Crossfire Chronicles: Gnarliest Music Videos

Words: Stanley

Hey! Do you remember a time when MTV played music videos?  I’ll forgive you if you don’t because after adapting my brain to this ridiculous contraption we call the internet I too am shafted if I’m to recall or even comprehend how anything ever got done before it. Today, Crossfire Chronicles takes you on a time machine to a time when people actually paid attention to things so gather round kids because this is a true story.

Once upon a time a channel called MTV existed solely to make music more interesting. Every so often they got this right and songs that were previously unlistenable became awesome because we could see things like Peter Gabriel getting assaulted by a fruit salad before being replaced by two frozen chickens who know how to get down. Yet despite its enormous potential, MTV had one significant problem in that it frequently banned anything remotely interesting because pissy parents were always on the blower complaining instead of raising their kids to appreciate a good music video instead of well… doing this. Eventually this got out of control and MTV decided to stop playing music videos altogether and replace them with more family-friendly television series such as Jersey Shore, 16 And Pregant and Tila Fucking Tequila.

So for your enjoyment we have harnessed the power of the censorship-dodging internet to show you our picks for the five gnarliest music videos we can find. Most of these are massively unsafe for watching during work but if you didn’t figure that out already then maybe MTV banned these for good reason. Enjoy.


When Trent Raznor started to unscrew the artistic shackles placed on him by TVT Records, the methods in which he started playing with his new found freedom can be compared to the way a cat would play with a mouse, providing the cat was wearing a gimp mask and going at the mouse with razorblades and hammers. The video for ‘Happiness In Slavery’ was unsurprisingly banned basically everywhere on the planet for that very reason. Directed by Jon Reiss, we are presented with performance artist and part-time cystic fibrosis ignorer Bob Flanagan tortured by machines in stark black and white. We’re going in at the deep end here. Boys, hold on to your bollocks.


The videoclip that accompanies this excellent song that pissed off a whole host of people before it even had a music video accomplished three incredible things. Firstly, it managed to piss off even more people than the unambiguously titled song did in the first place. Secondly, its controversial status helped the single chart in more or less every country that had banned the video from being shown. Thirdly, it led to M. Night Shyamalan spending his entire career trying (and failing) to recreate that moment when the camera looks in the mirror and everyone watching clocks that the person we’ve just watched smacking bitches up in the video is actually a bitch too. Directed by Jonas Åkerlund, this video had the plot twist nailed.


Picking what Chris Cunningham video we wanted in here was a painful process. Not only did we have to decide what one of Chris’ consistently gnarly and even more consistently brilliant videos was to go in this article, but we actually had to sit and watch them all and now I’m physically unable to close my eyes. Though I was tempted to go with Windowlicker for its perpetually relevant poke at mainstream musician’s ego-centric methods of presentation, or Rubber Johnny’s celebration of distorted bodies and mindfuck editing, it became swiftly apparent that the obvious choice was the best choice. I mean, is there anything gnarlier or creepier than a bunch of Richard D. James clones running around the set of Clockwork Orange shouting at grannies? Answers on a postcard addressed to someone other than me thanks.


Romain Gavras’ most recent short film (that doubled as the music video M.I.A’s ‘Born Free’) managed to get banned from Youtube in the US. We’ve all been on Youtube before and we therefore know that this is more or less impossible. For example, this little shit has yet to be banned and I would like to know who at Youtube isn’t reading my letters of complaint. The problem with putting that on this list instead of his at-once alarming, exciting and gnarly video for Justice’sStress’, is that it had somewhat of a more obvious political point. The video for ‘Stress’ on the other hand basically showed a bunch of kids running riot La Haine style (sans-any-political-agenda-what-so-ever) and fucking shit up. That’s it. It’s great.


The video for ‘Corporate Occult’, a song (by some loose definition) by Finland’s electronic brick shithouse Huoratron, is as gnarly as the reportedly haunted forest of facial hair that’s rooted on the man’s face. Directed by Cédric Blaisbois, the video unashamedly borrows techniques from Chris Cunningham, Oren Peli and Alien’s ‘Chestburster’ scene to completely re-imagine the abbreviation ‘NSFW’. The video has been billed as blatant hardcore pornography and the music has been labelled as both intense and brutally painful. It’s most definitely gnarly and unquestionably not fucking safe for work. Or home. Or anywhere else.

Sleep tight…

Sonisphere: From The Ground Up

So there are some huge acts playing Sonisphere, including headliners Iron Maiden and Rammstein. Indeed, the festival has been winding its way round Europe with some absolutely massive bills including the much talked about ‘Big Four’ gigs at which Metallica, Slayer, Anthrax and Megadeth played on the same bill for the first time. It’s safe to say that Sonisphere as a brand is making quite a name for itself with some huge line-ups and huge festival sites across Europe. But what about the not-so-huge elements? The festival finally rolls into the UK for its second year on Friday 30th July and, if you squint hard enough, you can spot all manner of up and coming young bands on the poster for the event.

And so Crossfire’s preview of the event is going to focus on all the smaller stages, with just a couple of honorable mentions of bands playing the second and third stages. So take the time out at this year’s festival to discover the little guy. You might just find tomorrow’s main stage stars. Here’s Winegums run-down of some of the ones we think are worth your precious cider-swigging time –


Intense and heavy and skilled musicians to boot; you could do a lot worse than kicking off your Sonisphere with Chickenhawk on the Friday in the Bowtime Bar. In fact, their set has the potential to be a highlight of the festival as the band are guaranteed to put everything they have into fucking some shit up and attempting to burst your eardrums with their unique brand of hook-heavy sinister rock music.


Somewhat of a curveball at a festival for mainly heavy music, female-fronted Oxford-based duo Little Fish have the stamp of approval from Blondie’s Debbie Harry, Courtney Love and Linda Perry. Add to that the intensity of their live performance and you’ve got a band that are definitely worth keeping an eye out for and are certain to provide something different on the Red Bull Bedroom Jam stage on Saturday.


Raucous and slightly strange, Turbowolf play the Jagermeister Stage on Sunday. Prepare to be enthralled by their intriguingly skewed take on classic metal and rock’n’roll. Far from sounding like recycled versions of classic tracks, the band manage to unravel totally fresh-sounding nuggets of raw energy that explode like tiny bombs in a live setting. Catch them. They’re fun.


Bizarrely formed from former members of Adequate 7 and Fireapple Red, March of The Raptors do not sound how you think they might from knowing this info. They produce metallic punk rock that’s uncompromisingly full-on and filled with riffs you wish you could play, even if you’re not a guitarist. They play the Bedroom Jam stage on Friday.


PBC have the ability to provide an oasis of relative calm within the crazy metal-oriented antics of the weekend. Melodic punk with a slight hint of indie rock which enables them to alternate between a flurry of speedy punk beats in one song and a chilled out build-up through pure melody in the next, this band are a gem amongst an eclectic group of bands on the Bohemia Stage on Saturday. Miss them at your peril.


Brighton’s favourite punks continue their rounds on the European festival circuit with a turn headlining the Bowtime Bar on the Sunday of the festival. Up against some stiff competition from Iron Maiden on the main stage and Iggy and The Stooges on the second stage, we have no doubt that the band will be able to hold their own and play their hearts out as per usual to create a set to remember. Advocating non-violence in ‘the pit’ does not hold TGOAT back from purveying their own brand of hardcore-tinged punk rock. Drummer Mem has to be seen live to be believed.


If you want to hear a band who will baffle your eardrums yet leave you staring in wonder and awe, check out Converge on the Bohemia Stage on Sunday. Their intricate noise-core may not do much for your hangover but the band are just absolutely stunning live. Carnage will most likely ensue as dirty, sunburnt bodies go flying through the air. It’ll be a bit gross but kind of awesome at the same time. Probably not for the faint-hearted.


One of the most legitimate artists of the weekend, you can’t be sure what Henry Rollins will be talking about but you can be sure it’ll be entertaining. And it’ll most likely give you something to think about, also leaving you wishing you were half as eloquent as one of punk rock’s enduring legends. He’ll be on the Bohemia Stage on Sunday providing a little respite from the noise of the likes of Converge.


Ok, so they’re not exactly tiny but Bring Me The Horizon are clearly destined for bigger and better things as they gear up for the release of their third album. It’s no mean feat for a band of this ilk to sell out the Roundhouse but Visible Noise’s BMTH did just that earlier this year and brought the venue to its knees. On top of that, it’s always heartening to see British talent doing so well across the globe. Ignore the haters and see what all the fuss is about as one of the heaviest bands at the festival take to the Saturn Stage on Sunday.


Gallows have become legends in their own right and, as such, will be headlining the Bohemia Stage on the Saturday. Each and every time you see this band, no matter how many times you’ve seen them before, they never fail to amaze. Their set will be awesome. Standard.

We’ve put together a Spotify playlist of some of the most rocking songs from bands playing Sonisphere who we think you’ll enjoy. We decided not to discriminate against bands on the main stage when putting this bit together so there’s a bit of everything (well, most things) on there… Click on the festival poster below to take a listen. Enjoy!

Head to for more information and tickets.

Rolo Tomassi Interview

Interview: Sleekly Lion
Photography: Tom Halliday

In just a short space of time Rolo Tomassi have gone from the hardcore kids at the foot of an indie bill, to a mighty headline rock act in their own right. Their explosive performances alongside the likes of Biffy Clyro, The Bronx and Enter Shikari have spread their music wide, bringing in legions of fans from some unlikely sources.

Perhaps most unlikely of all was producer Diplo. Having produced for everyone from Britney Spears and most famously M.I.A, it feels strange to now include Rolo Tomassi in that list, after he took control on their latest album Cosmology. Fans can rest assured, though, because it’s still the same old Tomassi, who we recently caught up with before they took the stage at our Camden Crawl event.

So then, do any of the band skate?

A few of us messed around with skating when we were younger but never really pursued it. I was never really into it but Ed skated for a while. I remember once trying to come down a ramp, the board going from underneath my feet and smashing the side of my head on the hard edge of the ramp. I was put off after that!

Everything seems to be going well for Rolo Tomassi right now, are you excited to be playing larger stages?

We’re excited about everything. We have some pretty big shows coming up with festivals and whatnot and also some cool smaller shows too.

How was the recent tour?

It was great yeah. We were out for a week opening for Biffy Clyro with The Twilight Sad also playing. We got on really well with both bands and the shows were all great.

How would you account for your crossover success in, for example, the indie press, given the amount of heavier music that is virtually ignored?

It’s a difficult thing to pinpoint. I guess the fact that we don’t really look like we play in a heavy band helps, as lame as it is to consider that the way our band looks should even matter.

Having supported some bands that sound quite different to yourselves, you must have played to some pretty unresponsive crowds. Do you alter your performance to cater to different audiences?

I wouldn’t say we change anything about the performance but we might choose to play different songs. The Biffy tour was a good example of that. We used it as an opportunity to play almost entirely new material as we knew the majority of crowds wouldn’t know our band and we wanted to introduce people to our music with the new direction we’re going in.

What are the best and worst gigs that you’ve played so far?

We’ve been fortunate to have played a lot of amazing shows. I really don’t think I could pick a favourite! Recent shows that have been great would include our set at Great Escape last weekend, our headline show in Glasgow and the Empress Ballroom in Blackpool supporting Biffy. I tend to put a mental block on bad shows so I don’t realy remember any particularly bad ones.

What band have you had to follow on stage that you thought could be quite a difficult task after their stunning performance?

Trash Talk. They were consistently brilliant when we toured with them.

You worked with Diplo on the new record, how was the experience in the studio in LA?

It was unreal. We’ve only ever recorded locally before so to go to the other side of the world was ridiculous. He was great to work with and we’re all really pleased with the record.

What were you hoping he would bring to the table, rather than, for example, an experienced rock producer?

Just a different outlook on doing things. I think it would have been an easy choice to go with a more obvious rock producer but we would have made a more obvious rock record. We wanted to challenge ourselves and move outside our comfort zone.

Lyrically what does this record tackle the most?

The lyrics are about the experiences we’ve had on the road inbetween releasing Hysterics and beginning the writing of Cosmology. We spend a lot of our time in vans so theres plenty of time to think and get pretty philosophical with things. A lot of it, from what I wrote, deals with self assessment.

How do Eva’s vocals withstand the strenuous studio sessions and live battering?

She does a vocal warm up and looks after herself.

Any other band members other than Eva dating other band members?

No. Those of us who have girlfriends are all dating people who are studying!

How does Cosmology differ to the first album? And how do you feel about Hysterics now that the dust has settled?

Cosmology is a much more rounded and complete album. Hysterics was us trying to learn how to write an album. Looking back at it, Hysterics is definitely flawed in some areas but it means it served us well as a learning curve when coming to write the new record. That’s not to say we’re not proud of what Hysterics did for us. I don’t think we could have made a better album at that point in time.

Does it feel good to read articles about your band these days that don’t mention your age or is that still a ‘thing’ for journalists?

It seems to be mentioned less and less but it will still occasionally get brought up. Eva turned 20 recently so none of us are teenagers any more!

What other bands/records are you all excited about at the moment?

I’m really pumped about the Fang Island record. It’s so posi it’s ridiculous!

Did you all vote in the recent election?

I think 3 of us did. We were away during the run up to the election and I didn’t find time to register to vote. I’m not trying to make an excuse for myself as I’m pretty embarrassed about it.

What’s your take on the hung parliament?

It’s not the best thing that could have happened. I think it’s too soon to judge. A lot of people were seriously freaking out about Cameron being made PM. It was almost like the ‘About Last Night‘ episode of South Park that mocked the American election with supporters of other parties thinking the world would end the following day. That’s not to say AT ALL that I was backing him. Purely an observation. I think only time will tell with whats happened.

Pick 3 artists/songs that you would play David Cameron, Gordon Brown and Nick Clegg to sum up their characters…

Gordon Brown: ‘It wasn’t me’ – Shaggy
David Cameron: ‘Eton Rifles’ – The Jam
Nick Clegg: ‘The Kids Are Alright’ – The Who

Last words…

New record is out, we have a bunch of festival dates coming up. Check out our blog. Thanks to everyone who reads this!

Here’s some words with Rolo Tomassi from the Crossfire hosted Camden Crawl at the Barfly this year.

Devo – Something for Everybody Interview Pt. 1

When we heard that DEVO’s Mark Mothersbaugh was visiting London to talk up the band’s first album release in 20 years, we could not sit back and let it pass for this was our opportunity to meet the man at the helm of one the world’s most amazing bands. The new album Something for Everybody really was a fantastic surprise, many bands come back expecting to re-live the sweetness they tasted back in the day only to find out that their audiences have moved on…in DEVO’s case, their music can never date as it is one of life’s timeless delicacies that continues to be served up to new generations of people that know good music who usually become obsessed with their legacy as we did.

When we met Mark he was very complimentary of the fact that we are skateboarders, and commenting that skaters have always supported his band from day one. He grabbed the longboard we took along that Globe rolled out last year for their DEVO collab series, left his teeth marks in the paintwork and rolled some dice before turning our stickers in to rave sunglasses…

Enjoy the first webisode from the 30 minutes allocated to this session and find the second webisode here.

The new album Something for Everybody is released on Warner Bros and available right now. Go to for more.

Thanks to Tim Mogridge and Martyn Thomas for filming and Alan Christensen on the edit.

Introducing: Houdini Dax

I had a feeling that interviewing Houdini Dax wouldn’t be like interviewing any other band. I knew this before I had even climbed to the top of the stairs that lead out of See Monkey Do Monkey’s office and onto an obscure rooftop garden surely crafted by either Alice herself or a feng-shui expert who fell down a similar rabbit hole. You see, Houdini Dax simply aren’t like other bands. They haven’t released a full-length album yet and have already gained a whopping fan-base in South Wales and the collected respect from fellow Cardiff musicians and radio DJs alike. It’s not difficult to imagine why, their reputation is justified by the tightly written and flawlessly played tunes that barely begin to explain why their live shows are so damn exciting.

But as I was setting up my recording equipment, the idea that this wouldn’t be like any other interview was confirmed. I simply sat and watched, as four impeccably dressed, monstrously talented bastards so much younger than me play and climb on the rejected Wonderland stage props and pour each other cups of rain water tea whilst hollering esoteric in-jokes that I could barely comprehend yet couldn’t help but enjoy. Houdini Dax are a bucket-load of fun and with their debut LP due this Summer are expected to become a major blip on the rock ‘n’ roll radar. Darling, you belong to Dax…

Interview: Stanley
Mission Photographic

Let’s start with the name, it was inspired by a youtube comedian, right?

Jack: Dave loves Dax Flame…

David: I just love him, he’s very funny. I emailed him to ask about using his name in ours, and he replied asking what we had in mind. I told him we were thinking of either ‘Dax Flame’ or ‘Houdini Dax’. So he got back to me and told me “definitely not Dax Flame, because that’s my name. You can go with Houdini Dax, or I’d prefer ‘Dax Flame Is A Very Smart And Handsome Boy Who Rocks Very Hard’.” So I replied saying we were going to go with ‘Houdini Dax’.

Your music has a lot of distinct influences from a slightly more golden era of music. Who are your main inspirations?

Jack: It definitely has elements from the past, it’s bound to as we’re not inspired by the future because it hasn’t happened yet. So what we do is take the good bits from the past and fuse them together.

Owen: Any examples?

Jack: Well The Beatles is the obvious one… Bowie, The Kinks, Dylan, and the late, great Lady Gaga.

Why were you kicked off the stage at CIA?

David: Because we were shit. Really, we were. (Laughter)

Jack: Well, there was this absolute cunt called Mr. Pascoe. He was this big burly man with cargo shorts and it was all down to him.

David: On our first gig in Taff’s Well there was this shady bloke sitting at the back kind of tapping his fingers, he approached us at the end and said ‘we do a beer festival and we need a band, do you want to do it?’. We were thinking ‘shit! CIA!’, I was watching a Nirvana gig and thinking ‘yeah, it’ll be just like this’, even though it was our first real gig and we had no fans, only our mums. Anyway, we played the gig, we were on the stage and there was this massive gap between us and a bunch of cider drinkers. We were playing and it was this really, really weird atmosphere…

Jack: It was just a gang of middle aged men getting pissed, they didn’t really want to hear music.

David: We came off our first set and Pascoe came and told us we couldn’t do anymore and we were pretty devastated.

Owen: He said it wasn’t really festival music so we were kicked off by the male voice choir they had in instead, and they rocked it so fair play to them. Thing is, when we walked around afterwards, loads of people were asking for demos and saying they really enjoyed the set, it was just him and his shorts couldn’t handle it.

David: We’re still looking for him now. We really want to hear the song we wrote about him.

Jack: Mr Pascoe! Third song on the EP!

How did you guys meet?

Jack: The first band we were in was called ‘The Meantimes’ and we had just finished our GCSEs and wanted to get a band together, it was just me and Dave at first, doing some covers here and there and then we started writing together.

Owen: I was brought in on stand-in bass, not because I could play well but because I owned a bass.

David: Yeah he was in a band before called ‘Bone Idle’… and when they said ‘We’re Bone Idle’ I said ‘Yeah but what’s your band called?’

Jack: You didn’t say that!

David: Yeah but I was thinking it…

Owen: So I came in as stand-in bass for about a year and a half before they finally decided to just leave me there.

Jack: No he’s still stand-in bass, we’re still looking for another bass player, do you play bass?

Hahaha. No, sorry. Well, what happened next?

David: The Foreshadows! Except that people kept thinking it was ‘4 Shadows’ because there was four of us. We played a gig as ‘The Foreshadows’ but whether or not the promoters didn’t know how to spell the name or just hated it, we were listed as ‘Boyband’.

Jack: It just wasn’t a well publicised gig, it was really just an hour of covers and then 4 or 5 of our own songs, then the bloke asked us to play CIA and that’s we were took off. (Laughter)

What’s the Cardiff music scene like right now?

David: A bit shit.

Owen: It’s really hard to get people to come out and see live music now in Cardiff.

David: It’s really cliquey too. And being so young means we’re victim to being patronized a lot.

Jack: I wouldn’t say it’s too much of an issue for us, because we’re just going out and playing what we want to play. There’s not really anyone else our age playing the same kind of music as us, as passionately as we do. A lot of people are in it for being in the scene, having the haircuts and being cool but we just really enjoy going out and playing music.

With that attitude you seem to fit on really well with See Monkey Do Monkey, how did you get involved with them?

Jack: We had a few tracks on our myspace, and Aimee got in touch with us and asked us to come down to the studio and play a couple songs. Me and Dave went down with a bass drum and two acoustic guitars and just pissed around.

David: We didn’t really have a clue what they wanted so we just messed around. We played ‘Bike’ by Syd Barrett and before we started we starting tuning our guitars like in the Flight of the Conchords, a-a-a-a, c-c-c-c , just totally taking the piss but it went down well and people danced so that was really cool.

How does recording next to a micro-brewery influence your work?

Jack: It’s tempting, sure…

Owen: It does help at this age that we’re all totally skint and couldn’t afford to go down that slope.

David: Yeah, we had a couple of the chocolate beers and they were nice and all but we’re not massive drinkers really. When it comes to coming in and recording the album you have to stay focussed so we’ll have a couple of beers maybe but we won’t let it penetrate our work.

What’s your favourite venue to play in Cardiff?

Jack: The Globe. It’s definitely my favourite for going to see bands, because it has such a nice and warm sound to it. Even if the band is shit they’ll probably sound good.

How did the BBC Sessions EP come about?

Jack: We sent a few demos to Adam Walton, and he got in touch with us asking if we wanted to do a live session with him. It was a great experience, we had a really fun time and afterwards we spoke with Aimee and just decided to release it as an EP.

David: It was something we had ready too, all the songs were there and we just needed to get our name out somehow.

Owen: Yeah, we weren’t trying to sell a record at that time, just get our name somewhere so this worked out perfectly. Thanks to Adam Walton we got some really supportive publicity and knowing that he was just playing our music because he liked it meant a lot for us.

David: The accolade of somewhere like the BBC helps too, a lot of band we really respect and like have had releases through the BBC, the Nirvana Peel Sessions and stuff… If you can say your first release was on the BBC, then you’re gonna be shit-hot.

So what’s the debut album going to be like?

David: Eleven tracks of pure rock ‘n’ roll electricity!

Jack: Electrified songs!

Who’s producing it?

David: Richie from The Method is producing it.

Jack: Richie was perfect because we’re so friendly with him already. Rather than going to a producer we don’t know and paying him, we don’t have to pay Rich, which is the best part, but just by knowing him we can get a really good group effort on getting the best possible sound, and have a good time doing it.

I heard from the notorious cesspool of knowledge and disgust that is the mouth of Johnny Alchemist that one of you said that if you were to have sex with a member of The Method, that it would be either him or Richie…

Owen: Or Matt!

David: Yeah, he could blow my trumpet!

If you had to have sex with anyone in your own band, who would it be?

Owen: What do you mean if?

Jack: If it was a serious one then Dave, Owen would just be for the comedy factor.

David: We kind of dry-hump him all the time anyway, he’s like our little stand-in bassist experiment.

Owen: It’s fun being in a band…

Finally, and most importantly, the Houdini Test. If you were in a sealed glass box, that slowly began filling with water, how would you escape?

David: Break out the box of course. Just smash it.

Owen: That’s sort of a metaphor for how we write music actually…(Laughter)

Any last words?

David: You belong to Dax darling!

Owen: Oh fucking hell…

David: It might be the album title!

Owen: But it might be ‘Lesbian Wednesdays’…

Jack: Or ‘Absolutely Flabulous’.

Stereo:Type Crossfader Interview

Stereo:Type are a DJ duo formed from the hands and minds of two of electronic music’s most inspired producers and record splicers: Tommy Dash of Ctrl-Z, and the notoriously warped Screwface. It’s easy to say that their touch on breakbeat is in fact a rock-infused ironfist punch on all that encompasses electronica. In reality they are influenced by every genre that HMV succeeds and fails to mention, under the crucial condition that the music is hard, relentless and full of pounding groove. In a nutshell, Stereo:Type play and re-contextualise music that blows the fucking doors off.

It gives me an enormous feeling of pleasure to write that Stereo:Type will be the first DJs to be under the spotlight in our ‘Caught In The Crossfader‘ interview feature. What you get here is an insight into the minds of those behind the wheels of steel and a free mix courtesy of the DJs themselves. We got the horses mouth hooked up to a whopping soundsystem so take your bloody shoes off and shake things up a little bit.

You smashed it at our Halloween Massacre last year, did you enjoy yourselves?

Chris: That was definitely one of our highlights of the year! For us it was such a great gig because everyone in the crowd was on our wavelength, it was a little bit down and dirty, and there was plenty of skating and metal which is all good by us! Hopefully we’ll be back to destroy it again this Halloween…

What’s it like playing a set while a gang of skateboarders are killing it on a mini-ramp to the sound of whatever beat you’re dropping?

C: Well, hopefully they’re enjoying it and it’s helping to amp up the vibes on the ramp. Visually it’s a really cool thing to have going on when you’ve got a party going and it just adds that extra dimension to the atmosphere.

What’s the vibe when playing at an event like that compared to something more traditional, like the regular nights you’ve got at Judgement Sundays in Ibiza?

C: While we love doing gigs for people like Gatecrasher and Godskitchen, parties like Crossfire really give us the opportunity to just go balls out raving. We both come from a Rock/Metal background and in a personal way just love really gnarly music, and crowds like the ones at the Crossfire parties are really receptive to that stuff thrown in as well as the more standard party rocking stuff we usually play. We’d love it if we could turn up at somewhere like Tiesto in the park and play a bit of Pantera or Machine Head, but it’s probably not gonna happen anytime soon. So it’s a great that we get to do other kinds of gigs too.

There’s a lot of variety in what music you play in your sets, with the tongue-in-cheek mentality in how you approach trendy music you must have a lot of fun picking what goes in your record box. What are the constant sounds for you that don’t fall victim to the trendmill?

C: Yeah, picking what to play is a lot of fun, mostly because it’s totally no holds barred. If we like it, and we think we can get away with it, its going in! I think as far as not getting caught up in ‘what’s trendy’ goes, even if people want to hear a style that’s in fashion, we’re going to give it to them in a way they’ve probably not heard before. Also, even if a genre is in fashion, there’s always producers who are pushing the envelope for that sound.

The amount of side projects you do (including this one!) is bonkers. Briefly run through what you’re doing and what Stereotype is becoming now that you’ve established yourself as something more than just one half of Ctrl-Z and Screwface…

Tommy: Yeah, It is getting a bit bonkers at the moment. I still DJ and produce under Ctrl Z , we’re on a real dirty electro / dubstep hybrid tip right now,  and I also have another super secret act which has really taken off. Maintaining three acts and running a label is enough to send anyone a bit loopy! Stereo:Type started as a side project, we made the album in an attempt to launch the new DJ act, and now it has become much more than that and has kept us manically gigging over the past year.  Our style has been compared to people like  2manydjs with scratching, and that’s kind of where we want to be, build on the brand and incorporate visuals into the sets etc.

You run the Never Say Die Records label which has been throwing out bangers from Foreign Beggars and your own Ctrl-Z moniker, how do you extend your ‘keep to your guns’ and ‘never say die’ mantra through the label alongside your own music projects?

T: I set up the label with a friend last year as it seemed that the scene where we came from was disintegrating around us. There was a lack of music and certainly a lack of labels that were putting out diverse music and trying to start a movement. We haven’t made money from the label, the sales are great but we spend money on artwork, videos and building the brand so that our artists can benefit from such a platform. Musically we put out whatever we want, dirty dubstep, electro, breaks & drum n bass and we’ll continue to push music we believe in, even if the press won’t touch it with a bargepole.

Who’s on the label and why did you pick them?

T: The big hitters on the label are The Freestylers, Foreign Beggars & Ctrl Z. Artists that we are developing include Cutline, SKisM and Mindflow. I go way back with the Beggars & The ‘Stylers and they share the vision we have for the label; we are privileged to be releasing music from such legends! The new guys are all really talented so we really want to use the label to help kick start them in the industry.

You have a lot of collaborators on the Stereo:Type album, including Foreign Beggars, what do you look out for when choosing vocalists to sing on your beats?

C: It’s probably the same thing that everyone is looking for you know, people who are going to compliment your sound and are going to bring hype to the tunes. Certainly when we did “What’s that Noize!?” we wanted people who were going to bring that jokes vibe to the table too, which we definitely got from both Orifice Vulgatron and Beardyman who are both total characters and just hilarious to have around in general. Then on top of that we had people like MC’s Tali and $pyda, who both have very recognisable sounds and have heaps of talent.

Personally I’m sick of people who can’t seem to comprehend what a DJ does and with Stereo:Type you guys are doing a lot up there on those five turntables…so how would you describe your live sets to someone who doesn’t know what it is you guys do as DJs?

C: It’s kind of like a rave Jukebox on steroids, in as much as it’s quite fast paced with the main emphasis on the dancefloor energy. You’re guaranteed to hear tunes you know, along with some things you might not. All the time we’re up there, we’re constantly layering things together, and for probably 75% of the time, there are two or more things playing. Then we chuck in some scratching and turntablism for good measure. It’s been described in the past as ‘magical musical mayhem’.

How exhausted are you after 90 mins of mash-up madness on those decks?

C: Usually pretty knackered. Obviously there’s a lot going on all the time and so it’s really concentration heavy. We don’t really plan what we’re going to do in advance, so communication between us is key, which basically means not getting fucked before a set… On top of that we always just want to give 100% of ourselves to the crowd so that they have as good a time dancing as we are performing.

On the XFM session you did with Eddy Temple Morris did you set a record for the amount of your favourite tunes fit into a 10 minute mix? What are the stats on the street to beat?

C: We kind of opened the floodgates on that one. We did 64 tunes in 10 minutes which has since been bested in number, but certainly not in style. As Eddy said, “I don’t think anyone will ever beat you on quality…It’s the best 10 minutes of radio ever broadcast on The Remix.” You can check it out yourself HERE.

Is it competitive out there for mash up DJs – do people outdo each other for the hell of it?

C: Honestly, we don’t know that many other acts out there doing what we’re doing. Obviously there are people like 2manydjs who are in a lot of ways responsible for giving birth to the whole concept, and there’s also people like The Cut Up Boys who work for Ministry of Sound doing a similar kind of deal. I mean, it gets to a certain level of complexity and then the whole mash up idea just becomes un-musical. It’s crucial that it has all blends together in a musical way, because anyone could get up there and play a bunch of things which sound like two dustbins fucking….

What dastardly thing would you do to another DJ so you could wear the crown?!

C: We could splice some James Blunt into the middle of one of their tunes. Or we could give the people doing the visuals some photoshopped images of them fucking a monkey or something…

Do you go there with mash-ups in mind or is it a session of unexpected improvisation and just letting the music flow out as it wants to at the time?

C: It’s kind of half and half. Obviously with such an intense format we do have to prepare some things in order to make them extra special, but we also go out with the express purpose of freestyling, because some really great stuff comes out of doing things on the fly, which we can then go on to use again in future performances.

You both grew up with the likes of metal and punk rolling through your ears right?

C: Hell yeah, for both of us that’s our musical roots really. Nearly all of what we listen to for personal enjoyment is Metal. We’ve always loved bands like Metallica and Pantera, and in more recent years Killswitch Engage and Machine Head (since they stopped making shit albums and completely smashed it with ‘The Blackening’) And then in the same way as for many people, that bled through into Jungle and Drum N Bass and from there the rest of dance music culture.

Tell us a little about what’s on the exclusive mix we have here for Crossfire readers to download…must be a touch knowing you can get a bit hesh with the rock tunes for once?

C: Yeah, it was fantastic just being able to go for it without the usual restriction of ‘will this frighten people?’ We know that the kind of audience Crossfire gets are a lot more open minded and willing to have a bit of stuff they don’t know imparted on them. I guess we just tried to base it on a mixture of how we found the crowd at last years Halloween Jam, and the things we love personally. Obviously we had to throw in some Rock and then twist it up in our unique way, and then we filled the rest of the mix up with tunes we think are currently smashing it, or represent the future we’d like to see for dance music.

Why is new Muse stuff so shit?

C: Because Matthew Bellamy likes to dress up like Freddie Mercury in drag and pretends he’s in Queen…

What projects are you both working on in the near future and beyond?

T: We took a break from production to concentrate on DJing, but recently we’ve been inspired to get back into the studio so watch this space!

Last words….

Big shouts to Zac and everyone at Crossfire for getting us involved in the new site launch, it’s been a pleasure. If you like the mix then come and see us live, it’s even better when you see it for real. Also, you can check us out here online:

Facebook / Twitter / Soundcloud

Now, here’s where things get really awesome for you readers; Stereo:Type have kindly provided us with a BANGER of a mix for you to listen, download and get buck wild to. Get your hands on the good stuff below and have a party on us.

Stereotype – Crossfire Mixtape by Crossfire Music

The Young Veins Interview

The Young Veins were spawned last year following Ryan Ross and Jon Walker departing their former band – Panic At The Disco. The result of their musical endeavours since leaving Panic (Ross was the main songwriter of the band) are documented in The Young Veins’ debut album ‘Take A Vacation!’ Reminiscent of 60s acts like The Beatles and Beach Boys, the album is a summer journey of epic proportions and has the potential to become the soundtrack to anyone’s summer. It’s hard to believe that frontman Ryan Ross is so young having written such sincere and well-crafted songs as those present on this album. We caught up with him to hear about the process behind the album and what went into making it.

It’s been just under a year since Jon and Ryan left Panic At The Disco. That seems to be a fairly short time to form a completely new band, write an album’s worth of material, get it recorded, find a label and release it. How did the progression move along so quickly? I’m guessing it was a smooth transition?

It was a smooth transition because Jon and I had been working on material all along. We only had to write a few more songs after the split in order to have enough for the album. The hardest part was trying to find a good band after the album was finished. We had friends play what we couldn’t on the album but they already had other things they were doing on their own and wouldn’t be able to tour with us. Once we did find the other guys it started to feel like a real band.

How long did it take to write and record?

It’s hard to say exactly because we never really sat down to just write for this album. I’d say Maybe about 4 months total though.

Any interesting tales from the studio? What was the atmosphere like?

The atmosphere in the studio was very enjoyable, we had friends around helping and had a good idea on what we wanted things to sound like before we ever started recording. I think that alleviated a lot of would-be stress.

Your debut album ‘Take A Vacation!’ is very evocative of Southern California. How did your experiences of that part of the world influence your sound and lyrics?

Funnily enough, I don’t think any of the songs that mention the beach or ocean were written in California. I think the only ones we did there were “Change” “Capetown” and “The Other Girl“. I think if anything, for me, moving to California was just a change of scenery.

What sights and places would you advise people to visit when in Cali?

There’s a place called Point Dume up the coast. It’s one of our favorite places to go, you can climb up on the Point and see for miles out into the ocean.

Can you name one song by another act that sums up what California means to you?

That’s a tough one, I guess I could say that as a child, the first song I think I ever remember hearing and singing along to would be “Catch a Wave” by the Beach Boys. I had this image in my head as a kid that if you went to the beach in California they’d be there in the sand playing it.

The record also touches on experiences in other countries across the world, presumably from touring experiences. Who was the girl in the song ‘Cape Town’?

If I gave away everything there would be no room for imagination, no mystique left!

Any UK-centric experiences influence the album?

Unfortunately no, we haven’t been across the pond in so long! I’m hoping we get there soon and I’m sure there will be lots to write about.

What are your Top 5 parts of the world?

Ah, well based on places I’ve been, in no order: South Africa, Australia, UK, Europe, and the Pacific Northwest of the U.S.

There are clearly some very strong influences from legendary bands such as the Beatles and Beach Boys on ‘Take A Vacation!’. How did you go about reconciling their musical influence on the band with a more modern day feel and your own stamp of originality?

I don’t think we try to emulate any of our influences, the whole idea is to use what was there before you and make it your own. All the greats have failed at copying their idols.

How do you feel about anyone who insists on comparing The Young Veins to Panic At The Disco?

I guess you can compare it however you want. I’m not sure what good there is to get from it though. I don’t see why, if you’re going to compare it to Panic, then why you shouldn’t compare it to whatever else is out there.

When are you planning on bringing your live show to the UK? Do you think it will be in support of another act, for festivals or straight in as a headline act?

There’s been talk of coming over sometime this summer, the album comes out soon so I think after that happens we’ll start looking at things. Unfortunately I think we missed the cut off for the festival season which is too bad because those are always a ton of fun. If it’s up to me we’ll be there as soon as we’re done with this tour in the States.

Who would be your ideal touring buddies?

Well we’ve been trying to do something with the Like since before either of our albums were out so hopefully that can happen soon.

The Young Veins
release their debut album ‘Take A Vaction!‘ in the UK on July 5th.

Boe Weaver interview

Sometimes you can come across a musical project that encapsulates the fun we all have in our lives which then instantly becomes a soundtrack to get you through your daily grind. We were lucky at the back end of 2009 to discover that more of this fun we speak of was bubbling away in a remote studio down South in the magical island of the Isle of White, so welcome to the world of Boe Weaver, where 3D sunglasses are needed just to understand the madness of what is being concocted.

They are currently working on a new project with some of Hip Hop’s biggest names to create a psychedelic/rap/soundtrack masterpiece and are also working with some new vocal discoveries from their trips across the net. In the time it has taken to put this project together, they have recorded close to 30 pieces of music, reworked and remixed everybody from Cee Lo to Paolo Nutini to Temper Trap and even Tom Jones. Lots of people are whispering their names right now, here’s your chance to hear why…

Please explain the world of Boe Weaver in one line…

Boe weaver spit out pure acid freak soundtrack music for monster movies!

Is Boe Weaver a force like Jedi or indeed some dude who lives in a grannie flat on the Isle of White?

It’s both. Yoda ended up hiding in a swamp and we do kinda the same thing…the only difference is that we run everything through a space echo and don’t hang about with a post car crash Mark Hamill. Now you mention it, we do wear dressing gowns and smell like wee… just like a Jedi.

Explain who is behind the project and how it was formed...

Hello, we are the brothers Homes aka boe weaver. Our tracks started as studio production techniques and transformed into songs. (Songs with no words).

Do you play live?

Nope. Not yet anyway.

What’s the connection with Cherrystones?

Our manager swaps music with him, we listen to it.

Is Boe Weaver a full time meal or a side dish?

Boe Weaver is the cheeky mars bar on the way home from dinner = Boe weaver is our creative reaction to the bland music we record for a living.

You have remixed a few records, does Bertie Big Balls always get what he wants on his terms?

Bertie Big Balls is a like watching a documentary on our working life. A&R men really are like that kids! Go work in a bank.

We think you should take him on in a brand new viral episode…

Taking him on in the real world was enough for us… we won btw.

What approach do you have to remixes compared to your own music, do you find it a challenge or just fun to fuck about with other people’s art?

Remix work is not comparable to our music. We ALWAYS have to pull back a bit (there are lots of people to make happy on a remix). Boe Weaver remix’s are like a dirty affair… Its seems like a sexy idea, but in the cold light of day your are just left feeling used and violated. Ha ha ha! Violated with a fuzz pedal. We have a simple format for remixes, we throw away everything (except the vocal) and re-make the song as we hear it.

Which ones were fun and what’s coming up?

They are all fun, getting something good out of something not good is always a challenge.
Vu records, is this your own label? Do you think that in the future more people will just release their own records rather than hawk a dying industry that was never prepared for new media and still isn’t

Big labels are like graveyards. Full of zombies! If you have the money or (the backing) then setting up and releasing a record is nothing you can’t do on your own, More and more people will do it im sure.

Production is obviously important to you, how technical do you guys get in the studio? Would you say you were nerds?

We are nerds. FACT. We love obsessing about sounds. The technical aspect is foreign to us, its all trial and error. That’s the only way to get something interesting – listen to things. We are quick once we are recording. A Boe Weaver song is a one-day write, record and mix.

What’s the longest time spent on a particular sound you have tried to either re-create or invent a noise you have identified for a particular song?

All the best noises happen by accident… leave a pedal in line or record the wrong mic etc.. If we are trying to recreate a sound we do it in a workshop so it doesn’t ruin a sessions flow.

If you had to list a favourite production expert from over the years who would be your top choice?

Oooooooooo, that’s hard! Bob Rock? Ha ha ha!

Movies are obviously an influence on your music, I get a mix of Bruce Lee, Hammer House and Russ Meyer as images when I hear your music, do you also get the Horror licks with Kung Fu style Big Tits connection or is there another mix of films you come up with when looking back on your sound?

You’re pretty much bang on it. We see it more as mysterious cities of gold intro with an Ulysses middle eight. It’s hero music! They are all themes for your hero’s out there!

Your music feels like it is screaming out for vocals, will the follow up to this mini album feature a vocalist for the band or guests?

The more people bang on about vocals the less we feel like doing them – we are working on it though. We are in the process of making a choir, “the choir of dead” to be exact – a little like the witches in ghouls but with the Wolf Man, Baron Greenback and the guy from Focus thrown in. The choir is on the second record we are working on.

Your Ghouls video was made on the cheap, we heard rumours of 90p?! Is this a new wave of economy indie?

Videos are dull to make, we decided to have fun while doing it. A green screen and dumb animal masks helped that along…to be honest it was £10.90. (£10 for masks, 90p for clothes pegs to hold up green screen!)

Do you have to watch it in 3D glasses to get the best out of it?

You have to be using ‘Boe Vision’, ask your local spec savers about the option next time you get a trendy pair of NHS specs.

Boe Weaver “Ghouls” from VU Records on Vimeo.

You obviously love the psychedelic aspect of life, is 2010 the year that will bring the Nuggets back out into the mix?

I hope not (puts on his best Shoreditch voice) “we wont like it once everyone else does”.

Name 5 recording artists that you cannot live without…

Link Wray
Archie Bronson Outfit
Ennio Morricone
Pete Reno
The Sonics

We can hear your music all over raw skateboarding due to the lack of vocal interruptions and general flow, is this an area you want to explore moving forward?

We both grew up on skate VHS’s and all joking aside it’s something we think about when we do a track..’would it work on a skate promo…’ To hear our music on a production would be grand!

I take it you are aware of the Wight Trash skate movement on the Isle?

We are close friends with John the owner. It’s his camera we borrowed to film the Ghouls vid.

How can you skateboard with massive panda heads on?

Sitting down, in a ‘true toys down a hill’ kinda way.

What’s the reaction of people in the local supermarket when you guys roll in for some fresh meat dressed in bear suits?

This is the IOW, they don’t even blink.

Finally, who would win if Boe Weaver were put up for a fight with Wolf People and the Gaslamp Killer?

Hmmm, can we have a clock tower and a Parker Hale Model 85?

Any last words?

Hum Hum Chuff Chuff

Boe Weaver’s exotic, psychedelic debut album is out now on Vu Records and will be your new favourite album of 2010. Visit their myspace for the sweets and i-tunes to pick one up.

Crossfire – Albums of 2009

What a year for music 2009 proved to be. The recession didn’t stop the rock, it actually fueled it with more underground wonder than ever before. The psychedelics got stronger, the beats got darker and the hardcore raged harder than ever. The following end of year top 10’s were not easy to put together but this represents what releases were played heavily on the Crossfire Sound System from all of our writers throughout 2009. Enjoy.

Trotty P:

1. HEALTH – Get Color (City Slang)
2. …And You Will Know Us By The Trail of Dead – The Century of Self (Superball)
3. Pissed Jeans – King Of Jeans (Sub Pop)
4. Fuck Buttons – Tarot Sport (ATP Recordings)
5. A Place to Bury Strangers – Exploding Head (Mute)
6. Ramona Falls – Intuit (Souterrain Transmissions)
7. The Thermals – Now We Can See (Kill Rockstars)
8. Sonic Youth – The Eternal (Matador)
9. Comanechi – A Crime of Love (Merok)
10. PJ Harvey & John Parish – A Woman A Man Walked By (Island)

Tips for 2010

Musee Mecanique
Esben and the Witch


1. Thursday – Common Existence (Epitaph)
2. Manchester Orchestra – Mean Everything To Nothing (Columbia)
3. Polar Bear Club – Chasing Hamburg (Bridge Nine)
4. The Ghost of A Thousand – New Hopes, New Demonstrations (Epitaph)
5. The Audition – Self Titled Album (Victory Records)
6. Brand New – Daisy (Interscope)
7. P.O.S. – Never Better (Rhymesayers Entertainment)
8. Say Anything – Say Anything (RCA Records)
9. Gallows – Grey Britain (Warner Bros.)
10. Phoenix – Wolfgang Amadeus Phoenix (V2)

Tips for 2010

Bad For Lazarus
We The Kings
So Many Dynamos


1. P.O.S. – Never Better (Rhymesayers Entertainment)
2. Felt – Felt 3 – A Tribute To Rosie Perez (Rhymesayers Entertainment)
3. Mos Def – The Ecstatic (Downtown)
4. Every Time I Die – New Junk Asthetic (Epitaph)
5. DOOM – Born Like This (Lex Records)
6. Mayer Hawthorne – A Strange Arrangement (Stones Throw)
7. Brother Ali – Us (Rhymesayers Entertainment)
8. Clipse – Till The Casket Drops (Columbia)
9. Doomtree – False Hopes XV (Doomtree Records)
10. Orelsan – Perdu D’Avance (7th Magnitude / 3ème Bureau)

Tips for 2010

Mount Kimbie


1. Zombie Nation – Zombielicious (UKW)
2. Memory Tapes – Seek Magic (Sincerely Yours)
3. Bibio – Ambivalence Avenue (Warp)
4. Animal Collective – Merriweather Post Pavillion (Domino)
5. Clint Mansell – Moon (Black Records)
6. Bomb The Music Industry! – Scrambles (Quote Unquote)
7. First Aid Kit – Drunken Trees (Polydor)
8. Beak > – Beak > (Invada)
9. Huw M – Os Mewn Swn (Self-Released)
10. Peter Broderick – Ten Duets (Digitalis)

Top tips for 2010

First Aid Kit
Tim And Sam’s Tim And The Sam Band With Tim And Sam


1. Gallows – Grey Britain (Black Envelope)
2. The Shitty Limits – Beware The Limits (Boss Tuneage)
3. Darker My Love – ST – (Dangerbird)
4. Converge – (Epitaph)
5. The Hickey Underworld – ST (Naive)
6. Dead Confederate – Wrecking Ball – (Kartel)
7. The Ghost of A Thousand – New Hopes, New Demonstrations (Epitaph)
8. Mastodon – Crack The Skye (Reprise)
9. Alberta Cross – Broken Side of Time (Ark Recordings)
10.…And You Will Know Us By The Trail of Dead – The Century of Self (Superball)

Tips for 2010

North Atlantic Oscillation
Foxy Shazam

Pete Craven

1. Wasted Time – Futility (La Familia)
2. Shitty Limits – Beware The Limits (Boss Tuneage / La Vida Es Un Mus)
3. Destino Final – Atrapados (La Vida Es Un Mus)
4. The Horror – Spoils of War (Grot)
5. Stupids – The Kids Don’t Like it (Boss Tuneage)
6. Burning Heads – Spread The Fire (Opposite)
7. T.V. Smith – Live at The NVA (Boss Tuneage)
8. Burnt Cross – Too Many Graves (Tadpole / Opiate)
9. Beginning of The End – If You’re Going thru Hell… (Active Rebellion)
10. Geriatric Unit – Permethrin Blues (Boss Tuneage / La Vida Es Un Mus)

Tips for 2010

Threat Manifesto

Dee Massey:

1. Jack’s Mannequin – The Glass Passenger (Sire/Warner)
2. Brand New – Daisy (Interscope)
3. Phoenix – Wolfgang Amadeus Phoenix (V2)
4. The Get Up Kids – Something to Write Home About – 10th Anniversary Edition – (Vagrant)
5. The Lemonheads – Varshons (Cooking Vinyl)
6. Mumford & Sons – Sigh No More (Universal/Island)
7. Taking Back Sunday – New Again (Warner)
8. Biffy Clyro – Only Revolutions (14th Floor Record)
9. Kasabian – West Ryder Pauper Lunatic Asylum (Sony)
10. The Big Pink – A Brief History of Love (4AD)

Tips for 2010

Cassette Kids
Wild Light

Tom Lindsey:

1. Shrinebuilder – Shrinebuilder (Neurot Recordings)
2. Mastodon – Crack The Skye (Reprise)
3. Outlaw Order – Dragging Down The Enforcer (Deep Six)
4. William Elliott Whitmore – Animals In The Dark (Anti-)
5. Doomriders – Darkness Come Alive (Deathwish Inc)
6. Them Crooked Vultures – Them Crooked Vultures (Sony Music)
7. Goatwhore – Carving Out The Eyes Of God (Metal Blade)
8. Venomous Concept – Poisoned Apple (Century Media)
9. Skeletonwitch – Breathing The Fire (Prosthetic Records)
10. Mariachi El Bronx – Mariachi El Bronx (Witchita)

Tips for 2010

The Devils Blood
Hang The Bastard
Arson Anthem

James Sherry:

1. Gallows – Grey Britain (Black Envelope)
2. Pissed Jeans – King Of Jeans (Sub Pop)
3. …And You Will Know Us By The Trail Of Dead – The Century Of Self (Superball)
4. Them Crooked Vultures – S/T (Columbia)
5. The Shitty Limits – Beware The Limits (Boss Tuneage)
6. Converge – Axe To Fall (Epitaph)
7. Nirvana – Bleach Reissue/Reading 1992 CD (Sub Pop/Universal)
8. Darker My Love – 2 (Dangerbird)
9. The Flaming Lips – Embryonic (Warners)
10. The Lemonheads – Varshons (Cooking Vinyl)


1. She Keeps Bees – Nests (Names)
2. Kasabian – West Ryder Pauper Lunatic Asylum (Columbia)
3. Miike Snow – Miike Snow (Columbia)
4. Grizzly Bear – Veckatimest (Warp)
5. Animal Collective – Merriweather Post Pavilion (Domino)
6. Bill Callahan – Sometimes I Wish We Were An Eagle (Drag City)
7. Regina Spektor – Far (Warner)
8. The Twilight Sad – Forget The Night Ahead (Fat Cat)
9. Modest Mouse – No-One’s First and You’re Next (Epic)
10. Beirut – March of the Zapotec (Ba Da Bing)

Tip for 2010

She Keeps Bees

Get involved in writing alongside us this year when we relaunch the music zine as we are looking for 3 music writers who can review singles and albums in the Buzzchart and also cover live reviews and interviews. Send us some examples of your reviews and we will get back to you.