Fontaines DC: Sonic Singles & Switching Singers

Millie Cain on 29 May 2024

Written and edited by Millie Cain.

Do Fontaines DC ever sleep? Now onto their 4th album, following almost unbroken touring in the last few years, with another set to come this winter following their array of summer festival appearances, I can only wonder how they have the time. But, with new single ‘Starburster’ continuing to accelerate Ireland’s most vulnerable post-punk band, we evidently have much to look forward to with their upcoming album Romance.

Not to complain, as nearly everyone is in agreement that their upcoming album has potential to be their best work to date. Huge shoes to fill after the critical acclaim of Skinty Fia (2022), Fontaines DC cemented their place as the current powerhouse of their genre. If you, like me, haven’t been able to get the industrial, post production grit of new single ‘Starburster’ out of your head, then you’ll be holding out for a very high standard for their new record. Undeniably talented, unparalleled in their cult-like fanbase, bringing in new sounds and swapping member’s roles, I believe Romance could be the one.

Notably, Fontaines DC have certainly spun onto a whole new marketing wheel, which begs the question, is it ironic or just cringe? For a band so self-aware, I can only presume we are seeing an acid green alt-pop characteristaion of ‘wet wipe’ artists, such as Yungblud, who are hyper fixated on a more childish, hyper-pop aesthetic. While a reach into far nu-metal is understandable, Chatten himself has cited an influence from Korn and a new bigger budget label pushing their releases, the Y2K style is questionable at best for a respected band in their 30s – but we can hold out hope for irony.

I’m predicting the titular album track ‘Romance’ to hit us in June, with tinges of 90s Nick Cave and Depeche Mode seeping through, it’s clear they’re setting the score for the new album early doors. It’s likely we will see ‘Favourite’, a bright, jangly, shoegaze-esque number recently debuted at a show in Warsaw, Brooklyn to guide us through summer and into their late August album release with its looping guitar lines. The recently played new material has been devoured and rightly so. With bigger label XL recordings at their back, it is clear Fontaines DC are branching out and making changes for their new record.

Following Grian Chatten’s solo album Chaos For The Fly (2023), which was worked on a personal level and with his girlfriend Georgie Jesson supporting on some tracks, it has potentially given space for other members of the band to bring ideas of their own to the table. Guitarist Conor Curley is debuting ‘accidentally’ as lead singer for at least one album track, written by himself ‘Sundowner’; an exciting proposition after uncovering his previous own recordings on soundcloud (available here: https://soundcloud.com/conor-curley ), a great vibrato and jazz swing vocally could make for a really interesting switch in the song that has been described as an ‘ode to friendship’ by himself. Bassist Conor ‘Deego’ Deegan has also been stepping up with further influence, after finding love in Paris and taking time for personal growth, seemingly paid off with the addictive bassline on ‘Starburster’. One of which is a Ulysses reminiscent single ‘Horseness is the Whatness’ written by guitarist Carlos O’Connell, who has spent time producing for Peter Perrett, as well as becoming a father since the last album, and has brought in the mellotron heard on ‘Starburster’ and apparently building in strings for his album tracks.

Other album tracks such as ‘Death Kink’ have been described as having ‘the ghost of Boys in The Better Land’ of Dogrel (2019) fame laid throughout. We’ll be surprised to see a more sensual tone to Chatten’s songwriting, something he openly admitted he ‘never had the confidence’ for and we will see in mid-album track ‘Desire’. But, fans of their previous work won’t need to worry too much – if the guitars on Romance are anything to go by, Fontaines DC aren’t altogether abandoning their Skinty Fia sound. Chatten’s songwriting isn’t something any fan can doubt, as a child, Chatten’s father bribed him with packets of football stickers to memorise poems – leading him to listen to and recite the likes of Bob Dylan and the Cure. In retrospect, he admitted even at a young age he was trying to reach beyond the banality of everyday life. One song especially, central track ‘In The Modern World’ appears to be a standout, questioning the spiralling of political strife and the detachment from capitalist society, along with ‘Here’s The Thing’, an anxious pitfall into an argument in between Chatten and O’Connell will certainly make for an interesting listen.

Chatten has admitted in interviews to having pulled influences for this album from Gorillaz and Blur, while fans speculate a delve into Prodigy and early Kasabian vibes on ‘Starburster’, the band have a vault of brilliant music to draw from. The band have been working with producer James Ford who has worked with these artists named, as well as the likes of The Last Shadow Puppets and Arctic Monkeys ( with Alex Turner himself being seen recently attending a Fontaines DC show in Brooklyn) there is sonic talent both in the studio and on stage for this record.
Romance will be available on 23rd August 2024, you can catch them at Leeds Festival that very next weekend, or at First Direct Arena on 3rd December.

Leeds Locals Smash New Album: Yard Act’s ‘Where’s My Utopia?’ Review

Jessica O'Brien on 15 May 2024

Written by Jessica O’Brien, Edited by Erin Clark and Millie Cain

After making waves in the UK music scene and impressing their way through the summer
festival season with their phenomenal debut album, The Overload (2022)- Leeds-based post-
punk band, Yard Act’s second wind comes in the form of the highly anticipated Where’s My
Utopia? (2024). I, like many other assured fans, was suitably eager to hear more after having
loved their previous album.

The album begins with an ease into the mellow ‘An Illusion’, with the lyrics introducing the
main message of the album, soundtracking reflections on success and being away from
family with dreamy melodies. It soon returns to their upbeat style with ‘We Make Hits’, as
well as ‘Dream Job’, echoing the same high energy as their last album, and reinforcing the
band’s capacity as facilitators of a high-octane gig environment. ‘Down by the Stream’ then
takes the listener in a different direction, incorporating a hip-hop drum beat into the
album’s melting pot. This song captures the experimental nature of the album which largely
differs from their debut – and of which I am definitely a fan. Combining their usual post-
punk genre with hip-hop makes this an album acquired to a variety of tastes, with the
distinct sound of this particular tune merging a certain ‘StereoMCs’ vibe with their classic
spoken-word sound.

As soon as you think you have their sound fusions nailed down, the next song ‘The
Undertow’ rolls around, heralding with it an undeniable 90s brit-pop style. The album
evokes the sound of Pulp or Blur, with its familiar British sound and witty references
in the lyrics. However, as a nod to lovers of the band’s debut, ‘Fizzy Fish’ and ‘Petroleum’
really returns to their original post-punk sound, with Smith’s spoken-word performance of
the lyrics. The heavy bass line of ‘Petroleum’ and ‘Grifters Grief’ bring a certain funk edge,
while incorporating obvious Ska influences. These two tracks echo the distinct Gorillaz-esque
sound, which can be attributed to Gorillaz very own percussionist and producer Remi Kabaka Jr. who co-produced the album – Gorillaz fans everywhere should be sure to add this to their ‘to-listen’ list.

‘Blackpool Illuminations’, to me, is the real highlight of this album – if you were to listen to a
singular song from this album, I would urge you to make it this one. Everything about it
makes it stand out from their usual upbeat, humorous songs. Since their debut, Yard Act’s
style has been defined by Smith’s rhymes over the catchy bassline and drumbeats; but
where ‘Blackpool Illuminations’ leads the listener is in an introspective and moving
direction, reflecting on Smith’s childhood memories and watching his young son visit the
same places, and experience similar things that he did as a child. The introspective nature of
the song forced me to think of the cycle of life, and how adults watch their children make
the same mistakes as them until it is their turn to do the same. Capturing the repetitive
nature of human life, Smith’s soft spoken word over the track beautifully resembles a poetry
reading:

“Because I know now I’m never gonna get my utopia
But if I can show you how to cope
And give you scope to grow beyond the moment of each new low
Then I know I don’t need utopia.”

Overall, Where’s my Utopia? marks a huge musical development for Yard Act. The album
explores the success of the band but still leaves frontman, James Smith, searching for his
own ‘utopia’, which underlines that success has not brought him the same happiness that his
family has. The album spans multiple genres, with clear disco and hip-hop influences,
making their album stand out from other post-punk artists and resonate with a wider
audience.

Yard Act are soon to perform at Millennium Square, Leeds on the 3rd of August 2024.

Trent Reznor & Atticus Ross’ ‘Challengers’ soundtrack – A masterclass in the high-octane

Erin Clark on 15 May 2024

Written and Edited by Erin Clark
Spoilers for the film ahead!

If you see me furiously typing on my beat-down laptop on Level 13 of Edward Boyle, you can
rest assured that I’m not crunching through my work because I have a master’s degree to
get, nononono… I have simply been sipping on the audio equivalent of approximately 6 red
bulls – the Challengers (2024) soundtrack.

Two sensational hours of Zendaya, Josh O’Connor and Mike Faist looking impossibly
attractive while throwing themselves around a tennis court may have presented quite the
challenge (get it?) for a potential film-scorer to match the energy of in post-production – a
hurdle that many a hypothetical producer may have faltered at, but this is all in a day’s work
for Trent Reznor and Atticus Ross. It is thanks to the famed duo that Luca Guadagnino’s
electric and sensual tennis epic Challengers is equal parts visually and audibly pleasing.
Although the duo are formidable genre-melting experts in their own rights outside the world
of film-scoring, through their work under the ‘Nine Inch Nails’ moniker, the Challengers
soundtrack highlights that the best examples of the duo’s work exist in the realm of the film
score. Scoring anything from high-octane Fincher epics such as The Social Network, (2010)
The Girl with the Dragon Tattoo (2011) and Gone Girl (2014) to Bird Box (2018) and all the
way to animated Pixar efforts such as Soul; (2020) the duo have proved time and time again,
that they are far from a goth-metal-alternative-industrial-one-trick-pony. In fact, it is the
essence of their pre-existing ability to flippantly transcend ‘genre’ through their mainstream
musical efforts that gives them the upper hand when extending into the diversity of film-
scoring.

The opening self-titled track provides an audible introduction to the common ground on
which our three main characters meet, in a constant thumping beat that mimics each of the
three’s passions within the narrative – passion that Zendaya’s ‘Tashi’ possesses for a sport which she bases so much of her worth within; Faist’s ‘Art’ holds for gratification and
recognition at the hands of his wife Tashi; and O’Connor’s ‘Patrick’ maintains for his own
pride and self-sufficiency. Intermittent in nature, the soundtrack’s energy is employed as a
filmic undercurrent which effortlessly punctuates several integral scenes, action and dialogue
to match the energy of a match in stalemate, a lover lost in a tennis-fuelled identity milieu, or
tender moments shared between a young family. The familiar chugging thump becomes so
recognisably associated with narrative-altering happenings that when the soundtrack begins
prior to the reveal of a key event, the audience knows that shit is about to go down.

A personal favourite of mine is the relentless ‘Brutalizer,’ showcases some dazzling bass
and synth syncopation towards the end of its run – any listener can practically smell the post-
tennis-training, sun-bleached summer evenings that the characters are so well acquainted
with. A moment of respite from the high-octane thud comes in the form of the track ‘Lullaby,’
which soundtracks Tashi’s sincere moment of watching over her and Art’s resting daughter
and is an isolated synth interpretation of a traditional Welsh folk song entitled ‘A New Year
Carol’ to very appropriately mirror the dulcet tones that a parent would send their child to
sleep with. The track is appropriately mirrored later in the film – we are gifted a very literal
cover of the same folk song, covered by a talented children’s choir. The lamenting reprise of
the track comes at a pivotal point within the narrative wherein Tashi cheats on husband Art,
with his long-term friend and rival Patrick, prior to their climatic all-to-play-for match. The
soundscape that the chorus provides through soundtracking both the juxtaposing scenes of
a sleeping child with a very emotionally driven depiction of adultery links the two through
conflicting emotions that propel Tashi through the narrative – loss of a career, love for her
child, and the inevitable acceptance of a life that Tashi is ultimately not satisfied with.

As the credits roll, ‘Compress/Repress’ hammers in an epic homerun with a definitive
flourish – as the only track which showcases the vocal talent of Reznor, the lyrical content
which may seem to be a collection of unrelated and disjointed short sentences actually
points to the electric, yet ultimately doomed trifecta of Art, Patrick and Tashi, and the fact that
their convoluted and intertwined narrative perhaps exists in a purely physical and emotional
sphere which transcends comprehensive description. The lyric; “I am you, you are me,”
is particularly poignant in uniting these characters who we may view as inherently different,
ultimately suggesting that the trio are more alike than we perceive them to be. Challengers is
the tale of a truly doomed and destructive dynamic, a relentless and unflinching electric epic
which Reznor and Ross manage to match the pace, energy and passion of deftly.

This is Big Cinema: The Howlers in Interview

Maddie Nash on 8 May 2024

Written by Maddie Nash, Edited by Millie Cain.

Based in London and traversing a musical soundscape ranging from the Wild West
to the mod scene of the North, The Howlers are far from your average rock band.
After months of painstaking teasing, the release of their EP ‘I Need Your Love’ as a
prelude to their upcoming debut album ‘What You’ve Got to Lose to Win It All’ is
causing a storm of feverish anticipation. I sat down with the self-professed desert
rockers to discuss their explosive new album, genre-bending style and how their
unique bond as a band influences their music.

It’s lovely to meet you, this is very exciting stuff so thanks for sitting down to
talk to us. One of the main things I want to talk to you about is you’ve had
quite a lot of success already before you’ve even released a debut album. How
has that been so far?

Adam: No of course, we love meeting and speaking to anybody, no matter what
you’re doing and the university papers are just as important as anything else out
there, so thank you for wanting to speak with us really. I mean, success is relative,
yeah, we’ve had successes and things like that, but to the people that we look up to
and we work with, you know, they’re vastly more successful than us and so what we
kind of always say is that it doesn’t matter what achievements you get in this
career, you can always be better. You can always work harder and you should
always strive for that. The next big thing. And that’s kind of what’s kept us pushing
forward and going and yeah, even though the things that we get that you know we
should celebrate, the more we get them it’s a great what’s next sort of thing. I think
that’s just our work ethic, but it’s nice. It’s nice to have that little bit of gratification
when you get an accolade or something or someone to write up about you or you
end up going to tour the band that you love.

You’ve described older movements such as Northern Soul, exceptional taste,
by the way, in your inspirations as well as kind of newer bands like the
Vaccines, and I was wondering, how do you like to play around with blending
the old and the new together in your music?

Adam: So what we say is that we’re kind of like a three-way Venn diagram, a little bit
like, you know, the old John Bonham logo. We all have the things that we love and
we all crossover with each other in different ways, but there’s also stuff that we like
that nobody else likes and that little sweet spot in the middle is where the band is
and it’s where our sound comes from. Being able to not be so dialled in on one
influence or another, I think it’s really good, because you need to be open to
influences and new production techniques, and looking backwards at music that
came before modern techniques, that’s where true musicianship is. And I think
looking at those musicians and seeing what they did and how they learned their craft
and how they honed it is more important than just taking the shortcuts that you can do now because music access is so readily available. I grew up listening to Northern
Soul and I would go down the Doc Soul Club and stuff when I turned 18. I’m from the
South, and Northern Soul was massive up north and particularly in London. I mean
I’m from a very working-class city on South Coast, it was a really small subculture
down here, so I kind of learned by hanging around with older people so to speak. But
yeah, it’s just figuring out something you love, and finding a way to make it your own.
We always say you can’t reinvent the wheel. You just can’t. Everything’s been done
before you. All you can do is put a few more spokes on it, and so it’s figuring out a
way to make something you love yours, I guess.

No, for sure, I find that’s such a good philosophy. I get it because I want to get
into music as well, but it’s always one of those things where I’m like, oh, how
can you possibly come up with anything original? But like, it’s just reworking?

Adam: Oh yeah, I rip off people all the time like. I do it all the time, but it’s the art of
being a musician and looking at the jazz world, not being pretentious in the fact that
you’ve taken influence from somewhere. If I love a song, I’ll look up the chords and
go oh, that’s interesting because I wouldn’t have thought it was those chords, and I’ll
kind of deconstruct it and play it differently, I have a very unique playing style
because I’m self-taught, so I don’t play properly. So yeah, it’s just making something
your own, and if you do it with enough conviction and passion, then it works.

I also read that you guys formed as a group while you were at uni, and as most
of the people who read this will be at uni I was just wondering if there’s any
way this has influenced your music or maybe your formation as a band, or if
you have any advice for people that are trying to break into the music industry
coming from university bands?

Adam: Yeah, I mean, like I think the biggest thing that we took away from it was that
we spent our entire time at uni not being a band, going out and drinking and partying
and doing whatever, and people would always come up to us and be like, alright, so
when you playing your first gig and we were like yeah, soon, soon. It wasn’t until we
both graduated that we thought we probably should start to do this properly. It’s just
using that time more effectively, I guess. But there’s no right or wrong way, and I
think university is such a great melting pot of ideas and different backgrounds, it’s a
chance to take in everything around you. I think if you close yourself off to that,
especially if you want to get into the arts, it’s never going to be that successful
because. you need to understand the people that you’re trying to sell your art to. And
university is designed to be a place where people come together and discuss things
and try things out. It’s a forum for making mistakes, and we’ve made plenty, but
there’s no right or wrong way to do anything. You just have to take a leap of faith.
You just have to go for it, and not be afraid to learn as well, I think is the biggest
thing. If you’re a university student then you obviously have this too, the desire to
learn and better your life in a way where you’re more academic, and I think like that
applies to the arts as well. Like make mistakes, learn from them, develop them, try
things out. And yeah, it’s there’s no, well, wrong really. It’s just trial and error.

No, for sure. I definitely feel like I’m very grateful for all of the so many
different kinds of people that I’ve met since I’ve been at uni, much more than
you can possibly meet at home. I’m also curious about your new album that’s
coming out in May, a very exciting release. What can we expect from this? Is
there any themes or songs that you particularly enjoy is exploring or writing
while you were creating this?

Adam: As a band we’ve been through a lot more trauma and pain and really bad
experiences than any other band that we know, and they probably wouldn’t have
survived the amount of stuff we’ve been through. I almost died twice. In the space of
this band’s four-year career, which is mostly in the pandemic, we’ve lost between us
five family members, four of them were mine, and I’ve lost two personal friends in
that short period. It’s been a horrendously tough thing to pull through and keep the
band alive through. If it hadn’t been for each other, then we probably wouldn’t be
here. And the album is kind of reflective of that. It’s reflective of that period, we just
wanted to make an album that spoke to everything we’ve been through. But also, we
didn’t want to make a political album. We didn’t want to do anything like that. The
easy route in music these days is to be a post punk artist or be new wave or
something like that, or be noise rock and we just didn’t want to do that because it’s
just a little bit cliche. We wanted to give people a bit of escapism. We all love
cinema, and we wanted to make an album that had the depth of a cinematic
landscape, and has the elements of a film score in it. Whether it’s a record that you
can put on in the background and ignore, or record that you can listen to and
understand the emotion and pain in it. So that’s kind of the record. Personally, I
didn’t enjoy writing it because it was about the experiences that we went through.
Every song was like a cathartic experience. ‘Cowboys Don’t Cry’ is a prime example
of that. It was written during a really, really tough period and we rarely play it live,
even though it’s one of the best songs on the album. But we rarely play it live
because it is too emotional sometimes to play, when you understand the backstory
of it and the time it was written. But we’re so proud of this record, it’s like nothing else
out there, it won’t sound like anything you’ve heard.

How would how would you define it then or define your style?

Adam: I would say it’s cinematic, that’s what I would say. If you think of bands like or
artists like Dan Auerbach from The Black Keys and bands like Black Honey, who are
good friend of ours, and there’s a band called The Blue Stones, they’re amazing, if
you never heard of them, but they’re bands that combine elements of soul and
spaghetti Western soundtracks like Sergio Leone and Morriconi and stuff like that. I
don’t know. I hate having to describe our music. I don’t actually have a definitive
answer. It’s like one of those things, you release music and people go well, what
genre is it? And we have to say it’s alternative or it’s rock because it’s not like the
days of iTunes where you can put your own genre in. Yeah, it’s weird. All I would say
is, if you like escapism and you like big films, you like being lost in in an art form,
then it’s the album for you, really. Yeah, I mean it’s obviously difficult for us on a in a
live sense, because we can’t just slip into the seam. When we gig and when we tour
it’s very difficult for us to find bands to tour with or gig with because we are basically starting our own thing. We’ve never played a festival like, ever in our in our career,
which blows people’s minds. But it’s because we’ve just always been overlooked for
popular genres, and it doesn’t mean that our gigs aren’t sold out or busy because
they are, it’s just one of those things. I think there’s a lot to be said for our tenacity
and our vision of doing our thing and not wanting to just fit in.
For good, or for better or for worse, really.

That sounds so exciting, I’ll be listening for sure. I mean, the fact that you’ve
got an album at the end of this after everything you’ve been through is very
impressive.

Adam: Yeah, we owe a lot to Black Honey as a band, especially Chris and Tommy
and Al. Actually, Al played on this record as well. And Izzy, Izzy is great, she’s been
great to me, me and her are very similar. But yeah, Chris and Tommy, particularly
Chris pulled us through all these really bad moments because they produced the
album and they helped work on the songs and things like that. There was a point
where we didn’t know if the band would actually survive, and they kind of sat us
down and went. Absolutely not. You’re doing this record. It’s too good. This song
you’ve written is too good not to go out there. And we’re going to be with you and
we’re going to put all this time and effort into the band with you. And they still do that
to this day, so if anyone reading this is a big fan of Black Honey then they’ll love this
record because there is so many bits and pieces that we nicked from them. There’re
loads of samples from their past albums that we just slapped on there. When we
were making this record, if we couldn’t get the sound effects right, Chris just looked
through his computer and he was like, oh, I’ve got this from the written and directed
album, oh, yeah Carl Barrett recorded this for us, so we’re going to nick that. We’ll
slap that on this album. They pulled us through a lot.

My next question, considering that you said you didn’t enjoy writing the album
you might not enjoy this one, I was just wondering about your writing process
as a band. Is there one of you or is it more of a collective?

Adam: I’m the songwriter basically, but how we write is I’ll write a song and I’ll send it
to Chris as a voice note, and then me and him sit down on zoom and we kind of
structure it and flesh it out. And then I take it to the boys and we kind of go, right,
here’s the bare bones of the song, what do you think? And then they basically write
their parts into the song. So, it’s kind of both. Gus is an amazing all-round musician
and bass player and he’s playing the bass, and he’s playing lead guitar, which is
amazing. And Tom is incredible drummer who plays for the song. He doesn’t try and
overdo it. He knows when to flare and when to not and that’s a really rare thing to
find in a drummer. We bring the skeleton into a room and then they put the flesh on
the bones so to speak. And the songs sound the way they do because of our
individual input in it. You know, if there’s a baseline already in the song and Gus
goes oh, I kind of like that but I could develop it, I might do this instead. It’s a very
collaborative process in that regard, but it all starts in my weird little brain.

Yeah, I’m guessing that’s how you get all the cool little unique influences you
were talking about. And then we kind of covered this a little bit earlier with that you saying everything you’ve been through in the last years, but I was just wondering what shapes you as a band?

Adam: I think the biggest thing is our experience at life, I guess. We’re all in our 20s
and we’ve been through a lot, and I think those experiences shape you and mold you
into somebody you weren’t before. Particularly the grief, the amount of grief that
we’ve been through, both personal and collective, you feel each other’s pain and
understand when they need space and when they need support. I always say that
with grief, you never actually lose it. You never stop grieving for someone, you just
grow around that. So, the grief stays the same, you just become a bigger person,
and I think that has a major part in it because it’s a continual state, particularly when
you lose loved ones and you lose close friends. We’ve always had each other’s
backs and we always support each other no matter what. When people have said,
oh, I’m quitting this job because I want to focus on the band, but it means I’m going
to be more skint, you’re like OK, man, whatever you need. It’s the experience that
that defines us as a band, being able to roll with the punches of each other. You
know, sometimes being autistic I lose my shit on tour over the smallest thing, I’ll calm
down, I’ll apologize, but without the boys understanding how my brain works, then
that could quite easily explode into a major argument. It’s just it’s understanding each
other and being earnest and honest and authentic. We don’t walk out on stage like
we’re hot shit, we just walk out on stage like three people that make music and if
people dig it and they enjoy it that’s all that matters.

It sounds like you guys have something really special there with you with all of
you.

Adam: We try, we try, you know, nothing’s perfect but perfection is imperfect. There
is no such thing as being perfect. There is imperfection in everything, and it’s about
embracing them and understanding that. But music is one of the best forms of the
arts to do that.

It is, yeah, for sure. Anytime I want to have a big cry, I just put on my sad
playlist

Adam: Exactly. Like, you know, I met someone recently who genuinely said they
didn’t like music, and I was like, well, what do you, what do you listening to? And
they’re like I listen to podcasts and I just said that’s crazy. But yeah, I guess it’s just
experience and things like that and trying to live out your experience in musical form

It’s clear there’s no slowing down for this genre-bending powerhouse of a trio;
starting off the marks with such an eclectic sound and a stream of success under
their belts already, the future is looking bright on the highway to stardom. Don’t miss
out on the frenzy of their highly anticipated debut album ‘What You’ve Got to Lose to
Win It All’, streaming on the 17th May.

Navigating Record Store Day 2024 in Leeds: What You Need to Know:

Joseph Nozedar on 17 April 2024

Written by Joseph Nozedar, Edited by Millie Cain.

Back in 2007, a group of record store owners in the US gathered to celebrate the distinctive role that independent record stores play in their local communities. This event celebrated the vibrant culture and unique space that independent record stores provide, bringing together stores to honour and promote their service and status within local communities. This would mark the beginning of the global music event that we now know as Record Store Day.

The inaugural Record Store Day was established on April 19th, 2008. A concept which would grow quickly and organically into an international phenomenon, celebrating the individuality of each store and its customers. It has since become an annual event, uniting fans, artists, and independent record stores worldwide. Record Store Day is about more than selling records, with new releases dropped specifically and distributed to stores participating in the event. The stores themselves become venues, with festival like atmospheres. Thousands of record stores now participate in Record Store Day worldwide, including over 270 independent stores in the UK.

As Record Store Day 2024 approaches, anticipation builds around the City for another unforgettable day of musical discovery, performances and camaraderie. Record Store Day in Leeds is always a day of celebration, with the independent record stores at the beating heart of the city’s rich music scene coming alive with exclusive releases, DJ sets and in-store performances. It will be a day which turns back the clock, reigniting the adventure of going down to your local store for a special or exclusive vinyl, the anticipation of the purchase, who will be there, and what is going on.

This year sees West Yorkshire locals spoilt for choice with three of Leeds independent stores taking part. Beloved landmarks for music enthusiasts such as Jumbo Records, Crash Records and Vinyl Whistle will be participating, establishments which offer a curated selection of vinyl and CDs spanning genres from indie rock to jazz and electronic music. Each store has their own itineraries for RSD so it would be worth checking out what is happening and when on their socials & websites, linked at the bottom of this page.

Located at 35, The Headrow, Crash Records has been a part of the Leeds music scene for 30 years. Pay as you feel on the door, for in store performances, and first come first served for over-the-counter purchases for exclusive titles available on the day.

Vinyl Whistle located on 12, Otley Road, Headingly, will be stocking exclusive titles on the day and early queuers will be offered free Leodis coffee. The bar will be opening at 10am. You’ll find DJ sets all day, 8am-11pm, including evening headliners saluting all that is great about the Leeds music scene.

Along with sets from alt-rock quartet Artio, Bob Brazill and English Teacher to celebrate the release of their debut album ‘This Could Be Texas’ (2024) as well as their RSD release ‘Live at The Brudenell’ (2024).

They’re also doing ‘Bring A Tin’ to support Rainbow Junction, a community café at the heart of LS6, using their increased footfall to help support a great local cause. So, if you’re heading down make sure to bring a tin of food to help support a great local cause.

Leeds’s Jumbo records, located at at 1 – 3 Merrion Centre, is a cornerstone of the city’s music scene, and it’s no surprise that they’re participating in Record Store Day. I had the pleasure of interviewing Matt, who works at Jumbo, to discuss what we can expect from the forthcoming RSD and the significance of the day itself.

Hi Matt, how long have you been working at Jumbo Records?

Over 23 years now…

How early will people be queuing on RSD?

Some people are real eager beavers so often when I’m closing the shop at 6pm-ish there’ll be a few people already queuing, but most early birds come around 5am-ish and then people just tend to join the queue at much more reasonable times…

What are your favourite releases off the record store day exclusive list and why?

Personally, the kind of RSD releases that float my boat tend to be one’s where artist have taken the time to collaborate on special releases for the day OR a really great compilation or re-issue comes out with loads of extra tracks or alternative versions. This year there are some really special things to pretty much suit all tastes with some strong pop releases with a split 7” from Olivia Rodrigo and Noah Kahan, some superb hip-hop joints such as the De La Soul Live 1996 LP and the Fetty Wapp LP, there are some stone cold classics such as Fleetwood Mac – Rumours coming out on a VERY cool looking picture disc, K-Pop from Ateez with some excusive tracks unavailable anywhere else. You want Psychedelia or Reggae? There’ll be Killer comps such as Pale Shades Of Grey: Heavy Psychedelic Ballads & Dirges 1969-1976 and 300% Dynamite or superb crossovers such as the Paramore/Talking Heads single. Too many highlights to mention really!

What kinds of things are going on at Jumbo on Record Store Day? What makes it stand out to other stores in Leeds?

From the very (early) RSD’s in the UK we tried to celebrate the day more as a get together so we tend to put local bands on we love (This year Forming, Bug Teeth and Van Houten), sell beers, give away fun stuff and party!

Is RSD accessible for the average person? Or do they have to be a record fanatic?

It’s accessible for sure because the beauty of it is that the releases tend to cover so many different styles that there’s something for every type of music fan…Yeah there might be a super obscure compilation of long lost funky Brazilian joints compiled by a Japanese turntablist (Soul Jazz’s awesome Brazil 45 Boxset Vol. 5) but there’s also Celeste doing a cover of Love Will Tear Us Apart). The whole point of RSD is to get people to see what great independent record stores do and offer.

What benefits does record store day have for the independent record store?

I suppose in a world where tax avoiding online giants and homogenous chain stores tend to dominate it’s the chance for indies like us to shout above the humdrum and say ‘Hey, look what we’re offering’…It’s a way to plug people back into the great musical eco-system and show them that independent shops like ours are a place to discover music far from the algorithmic haze. It’s a place to meet like-minded music freaks, a place to hang out and enjoy. Also, you know that every pound spent in an indie goes towards keeping the shop and staff doing what they passionately love doing (and we’ve been doing it since 1971 can you believe?!?!)”

Matt’s above response, summed the beauty of record day up perfectly for me. It’s a day that more than just buying and selling records, it’s a celebration of a community hub, and a vibrant independent record store culture that in Leeds we are so lucky to have. It’s offers a much-needed way to break away from the instantaneous world of music streaming and algorithms and back to the pure joy of discovering music in its physical form, surrounded by fellow music lovers and enthusiasts. I, for one, am greatly looking forward to Saturday. I’ll be getting up early and joining a queue for what promises to be a great occasion.

Crash Records // Jumbo // Vinyl Whistle

Lime Garden Sow Seeds of Serenity at the Brudenell

Millie Cain on 17 April 2024

Written and Edited by Millie Cain.

Lime Garden enchanted Brudenell Social Club on Sunday 3rd March, to the absolute joy of their fans. A later set, highlighting their ridiculously talented support acts ugly and Brodie Milner, the Brighton based band ascended to the eerie, pink-lit stage with the grace and sound of angels. The spotlights created a glowing atmosphere, and a moment of appreciation, lead singer Chloe Howard, began with “Bitter”. Drummer Annabel Whittel, kept a funkier sound between songs, as the band charmed and chattered away to their audience. “Pop Star” had an almost Metric-vibe, which scratched an itch between the ears with a reverberating baseline. They admitted this was their largest headline show, and the packed audience was giddy with glee as the band glowed with excitement. A room of statement silver necklaces and dangling earrings that seemed to clink together as a backing track to the indie-pop sound.

A middle section of winding, singalong shoegaze-pop made for a lovely interlude, then breaking into “Marbles”, a favourite of rock legend Hayley Williams, of Paramore success, in a sultry deep number which must’ve been inspired by her. Lime Garden’s recent album “One More Thing” snaked through the setlist, the 80s synth of “Mother” and vocal-focused “It” allowed the band to show off their slower, tight technical abilities, before kicking the set up a gear into their bouncier tunes. Leila Deeley & Tippi Morgan made for an exceptionally talented guitar & bass duo, and are commanding respect within the genre. This is a year for female indie to flourish and Lime Garden are a leading cause. A crowd favourite was “Nepotism (Baby)” as they sung about their longing to be the daughter of Kate Moss, as we all do, and an angrier “Love Song” with punchy, fast drums and an accelerating tempo, I couldn’t believe Howard’s admission of a sore throat, it sounded so polished, and the crowd was more than happy to be the backing vocals.

Big single “Clockwork” was a brilliant moment, there’s a real trappings of superstars here, it’s no surprise Johnny Marr named them as his favourite current band. For their encore, they returned with groovy single “Pulp” that completely captivated the crowd and finished on stellar track “Surf N Turf” with incredible guitar moments and it was a true blinder to play out an effervescent, noisy set.

Liam Gallagher & John Squire: Live Hometown Show

Millie Cain on 17 April 2024

Written & Edited by Millie Cain.

The high ceilings of 02 Apollo seemed to shake with anticipation as the middle aged Gallagher haircut and Stone Island youth army stomped their feet and howled some form of football chant awaiting the arrival of two Manchester legends. But first, they swayed, their £7.50 pints trembling in the wake of one, rather introverted, quite polite man, as Jake Bugg took to the stage to support the new alliance of aged Britpop stars.

Bugg has never changed, perhaps that’s why he’s so beloved, or maybe it’s his absolutely stacked discography of modern indie classics. The crowd was packed, we’d warily eyed up the queue that snaked the whole way down the street hours before, especially since their shouts could be heard from Picadilly. Wearing plain black with a single blue spotlight and an acoustic guitar, Bugg commanded the din, yet couldn’t tame the electric buzz that comes with hometown shows. Breaking into hits such as “Seen It All” and “Slumville Sunrise” he proved his own talent as a single performer on acoustic to not only fill such a huge space, but charm even the most raucous crowd. While not the chattiest, his songs speak for themselves and I was pleasantly surprised to hear a new song of Bugg’s that hadn’t already been pummelled, drained and dried out daily by Radio X. We were eager, leaning forwards, as if we could taste the new material. What it promises is his classic, instant charm with original sound. Bugg, predictably, finished off his set with “Two Fingers” and “Lightning Bolt”, to deafening roars from the crowd as they clambered on top of each other and chanted along, louder than any band Bugg could have at his back. He wound the crowd up, shook the bottle and ran, nodding his head in thanks and clearing off stage while fans screamed and hands tore through the air.

Backdropped by the sound of George Harrison’s ‘Ski-ing’, Gallagher’s silhouette reached the stage first to belted out cries of “Liam, Liam, Liam” baying for their parka-monkey leader, donned in his finest long waterproof coat to protect him from the beer sweat of 3500 people staring right back at him – but let’s remember this is light work for the former Oasis frontman, and for The Stone Roses’ lead guitarist who followed Gallagher onto stage. The pairing is any Britpop dad’s wet dream and they genuinely delivered what they would all hope for. Unlike Squire’s former fellow bandmate Ian Brown who shocked and generally disappointed audiences with his run of shows last year, Squire and Gallagher made sure these fans got their 75 quid’s worth and left nothing to spare.

Opening with the album’s lead single “Just Another Rainbow” the funky drums and irresistible bassline led into a track that amped up their audience, who already knew every word, and as Gallagher cruised around the stage, mouthing ‘I love you’ under the spiralling colourful lights, Squire held longer, technical solos, showing off undeniable talent and experience. The brightness of the colourful stage was blinding, as was Gallagher’s pure confidence, obviously, we expect nothing less than his decades old arrogance, with a slightly mellowed edge as he’s really learnt into family life – even recently announcing son Gene’s new band Villanelle will be supporting him on his upcoming sold out UK tour.

‘The Wheel’ brought an almost hypnotic moment, a slower, winding track, with a sea of palms raised. The track slowly built, snakelike in its power, as the lights span and yet Squire stood forward, cool and collected, as if he wasn’t holding thousands of people in the calluses of his fingers. In a sound reminiscent of ‘Dig Out Your Soul’ era Oasis, ‘I Love You Forever’ was a more fluid moment in the set. There’s a certain degree of respect that had to be felt on that stage, and it was surprising but nice to see Liam take a step back and allow Squire and his bandmates to shine. Drummer, Joey Waronker, and keyboardist, Christian Madden were both on raised platforms, and Gallagher frequently would wander off stage and just allow these musicians to have their own moment in longer instrumental sections.

Of course, Gallagher can only be kept at bay for so long, before delving into ‘I’m So Bored’ he stirred up the footy casuals by loudly sharing his love for his beloved Man City, then allowed the crowd to squirm as he launched into a more critical track. An almost Trainspotting soliloquy of a song that calls out the middle aged crisis and their own generation of ageing rock stars, there’s a feeling of pushing back against imagined confinement and its clear from both Squire and Gallagher’s solo careers that they will continue pushing on and rinsing every avenue open to them as long as it keeps them onstage, doing what they love. Seems to be working out, with their run of tour dates completely selling out and extra dates being added due to phenomenal demand.

For crowd favourite ‘Liverpool To Mars’, there was an awakening in the room and a collective intake of breath before launching into song alongside the band. There were tiny kids in the crowd alongside up to 2 generations of families still stretching up and standing together in a real shining moment.

For their final song, loud boos echoed and the crowd then went into chanting in honour of Squire, as they marched into ‘Raise Your Hands’, with a long dedication to. ironically, the former boxer Ricky Hatton. Gallagher waved maracas and a tambourine along, and he stepped aside to allow Squire to lead in this finality, there was a serious feeling on the stage that the presence of 2 giants in this genre to share a stage, share a creativity and together form a sound that allowed their own pasts to transcend but also bring a refreshing new hope to their music. Waving away the crowd, volleying a tambourine up onto a young boy on the balcony and wandering off into the red fog of the stage, the crowd twitched anxiously waiting for their encore. There was a hushed feeling in the room, shared hopes and prayers that maybe, just maybe they’ll play ‘Wonderwall’ but alas, they were sated with a surprising cover of classic ‘Jumping Jack Flash’ by The Rolling Stones – leaning into their own influences before them, and taking one last look at the gleaming eyes boring into them, Gallagher and Squire gave us a wave, and said goodbye, at least for now.

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.

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.