Review: Dune: Part Two

Azrael Tay on 9 April 2024

In the shadows of Arrakis, a boy grapples with legend and the threat of war looms – as Denis Villeneuve and company deliver movie magic

daydreamers: A Shining Synth-Pop Single

Gabriel Morrissey-Limb on 7 April 2024

Written by Gabriel Morrissey-Limb, Edited by Millie Cain.

After several weeks of teasing their debut track all over social media, new British Indie-pop band daydreamers have released ‘Call Me Up‘ a track drenched in inspiration from the synth-pop era of The 1975’s 2016 album ‘I Like It When You Sleep For You Are So Beautiful Yet So Unaware Of It‘, however with its catchy hook and lyrics that would catch even the most cynical zoomer’s ears; daydreamers have established themselves as exciting new prospects in the competitive British music scene.

The song is essentially a plea masquerading as a suggestion to a love interest, ‘let me meet you on the dark side of your bedroom’ and the repeated cries of call me up’ echo this sentiment. The song is bathed in the dreamlike indie-pop sound that British music has slowly embraced in the past 10 years.

The track begins with the previously mentioned indie-pop sound diving headfirst into the chorus with impressive vocals provided by lead singer Hugh. The song then details being bored by city living before posing subtle questions of How you keeping? and ‘How’s your weekend’ the feigned interest in small talk is something most people dealing with modern romance can relate to, the idea of the song is helped by the dream-like sound that the band has set itself upon using.

The second verse keeps up the ideas of being tired of modern life and people, comparing other people to the person this song is about simply isn’t possible. The pleading returns here as Hugh sings the suggestion of calling this person whilst their friends are in the bathroom, before sliding back into that catchy hook.

The musical qualities of the band absolutely shine on this track, serving as a very impressive debut, they have a talent for melodies and catchy song writing, Their lyrics are something that gen z can relate to, struggling with modern love and interpersonal relationships and with this track alone they have captured that feeling of love in an uncertain future. If this track is any indication, daydreamers are a band to keep your eye on.

IDLES: Plastic Punk or Proper Passion?

Millie Cain on 4 April 2024

Written and Edited by Millie Cain.

A spontaneous show under the white lights of Project House, IDLES returned to Leeds for a double show evening celebrating the release of their new number 1 album “TANGK”. A vibrating crowd, the excitement of the sudden announcement of the gig and bouncing off the energy of a brilliant album made for an electric atmosphere. Diving into the crowd with my lovely friend Abbie, glowing in her cherry-red IDLES t-shirt underneath a huge smile, we could feel the anticipation snaking through the crowd. 

To the roars of “Idea 01”, IDLES launched onto stage, a flurry of movement, energy and charisma, lead singer Joe Talbot rested a heavy boot atop of the speakers and leaned into his audience, wearing a colourful “Don’t Mess with Yorkshire” t-shirt that definitely warmed the crowd, especially as he later commented that Leeds was “his favourite city” and his desire to move here from London, once his kids were grown. True or not, the crowd screamed back, wanting to keep Talbot forever in their town.  

They followed up with banger track “Gift Horse” with its addictive baseline as they tiptoe the line between steely electronica and post-punk. Then straight into their ironic single “Mr Motivator” reflecting on their own place as an ‘issues band’, they treated the crowd to their big hitters and the best of the new album. “The Wheel” went down ridiculously well, with the crowd starving for the noise, in between songs the band screamed “Viva Palestine” and repeating an advocate for peace that was reflected by their crowd. New single “Grace” made waves in the room, as well as online upon its release, with the video being a deepfaked copy of Coldplay’s ‘Yellow’ we saw an eerie Chris Martin with Talbot’s falsetto. For this album the band re-engaged with studio wizard Nigel Godrich of Radiohead glory, to co-produce TANGK with hip-hop genius Kenny Beats making for a hugely interesting sound with the blend of Godrich’s beloved analog tape loops and Beats’ in-programmed drums with layered synths that are standout in “Grace”. 

Collaborations on TANGK has really elevated the band’s sound, lead single “Dancer” with LCD Soundsystem is undoubtably strong, with plosive energy pulsing throughout that Talbot describes as “ the violence that comes from the pounding heart of the dancefloor”. With inspiration of the disco scene they experienced supporting LCD Soundsystem’s US tour. 

Closing their set were classics “Never Fight A Man With A Perm”, happily bellowed by a crowd of very permed men, and ending on “Rottweiler” as Talbot dropped back for drums and Bowen, floating around in dress that would make Florence Welch jealous, lead the ending, expressing their love (a word which is mentioned no less than 29 times on TANGK) for their crowd; and their partners, and mothers.  

Now they’re back on top of their game, they’re coming back under fire for previous comments made by older ‘punk’ rockers Sleaford Mods for portraying working class problems as their own, without actually experiencing these and using them as content. Ideas surrounding ‘relatable’ lyrics and songwriting, especially in ‘Scum’. However, after doubling down on their frenzied political attacks, in previous album “Crawler”, we can tell they’ve taken a step back and returned with a different spirit. It’s easy for everyone online to jump on a negative bandwagon, before taking a moment to try to at least support the cause that is being fought over, people have always desired to tear down political bands, even a fellow posh boy lead singer Alex Rice of Sports Team was quick to criticise, yet perhaps many people like these could do some internal reflection. Not that IDLES seemed to care in the first place- loudly announcing in 2019 that they didn’t class themselves as punk at all and Bowen only commented that he was happy to “let them scrap about it themselves”. While they’ve shown sympathy, and a desire to defend the underrepresented, we do need to remember a line between public support and exploitation. They shouldn’t be shunned for discussing issues, but for profiting off them.  

For TANGK they focused on the women in their life, the uneven gender landscape and, of course, their usual tory bashing. With their more recent commitment to family life, Talbot has even recently been on CBeebies ‘Bedtime Stories’, a slightly softer approach than his usual public appearances. While any political band will face backlash, many fans seem to appreciate their consistency to their ideas, and it’s culminated in a Mercury Prize nomination and in TANGK reaching number 1. With 2 unbelievably strong first albums, IDLES made a blast of impact following the wake of Brexit, and the rise of the far right in Britain, followed up with some less impressive records, but have evidently found their touch again.  

Mother Mother’s “Grief Chapter”: An Ode To The Absurd

Charlotte O'Reilly on 22 March 2024

Written by Charlotte O’Reilly, Edited by Millie Cain

Disheartened by the acceptance of the futility of human existence? Want to find relief in the absurdity of living in this mortal plane? Looking to find solace and company in your Dostoyevsky-esque philosophies; or reject them completely? 

The Canadian indie rock band: Mother Mother, return for their ninth album- “Grief Chapter”.  After 19 years, the band’s transgressive sounds and lyricism still stand strong. I was privileged enough to see them live in February and this eclectic blend of their classic rock sound and fresh pop tone filled Leeds’ 02 Academy with a rather joie de vivre whilst grooving to lyrics pondering our very mortality- as “Nobody Escapes”. 

Nihilism, existentialism and absurdism: “Grief Chapter” rethinks previous themes and rejects them as “The Matrix” denounces “Burning Pile”. The ninth track of their new album depicts a parallel dissatisfaction with life but demonstrates how we can surpass these societal constraints- as opposed to surrendering to them as in “Burning Pile” as time continues to rule us. 

Ultimately, past their core angst which still remains prevalent throughout the album; this is a call for empowerment. Ryan Guldemond swaps his electric guitar for an acoustic as the album finishes with mellow vocals and the denouement is tranquil- perhaps how the end will be for all of us after a brief swell of “madness”: there is peace.

Online dating: The quest for intimacy in the online world

Lola Cook on 8 March 2024

Dating apps have enveloped our generation. 

They suck users in with ego-boosting likes on hinge profiles, where you remain eternally sun kissed and stunning in the pictures from your girls holiday. You check your messages and matches, rotting away in bed, disheartened that the stunner of your dreams hasn’t popped onto your feed. You sigh, wondering if one-worded sexual compliments from unidentifiable strangers in group photos are really as good as it’s going to get. Your dream of bumping into and falling in love with Paul Mescal puts any potential matches to shame; but what is a girl to do when real life interaction and intimacy has started to feel unattainable.

The easiest place to find solace after a breakup or rejection is in the warm arms of the dating apps. The matches, messages and likes are quick validation, assuring us that we are attractive and appealing, when we can’t seem to muster up the love to tell ourselves. It doesn’t take long for the attention to become addictive, and when no one has liked your profile in a few days, we are left feeling as though we aren’t enough. When a match finally pings itself across your phone screen you allow the grip of validation to hook you. 

A huge issue with dating apps is that your profile is not representative of you. Instead, it is a contorted highlight reel of your life, designed to fit into a few prompts. What others see of you is a polished top trump card, and whilst this may make us feel confident, it acts as a barricade to intimacy. The bellow of your laugh and the passion you have for the things that you love are not what people see when they like your profile, and I worry that our interpretations of electronic gestures take us further and further away from genuine human connection. On top of this, the amount of choice that is available at your fingertips is so far from reality. We flick through profiles without so much as a second glance, discarding people at the first sight of something we don’t like about their physicality. Whilst it’s important to know what you’re looking for in a partner, I sometimes wonder if the array of choice leaves us always waiting for ‘the best’, running on a hamster wheel, determined to find a carbon copy of our ideal match. 

Dating apps make access to casual sex simple, and in my opinion, have been revolutionary for women’s ability to wield their sexual liberty. The freedom to choose to have sex with as many people as you please is not something that women should ever be shamed for, although I think it’s incredibly important that casual sex is engaged in for self-empowerment rather than in pursuit of validation or plastic intimacy. The danger of this never-ending access to casual sex is our desensitisation to the fact that these profiles belong to real people. The way that dating apps make us feel as though we’re playing a game encourages the idea that the people behind these profiles are disposable. My concern is that this further entrenches a harmful belief held by some, that users, specifically women, are sexual objects. Obviously, this is not an issue born out of dating apps but rather another factor that women have to navigate in the extensive web of misogyny that shrouds dating culture. The combination of not having to see someone in real life and having the freedom to message them whatever you want, leaves women open to experiencing gross sexual harassment and misconduct online, and constitutes one of the darkest parts of the world of dating. 

My biggest hope, especially for women who have been made to feel worthless and deflated after using dating apps, is that they never forget how truly lovable they are. Your dating profile doesn’t dictate your worth. Nobody can take that away from you.

Everyone’s Favourite Hippie Dad: Beans On Toast Live Review

Maddie Nash on 8 March 2024

Written by Maddie Nash Edited by Millie Cain

To celebrate the mammoth achievement of releasing his sixteenth album, ‘The Toothpaste and the Tube’; cult folk figure Beans on Toast embarked on his new UK tour doing what he does best: playing intimate, community-led venues to spread his message of positivity and hope. With a new album released every year since 2009, it is a testament to the success of his beloved hippie-uncle image that his shows constantly generate a raucous, feel-good energy.

What characterised the venue room of Brudenell Social Club that night was the sloshing of beer and dad laughter, rhythmically rising and falling together; the room that has seen so many different acts was transformed into the cosy familiarity of a small-town pub. As Beans on Toast steps out, his run-of-the-mill-hippie-dad persona was greeted with a warm and particularly rousing welcome, the majority older crowd hailing him with applause.

Debuting songs from his new album took the crowd by storm, less acoustic focused than his more popular work; it was these songs which had everyone dancing. In keeping his signature homely, honest vocals, lead singer Jay McAllister mixed the funky backing of his band with some incredibly catchy choruses such as ‘Back out on the Road’, which leave you singing along, even if you’ve never heard it before. It seems impossible that the band were formed especially for this tour and met on the way to their first gig. The instrumental meshed together seamlessly, with tracks such as ‘What would Willie do?’ defying genre categorisation. It is apparent to me that Beans on Toast is an icon of cult folk due to his ability to lace his music with rock, country western, and jazz so successfully. 

Part of what made this gig so successful was the intimate feel of it. It was obvious that he loved the crowd with a genuine earnestness, and they adored him back for it. From counting in a rousing chorus of ‘Yorkshire!’ to singing happy birthday to audience members, every interaction felt deliberate. One of the most important elements of folk music is in grassroots tradition and community; it’s the music of the people by the people, from historical working-class national songs to the folk of today. Beans on Toast is such a successful folk figure as he understands this perfectly. Such a strong sense of community banded around the room, linking us all together. The support acts were internal, various members of the Beans on Toast band getting an opportunity to solo, from the silky keys of pianist King Killership to the spoken word poetry of Bassie Gracie – a set that started off humorous and ended with some surprisingly striking and powerful images, capturing the trippy, disorientating feeling of Beans on Toast’s music by shrinking the line between song, poetry, and art.

The acoustic set still works just as well though, and the softer melodies don’t fall flat due to the crowd singing along making it sound almost like a lullaby or a hearty campfire retreat depending on the song. This simple storytelling works as the writing is so personal, a particular standout being ‘The Album of the Day’, his adoration for his daughter shines through this beacon of fatherhood fantasy. The positivity and sentiments of the songs are reflected in the crowd, displays of friendly affection and love are everywhere I turn my head. The simplicity of his hippie protest songs is balanced out by how well they land – maybe easy protest songs are exactly what is needed right now. ‘Life won’t be wasted on me’ and ‘I believe in a world worth saving’ are his battle cries. The focus is on seeking music that makes you feel good in this lively and loving celebration of positivity and the small things in life.

Kaiser Chiefs Return Home: A Night of Nostalgia and New Beginnings

Joseph Nozedar on 8 March 2024

Written by Joseph Nozedar, Edited by Millie Cain

Being a Leeds band with an incredibly devoted following and a string of legendary gigs, (including an immense performance at Leeds United’s Elland Road in 2008, a monumental moment for the band with several members being Leeds supporters) Kaiser Chiefs have become some of Leeds favourite sons. They join the ranks of The Wedding Present, alt-J and Gang of Four to name but a few of the alternative rock bands birthed from the rich West Yorkshire independent music scene. 

But of all the Leeds bands, perhaps none have graced the sticky floors of indie discos and Hyde Park house parties more than the Kaiser Chiefs. The post Britpop five piece originally known as Parva, quickly found favour on the local gig circuit. However, it was after rebranding themselves as Kaiser Chiefs that the Leeds lads found mainstream success. The band’s Mercury nominated debut, Employment (2005), sold over 2 million copies and its number 1 follow up, Yours Truly, Angry Mob (2007), went twice-platinum in the UK alone. The band has since achieved 3 Brit Awards, selling over 8 million albums, not surprising with their irresistible sound and relentless energy. 

With the release of their eighth studio album titled, Easy Eighth Album (2024), a monumental achievement for any band, and their subsequent UK tour all but sold out, it was announced by Crash Records that the band looked to test the waters with an intimate album launch show. Taking place at one of Leeds’s newest music venues, Project House, it seemed like a no brainer to be there.

Upon arrival, I encountered a bustling atmosphere surrounding the sold-out Project House on Armley Road. Fans formed a serpentine queue, stretching with a winding grace around the venue and entwining the surrounding industrial estate. Joining the back of the meandering line my anticipation began to build as the queue was quickly and efficiently whittled into the venue. 

It was my first time at the venue, and I was impressed by the clean, minimalist design and excellent facilities, including a great stage, bar, and toilets. A sea of Leeds shirts underscored the strong bond between the city and the band. Amidst the white Leeds United apparel, a few fans stood out in tangerine Kaiser Chiefs Football Club shirts. The club, one of Africa’s biggest teams, subtly nodded to the band’s origin story and the inspiration behind their name.

As the loyal masses gathered, their dedication to the band was unmistakable, it created an elbows-out, territorial atmosphere that spoke volumes about the deep-rooted connection between the Kaiser Chiefs and their hometown. After a few pints of the aptly named house larger I took my place amongst the faithful and stood in collective anticipation. Slightly later than expected the lights dimmed and the opening riff of Dire Straits’ ‘Money for Nothing’ rang out through the PA. 

As it came to a crescendo, the band, led by the ever-charismatic Ricky Wilson, entered the stage and wasted no time jumping straight into their new synthpop tune ‘How To Dance’, the first single from album eight. With Daft Punk influence and catchy pop hook, it immediately warmed up the crowd. Next up was the raucous track “Every Day” from their debut album, just one of the hits that those lucky enough to bag a ticket were treated to. 

The set continued with a stream of new tunes, starting with the somewhat forgettable “Beautiful Girl” and the elegant pop ballad “Burning in Flames“, featuring rising strings that captivated the audience. However, the standout was “The Job Centre Shuffle“, my personal favourite among the new tracks. With politically charged lyrics and a groovy bass line from bassist Simon Rix, it skilfully bridged the gap between the band’s early albums and their current musical exploration. This genre-bending anthem instantly resonated with the crowd, becoming a hit in the moment.

Overall, the new songs went down well, yet amid the new material, there lingered a sense of detachment from frontman Ricky Wilson. Quoted earlier this year expressing his priorities as a parent: “I’m not 20 years old anymore and, it sounds bad, but it’s not my main priority because I’ve got kids.” With a couple of the new songs missing their mark with the crowd and Wilson’s occasional reliance on lyric sheets and candid admission that he hadn’t fully mastered the new lyrics, it underscored the challenges faced by a band navigating the evolving landscape of the music industry.

Yet, as the night unfolded, the timeless hits like their infamous UK number one “Ruby” demonstrated that Wilson’s emotive delivery and passion for the classics has never wavered. The crowd revelled in nostalgia, swaying, and bouncing to the familiar tunes. “Never Miss a Beat”, “I Predict a Riot”… before a brilliantly elongated… rendition of “Oh My God” that sent the crowd home with a lasting impression of an unforgettable intimate performance that defined the Kaiser Chiefs’ journey over the past two decades.

As an ardent indie listener and a devoted fan of the Kaiser Chiefs older albums, the evolution of their sound on the latest release brings about a touch of melancholy. Yet amidst their eighth album and nearly twenty years in the industry, it’s entirely reasonable for a band like the Kaisers to seek a breath of fresh air. Collaborations with legendary hitmaker Nile Rodgers and producer Amir Amor have undoubtedly injected new life into their musical journey. In an era dominated by streaming services, shuffled playlists, and a TikTok culture that favours catchy hooks over complete album experiences, the Kaiser Chiefs are bravely navigating the changing currents of the music industry. As they continue to defy the conventional boundaries of age in rock, they stand as a reminder that growth, both personal and artistic, is an integral part of a band’s longevity.

The newest tracks, while perhaps not an instant match for the cherished tunes of yesteryear, hold much promise. With a bit more time to delve into the intricacies of these evolving compositions, there is a chance for the album to metamorphose into a resounding success.
Following the gig -a great evening extended beyond the confines of the stage, with an enjoyable afterparty that solidified the sense of community shared among the fans. DJ’s mixing 7-inch vinyl singles, an abundance of house lager, all enjoyed amongst the friendly staff at Project House ensured that the celebration continued late into the night. A brilliant selection of tunes, including hits from the Kaisers, created the perfect conclusion to a memorable night, leaving everyone immersed in the spirit of Leeds and the enduring legacy of Kaiser Chiefs.