Evans to stress power. When the surviving police force is down to their last few the work of Ruhian and Uwais comes out to play. The violence cannot be understated, heads are smashed into walls, backs are broken and jugulars are sliced, the extreme violence cannot be underestimated as there’s always something around the corner to outdo what comes before.  Martial arts cinema has rarely been this extreme, but thanks to a flurry of fists and feet it is always breathlessly entertaining. If this truly was action packed from the first to the final second the audience would be overwhelmed, the occasional respites are necessary to come down to earth and process.

Evans has an impressive handle on this action, framing the image with confidence. What sells the hyper-real and unflinching violence is the ideal he celebrates, these men are not superheroes, this is not a Jackie Chan film. If anything his oeuvre owes a debt to the golden era Sammo Hung films. Heroes and villains get beaten thoroughly, even when a winner emerges. For even the token bad asses to be covered in cuts and bruises imposes a grim reality onto the relentless murder of countless re-spawning gang members.

Gareth Evans has brought us a modern classic that re-announces to the world that the martial arts genre is still here and that it is still relevant by punching for the jugular of all who stand in its way. While more mind-blowing in its thrills and spills than game-changing, the work of Gareth Evans, Iko Uwais and Yayan Ruhian have achieved something incredible: it has announced the existence of the Indonesian film industry in a bigger way than ever before thanks to the best martial arts film since the last golden era.

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Someone recently said to me that there were no new ideas, just repetition and adaptation of old ideas. I managed to resist telling them that what they had said was also an old idea.

If they were right, that means that if you’re creative and you want to make new music, you’ve either got to be even more out there to create something new or you have to try and make an impression in a well-worn path.

Australian up and coming band “Husky” are attempting the latter path with their début album ‘Forever So’. Husky cite folk bands like Crosby, Stills and Nash, The Doors, Bob Dylan and Leonard Cohen as their influences and you can certainly pick that up when you first listen to ‘Forever So’.

The album begins with the sweet, uplifting “Tidal Wave”.  Despite having a few tenuous rhymes in its lyrics, the song is a great way for the album to open up, full of the introspection that characterises the rest of the album.  It’s also really nicely produced, featuring a ‘cotton picking’ bit of blues guitar, some solid but low key percussion and a rising chorus.

Second along is the faster paced “Fake Moustache” which is both more thoughtful in terms of its lyrics but also a bit more chaotic.  The song feels like it evolved out of a group of musicians just jamming and then it began to coalesce.  In a way though the song feels a bit unfinished.

“History’s Door” is the lead-out single and it’s both polished and a little bit predictable.  But its simplicity is a huge benefit for the song that ends up a major grower.  The first few times I heard it, I wasnt inspired by it.  But the more I’ve listened to it, the more I like it.  The soft, unobtrusive vocals slide in along side a gentle percussion and acoustic guitar.  The final verse is really enjoyable too.

This is a well chosen lead out single too, perhaps a tad unobtrusive but it’s got enough character to stick with you.  A few more listens and the song is in the back of your mind in a comfortable way.

The simple lyrical style is expanded on for the fourth track, “The Woods” which is somewhat downbeat and at times a fairly mournful song, especially coming on the back of the upbeat “Historys Door”.  “The Woods” features more story-telling than some of the previous songs.

The simple and rather clichéd “Hunter” is next which features a simple and rather sweet repeating chorus.  It’s quite an introspective piece and it wears its “Crosby Stills and Nash” influences rather nakedly on its sleeve.

The album takes a surprising turn for the darker with the edgier “Dark Sea”.  Built around a tense acoustic guitar riff which then builds up to a growling chorus that isn’t quite as menacing as it’s trying to be but in comparison to the gentle nature of the rest of the album, Dark Sea is quite intense.

“Dark Sea” really did feel like a major call back to the Doors but the vocals arent nearly as edgy or as deep as those of Jim Morrison.  Still, there few début acts who could claim to have that sort of depth

The smokey acoustic guitar of “Forever So” is built around pitch piano and its a very atmospheric song.  The lyrics and vocals remain rather obvious but then a falsetto piece in the centre of the track changes the feel of the song somewhat to be something a bit more eerie.  The sudden fade out at the end of the track is an interesting touch.

“Animals and Freaks” is much darker and the most depressing track on the album.  A tale of lost love that is gloomy, edgy and creepy in equal measures, it evokes Leonard Cohen in its tone.  The song’s tone picks up for the yearning tone of the chorus.  This is one of the more emotionally affecting songs on the album and gives a tantalising glimpse of the quality of song writing that the band could have within them.

There’s a quick floating instrumental next, imaginatively called “Instrumental”.  This is followed by the breezy and poppy “Hundred Dollar Suit” whose vocals recall Paul Simon and it’s music is very much influenced by Crosby, Stills and Nash.

The album takes another downbeat turn with the echoey and desolate “Don’t Tell Your Mother” as which might almost be at home in a horror movie but for the gentle acoustic guitar.  The story-telling is much stronger in this song than many of the others.

“Farewell” closes the album out with a slow, composed and very powerful build up.  But then the actual climax of the song is very much like the rest of the album which is a very minor disappointment.

“Forever So” is a solid debt album and feels very polished, without being soulless. It’s engaging without being unforgettable.  It’s an album that knows its history but occasionally suffers for it.  Husky are a band with some great potential that so far hasn’t quite been realised.

Richard Hart

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The Raid

Director: Gareth Evans

Starring: Iko Uwais, Ananda George and Ray Sahetapy

The Dictator

Director: Larry Charles

Starring: Sacha Baron Cohen, Anna Faris, John C. Reilly and Ben Kingsley

Director: Julie Delpy

Starring: Chris Rock, Julie Delpy and Albert Delpy

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Apologies to those who have yet to watch the Jim Carey film ‘Yes Man’ as you will have no clue what I’m about to refer to, but YouTube will help you out. You know how whenever you hear a song your brain does that weird thing where it digs down in your memory and instantly relates it to something that you’ve seen, done or heard before? Well, Nite Jewel’s track “Memory Man” brings to mind lady of the minute, Zooey Deschanel and her performance in ‘Yes Man’, where she takes to the stage singing what appears to be a diary entry transformed into an electro-pop track. Of course accompanied with her seahorse hat wearing band members. The similarity is a good thing, everyone loves that scene!  Songstress Ramona Gonzalez cleverly channels an 80’s vibe with hints of both Blondie and even The Bangles in a way that is authentic, yet never fails to lose that modern kick.

“Memory Man” seems to be a very classically produced track with the foundations of keys, guitar and drums, nothing overtly complex and nothing more than is needed. The delicate glacial effect of the keys and the warm rush of the electric guitar is an elegant clash, with the glowing LA sunshine – in which the music originates from – radiating throughout the track.  The LA music scene has become an influential part in Ramona’s sound which is possibly why the track has so many musical angles. From pop to dance, alternative and RnB, the list goes on. A smoky, intriguing, mature alternative for the intellectuals of the music world. It’s a neat little track, sewn together with the hum of the synths and bass, produced with clear ideas and precision from the engine to the machine, the charismatic Ramona Gonzalez.

With the single “Memory Man” from her album “One Second of Love”, to be released via Secretly Canadian on the 23^rd July, Nite Jewel will be coming on over to the UK with a string of dates:

July

10 – The Grand Social, Dublin
11 – Start the Bus, Bristol
12 – Erics, Liverpool
13 – Captain’s Rest, Glasgow
14 – Brudenell Social Club, Leeds
15 – Soup Kitchen, Manchester
16 – O2 Academy 2, Birmingham
17 – The Green Door Store, Brighton
18 – XOYO, London

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New video from Vulture Hound favourite Alpines – which has been directed by Luke Losey, who’s previous work has included Mercury Rev and Orbital. Well worth a watch.

Out June 11th

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Titling any release ‘Chapter II’ is a bold move: an indicator of a new beginning, albeit one that is reliant on the narrative already established by the opening chapter. In this respect, The Audition, after fulfilling their contractual obligation to Victory Records with 2011’s ‘Great Danger’, play to the pop-rock strengths of their opening chapter, whilst keeping things fresh enough to indicate a celebratory freedom from the looming spectre of the record label. ‘Chapter II’ is, in some respects, an advertisement of The Audition playing to their strengths, and whilst it would be cynical to suggest that the band are flaunting the goods to potential  new employers, the EP does showcase the band at their pop-rock best.

‘Who Do You Think You Are’ opens in classically catchy Audition form, proving from the offset that the band will stick true to their already successful pop-rock formula, rather than branching out significantly in another direction. The song is reminiscent of material from the band’s first release, ‘Controversy Loves Company’, and in a similar manner, the second track, ‘You Make Me Sick’, would not sound out of place on their sophomore album, ‘Champion’. The seductive acoustic guitar lures the listener in, before the song explodes into another catchy, soaring pop chorus. Other tracks follow in a similar vein, ‘Evil’’s ‘E-V-I-L’ chants set to become a fan favourite during live shows, and ‘You Gotta Believe’ destined to become an inevitable soundtrack for angsty alternative teenagers.

The opening track of The Audition’s first album opened with the words, ‘Chapter I’. Four albums later, ‘Chapter II’ of their adventure ultimately needs to be embraced for what it is: a band free from the shackles of the corporate recording industry, playing to their strengths, and most importantly, having fun. The EP is nothing original, and none of the tracks are significantly different to material found on their previous albums. But it will please long term fans of the band, many of whom have been acquired through an excessive touring schedule over the last five years, supporting the likes of Biffy Clyro, and taking YouMeAtSix out on their very first tour of America.

If ‘Chapter II’ reveals anything about the next stage of The Audition’s career, it is that the band is sticking true to their core principles ahead of a radical change in direction. And when the music sounds this catchy, who can argue with them?

Ryan Casey

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So here we have the second episode of series 2 and just as i had anticipated the story has already started to become even more mixed up.

The episode began with a shot of Stan lying asleep on the living room sofa, in the back ground there is the faint sound of a music box playing which wakes Stan up. I got this really horrible feeling in the pit of my stomach at this point, it had only been a couple of minutes into the episode but the scene was really creepy. It was probably a mixture of it being set at night and the eerie music from the music box but I just had this feeling that something big was about to happen… and I wasn’t wrong! The music was coming from Rosie’s bedroom, Stan goes to investigate and finds Denny playing with her old music. He tells Stan that he was scared as he heard noise outside the front door. Stan goes down to have a look and finds a bloodstained backpack which belonged to Rosie lying right on the doorstep. One thing is for sure Rosie’s killer is still out there – queue the spine-chilling theme music.

It is now day 15 of the case and Detective Linden is still trying to piece everything together. Linden visits a hostile Gwen and persuades Gwen to go over her statement from the night Rosie went missing. Gwen explains that she had joined Richmond at the B&B that night as a surprise; Richmond had disappeared then returned soaking wet smelling like saltiness of the sea. Linden asks for a key to his apartment.

Holder turns up at the Larsen residence and begins looking through the content of the back pack. Stan is angry and worried for the safety of his two boys, he begins to question Holder about whether Rosie’s killer may still be out there  Holders promises Stan he will get answers by having the backpack tested and will have a police car guard the house. Stan finds out that Belko committed suicide and is in bits.

On the way to meeting Gil Sloane Holder rings up Lt Oakes and informs him about the sudden appearance of Rosie’s backpack. Oakes disregards the bag but tells him to give it in for analysis but not to Linden as she is no longer on the case. There is definitely something dodgy about Oakes which I’m sure will become apparent in coming episodes!
Holder goes to give in the backpack to Stu for analysis; however his behaviour becomes even more suspect than before as he gives in a fake bag.

Holder later returns to the police station and asks Oakes about the results from the bag. Oates again disregards them, telling Holder that there is no need for further investigation. Holder questions this and is put in his place by Oakes, he then leaves taking a box to his car. The lid of the box falls off as he puts it into the car revealing… yes you guessed it Rosie’s back pack!

Linden goes to look around Richmond’s apartment. She comes across a photo of Richmond and his wife by a lake which is dated the same date as the night Rosie went missing but five years earlier. Linden goes to visit the area in which the photo was taken, she speaks to the lady who tells her the area around is all salt water. She finds the spot in which the photo was taken and begins walking along the bridge where she spots fisherman. After her conversation with the fisherman she goes to speak to Richmond in hospital and tells him that she knows he tried to kill himself that night by jumping off the bridge. Richmond confirms her story and threatens to sue her if it gets out as it would affect his campaign. Linden uses this information to get the charges dropped against Richmond.

Jamie has constantly been by Richmond’s side at the hospital but when Richmond suddenly wakes up he cannot bare to tell him that he is paralyzed and swiftly leaves the hospital. He goes to the gym and ignores calls from the doctors at the hospital who want him to be there when they tell Richmond. He comes across Benji, Mayor Adams campaign manager who congratulates him on a good running of the campaign; Jamie becomes angered by this and starts a fight. Mayor Adams argues with Benji about fighting stating that he should fire him to which Benji replies “you could be I wouldn’t recommend it’’. What is it that Benji knows which Adams wouldn’t want anyone to find out – ooh the questions are endless!

Jamie finally returns to the hospital, Richmond knows by this point that he is paralyzed. Jamie gets upset and tells him that the charges against him have been dropped.

Stan becomes increasingly agitated as Holder fails to get a police car to watch over the Larsen house. Terry brings a box of stuff from her apartment to the house, with Tom she starts looking through it and tells him about a glass she has in there which is made of expensive crystal. She tells him that it was a present, longingly staring at it – this little detail is definitely a sign of things to come!

Stan hears his sons talking about how they didn’t think he could protect them, this upsets him even more and so he storms down to the police department to demand for some protection. Stan returns home to find Tommy outside being spoken to by a journalist, Stan goes crazy and drags him away, the journalist reveals that the charges against Richmond have been dropped and tells Stan to contact him if he wants to talk. Stan takes matters into his own hands by visiting gangster Janek Kovarky to asking him to find Rosie’s killer and kill him, which all know cannot end well.

There was a sudden surprise in the story as Holder goes to meet Sloane. Holder tells Sloane about how he swapped his backpack with Rosie’s and that Oakes had lied about the results. Sloane tells Holder not to question anything and the only reason Holder got the job was because he is a dirty cop. Although before i thought it was Holder who was dodgy it becomes clear that it is in fact Sloane who gave him the fake photo and so is not to be trusted! Holder was just doing it so he could get a promotion quicker.

Linden arrives at the police station to speak to Oakes but is confronted with Lt Carlson. Carlson is replacing Oakes who has taken an earlier retirement, Linden tells Carlson that she knows the photo was faked and will continue to work on the case until it is solved. Carlson authorises her to do so but stipulates that she must work with Holder.
Linden and Jack return back to the motel they are staying at, Holder arrives and begins to bang on the door saying that he wants to explain everything but Linden does not answer.

Overall I think this episode was absolutely captivating, it has completely thrown all my theories out the windows adding extra details and raising even more questions. I cannot wait to see what will happen in the next thrilling episode!

Collette Hughes

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Said The Whale are a Canadian group of five – namely bassist Nathan Shaw, keyboardist Jaycelyn Brown, drummer Spencer Shoening and two front men, Tyler Bancroft and Ben Worcester, formed five years ago, gaining a JUNO award along the way. Their first EP, Taking Abalonia was quickly reissued the next year as Howe Sounds/Taking Abalonia, featuring seven new songs. They made the follow up LP Islands Disappear in 2009, and gained many followers as their laid back pop rock song ‘Camilo (the Magician)’ became one of the most played songs from a Canadian band on Modern Rock Radio in 2010.

They performed many significant gigs, such as the Vancouver 2010 Winter Olympics as well as nationally televised Canada Day celebrations. The band toured in the US and UK in 2011, and gained appraise from BBC Radio 6, as well as winning their JUNO Award for New Group of the Year.

Their latest album, Little Mountain, was out on March the 6^th, 2012, and features fifteen tracks, a large number for the band.  The album is named after the band’s home in Vancouver, and features the edgy new single, ‘Heavy Ceiling’, as well as the album’s other highlights – the relaxed introductory number ‘We Are 1980’, and the more poppy, upbeat  ‘The Reason’. The band is at its best, though, with its more unusual songs, like the folky chant of ‘Safe Harbour’ and the fifty-second long detour of ‘Guilty Hypocrites’. It’s these songs that mark them apart from the standard indie-pop crowd, and gives the band a little bit more character.

The band is currently touring in the UK, finishing in Cardiff on May 20^th.

Charlotte Earney

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