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04 Editorial

06 British Wildlife

08 Hawk Eyes

12 Sam Airey

14 Leeds Fest with Melvyn Benn

16 Passport Control

18 Sam Saunders Returns

20 The Spills

24 Honour Before Glory

28 Reviews

34 Live Reviews

38 Women in Music

Vibrations is

Editor

Rob Wright- [email protected]

Design

Ben McKean & Niall Hargrave

[email protected]

Picture Editor

Bart Pettman - bart @vibrations.org.uk

Reviews Editor

Steve Walsh- [email protected]

Live Editor

Tim Hearson - [email protected]

Web Editor

Mike Price - [email protected]

Web Design

Sam Hainsworth - [email protected]

Advertising

Tony Wilby - [email protected]

Founded and Published by

Tony Wilby - [email protected]

Jack Simpson - [email protected]

Contributors

Bart Pettman, Neil Dawson, Rob Wright, Ellie Treagust,

Tim Hearson, Steve Walsh, Hannah Cordingley, Simon

Lewis, Kate Wellham, Toby Hay, James Beattie, Mike

Price, Danny Payne, Chris Ensell, Tom Bench, Alessandra

Gritt, Rochelle Massey, Nick Pritchard, Emma Quinlan,

Benjamin Maney, Pete Ellis, Greg Elliott

Cover Photograph

Pulled Apart by Horses By Bart Pettman

The Search

Vibrations is looking for

Advertisers- 2000 magazines seen by music lovers across

Leeds. Contact [email protected]

Writers, Photographers, Artists and Sub editors- Come be

a part of it, [email protected]

Send demos in to:

Steve Walsh

Vibrations Magazine

Eiger Studios

New Craven Gate Industrial Estate

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3/21

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Editorial

Hello readers,

This is my second, possibly third attempt at an editorial as

the rst two were shit. Im not promising anything more for

this one, but Im hoping it has more gags and swearing in

it than the last two, which were almost free of both. That, I

think youll agree, just wont do.

Another reason for another bite at the cherry is that this

issue is so choc full of quality writing, photography and

design that I feel I would be insulting the efforts of all con-cerned by turning in a half arsed piece of work.

It should be whole arsed or nothing.

I mean, just look at this quality publication. Go on, close it

up, ogle the ne looking gentlemen on the front, feel the

quality of the paper, marvel at the suitability of the typeface,

then search for the price.

Still looking? Thats right, you wont nd one.

Then once youve nished this go through this mag from

start to nish you dont even have to stop to take a piss

as the size of Vibrations is designed specically to be held

one handed, leaving the other hand to... no, stop that.

Thats just not right. Oh, you dirty bugger.

Are you nished? Good, then I shall continue. Our incum-

bent government is currently doing its level best to strip

the joy from everyones life (look, Im all for a price per

unit approach to alcohol as long as it literally means just

that 40p a unit, so a pint of Abbot Ale would be 2.00 a

perfectly acceptable price. Jaipur IPA would be just under

2.40 and that I could denitely live with) and provide us with

quite frankly shoddy value for money (I know my minimum

wage will incur less tax, but Im going to end up spending

the difference made on overpriced under brewed beers

thanks a lot, Camel-leg) but we here at Vibrations towersare dedicated, yes DEDICATED to providing the same

value that we always have.

Let me present you with a little equation. Stephen Hawkins

said that you lose half your readership for every equation

you include so... glad you stuck around, both of you, but Im

going to lose one of you now:

Quality of product over price of product equals value.

Well, all you mathematicians out there should know that if

you divide any number (except zero) by zero you get innity

(actually, Ive had a few arguments about this: if you divide

zero by zero, do you get one? Think on that, if you will) so

considering that you paid nothing, nip, zilch, nix, nish pence

for this publication, you are holding in your hand... innite

value.

Well, fuck my old boots.I hope you realise how lucky you are to be able to touch the

innite on a bimonthly basis, and here at Vibrations Towers

we will endeavour to provide the same level of quality every.

Bloody. Time.

Now before I let you off the hook, a few hello/goodbyes.

First off, say hello to our new designers, Ben and Niall I

think youll agree that theyve done a stirling job long

may they reign! And goodbye to Leeds Guide, cruelly cut

off in its prime by... venture capitalists, I shouldnt wonder.

Booooooooo!

Nearly done. Three festivals to note for different reasons:

Live at Leeds promises to be a ne affair again this year I

might venture out, but I am afraid I am too old to do the

marathon dash around that is L@L might just hole up in a

venue and drink until they ask me politely to leave because

I havent got an armband and a small puddle is gathering

around my feet; and that Peter Waterman debacle, Shit Fac-

tory Live Steps, 2untalented, Jason Pissing Donovan, Rick

Cocking Astley? WTF? When there is no more room in hell,

the dead will walk the earth. Stay in Leeds and go and see

some quality old school bands, like Human League, Heaven

17 and The Levellers (guilty pleasure great live band) at

M Fest yes, Morrisons; I know, hard to believe, but therellbe some top scran too very important for a man of my

expanding girth.

So off you go enjoy the mag. If you really like it, think about

getting involved be part of the innite...

Rob Wright

Ed with god-complex

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Friday 2 March Brudenell Social Club

First up, Super Luxury, a lo- four piece that started their

set with warm up screams and discordant guitar noise

leading into a murky opening number. No tricks, frills, or

melody. I suppose the pre-gig stretches shouldve fore-

warned the crowd that the front-man would spend the set

in amongst them, wailing from table tops, with no regard for

the microphone lead that got entangled around at least ve

throats. Its all fun and games til someone gets decapi-

tated, boys.

Bad Guys. Double-headed guitars, bright red jumpsuits,

classic, clever metal. They manage to use droning inter-

ludes - often detrimental to a live shows atmosphere - per-

fectly. So much so that one of their breaks led to a distinctly

prog rock outro that mustve lasted 17 minutes...

Imagine if you will, the most painful headache of your life.

Now, imagine really quite enjoying it... Ultimate Thrush, as

I can best describe them. Three people shouldnt be able

to make such a huge sound, but with the help of a smallclarinet and a chaos pad, they master short, gut-punching

post-punk, not for the faint hearted or those prone to

hyperventilation... Somewhere in rural Austria, Mozart

turned in his grave as the clarinet was desecrated in such

an innovative fashion.

Three girls, one guy? Divorces music was even lthier than

an adult lm titled thus would undoubtedly be. The tone

got lower and the crowd moved in when their home grown

brand of captivating debauchery took hold. The inevitable

brawl broke out in the crowd, mirroring the unharnessed

adrenaline of the head thrashing alt-punk-metal-hardcore/

indenable-brashness.

Finally, if live via satellite is the future of live music, then it

should ALWAYS be Disasteradio. Playing a set containing

the most cheerful electronica ever made, headlining for the

darkest metal bands on the planet. Because itd ALWAYS

be this hilarious.

Benjamin Maney

Saturday 3 March Brudenell Social Club/Royal Park

Cellars

Well, what a varied programme Saturday was. It was

reassuring to experience a festival at the Brudenell/

Royal Park where the acts didnt all sound the same. That

doesnt mean they were all good, but any line-up thatincludes Yugoslavian Boys smacks of something reason-

ably radical. The programmed 6.30 start might have been

a little early for their set (which involved the destruction

of various food stuffs) but they were already running

late. Their set included sh ngers, two salami batons,

chips, a tuna sandwich, four drummers (two of which

were wearing son-of-God themed robes), a cowboy, a

mod, one assassin and a lot of pink hair. Id be tempted

to suggest their musical variation between songs is none

too important to them or the crowd, but they were easily

the most entertaining band of the day. They screamed

and cavorted their way through the set and despite having

doubled in size since I last saw them, it wasnt to add

diversity, just to add drums. Immense.

Teeth of the Sea provided a very different slant on the

playing of songs, both musically and practically. I do

approve of their stage lay-out (all members in one line

across the front) and although they threw their all into a

typically electronic set, I couldnt get as excited as they

were. Their music did have a decent all-encompassing

quality to it, but more in a physical sense than anything

else; it felt a little like we were underwater. Unlike Yugo-slavian Boys, this for me is one band that is best served

recorded.

The next band, Cold Pumas, I knew absolutely nothing

about, but they turned out to be another of the nights

pleasant discoveries. They played motorik rhythms pack-

aged up in an indie image (which did not do them justice)

to a slightly unresponsive crowd (who also did not do

them justice). There were some pretty soulless sounding

vocals that echoed over the music, but as a set, it was far

more absorbing than Teeth of the Sea. The only downside

was that they could be viewed as a little dull compared to

some of the other bands present, but for me the diversity

was very much appreciated.

Next were Hookworms, who brought an entire shipment

of 60s psychadelic rock with them. And it was loud. Very,

very loud. There was a lot of reverb. In my notes from the

set I have written Oh wow a song ended. Oh wait, no it

didnt. I dont remember any actual moments of silence. It

was at this stage that I regretted not bringing any earplugs

(but whats rock and roll about that?). They got very into

their music which is denitely a good thing, but unfortu-

nately I did not.

Resolutions were quickly dashed by Blacklisters, and I

havent seen many worse bands at the Brudenell (apart

from maybe Shining at 2010s Brainwash). There was such

an irritating wave of arrogant nonchalance that came from

the singer and it was impossible to focus just on the music,

and for a while I was wondering whether it was performed

in all sincerity. One begins to wonder what the point of

writing lyrics is if youre just going to shout them. Why not

just shout? It would be easier. To quote John Betjeman, Im

sure its all done with the best possible intentions, but it did

just throw me back to my Trivium-infused younger teenage

years.

And nally, the very late headliners Zun Zun Egui. With

their usual bizarre mix of styles, languages and footwear,

its hard to know which genre to dene this band by. Of all

the groups that performed this evening, they came across

as the most sophisticated (though I suspect this is because

they are). Its reected in their song writing ability, which

has them building up songs out of a great many layers

and elements. The songs are pretty unpredictable and half

the time I have no idea what he is singing about (because

its a different language, not because hes shouting). Ive

seen them create more atmosphere than this before, but it

was the end of the night and running very late. Apart from

Yugoslavian Boys, they were easily the most interesting

band of the day.

Ellie Treagust

Sunday 4 March - Oporto

The last day of the last British Wildlife Festival? Say it aint

so, Adam.

The jagged math rock of Magnapinna gets things underway.

They play a dry, gnarly kind of funk that feels like you

should be able to dance to it but in doing so would surely

lead to multiple dislocations. Fortunately that leaves the

synapses in your brain free to revel in the joys of bands

explosive, unpredictable music.

Manchester sextet Stanger Son utilise a brace of keyboards

and extensive percussion to open with a formless wash of

noodling that threatens to disappear up its own jack plug,

until everything morphs into a gigantic, driving kraut rocky

groove that seems to stop prematurely before it blows the

roof off. Thereafter the band take simple ideas and work

each into a similarly epic but controlled frenzy. Lanky singer

Gareth Smith stands like he should be holding a cigarette

and reads rather than sings his songs in a deadpan,

detached voice. The music and lyrics almost sound like

theyre (partially at least) improvised and songs seems to

stop after a nod from Smith rather than anything else.

Jeff T Smith may have abandoned his truck load of

instruments and effects pedals for this gig, but hes still

trading as Juffage. So, apart from viola accompaniment

from Jenna Isherwood on the rst tune, its just Jeff, his

uncharacteristically reined in guitar and his fantastically

quirky, idiosyncratic songs. And what a treat it turns out to

be. There always seemed to be a mismatch between the

live and recorded versions of Smiths songs. Its quite a

sight watching Smith assembling his live sheets of noise

but the racket does tend to detract from the actual songs.

Here, without even the minimal musical backing used on

debut album Semicircle, the songs sound almost free

form and invested with a fragile tension, Smith modulating

the volume and attack of his guitar and voice to create

dramatic new readings of the songs.

Its difcult not to like the sound of Galaxians thumping

instrumental disco funk, but this duo of Jed Skinner on

synths and programming and Matt Woodward on drums

dont really develop what they do much beyond the open-

ing bars of the rst tune.

On the other hand, Bearfoot Beware songs have so many

ideas and so much energy crammed into them, they

clearly nd it difcult to contain themselves in their given

form and sound like theyd be happy to throw themselves

off a cliff just for the hell of it. Guitarist Tom Bradley and

bassist Richard Vowden bounce all over the stage when

theyre not yelling into their mic, and Michael Osbourne

tries desperately to hold everything together from his

drum stool. Its a thrilling, riotous ride alright.

Shefeld quartet Wooderson have been knocking around

since 2008 but its hard to see how their derivative guitar

driven rock songs have managed to sustain such a long

career. The songs are built around musical and lyrical

clichs and seem devoid of any real sense of dynamism.

Dull.

London trio Gum Takes Tooth are well established on the

European noise rock circuit and provide a tting climax to

the festival. Thomas Fuglesang and Jaxon Paine play two

drum kits with one wired up and the sound fed through

homemade electronic instruments to be manipulated and

messed about with by Jussi Brightmore. The drums and

treated noise produce a gigantic sound thats part noise

ritual and part ecstatic rave. Brightmore punches the air

like a tripped out DJ, his mangled vocals barely heard

over the thundering drums.

Steve Walsh

British Wildlife Festival

2-4 March 2012

Herein be a recollection of the sixth

and nal British Wildlife. May she rest

in peace. Feel free to reect on these

heart-warming and tting testimonials

from Benjamin Maney, Ellie Treagust

and Steve Walsh. Oh well, theres always

Brainwash


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I am not sure if ye olde man

setting of The Victoria Hotel is

the best place for meeting one

of Leeds most intense, ultra

tech yet softly spoken metals

bands, especially seeing as

it is a Saturday night and the

place has suddenly lled with

suit-wearing, bellowing twats,

but it is handy for free park-

ing on a Saturday night and

serves Dandelion and Burdock. This are the sorts of things

you start thinking of when you get old.

Though I am sure that I will not be thanked for this, Hawk

Eyes are no spring chickenhawks either I have fond

but vague memories of them as they were one of the rst

bands I ever wrote a review for, back in 2005. One of them

wore a mask. That much I remember. I also remember that

Paul used to drum as well as sing, but now Matt Reid is in

the band...

Matt is no longer in Hawk Eyes, announces Paul, whose

birthday is tonight (so you can imagine how popular I will

be as a result of keeping him from his irresponsibilities

and festivities). Woah, let me just get my head around

this. Im surrounded on all sides by Hawk Eyes in this dark

wood panelled booth and dont have a beer in my hand,

and if they keep laying announcements like that on me, I

may need something a little stronger than Dandelion and

Burdock. Its all totally sanctioned, Paul reassures me,

hes just decided he wants

to do something else,

which seems entirely in

keeping with Hawk Eyes

ethos, if there were such a

thing. Stepping into Matts

shoes will be the absent

Steve Wilson of Japanese

Voyeurs fame. Interesting

times...

For the more keen eyed readers among you, I should

point out that this is not the rst time Paul, Rob and Ryan

have graced these pages. Back in 2009, they made thecover with a picture from Danny North. Jokingly I suggest

this made them.

I think if we hadnt got that at that time, confesses Paul

quite sincerely, after scurrying away for years and years

for basically our own benet and then all of a sudden

people, in this town especially, were saying this is quite

good... Were really grateful for that. We genuinely are. I

feel fairly thrown by this and have a strong urge to shufe

my notes or something. To cover my embarrassment, I go

on to say how, regardless of that, 2009 was a good year

for them anyway: a signing to brew, a lively slot at Leeds,

the zombie video... and then an abrupt name change.

Rob laughs at this. We dont like to make things easy for

ourselves. The thing is... he pauses almost dramatically,

we didnt really like the name and moving forward we

could see some... technical problems with it.

Chickenhawk was a military operation in Vietnam which is

currently undergoing the celluloid treatment. It is also an

American term for a predatory gay man who likes young

guys.

That as well, says Rob uncomfortably, if we wanted to

take our music over there... people talking about a band

called Chickenhawk and all that connotation... he lets it

hang for a moment, but it wasnt about pandering to what

we needed to do... its what we had to do ourselves.

Hawk Eyes are very clear on this point there is no grand

scheme involved; in fact, Paul gets quite incensed about

the implication: Theres never been a plan, he says rmly,

and weve been very lucky to get

where we are weve worked hard

but weve never had the structure and

backing of... corporate music. Weve

got to where weve got by doing a

bit of this, a bit of that... and thereve

been mistakes that weve made...

yeah, its been pretty messy, but un-less youre actually geeky enough to go and read about it,

youre never going to know how messy its been... but thats

possibly why we still exist.

Even though they say there is/was no plan, the (almost)

re-release of their debut album, Chickenhawk as Modern

Bodies did seem to have a certain... shape to it?

We got picked up by this management company, says

Paul, they asked what have you got? We played them the

CD and they said has anybody heard it? So they wanted

to rerelease it... and we were totally against it. So much so

that they dont actually count Modern Bodies as a separate

studio album. Paul sighs. It felt like... stalling, not going

forward or backward, it didnt make any sense to us to put

it out... and someone showed us the reality wed sold

200 CDs but whod actually heard it? As a body of work, it

acted as a calling card and a requiem, it seems. ModernBodies is Chickenhawk is dead, it wont happen again...

not that we knew that at the time... Paul laughs freely,

conscious of his own near slip into contradiction.

But Modern Bodies is most denitely an ending, as much

as Ideas is a beginning, and in the spirit of the new, it is

even being sold in a relatively new fashion. Though the

album is essentially paid for already, the whole thing is

being sold through Pledge. Its a way for us to give more

back to the fans, explains Paul, The whole point of it is

that people can choose to interact with us. People can

say I want that, I want that it makes it easier for fans

who really care about it to buy into it at the beginning. A

different approach to marketing in a different market? In

the last ten years theres been a massive change in the

dynamic of how the whole system works,

Paul continues, you cant just knock a great

album, put a lovely cover on it, get some

good press and expect to shift loads of cop-

ies, people dont want that anymore.

People download it for free, says Rob

brusquely, thats a generalisation, but peo-ple who use to buy music like teenagers or young adults

download it. In the majority. So a release is more like a

calling card to get you more tours and actually drive some

revenue back into the band to keep it going.

There are plenty of good reasons to buy this album

though, one being Pauls vocals, which have undergone

a metamorphosis since Modern Bodies. I ask where

this amazing voice has come from. His rst answer is

a yarn involving old women, fruit and magical powers.

His second is a bit more coherent. When I was eleven

I joined the choral society at school... I had big braces

and big ginger hair and I sang soprano, he admits, I did

Handels Messiah in its entirety. Ive always been able

to sing, but that wasnt the point of the music we made.

Then everyone was like lets try some singing now,

because wed gained in condence as a band... Again, it

HAWK EYES

Last time we met them, we covered them

in mud and inadvertently showered them

with glory. Now it looks as if they are

about to take the world out for dinner and

dancing and seduce the hell out of it. Rob

Wright tried vainly to resist their charms

in the name of quality journalism...

Dreamers, Not Schemers...

Its a way for us to

give more back to

the fans -Paul


6/21

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Ad

sounds like its planned, but its just a happy coincidence.

We thought lets not do another album full of chugging

guitars... says Ryan across the table, who has not been

entirely silent, but has been almost entirely drowned out

by the noisy clientele.

We can do different things on a guitar, laughs Paul.

And with a new style comes a different label Fierce Pan-

da. All told, Hawk Eyes have been on at least four labels.

Paul shrugs. I dont think bands need to sign to one label

for life, he says, whatever works at the time. It can be

quite dangerous to sign to multi album deals with labels,

because youre then beholden to them. Itstrue; Ive heard

about local bands whove got locked into the wrong deal

and suffered the consequences. But Hawk Eyes narrowly

avoided making these mistakes, making them wise in the

eyes of their peers and very thoughtful on the album.

A lot of the record is about that... Paul scrabbles fora description, that feeling of hopelessness... really not

knowing where youre going and more generally the world

not knowing where its going. Theres a lot of stuff on

there, certainly lyrically I feel sorry for the other guys

sometimes because they dont know what Im going to do

lyrically... as long as the words t and the melody suits

the music Im pretty much allowed to do what I like I try

to involve [the band] as much as I can I try not to make

my lyrics the Paul Astick show because thats not what

the band is the band is four people so its reective of

the moods of the music and all the experiences that weve

had together, our opinions and values. But despite or as

well as this, it is still fun, just... serious fun. Theyve also

just released a nal EP with Brew called Mindhammers

as a kind of safety valve for their creative overow. Con-

sidering what theyve got on the go, its amazing theyve

found time to talk to me at all.

Our time is nearly up and I can see that Paul is anxious to

enjoy his birthday, so I dont want to keep them, but I still

feel like Ive merely scratched the surface of Hawk Eyes;

theyre almost too mercurial as a band. I dont think we

should dene ourselves as one thing I think thats veryimportant for a band, explains Rob, not going over the

same ground twice lets progress.

Its all very grown up, very forward facing. Then one of the

band members suggests I take all my clothes off.

But that is another story...

You can Pledge for Hawk Eyes Ideas at www.hawkeyes-

music.com or contact Brew for a copy of Mindhammers.

The album is due out on 26th March, but I think you might

be hearing a lot more from them before then...


7/21

13

ET- How would you like your music to be described?

SA - I never really know how to answer this question to

be honest. Id rather people just make their own minds up

when they listen to it. Idprobably call it something

along the lines of indie-folk

storytelling; theres a real

folk element to a lot of the

songs but its not always

a dening feature, I think.

Lyrically I try and write with a

strong narrative most of the

time, but its not always the

case. With the latest things

weve recorded theres an

emphasis on atmosphere,

trying to create a mood that

reects the content of the

songs, I guess.

ET - How do you go about

the song-writing process?

SA - Theres no denitive

method. Sometimes Ill

have pieces of lyrics or a

melody in my head and itcan take the shape of a

song within minutes, other

times its more forced and

you have to work at it a little

more. I usually write with

a guitar but Ive been sat

at the piano a lot recently.

However, Ive written whole

songs before without being

anywhere near an instrument; I wrote Endless Sea on a

late-night ferry crossing from Ireland. It started with just a

couple of words, but in my head I could hear everything -

the chord progression, melody line, and soon I had a whole

song, without actually making a sound. As soon as I got

home I played it in full, it was pretty odd how it came out

completely formed.

ET - Have you noticed much development in your song-

writing since you began, and if so, how?

SA - I like to think so. Lyrics are a big thing for me and

I tend to spend a bit moretime on them these days.

Musically, Im less afraid to

let the songs take course

and change, so Im enjoying

layering them and nding

new sounds. Youd always

hope youre constantly de-

veloping - if your next song

isnt as good or better than

your last, you probably need

to sit back and question what

youre doing.

ET - Whats your favourite

venue to play at in Leeds?

I have a few. The Brudenell

is an obvious choice these

days for all the right reasons.

The sound is always great,

and Nathan does a brilliant

job of running it - its not just

a cherished venue but anintegral part of the Leeds

scene. In terms of other ven-

ues, I like playing in slightly

more unusual spaces too.

The new EP launch at Holy

Trinity Church will be the

third time Ive played there.

Its a beautiful space and it

lends itself really well to the

type of music I play. We did a single launch last year cu-

rated by Anthologies, inside the chapter house in Kirkstall

Abbey, with no PA or amplication at all - that felt like a

risky decision but it turned out to be one of the best gigs.

Finally, Oporto and Shopkeepers gigs are always fun. Its

brilliant they have a decent budget for live music and yet

put on so many free shows.

ET - Theres been quite a surge of one man and his guitar

acts in recent years - what makes you stand out?

SA - Ive always said theres an inherent aw, or at least

danger, with the term singer-songwriter, if thats what you

want to call this. The problem lies in the fact that the term

attempts to denote a genre, when all it really suggests is that

it concerns someone who both sings and writes songs. How-

ever, these days we mostly come to associate it with a great

deal of bland/dross music. One of the big problems for me is

that its quite easy to pick up a guitar and get your songs on

the internet - this may seem like a good thing but it means

you have to wade through quite a lot before you nd some-

thing of worth. Ive workedpretty hard the last couple

of years both on songwriting

and learning how to hold a

crowd on my own, which at

rst seemed like the most

daunting thing in the world.

But now that the recordings

are increasingly layered and

orchestrated, Ill be doing

more with a full band too.

ET - Whats your biggest

musical achievement to

date?

SA - There have been

a few. Music for me has

always just been something

Ive loved - I never really

intended to get to this point,

but with everything good

that happens, it seems to

spur you on to the next. Atrst it was a case of I have

these songs, Ill write some

more, then it was Ill record

and release an EP, and

now two years down the line

Ive released singles, played

around the UK, and Im

currently writing an album. I

think the most overwhelming

thing has been the radio attention; the Radio 1 Maida Vale

session was a huge highlight for me.

ET - Do your songs always turn out how you wanted them to

or does the creative process change them?

SA - Sometimes youll have an idealistic sense of what you

want the song to sound like, but you have to let the process

run its course because you might end up with something

that sounds better than whatever you anticipated.

ET - How much inspiration do you take from your sur-

rounding area?

SA - A varying degree. Im from rural North Wales

originally, and bits of the songs are partly inspired by my

memories of it, and also by my move to Leeds and getting

used to life in the city. But Id say I take just as much inspi-

ration from the people around me and the places I visit.

ET - A quick run-down of whats in store musically for you

this year?

SA - Firstly theres the new

EP A Marker & A Map,

released in March with

accompanying full band gig

in Holy Trinity Church, and

were also doing a London

EP launch. Then Ill be doing

some touring in April includ-

ing my rst gigs in Scotland,

then of course Live at Leeds

in May, and hopefully well be

playing a few festivals during

the summer too.

ET - If you could host a

fantasy dinner party of seven

guests, who would they be?

SA - Sam Cooke and Joni

Mitchell would come, and

Id also make them sing.

Ernest Hemingway wouldbe on drinks duty, Audrey

Hepburn for some elegance

and stories, Salvador Dali

seemed pretty interesting too

so he could probably come

along. Then Id invite Charles

Darwin and God, and make

them have an arm-wrestling

duel.

SAM AIREY

Sam Airey, mild mannered guitar slinger with a hint of

folksiness, has been stamping like a buttery of late.

From being the house band at the recent Live at Leeds

launch to a Radio 1 Maida Vale set, he has been mak-

ing his quite presence known in quite a loud way. Ellie

Treagust cornered this timid yet feisty little performer

and pelted him with questions which you, dear reader,

might like to know the answers to

The Importance of Having Earnest (On Drinks Duty)


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Camping It Up With Melvyn Benn Leeds Reading 2012

Anticipation. Despite what the hacks will try and tell you

i.e. that they know the line up for Leeds 2012 and have

done for months blah blah blah, there is a very tangible

sensation of anticipation in this room full of giggers, liggers,

bloggers, sloggers, tweeters and the occasional writer. In

ten minutes time there will be an electronic barrage com-

parable to the EMP kicked out by a small nuclear device

departing from the cockpit, but for now... anticipation.

By the time you read this, the line up will be old news.

There will be the usual accusations of playing it safe and

soooo predictable, but as for me... I still get excited by

this. Im loving the prospect of (hopefully) seeing The Cure,

re-acquainting myself with the Gallic dance metal insanity

of Justice, going bollocks-mental to Pulled Apart By Horses

ON THE MAINSTAGE and... well... At The Drive In...

It could only get better if Soundgarden made an appear-

ance (crosses ngers).

And we havent even got to the FR or Introducing stages

yet... or the Lock Down/Dance line up... or the comedy

stage...

Yes, it is commercial, yes, it is full of pissed up teenagers

but it is still Leeds festival, a massive festival in our back

yard that bears our citys name and I have it on good au-

thority (from two guys who came all the way from Reading

to go to Leeds, so...) that it is the preferred locality. And for

that weekend, there will be that same buzz of anticipation,

only grown several magnitudes larger and I have a feel -

ing this is going to be a mighty weekend.

In a fug of free Gaymers, I am lucky enough to get a mo-

ment of time with Festival Republic honcho Melvyn Benn,

a former Hullite and fan of fanzines. He is sipping a white

wine, leaning against a spare stage and looking slightly

relaxed but also slightly anxious about catching his train

down to the big smoke.

Seeing as this is a Glasonbury-free year, I ask him if he

feels like a kid in a sweet shop, literally having the pick of

the bunch when it comes to bands this year. I always feel

like a kid in a sweet shop, he res back, anyone in my

position should feel like a kid in a sweet shop. Glaston-

burys a unique festival, entirely on its own. Reading

and Leeds are music festivals, they have music running

through their veins and essentially only music running

through their veins theres no clowns, no re eaters, no

snake charmers.

As well as being a fanzine fan, it also transpires that he is

a Pulled Apart By Horses fan, having been introduced to

them by their manager. He had to buy his own copy of the

new album, though. Opening on the Friday, I ask him if he

sees them as a warm up band: On the contrary actually

I think that world domination beckons - theyve got a

sound that will blow people apart in Germany, in America,

in Japan.

Not only are PABH playing the mainstage, but Leeds own

Kaiser Chiefs will be up there too. Has he gone for some

local action specically? Some people have said to me

do you pick the local bands for Leeds? but the festival

republic integrity wouldnt allow that. We pick the bands

because they deserve to be there.

As well as the big names, Leeds Festival will also be

hosting the winners of the Martin House Hospices Centre

Stage competition for a third year, demonstrating FRs

dedication to new music: The fact that it benets the

hospice is a plus, but its a real opportunity for young

musicians to be on stage and to learn about their contem-

poraries. Hes also a champion of youth in general: Ive

always had young people at my heart I abhor the way

that young people are given a hard time by the press. The

young people in the audiences at Reading and Leeds are

tomorrows leaders of the country - Ive been at festivals

where the future king of England has been excited by

being stood at the side of the stage.

But more than that, he has vowed to put a beer and

a burger in the belly of every individual who buys aweekend ticket: In truth, nothing prompted me apart from

philanthropy - I do what I can to make the sponsors help

me if they dont do that, Ill pay for it. Im not naturally

a person that just takes and takes, I always want to give

things back and at festival republic we always work really

hard on charity projects. I just felt I needed to do it. And

for that, I salute you. Will there be haggis there this year

though? Can I get haggis...?

Rob Wright

LEEDS FEST


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Names?

Dan, and I play the trombone.

Derek, and I play Bass

John, Johnny Christmas, and I play Trumpet

Matt, I play saxophone and sing

Reason for Visit?Dan Well once a year a plane comes by each of our

houses, picks us up, and says you have to go dance like a

monkey, over within the UK. Since we dont really have a

lot going on, we usually get on that plane.

Business or pleasure?

Dan A bit of both. Between the hours of 9 and 10.30, its

business and the rest of the time, its business.

Derek I am in the business of pleasure.

Dan- Business is good.

Derek Business is a booming.

How has touring changed for you over the years? We

hope you wont be all... rock and roll.

Dan On this tour we tend to be our PJs by 11pm.

Johnny He is very happy about that.

Derek - Stage to PJs in ten minutes.

Dan Although last night there was a bit of partying.

Johnny In Glasgow.

When you come to the UK what do you enjoy the

most?

Derek Kebabs!Johnny Yeah, kebabs here are awesome. We enjoy

meeting all the people. The British fans are always so awe-

some. We really appreciate that.

Matt You guys do really good deli meat. I enjoy the deli

meat. I do love some good deli meat.

When constantly touring do you ever get on each

others nerves and want space to yourself? I think we

have a free holding cell...

Dan I think we are old enough to know when someone

wants space.

Johnny yeah, denitely, we have learnt how to stay out of

each others way when we are feeling that way out. Then

the next day they will be ne...

Derek Actually, you should have each of us in the room

alone and ask the question again, and then see what

answer you get.

Drummers are known for being troublemakers, bass-

ists for being lazy how does a trombone player

behave?

Dan The trombone player is usually stoned, although

not now, I must stress that.

Matt They love Doritos. They can eat an entire bag of

Doritos in one sitting.Dan That is not true

Matt And they lie

Dan I have not had a bag of Doritos on this entire tour.

I was ne being insulted by myself, but if you want to join

in, please do.

Calm down, gentlemen. How have you kept the band

relevant when ska is in and out of favour?

Dan It certainly is not by getting a sax player.

Matt Oooohhhhh, like that now is it.

Dan You bet it is. I think Aaron has written the sound-

tracks of most peoples lives from about 12 to the age

of 25. So he is dealing with all the problems that you go

through at that time.

Matt You are still going through them.

What is next for Reel Big Fish?

Dan We are actually working on a new record.

Johnny Yeyyy nally.

Dan Now I know we have had said we have been work-

ing on a new record for what seems like years...

Derek It is years!

Dan ...But Aaron likes these songs, which is very rare.So this time it should happen. It will happen... (stern face)

Anything else to declare?

Johnny Dont eat space cake and try to come back to

Britain.

(shouts: Blood test for Johnny...)

Dan I would like to declare, that I did wear these shoes

in an agricultural situation, and brought mad cow into the

country with the soil on my boots.

Derek Yeah! I have something to declare... I am not

lazy!

Thank you, you may now proceed through passport

control. Enjoy Leeds.

Passport Control

Reel Big Fish

Not ones to let the grass grow under our feet, weve

had a bit of a recruitment drive here at WYPC, so

please welcome Ofcer Rochelle Massey she doesnt

take any, as Reel Big Fish found out when they got a

proper grilling. Fish? Grilling? Oh, forget it...


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New Pose Old School

Long before most Vibrations readers and writers were

even born, the insanity of providing quality musical opinion,

info, news and reviews for our ne city was under the aus-

pices of a certain Martin Tindall. In 1977 he blazed a trail

with his fanzine, New Pose, for such mags as ourselves,so we called on an old friend to big up his seminal publica-

tion, now reissued after 35 years. Welcome back, Sam

Saunders!

In the middle of the blandest musical decade in history, a

young Martin Tindall was going about his wide-eyed life lis-

tening to New York Dolls and The Stooges, being expelled

from Art College and visiting London.

In London, looking like a punk could mean hiding in Mal-

colm McLarens shop for safety, with teddy boy assailants

locked outside, shouting for blood. In Leeds it was worse.

Hanging around The Queens Hall on the night of a concert

could lead to a kicking.

No matter; the Anarchy In The UK Tour brought The

Sex Pistols, The Damned, Johnny Thunders and The

Heartbreakers, and (Special Guests) The Clash to Leeds

Polytechnic on Monday, December 6th 1976. Unlike other

cities on the advertised tour, Leeds actually allowed the

gig to proceed. Martin and his pals were there, with hearts

pounding and a plan.

By the spring of 1977, Martin, with typing by Jayne Cobbe

and photos by Steve Dixon, had photocopied the rst issue

of a remarkable fanzine called New Pose. It was copied,

one sided, onto 16 sheets of A4 stapled together and soldthrough outlets like Virgin Records (who quickly put Martin

in charge of their punk-record purchasing). With art school

still in his blood, he got contributions from cartoonists too:

Mark Manning (founder of the band Zodiac Mindwarp),

Ray Burns (aka Captain Sensible) and Jerzy Szostek of

Knockabout Comics were active contributors.

A lot of the text was handwritten by Martin. The photo-

graphs by Jayne Cobbe and Matt Dixon (Elvis Costello,

Sex Pistols, Ramones, The Clash ...) are densely zeitgeist

(with contact prints in one issue to save on processing

costs). Pin-up cartoons by Mark Manning (and Martin) are

brilliant. The comic strip review of an Iggy Pop gig and a

comic strip biography of The Damned (by Captain Sensi-

ble) are something else. Vibrations should adopt the format

immediately (duly noted any takers? Ed.).

Over ve spiky issues through the whole of 1977 writing,

photographs, comic strips, cartoons, gig news and personal

views poured out. Alongside the few Yorkshire artists like

S.O.S., The Jerks, Cyanide, The Mirror Boys and The

Neck Fuckers there were reviews and interviews with

most of the best: The Ramones, The Stranglers, The

Vibrators and The Sex Pistols and loads more.The fanzine has had a good deal of national attention

over the years. NME, championing punk at the time and

fast becoming THE music weekly as Melody Maker lost

its bearings, put it second only to Snifn Glue as the na-

tions best fanzine. (Snifn Glue had started a bit earlier

and Martin thought he could make something that looked

better. He was right.) New Pose has since been featured

in TV documentaries of the era: notably in BBC 2s Arena

series in 1990 and Channel 4s The Stiff Records Story

in 2010.

But after ve issues Martin had run out of steam and the

Leeds punk scene was turning into something a lot less

exciting and a lot more commercial. New Pose stopped

while it was still hot. Each issue had got stronger than the

previous one, but things were shifting in Leeds. Martin

told me that those descendants of the skin heads and

football hooligans were starting to arrive at punk gigs,

looking for trouble and going for the smell of bands like

Skrewdriver who represented everything that punk had

stood against. The cult of punk itself was morphing into

goth and new wave. Record labels who had been fast

asleep in 1976 were starting to throw chequebooks atpeople like Elvis Costello who could develop their music

and make a series of big money albums. The erce

energy of the punk singles that Martin was selling in

Virgin couldnt maintain their impact on whole albums and

something had been lost.

He still remembers doing one DJ set at John Keenans

rst Stars of Today series at Leeds Polytechnic but the

pressures of his full-time job and putting out New Pose

made him back out of a future as a DJ.

The New Pose full-set reissue of ve can be bought from

Crash Records and Jumbo Records. If you have original

copies, treasure them and buy these to read all over

again.


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Chills, Thrills and... The Spills!

Just outside of Leeds (I know, bear with me) there is a little

star cradle of a town that has spawned the likes of The

Cribs, The Research, Runaround Kids and now The Spills.

Emma Quinlan managed to get some sense out of them

between ts of laughing and breaks for South Park. YOU

WILL RESPECT HER AUTHORITAH!

They like chilli sauce on beans on toast, eating sh and

chips whilst recording and watching South Park. They are

The Spills, an indie rock quartet from Wakeeld who in

fact like watching South Park so much that we stop the

interview halfway through, so they can pay attention to the

TV in the room and watch a cartoon Rob Schneider make

a tool of himself. Sorry about that, says Sam, its the

best bit of the whole episode.

Were in the living room area at Greenmount studios in

Armley. A one-time place of worship, this converted church

has ceased to open its doors for the religious and instead

acts as a place for bands to record their music. The Spills,

consisting of guitarist/singer Rob, bassist Sam, drummer

Joe (who is sadly unable to attend) and guitarist/singer

Chad, have recorded here a few times and dont seem to

be put off by the weird eeriness that surrounds the place.

We did our EP here and then we did our album here,

explains Rob, Lee and Jamie the guys who ran it then

did our EP and album and now I run the studio with them.

We just always really liked this studio and we record to

analogue tape and its got loads of vintage equipment.

Formed around six years ago, The Spills all met in second-

ary school and began playing together when Rob was

in school and the others were in sixth form. We started

pretty young...I was 15 when I started writing some songs

and then me and Sam bought a four-track tape recorder.

Its been the same line-up [ever since] but when you have

been going from that young obviously its very different.

You dont mean that of The Spills do you? interjects Sam.

No, laughs Rob, Its so different. Its just that most bands

split up

Theyre like school bands, continues Chad, and then

they kind of break up and actually do something.

With this, they all begin laughing, which they continue to

do throughout the interview, normally at the expense of

one another. Basically, says Rob, we carried on when

we went to university [even though] we all went to uni-

versity in different places. In the rst year we took it a bit

slower and then we kind of built it up again. Then we did

an EP and then after university we did the album.

The album he is talking about is Occams Razor, theirfantastic debut that takes all the best bits of the indie

genre and whacks them together in one glorious CD.

Their work has gathered a respectable amount of praise

from the music media (including this very ne publica-

tion), which came as a nice surprise for the makers.

We got a lot more reviews than we thought and they

were all really nice so it was a pleasant surprise really,

smiles Rob.

Yeah, chuckles Sam, I thought we would get like three

reviews or something...

Thankfully this has not been the case and instead Oc-

cams Razor has ignited a ame The Spills and shown

the rest of Yorkshire how indie rock should be done.

However, even though they regard themselves as an

indie band, they arent fully comfortable with the tagline.

Its quite an indie band, mulls Sam, but I dont like the

word indie because people always turn their nose up at

it. Hes got a point. If you say the word indie to people,most of them will envisage a bunch of posh lads, touting

guitars and annel shirts but The Spills are denitely not

one of these bands. [Our sound] is noisy and I dont

know if its heavy but its noisy and a bit rough. [Its] kind

of indie in the sense of American indie[like] Pixies and

Pavement.

So did these bands inspire The Spills to pick up their

instruments? When I started playing guitar I was like

10, remembers Rob, So probably [someone] like Jimi

Hendrix inspired [me] to start playing guitar. Apparently

this isnt the rst time Jimi Hendrix has been mentioned

during an interviewDo you remember that interview

we did when you kept referring to the Jimi Hendrix tape

in your dads car? smirks Chad. He doesnt, but accord-

ing to Sam he mentioned it over and over.

The band breaks into more smiles and more giggles,

with Rob now the target for mockery. Yeah, my dad had

a Jimi Hendrix tape in his car jokes Rob, taking their

mocks in his stride. Apparently he also had a few others

including Bob Marley, but we dont need to go into that. I

didnt start playing until I was 15, says Chad, So it was

mainly that I liked a lot of bands but [also] that everyone

else played instruments and I just always wanted toso

I just did.

He makes it sound so easy and The Spills as a whole

make being in a band look easier than it probably is. For

these lads though, this isnt exactly an easy life - they all

have regular jobs as well as playing in The Spills. Theres

no Bono-style private jets and full stadium tours for them,

just small chapels with no bars and a bring-your-own-beerpolicy. We did an album launch at Chantry Chapel, which

is a chapel in Wakeeld. The capacity is probably 50

people. Its a really little place, explains Rob.

Theres no bar so it was bring your own beer and no toi-

lets so people [were] just having a piss in the open, adds

Sam, I think [that was the] best gig of ours.

Not exactly the venue dreams were made of, but its not

all pissing on walls and cans of Red Stripe for The Spills

no, not all of their live appearances have been this classy.

Last year however they were booked for the one-day

extravaganza that is Live at Leeds and this year they are

doing Long Division (which they also did in 2011), Wake-

elds answer to Live at Leeds and according to Sam, the

festival that is putting Wakeeld on the map.

This brings a little grin to all our faces, but apparently the

claim is deserved. It actually is, says Chad, it was amaz-

ing last year.

They sold it out last year, adds Rob, They had Darwin

Deez come over, and The Wedding Present. Is getting

Darwin Deez to play really a thing to brag about? Its

pretty cool that he came from New York to play in Wake-

eld, answers Rob and when put like that, I suppose I

have to agree

So thats The Spills, past and future (there doing a split EP

with Runaround Kids scheduled for later on in the year)

but what about the present and more specically what are

you recording in this creepy old church anyway? [Wererecording] a track for a compilation, explains Sam.

Yeah, adds Rob, Do you know who Rhubarb Bomb

are? Queue the blank expression. Its a Wakeeld zine

thing and their doing a compilation with loads of Wakeeld

bands. Its coming out with a big book on the Wakeeld

music scene. Theres us, Runaround Kids, The Cribs, Imp,

The Research: its Wakeeld bands past and present, so

were recording for that.

Sounds good to us but whilst I wish I could talk to The

Spills all night, we all have homes to go to and work to get

up for. Before we say goodbye though, any last words?

Not that I mean that to sound so terminal. Ill make a

pledge for this Rhubarb Bomb compilation. [Theres] loads

of memorabilia from gigs in Wakeeld like big prints of

THE SPILLS


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Artic Monkeys playing Wakeeld for instance I think thats

one and theres one of Kate Nash playing Wakeeld. Basi-

cally you make a pledge, a certain amount of money for

whatever item and obviously you get that item, explains

Rob.

Thats then funding the compilation and this big book on

the Wakeeld music scene [showing] the history of it and

the history of the magazine. You can make a pledge for

that online, so it would be good if everyone checks that

out, its a good thing. When is this out? [The compila-

tion] comes out April 21st I think and its called The City

Consumes Us. Is it not called The Bomb-palation?

Unfortunately not Sam, but by god we wish it was.

The City Consumes Us will indeed be available at the

end of April, complete with funky book. It is unclear as to

whether Robs dad still has a Jimi Hendrix tape in his car...


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This Womens Work - Wombeatz

It is a sad fact that the music industry is not as groovy as

everyone would like to think there is still a lot of gender-

based inequality out there and it really needs to go the

way of the dinosaur. Fortunately, music tends to attract the

sort of people who want to do something about it, as Kate

Wellham discovered at the inaugural Wombeatz Confer-

ence. Some of this may come as a shock to you

Its International Womens Day and were on our way to

a man-hating, hairy-legged musical event so militant that

its been organised exclusively for girls. Im imagining it as

a sort of training camp where we will learn such dark arts

as how to render a man infertile with the ick of a single

drumstick, and how to close the pay gap by taking our 17%

from the removal and sale of his now unnecessary organs

as maracas.

The inconspicuous venue has been made slightly more

conspicuous by the sporadic hanging of pink and blue

balloons both inside and outside the only indication thatanything sinister is going on.

Yes, pink AND blue. AND theres a boy here! And instead of

plans to take over the world, there are biscuits.

What subversion is this?

Sneaking a peek into the various rooms reveals many

perfectly friendly-looking women teaching and learning the

basics of sound engineering, DJing and recording the

technical sides of the business where females are undeni-

ably underrepresented.

What is clear from the happy participants is that this obvi-

ously feels to them like a safe place to ask any kind of

question no matter how silly it seems, to play, to get things

wrong a few times, and to try something completely alien,

without worrying about the consequences: a fundamental

need in order for many of these women to even begin to try

some of these things, as they each later explain.

Were not saying were better than guys or we want to be

seen to be better than guys, its not about that, its aboutoffering the opportunity and encouragement to get more

women to try stuff like this, says Sarah Statham from

Leeds-based organisation, Wombeatz, who are responsible

for the event.

Sarah who is in a band herself, Esper Scout - goes

on to explain that todays event is not about hating men

and wanting them to go away and leave music to us, it is

merely about giving women an environment where they

can experiment with some new skills outside the typically

testosterone-heavy music scene in which they will nd

themselves immersed if they dive straight in.

And its the diving straight in that is the only way to learn,

but which sadly seems to be the most intimidating part for

women who want to try their hand at anything to do with

music technology.

If youre a man reading this, and youre in any way

involved in music, then youll probably have felt some

trepidation at attempting something beyond your technical

ability; maybe if youre a musician youll have felt the

nauseating nerves that come before a performance; or if

youve promoted then youll have had to front up to some-

one at some point. But the chances are you wont have

felt on the back foot from the very start, because of your

gender; you wont have felt all eyes in the audience on

you for the wrong reasons; you probably wont have been

referred to as a boy band; you wont have been blanked

completely by a business contact who refuses to talk to

your sort; and you wont have experienced actually

experienced, rather than imagined the crushing expec-

tations from everyone around you that whatever you are

about to do is probably going to be a little bit shit, with any

mistake you make merely cementing preconceptions of

your inability, adding extra pressure to everything you do.

Is it any wonder that fewer women than men are willing

to venture into that world? And because they dont, they

remain a rarity, and the whole cycle perpetuates. Wel-

come to just some of the reasons that events like this one

are so important. Clearly its the initial lack of condence

that ALL newcomers of either gender experience which is

holding only the women back.

And if youre wondering why I think this is how women in

music often feel, its because this is what they talk about

during todays panel discussion.

The discussion begins tentatively, but quickly becomes

painfully candid, with audience members sharing their

concerns both real and imagined with a panel who

have all seen, heard and experienced similar things

before. Although there is very little in the way of downright

disrespect that has been shown to anyone in the room

by men in the industry, it is the innocent assumptions

that hurt them the most. The assumptions that they wont

be as good as they are: I get youre loads better than I

thought youd be a lot, which is nice but when you think

about it its really sad, says Kelii Compulsive frontwoman of Obsessive Compulsive, label owner, punk

clothing entrepreneur and zine editor - of the feedback

she gets during gigs and sound checks, probably from

people who dont have a tenth of the experience she

does.

And its not just the performers who get it: I always feel

that a male sound technician starts with 100% credibility,

and then anything he does wrong is taken away from that,

whereas I start with 50% and have to work so hard to

bring that up to a level where Im respected as much as

he is, says Hazel Plummer, one of the best sound techni-

cians of either gender in the country right now. She also

reveals that she once worked for someone at a venue

who would not talk to women at all, and to get around this

she hired as many females as she could, to make sure he

had to get damn well used to dealing with them.

Also on the panel are Jo Kira a DJ who concedes (to

the general agreement of all) that other women in the

business dont always have the most helpful attitudes ei-

ther (women can be bitches), and who dresses up when

she plays, but strictly for herself.

In fact, all women in the room acknowledge that how

they look is often made much of, which can lead to some

confusion when wanting to express themselves, but with-

out buying into the idea that its the most important thing

about them. I like to make an effort, but I dont see why

women should have to get their kit off or be sexy in a situ-

ation where a man wouldnt, says Kelii, who is also keen

to point out I dont have a problem with men in music at

all, Im in a band with some of them and theyre brilliant.

Casting a glance at the piles of feedback forms piled on

the desk at the end of the day, I cant see a single one

that hasnt marked the event as a 10/10 experience, withcomments highlighting how relaxed, fun and valuable the

day has been.

Clearly not everybody will be naturally skilled, dedicated

or interested enough to continue to a professional level

simply because theyve been offered the opportunity to

learn, but without the opportunity to learn, the music in-

dustry could be missing out on those who are that skilled,

dedicated and interested.

Wombeatz need funding to continue their brilliant work in

events, equipment hire, training and networking aimed at

women in music technology, and the more interest there

is in their work the more likely they are to be able to get

it. So if you think you can help them, would like to partici-

pate, or would like to learn, have a look at their website

www.wombeatz.com. Also, I cannot end this piece without

mentioning Immi Cardy aka DJ Immi Yeh, director of

Wombeatz and without whom this event would not have

taken place.


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