This Thursday (the 15th April) Names Not Numbers are hosting a night of excitement at the Green Room in Sheffield.

With two exceptional musicians all the way from London town!!! – Roxanne Emery and Mariam Razak – and the resident singer-songwriter-poet-writer Phil Ugochukwu, this is going to be a night of fun, laughter and delightful acoustic tuneage.

So! Come along and say hello, you know you’ll be supporting some really worthwhile causes and you’re guaranteed a good night on top!

Donations on the door, all proceeds going to our two community projects that the charity supports in India and South Africa!

Join the facebook event over at http://www.facebook.com/event.php?eid=113145745368917

Find out more about the artists at:
Roxanne Emery – http://www.myspace.com/roxanneemery
Mariam Razak – http://www.myspace.com/mariamrazak
Find out more about the charity at http://www.namesnotnumbers.info

Old-school hardcore from the Massachusetts crew and touring partners Down to Nothing aimed to decimate a less-than-timid London crowd.
Gold Kids from Cagliari, Italy were to set the precedent for the evening’s entertainment.  It was to be all about loud, aggressive hardcore.  Theirs was a mix of the technical incisiveness of Converge and a looser more 80s vibe that come to prominence in flailing guitar parts.  A walking tattoo of a front-man, Andre Suergiu proved energetic and ultimately over-zealous as he fell to the amusement of his drummer.

Slower and heavier than Gold Kids, Lewd Acts played with reckless abandon and if Andre was over-zealous then Lewd Acts vocalist Tylure [sic] was downright hostile.   Lewd Acts ratcheted up the aggression levels further.  The front-man threw himself into the crowd, on a mission literally batter all in his wake.  By the end of the set, his vocals had firmly taken a back seat behind his antics.  The sound had gone, the band was bathed in feed-back, the monitors were strewn across the venue floor and the drummer had to ask for his cymbal stand back. 

When Down to Nothing hit the stage the Underworld was fast becoming an arena of carnage.  The two-stepping crowd went ballistic and the band stopped as a punter was carried out in a state of unconsciousness.  Needless to say, this wasn’t about to turn into a wet-blanket scenario and the band continued to belt out the distinctive Revelation Records brand of hardcore.  Bordering on preachy, the vocals were spat as if some kind of sport, Down to Nothing was exactly what you associate with the label.

The crowd might have diminished for Bane but went about their set dutifully and came across as the scene heavyweights they are and launched into ‘My Therapy’.  Aaron Bedard was a fair ringmaster, delivering lines about following dreams and not letting things stand in your way with considerable verve.  This act could have got hackneyed but set to such a ferocious assault it couldn’t fail to induce a little tingle.

They have been accused of being more of a clothing label than a band, but in a music scene notorious for poseurs Bane came to simplify proceedings.  Theirs was a sound that aimed straight ahead and went directly for the jugular.  Theirs was a message of righteousness and self-belief; an ode pure hardcore, largely uncorrupted by metal. 

Rating 4/5

Last weekend’s White Noise Festival at Leicester’s Firebug venue highlighted an overlooked music scene.  In recent years the city has been known for Kasabian and little else.  Perhaps only My Awesome Compilation and Maybeshewill have garnered a small buzz since something like 2003.  Its other bands have generally stayed under the radar of the mainstream.  Indeed the scene as a whole has had a distinct lack of coverage and with the recent closure of The Charlotte, you might be forgiven for thinking that Leicester’s music scene was severely flagging.  White Noise was Leicester’s way of showing to people that it has more and better bands than you might think.  Perhaps equally importantly that it has a network of promoters and fans that are passionate about live music.  With a weekend wristband costing as little as £4, bands performing for free and profits donated to LOROS Hospice, this was every inch a local community event.

The Friday of the festival was kicked off in fine style by Buenos Aires whose shimmied post-hardcore sat on the rockier side of Minus the Bear.  However it was the night’s touring partners that took all of the plaudits.  And So I Watch You From Afar are quite simply the best live band in Britain right now and after a month on the road with them, Maybeshewill seemed in a particularly buoyant mood.  Both bands produced blistering instrumental sets which culminated with end of tour party scenes (think mass-druming and stage-dives).

The Saturday started with an appropriate wave of white noise.  Cunt Rag’s doom laden wrestling masks and phallic imagery erupted into the louder than everything else Diet Pills.  After the rest of a muted afternoon Autohype were next to impress with indie-rock melodies that stood in stark contrast to the opening acts.  Given the task of headlining the evening were Minnaars, a band that split opinion more than any other in Leicester.  They are known to there detractors as ‘Middle Class and Agitated’ and are accused at every turn of aping Foals.  Undeniably there are similarities between the bands but unquestionably the quality of Minnaars’ songs stand on there own, their angular melodies capable of competing with their luminaries.  What’s more the large audience that greeted the set is testament to their enduring popularity.

Sunday found room for some of the region’s more left-field acts.  Peter Wyeth’s penchant for looping sounds did little but mask a fantastic talent for plain acoustic balladry but Theo’s effects pedals were different propositions entirely.  His method of looping guitar sounds before accompanying on drums was a mesmerising live experience, as thick and full as most bands.  All Idols Fall were similarly engrossing and proved that Leicester still has something to offer the punk-rock circle.  This left the always reliable Death of London to bring the curtain down.  Blending the more abrasive elements of Fugazi with the punky hardcore of Trapdoor Fucking Exit, theirs was a fittingly bombastic way to draw things to a close.

The weekend was a real triumph for a tight-knit community and made clear that Leicester has a number of bands that are well worth a mention, indeed I must also namedrop Her Name is Calla after their welcome return to the live arena.  White Noise has set a new marker for the Leicester music scene, long may it continue to grow.

British trio find hope in Anthemic Rock.

The Xcerts might deal in melancholic tales of despair but they’re keen to stress they are not miserablists. From Aberdeen by way of Exeter, guitarist/vocalist Murray MacLeod, bassist Jordan Smith and drummer Tom Heron deal in big melodies and loud noises.

Whilst the band admits the song-writing period for new album ‘In The Cold Wind We Smile’ was a difficult time, Murray proclaims that, ‘Crisis is centred around hope.’

‘Some bad things happened to us while writing the album. Jordan lost his father, and I suffered terrible heartache. We realised we could write a depressing album, or one filled with hope. It’s about a tragic state of affairs, with a light at the end of the tunnel.’

The Xcerts focussed their efforts on trying to put a brave face on things.  ‘No-one wants to be the cold wind but you can be there smiling.’  Their tonic for heartbreak and tragedy?  Volume.

‘We are loud. Louder than expected. Painfully loud. We feel maybe like we are missing a second guitarist, like small-man syndrome, so we turn up extra loud. Horrid and beautiful noise inspires us.’

Considering their status as self-proclaimed noiseniks, it’s somewhat at odds that the band is obsessed with writing melodic pop songs.  ‘Classic pop song writing, that’s how we see it. We are not a fad band.’

The Xcerts however, are keen to stress that they aren’t a mainstream act, ‘musically, it was that idea of not rejecting rock music. We love toned-down American Indie music but we wanted to be loud and rock at the same time.’  An aspiration realised in the volume and sweat of the live arena.

Loud songs with a pop sensibility, it appears that the band have the best of both worlds.

FOR FANS OF:  Biffy Clyro, Jimmy Eat World
HEAR:  Debut album ‘In The Cold Wind We Smile’ out March 30th through Xtra Mile.
MORE INFO?  Check out www.myspace.com/thexcerts. The band is currently in the middle of a full UK tour.

I can’t think of any better way to get to know a person than by snooping through their record collection. The records I put forward here are not a list of my personal favourites but rather represent my musical lineage.  These are the records that have shaped me and my musical tastes, they are ordered autobiographically. My name is Andrew and I’m very pleased to meet you.

Kylie Minogue – Enjoy Yourself (1989)
Jason Donovan – Ten Good Reasons (1989)
These were my first two records. Admittedly they have little bearing on my current musical taste, aside from still being a sucker for a catchy pop-song.

Eric Clapton – Journeyman (1989)
The soundtrack to my dad’s Ford Capri, I once bemused holiday makers at an American theme park by belting out a chorus of ‘Bad Love’.

Michael Jackson – Dangerous (1991)
The name that was on everyone’s lips, Michael Jackson was the biggest star of my childhood (aside from Leyton Orient midfield maestro Ian Bogie).

Oasis – (What’s the Story) Morning Glory? (1995)
The first rock act that I discovered for myself; it wasn’t difficult, ‘Don’t Look Back In Anger’ was absolutely everywhere.

Def Leppard – Vault: Greatest Hits (1995)
A tape that struggled in the Capri’s stereo, ‘Love and Hate Collide’ will always be that bit slower for me.

Blink 182 – Enema of the State (1999)
A record that came passed down through friend’s older brothers. This was the album that turned me on to pop-punk, a genre at its peak throughout my adolescence.

Iron Maiden – Brave New World (2000)
My first live concert was Iron Maiden supported by Slayer and Entombed and this was the album Maiden was supporting.

Limp Bizkit – Chocolate Starfish and the Hotdog Flavored Water (2000)
The first band that I went to see with my friends, Limp Bizkit was top of the singles charts and I turned up in the ubiquitous red Yankees hat.

AC/DC – Who Made Who (1986)
By now it was me recommending bands to my dad (he’d previously ignored DC). A friend had given me a copy of this compilation and they were the new car stereo revelation.

Black Flag – Damaged (1981)
For me the definitive article of punk rock, Damaged was the record that opened doors for me. Their signature four bars emblem is now tattooed on my ankle.

Jimmy Eat World – Clarity (1999)
Forever referenced by pop-punk bands Clarity led me to discover emo. Through Clarity I unearthed the likes of Texas is the Reason and Rites of Spring.

Captain Everything! – Learning To Play With… (2000)
It was a toss up between this and the first No Comply EP. This signifies a time of my life where I would make weekly trips to the Garage and the Underworld.

Bad Religion – The Process of Belief (2002)
This kick-started my adoration for the poppy So-Cal punk sound, during my late teens it was untouchable.

Against Me! – Reinventing Axl Rose (2002)
The record that turned me on to gruff punk and alt-country, so began my obsession with every band on the No Idea roster.

Sage Francis – Personal Journals (2002)
A totally shocking discovery, it was the record that opened up hip-hop for me. An avant-garde rapper that didn’t focus on ‘bitches and hoes’, Sage was the ‘emo’ rapper.

V/A – Three Chords and the Truth (2004)
A compilation that was to come free with an issue of my ‘zine, featuring what I believe is the first Enter Shikari release.

The Mountain Goats – Tallahassee (2002)
This was the soundtrack to my first love. ‘No Children’ is the perfect [anti] love song, as bleak and oppressive as it is uplifting.

Frank Turner – Demos (2005)
This represents the first show I ever promoted. Held at the F-Bar in Leicester, the night was a triumph and ended with a mass conga to ‘Dancing Queen’.

Deadbeat Cavalier – S/T (2007)
The first of my friends bands to produce something that I enjoyed listening to. Gruff vocals inspired by the likes of Against Me! and Rancid.

Right, I’m off to see Acca Dacca. x

2008 left us in the midst of a credit crunch, on the dawn of a new America and has somehow still found the time to provide us with a bounty of fantastic records. Compiling a ‘top ten’ for the year was an excruciating task and has left many bands at least deserving of honourable mentions: Vampire Weekend, Iwasacubscout, Deerhunter, Fucked Up, TV on the Radio, Ryan Adams and the Cardinals, Frightened Rabbit, Lightspeed Champion, Glass and Ashes, This Will Destroy You, Of Montreal, Micah P. Hinson, Why?, The Gaslight Anthem, The Hold Steady, Mogwai, Fleet Foxes, Death Cab for Cutie, Paint it Black, Bloc Party. We can only hope that 2009 leaves us with such a haul.

10. Four Year Strong – Rise or Die Trying

Pop-punk with hardcore breakdowns: Such a union has been on the cards ever since Fall Out Boy emerged with elaborate song titles and the odd scream. Four Year Strong satisfy the niche market of people that enjoy the power of hardcore yet find it too overwhelming for sustained listening. Rise or Die Trying represents the way that pop-punk is evolving. Bands have moved away from the Blink 182 sound and have infused it with the waning trend for hardcore. This leaves us with an album that coats infectious New Found Glory style melodies with somewhat hilarious pinched harmonics and double kick drums. Rise or Die Trying positively shreds.

9. Los Campesinos – We Are Beautiful, We Are Doomed

A fitting title, if ever there was one, musically WAB, WAD is bright energetic indie-pop, yet it’s lyrics sit paradoxically alongside. The album is an accurate representation of youth. It is the manifestation of bright young things with promising futures, dragged down with the weight of a world that can seem so bleak [it’s mainly about sex]. It perfectly encapsulates 2008s indie scene: Catchy, self-reflective, earnest, yet coyly fun. Los Campesinos have their collective tongue firmly in cheek with liner notes quoting B.S. Johnson proclaiming, ‘Telling stories is telling lies.’ LC are more fun than they are letting on.

8. Kings of Leon – Only by the Night

2008 has seen the Kings become one of the biggest bands in the world, a position which they have been touted for on countless previous occasions. Only by the Night is the ‘massive’ album adorned with gleaming production and radio pop songs that has propelled them to the top. Come the summer, expect KOL to be headlining yet more festivals and expect raucous sing-a-longs to big hits ‘Sex on Fire’ and ‘Use Somebody’. It is certainly a departure from the low key blues sound that first drew them to attention and some old fans will despair, everyone else will put on their dancing shoes.

7. Atmosphere – When Life Gives You Lemons, You Paint that Shit Gold

Tales of regretful hangovers and loss alongside some tasty loops give us Atmosphere’s most accomplished album. In contrast to previous efforts, which merely featured one or two standout tracks, When Life Gives You Lemons… has a great flow and consistency. Slug is an accomplished storyteller, his lyrics are resplendent with twists, are brutally honest and crucially, have flawless timing. He’s still catering to ‘the emo kids with too many feelings’ but he’s not as angry as before. It is an unashamedly poppy hip-hop album that is able to draw in new listeners from outside of the genre.

6. Dillinger Four – C I V I L W A R

They might have been away for a few years but D4 have never been more in vogue. With the emergence of ‘beard punk’ and the success of many bands on the No Idea roster [as well as, everyone you can think of proclaiming their love for Hot Water Music] people were digging out their copies of Versus God. D4 have been set up as big heavyweights of a scene that has progressed without them. Understandably there was great expectation for Civil War, which was originally scheduled to be released in 2006. Thankfully, it is quick, powerful, cutting, poppy and highly relevant. The previous ‘dumbass’ lyrics have put left behind but thankfully, the sense of fun remains. It’s everything we expected from the scene leaders, and more.

5. Foals – Antidotes

2008 took spiked, angular, ‘twinkly’ indie-pop supernova, with the two big hitters emerging as Foals and Vampire Weekend. The buzz and hype surrounding the groups was phenomenal and both had the material to back up the hype. In a longer list Vampire Weekend’s debut would certainly be featured. As for Antidotes, it defines this new wave of indie. Featuring the widely played [and praised] singles, ‘Cassius’ and ‘Balloons’, they spectacularly broke into the mainstream. However while they are widely renowned for ‘twinkly’ indie-pop the album sounds fantastic blared out at full volume, a sound which the band have replicated in the live arena. Progressive indie in the mainstream, are we all getting this? Apparently we are.

4. Johnny Foreigner – Waited Up ‘til it was Light

The debut from Birmingham’s enthused youth is absolutely infectious. In particular, the vocal effect of the duelling boy/girl singers is charming; each eager to step over the other’s lines. Johnny Foreigner are in a rush. The sprightly fuzzy guitar line is always getting quicker, and the frenetic album is in danger of derailing entirely. Fortunately it anchors itself with fantastic lyrics, oblique enough to hold your attention yet grounded in youthful traditions of crazed house parties and tricky relationships. Endearingly, Waited Up… is a brazenly English record, carrying a charm not dissimilar to the Arctic Monkey’s debut. It’s about car parks, shopping centres and getting drunk. If we can’t celebrate that…

3. Bon Iver – For Emma, Forever Ago

‘Retreat to the woods and write an album about a former squeeze,’ it sounds like such an obvious formula. Lovelorn, longing, acoustic melancholy enters the year’s best lists for what seems like the 2009^th time. Hauntingly punctuated with minimalist production, the songs are laid as bare as Justin Vernon’s love. Consequently appreciation relies on the listeners compassion. Helpfully, For Emma… treads on that most common of ground, it’s very much an everyman record. You will be back with a lost love, remembering it all over again, the way it felt for the first time. You’ll feel exhilarated, mournful and often completely crushed.

2. The Mountain Goats – Heretic Pride

John Darnielle’s metal album, Heretic Pride is a collection of intricately penned tales of horror kitsch. Whilst paying homage to various Scandinavian black metal bands, Heretic Pride is a staggeringly beautiful, hushed album. Standing in in contrast to the deeply personal 2006 release, Get Lonely, the first person narratives are more often nameless characters. This provides a base for some of Darnielle’s more flirtatious metaphors. Tales of hearts as autoclaves and an alienated H.P. Lovecraft in Brooklyn repay closer inspection. Darnielle has crafted another elegant wave of devastation.

1. Frank Turner – Love, Ire & Song

The acoustic troubadour’s second solo album will be cherished for years to come. It will be the definitive soundtrack to many people’s teens and early twenties. While traditionalists may smirk, Frank embodies folk music; his songs are poignantly, often painfully relevant. And whilst you are aware of his nasal voice, his sometimes trite and churlish lyrics, Frank never fails to draw a smile. Love, Ire & Song is a record about your mates, about the good times and the bad. It’s a sing-along album to be belted out at festivals and parties long into the night. It’s an album about ‘love, last minutes and lost evenings/about fire in our bellies and furtive little feelings.’

Lloydi