Mixing in old school swing styles and harmonies over driving surf-rock beats, Lizzie and The Yes Men’s latest single, The broadwalk delivers a punchy, cool sound that would feel right at home on a Tarantino soundtrack.

Lizzie Holdforth fronts the band, looking like a 2012 version of sixties style queen Twiggy. Holdforth has an almost ‘Riot grrrl’ angsty twang to her voice; it’s unexpected. She belts through the song, giving us echoes of Siouxsie and the Banshees  and Debbie Harry, while the band members behind her whistle over the top ala Roger Whitaker. It’s a cute sound that would be right at home on the stereo as you’re flipping burgers in your Hawaiian shirt and making your party guests Piña Coladas.

The Loneliness would play well at the same party, perhaps a little later on in the night though.

It fits in somewhere between your mod-sixties and soft rock playlists, with Holdforth giving us a  lovelorn / Kate Pierson vibe- slightly depressing, but only in the same way your seventh martini of the night feels.

The Broadwalk/The Loneliness will be released on the 4th June 2012.

You can catch these cool cats on tour, they’ll be playing:

14th June – Paper Dress, London

13th July – Atlantico Live, Rome

14th July – Parco Gondar, Gallipoli, Leece

Words: Brent Randall.

Design Specifications:
All entries must be supplied at 210mm x 210mm, plus 3mm bleed all around (totalling 216mm x 216mm). They must be a minimum of 300dpi, and CMYK.

To enter, email your winning entry to: freerange@spindlemagazine.com

Closing Date for the competition is: Monday 4th June.

The winner will have a feature in the magazine, along with their winning front cover as part of the magazine.

All finalists will be displayed in The Spindle Exhibition as well as online, later this year.

Illustration by: Niall Grant

Terms & Conditions:
1. By participating in the Free Prize Draw (the “Promotion”), you fully agree
and accept the Festival 2012 Free Prize Draw Terms and Conditions (the
“Terms and Conditions”) set out below (as amended from time to time).
These Terms and Conditions should be read in conjunction with information
appearing in the entry instructions.
2. The Promotion is only open to entrants who attend a college or university
participating in wFree Range 2012 .
3. The Promotion is not open to employees of the Promoter, or any of
the below festivals immediate families (spouse, parent, child or sibling),
affiliates, subsidiaries, agencies, advisors; or anyone else involved in the
creation or administration of the Promotion.
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entrants must complete the online application form with the necessary
details inserting personal information as requested, including full name,
contact telephone number, email address and physical address.
5. Only one entry per person. Entries must be made personally. Entries
made through agents/third parties are invalid. You are responsible for the
cost (if any) of submitting your entry.
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access to the internet.
7. The Promotion opens on 6th May 2012 .
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Founder Heather Falconer
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by telephone or email. If the winner cannot be reached or does not respond
to the Promoter to confirm receipt of notification within [seven] days of the
notification, then that winner’s prize will be forfeited and the Promoter shall
select a runner up to claim the prize. in accordance with paragraph 7 above
(and the same acceptance period set out in this paragraph 10 will apply).
12. There is no cash or other alternative to the prize in whole or in part. The
prize is not transferable in whole or in part. The prize is not for resale.
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any not covered above and no correspondence will be entered into.
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24. These Terms and Conditions shall be governed by English law and the
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Hangover Square is an exhibition based on Patrick Hamilton’s 1941 novel of the same name, commissioned by HOUSE 2012 and created by Cinecity as part of Brighton Festival. It constitutes two rooms from Hamilton’s novel: protagonist George Bone’s seedy rented room in the Castle Hotel, Brighton, and the Earls Court flat of his love interest, Nettie. To the former, we are led via a corridor, period door key and fob in hand, and as the door is closed behind us, an extract from the novel plays through unseen speakers. As the narrative unfolds, the attention to detail becomes apparent: ashtrays full of half-smoked cigarettes, train tickets and a telegram on the hearth, a bottle of whisky on the bedside table – all conjuring a true feeling of restlessness. The narrator’s voice mingles with the sound of drinks pouring, voices mumbling and, further away, of cars passing the gallery, creating a sonic mixture of Brighton past and present; fictional and real.

Nettie’s flat, in contrast, is deathly silent. There is no narration here, no one to explain the scene in front of us. It is up to us to fill in the gaps and piece together the events between the two scenes. It is an unusual and refreshing approach to adaptation: half-glimpsed, incomplete and inconclusive. The dioramas are so robust and realistic that one feels like an intruder, a peeping tom or unseen spirit, witnessing the private lives and worlds of people long-dead. This is most poignantly realised at the locked door to Nettie’s bathroom, only half visible through two glass panels, where a lace curtain flutters in the breeze – a solitary movement among so much stillness.

Hangover Square is showing until May 27^th at the Sallis Benney Theatre & University of Brighton Gallery, Grand Parade, Brighton.

Words: Jack Casey

The background of these backpacks have a really organic note and thread which adds that natural bohemian colour to the brand, and also differentiates them from the aztec imitations and commercial patterns from the big league retail brands. “I started making backpacks a few years ago now, in 2010. It didn’t start off as a business, but more of a hobby and passion. I’d make bags for friends. The response from people was quite unbelievable, in a good way, as people really seemed to like them. that’s when the brand started.”

The bag shapes are wonderfully adventurous, unique and unconventional, but there’s also practical art to them. “I like there to be a space for everything, whether it be your keys, money, clothes, laptop or work. I like pockets and you’ll see many of my bags have them in abundance.”

With designs so eclectic, it’s easy to assume the craze could only be contained in the city acceptance, but these are eccentric bags with a nod to all walks of life. “I’m based in London and that’s where the bags are made, but I like to think the landscape and person can be anywhere and anyone. The bags are there for the journey, I like to think they are worn on travels that take the owner to and from work, on that last minute holiday into Europe, on their travels through Asia…to that summer festival they’ve been waiting for. I want it to be a silent and loyal member of these moments.”

“I get inspiration for material from taking myself into new environments. I like going to markets, upholstery shops, as you always see something new. I like to work with the bizarre or maybe unknown, mixing materials you wouldn’t immediately think bag worthy.  I once designed a bag after watching the Lion King for example!”

So what’s next for Edwin Louis? “Well we have the new line of day packs coming up which is quite exciting, and I’m trying some new things. But I’m working quite hard on the bespoke service as well, as it’s always something new and exciting to be involved in. Were hoping to start stocking in one or two boutiques around London hopefully, pushing the quality in brand that bit further.”

Words: Charles Matthews

Vocals are rather bland, not to mention the lyrics, which even if they were actually sung with a fair amount of enthusiasm, malice and passion still wouldn’t quite be enough for me to enjoy Disobey.  Sonically, there is nothing charismatic about Kate Havnevik. Even the frantic drum beats don’t drive this song in a direction to make it stand out.

There is a huge amount of talent coming from Scandinavia at the moment and I don’t think that Kate Havnevik is quite included in this. As this musical climate stands right now, her chances of breaking through seem pretty slim.

Words: Katie Wilkinson

Going against this clean cut, image conscious music making, Catholic Discipline favour rough cut mixes and eccentric track selection. They’re currently circulating through the more obscure club nights throughout Brighton, and more recently, The Great Escape Festival. I recently caught up with the two men behind the wheel of this madcap DJ collective, here’s what they had to say

How did you two come to play music together? 

AL : I posted a last minute plea on Twitter for a co-DJ for a night I was doing. Drew replied, and the rest is secretive, unknown and frankly dull history.

Which one city in the world do you think would be most accepting of your music, and why?

DREW: Somewhere like LA, because psych seems quite big over there. And Yank chicks dig us limeys!

AL : Port Merion . We’d be able to soundtrack people 24/7.

Is your rough style and psychedelic approach to mixing and performing a conscious effort to set yourselves apart from the accepted norm of club DJs circulating Brighton?

DREW: Not a conscious effort at all, we just like to have fun, play music we like, that interests and challenges us AND the audience.

AL: I’m scared of hipsters, so possibly my ID makes me separate ourselves. Maybe not, i’m not a psychiatrist!

You throw a wide range of genres from various decades into your sets, why do you think that variation is more important than staying with a single style of music?

DREW: It’s more fun, it gives you a bigger range of music to play from.

AL: Yeah, for sure, by being awfully generic and average, we’re no different to any other DJs in town. At least by hopping genres, we can explore what’s out there…. also, sourcing new music from a bigger gamut is way more fun, than just say… reading the NME, Pitchfork etc. to be TOLD what’s cool.

DREW: It’s also fun to see people’s reactions when you attempt to mix Craig David and Derek & The Dominoes… German folk have left the venue because of these feats!

Could you pinpoint one artist which first sparked musical inspiration?

AL: No. there were many. My folks have very good taste and played music to me constantly when I was a baby.. Led Zeppelin, Roxy Music, Motown, Ska, Dub, The Clash etc etc etc etch a sketch.

DREW: Not really, my dad introduced me to Motown, Disco etc, and my sister dressed me up as Simon Le Bon (explains the love of 80s pop)

I’ve seen the likes of Aphex Twin and the Sugababes rubbing shoulders in your mixes, what makes you think the world is ready for such bold/mad track selection?

DREW: DJs in the bigger arenas are already doing it; DJ Yoda, 2ManyDJs, Nextmen etc… there’s no one doing it on a grass roots level though.

AL: Yeah, like a lotta nights in Brighton claim to be diverse, and genre non-specific, but they just… like… play it safe, and it’s ultimately the same playlist, with buttons pressed by different faces. We’d rather just do what feels right, if it works… cool, if not… you live ‘n learn.

DREW: And none of them play Lindisfarne!

What have you guys got lined up for 2012?

DREW: Our weekly night at Sticky Mike’s (THURSDAYS from 8pm – FREE), a monthly shindig at The Mucky Duck (check listings), supporting THE TIME AND SPACE MACHINE on their inaugural gig (JUNE 1st) and the festival circuit.

AL: Yearly bath. Haircut. Possible sexual enlightenment. France.

DREW: Invent time travel.

AL: Probably do a mix CD or maybe even some original music. That’d be cool.

mixcloud.com/catholicdiscip…

Words: Charlie Wood

*WARNING* – this review contains spoilers.

I suppose I should begin this article with a disclaimer: I can see why Avengers Assemble has been so popular. It’s shiny, lightening-paced and packed to the rafters with stars. It has impressive fight sequences and very good special effects. Some of its jokes are even funny. But beneath its blockbuster veneer lies something much darker…

I left the cinema dazed, a little unsure what I had witnessed. I understood the premise, alright: exiled Norse deity Loki (Hiddleton) strikes a deal with the Other, leader of the alien race, the Chitauri. Loki agrees to retrieve an energy source known as the Tesseract from S.H.I.E.L.D. (a kind of fictional CIA) in exchange for a Chitauri army to assist in his plans to rule Earth. Loki steals the Tesseract from S.H.I.E.L.D.’s director, Nick Fury (Jackson) , using it to enslave agent Clint Barton (Renner) and physicist Erik Selvig (Skarsgard), and to destroy S.H.I.E.L.D.’s military base. While S.H.I.E.L.D. try to track Loki down, Fury assembles his team of Avengers: Iron Man (Downey Jr.), Captain America (Evans), Hulk (Ruffalo) and Black Widow (Johansson). They are eventually joined by Loki’s brother, Thor (Hemsworth), who helps them capture and imprison Loki. However, as the team begin to realise the Tesseract’s potential, Loki escapes, and the Avengers must halt his plans for world domination. Standard superhero movie fare? Perhaps. But there were numerous aspects of the film which felt like cold, deliberate propaganda.

The first hint of this comes as Captain America prepares for combat and is advised by Agent Coulson (Gregg) to put on his uniform. When he asks if the ensemble, which closely resembles the American flag, is a little out-dated, Coulson suggests that, in these difficult times, perhaps everyone needs a bit of the ol’ stars-and-stripes.

On several occasions, the viewer is assured that Thor and Loki are not, in fact, Gods. They are described as ’from myth’, ‘almost gods’, and various other reductive terms. This ensures that their presence in the film does not contradict Captain America’s theist statement to Loki that there is only one God.

The Avengers are a singularly Caucasian group. Though Black Widow is officially Russian, she appears to be firmly in league with the Americans. Thor, as a mythical creature, is somewhat exempt from discussion of nationality, though he too has firmly allied himself to S.H.I.E.L.D. Thus, the team is not only Caucasian, but a group of Americans fighting to defeat Loki’s foreign army. For while Thor is Aryan, Loki is darker, not quite so Nordic in appearance. Fury is the only black protagonist, and he is not depicted as wholly trustworthy, manipulating the Avengers and withholding evidence from them – though he eventually makes good and helps to fight a greater evil.

Loki is a deity whose motive is to destroy Freedom – Yes, with a capital ‘F’. His sole purpose is to enslave, to end autonomy. His army are monstrous, inhuman creatures who descend from the sky to destroy New York City (do you see where I’m going with this?). The entirety of the film’s climax features various Chitauri creatures appearing above the city’s skyline before plummeting into the skyscrapers below. It’s a chilling sequence that so vividly evokes images of 9/11 that I refuse to believe it unintentional. The largest of the Chitauri beasts is a giant, mechanical monster that, with its wing-like fins and fish tail, strongly resembles an aeroplane, and as it crashes through buildings before plunging through the side of Grand Central Station, the twisted steelwork of the destroyed building is just a little too familiar. Faux news footage of civilians running in the streets as debris falls from Stark Tower (Iron Man’s headquarters) also feels so emotively contrived as to be blatant.

Fury and the team eventually realise that the only way to destroy the foreign invaders and protect America is with a nuclear bomb, which is naturally promptly deployed. The Chitauri eradicated, the film’s closing shot is of Stark Tower being rebuilt, and rising triumphantly over New York, the letter ‘A’ still intact. ‘A’ for ‘Avengers’, or for ‘America’?

All of these elements serve to render a narrative that is pro-Christian, pro-Caucasian, pro-American and pro-Nuclear armament. That’s a lot of pro-s. It is a film which espouses the importance of monotheism in protecting American liberty, and, by using aliens as an allegorical depiction of Al-Quaeda, renders the Middle East as whole as inhuman, barbarous, blood thirsty and worshiping a false god. You see, for all the talk of an endangered America, the Middle East is tactfully never mentioned at all except for in a brief post-credit scene, where the Avengers gather to eat shawarma. Is this irony or appeasement? The message seems simple: kebab shops are the acceptable face of the Middle East.

Of course, the above is entirely inference. Perhaps I am too ready to analyse the film, too eager to locate ‘meaning’ in it. Perhaps there is none at all. But I can’t help wonder if the words ‘avengers assemble’ are not just the film’s title, but an instruction.

Words: Jack Casey

This is one of the songs to be featured on their first single with the same name: Just Everything. It starts off with a pretty basic drumbeat, but excels the further in it gets. The riffs expand in all their greatness and form a simple, yet both dim and liquid soundscape. As the vocals enter into the song, it suddenly shifts. With suggestive lyrics and hoarse singing, it becomes one with the interesting complexity. It takes two to tango, but it surely takes more of an effort to make something simple more complex. As summer is coming, this will surely fit the bill. The rain is parting, then comes the sun. Celebrate it with perfectly laden riffs, intensifying drums and shifting climate.

Enjoyable is the least you could say about this: it’s marvellous in its entirety. Mind you, if you’re not an indie-fanatic, you’ll still love this. It would also suit those tired of the stale, repetitive and nonsensical soundscape of mass-produced indie. While at the same time maintaining a unique character, balancing on the edge of genres – it also manages to keep the diverse roots of indie alive. Surely a major improvement since their earlier work, which also held a high standard. Gather your friends, it’s time to travel into the world of Towns.

Words: Jonas Larsson

Having dropped their previously used guitars and keyboards for a predominantly stringed arrangement, they are starting to show a strong musical adeptness that was hinted at with 2010’s debut EP John Franklin. The result of their efforts falls favorably into the company of mood builders The XX and Zola Jesus but – somewhat expectantly given their origins – with the accuracy and directness of pop mainstays Blur and, even further back in time, Talk Talk. With the full EP release looking to be set back due to a ‘groundswell of major labels sniffing around’, Tough Love looks set to pay great dividends for the Swedes and provide us listeners with much more melancholic daydreams.

Words: Ben Clark