Lyrical Poem – Whitesnake

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Give Me More Time” cause I can’t quite decide
I’m not “Ready an’ Willing” to give up my pride
Cause “Love Ain’t no Stranger”: I’ve been there before.
Here I Go Again”, while you’re just one more

 

But I’m a “Fool for your loving”, and in the “Still of the Night
When I’m a “Long Way From Home” it just doesn’t feel right
The Deeper the Love” they say the deeper you fall
I am “Guilty of Love”, but I’d give you it all

 

~ Laura Webber

 

The concept of a lyrical poem is to take an artist and write a poem consisting mostly of their song titles, to either get across what the artist’s views were or create a whole new narrative for their music. Each lyrical poem acts not only as a poem in its own right but also a crash course of the artist in question.

Live Review – Enter Shikari @ The Corn Exchange, Cambridge – 24/02/15

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Enter Shikari are one of the few bands that require no introduction, partly because any attempt to describe their music would result in the same confusion as a discussion of the meaning of life with an infant. These genre-hopping giants recently dropped their incredible 4Th LP “The Mindsweep” last month, meaning it was time to ‘Take To The Skies’ once more and deliver a tour de force filled with brand new, meaty material, alongside fan favourites.

 

‘The Corn Exchange’ fits in perfectly with the architectural aesthetic of Cambridge – old and pretty from the outside, but neat and modern on the inside; with a decently sized floor-space for fans to tear up, a huge stage and the obligatory wall-length bars in the foyer. Unfortunately, Cambridge is around three hours away from where I live, meaning I missed the first support band: ‘Fatherson’ – which is a pity as their smooth alt-rock tones would have been the perfect way to get in the mood for a night of music – if not quite preparing for the hectic energy of the following bands.

 

 

The second band to hit the stage was ‘Allusondrugs’ – a band which I did manage to catch, who were sadly underwhelming. Each song seemed like a pastiche of a different band: first attempting to emulate ‘The Strokes’, then ‘The Darkness’, followed by ‘Marmozets’… unfortunately, by not choosing a signature sound for themselves, ‘Allusondrugs’ don’t feel like they’ve mastered any particular style – the set came across as bland and uninteresting. Oh, and the lead singer could benefit from some singing lesson (just saying).

 

 

All was not lost though, as ‘Feed The Rhino’ took to the stage to remind everyone that the raw energy of hardcore is still very much alive and kicking. Still riding off the back of the success of their most recent album “The Sorrow & the Sound”, FTR know how to get a crowd moving. The venue’s PA was almost unable to handle the sheer power or anthemic belters “Behind The Pride”, “Give Up” and the signature rock’n’roll vibe of “Deny and Offend”. Towards the end of their set, it seemed that even frontman Lee Tobin was struggling to maintain his voice – although I challenge anyone to keep up his full-throated hollering for over half an hour. ‘Feed The Rhino’ finished off their set with the more reflective “Tides” – living proof that even the heaviest bands have a subtler side – and the undeniably catchy “New Wave”. The energy in the performance was pure and ungated, and whet the crowd’s appetite perfectly for the entrée: ‘Enter Shikari’.

 

 

Before I continue, I should point something out: ‘Enter Shikari’ work within every genre of music possible. They can start off with a sombre acoustic sound, move into a dance track, a dubstep drop, crushingly heavy breakdowns and finish with a stadium rock anthem – often all in the same song. As a result, crowds aren’t full of the usual suspects when it comes to moshing. Usually, there’s a standing area at the back, a pit for moshing in the middle and people singing along at the front. A Shikari gig is essentially a free-for-all: there is no etiquette. People break out into moshing/dancing all over the venue, and standing at the front will get you squashed up against everyone else so tightly that you won’t be able to breathe. Ironically, this makes the pit (in any shape or form) the safest place to be – suits me.

 

‘Enter Shikari’ set the scene with the thought-provoking opener from the most recent album: “The Appeal & the Mindsweep 1”. The chilling electronic backbeat and slam poetry-style call to arms from front-man Rou Reynolds gave me chills, before the band launched into a frantic, anthemic journey – a pattern and pace that was held for the entire concert. I’m always impressed at how refined Enter Shikari’s lyrical content is – all songs are incredibly well thought-out political statements weaved into a beautiful and often raucous blend of electronic and metal music. Angry fan-favourites “Destabilise”, “Radiate” and “Gandhi Mate, Gandhi” provided the perfect atmosphere to throw my weight around and just wallow in the sorry state our society is (apparently) in. When a song starts off with the lyrics “Now, I don’t know about you…” and warning sirens, you know that someone is about to erupt – and it’s probably going to be you. New additions to the Shikari catalogue definitely don’t let up on this; notable songs include “Anaesthetist” – a furious retort to plans to privatise healthcare and the decline of the NHS – “Never Let Go Of The Microscope” – an electronic, almost ambient song if it weren’t for the carefully planned scientific rap from Reynolds – and “Myopia”, a tragic song about the extinction of various species on our planet. The technical proficiency of the band has noticeably improved since their inception, especially on these newer, more ambitious songs.

 

 

Of course, it’s not all violence and harsh sounds: Welcome respites from the madness came in the form of slightly softer songs such as the acoustic “Stalemate”, “Torn Apart” which is an anthem for the decline of society (and oh so danceable-to) and the almost Coldplay-esque “Dear Future Historians”. Each of these songs starts off noticeably softer, in an acoustic manner and build different layers of sound until you’re hit with a wall of emotion – which is no less breathtaking than screaming your lungs out. It’s during these quieter moments that you realise “Wow, these guys are seriously talented musicians”, and it’s utterly true. Few bands can claim to flick between your emotions like Shikari do: tugging on your heartstrings, making you think about the world that you live in and getting you riled up about how stupid human beings can be.

 

 

Not to say that the show was all doom-and-gloom – more reflective at times, with an aura of aggression that’s a welcome release for most. Some class-A stage-presence and banter kept everyone completely invested in the show – particularly towards the end of the show. Already a fan-favourite, the 2-minute restaurant complaint in the form of “Slipshod” went down an utter storm, with the entire crowd screaming out the quintessentially British anthem of disappointment. Reynolds may have even gotten a little too into it, as he smashed a glass vase on Rob Rolfe’s drum kit to the cue in the song. It just made me wonder how many injuries the band sustain from shows like these! “Slipshod” ran straight into the party anthem “Sssnakepit”, Shikari-style: The song started off with the Hamilton remix of the track and the band transitioned seamlessly into the original. This practise was seen earlier with the dubstep edit of “Motherstep 2.0” into “Mothership” and a mash-up of the latest single “The Last Garrison” with a stellar remix of “Juggernauts” by Nero, ending up again on the original. Throughout the gig I was constantly aware of how much planning the boys put into their set – which music to play, how it all flowed into the next song and how to create a spectacle with a mix of gravitas and exceptional lighting.

 

 

This was the 4th time I had seen Enter Shikari, yet I was still completely blown away. It definitely won’t be the last time either. If you’ve never seen the indescribable spectacle that they put on, I recommend you head down to a show as soon as you can.

 

 

~ Adam Hitchen, Head of Music

Lyrical Poem – Dio

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Holy Diver, Holy Diver. The Last in Line with whom I Speed at Night. Who is Hungry for Heaven and whose Angry Machines seek to be Killing The Dragon.

 

Master of the Moon I ask of thee your Strange Highways, whose home be of Egypt (The Chains Are On).

 

Oh Holy Diver, Holy Diver. Lock Up the Wolves for the Sacred Heart. Stand Up and Shout, for you be the one true King of Rock and Roll. Whom despite your Mystery, We Rock, even though you be The Last in Line and the Rainbow in the Dark to your Rock ‘N’ Roll Children.

 

Hunter of the Heart, All the Fools Sailed Away but we remain to bring Shame on the Night, like the Gypsy who has Evil Eyes, is Invisible and will only Dream Evil. I Could Have Been a Dreamer, but I chose to become one with my Fever Dreams, despite some saying I be Losing My Sanity.

 

Holy Diver, Holy Diver, I await for you to awaken, for I Scream“Long Live Rock ‘N’ Roll!”

 

~ Illisuve Man

 

The concept of a lyrical poem is to take an artist and write a poem consisting mostly of their song titles, to either get across what the artist’s views were or create a whole new narrative for their music. Each lyrical poem acts not only as a poem in its own right but also a crash course of the artist in question.

Album Review – "Rock Or Bust", AC/DC

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There’s an argument to make that AC/DC’s approach to songwriting is the most successful in the history of popular music. Every album they’ve recorded draws from a beefed up treble-heavy take on blues rock based on big chords and bigger choruses, and since 1980’s legendary ‘Back in Black’ album they’ve been untouchable at the top of the hard rock mountain. Because even though every record they’d made before it and have made since is transparently cut from the same musical cloth, they’ve all come with a handful of incredible songs it’s impossible for the primal human brain to connect to.

 

‘Rock or Bust’ makes no attempt to differentiate itself from its predecessors and doesn’t suffer a smidgen from that, in fact standing head and shoulders above the other AC/DC albums of the 21st century thanks to its reined-in, filler-free 35-minute runtime. It’s also, despite the lack of chief songwriter and rhythm guitarist Malcolm Young, a perfect channelling of the band’s immortal strengths – the perfect fusion of melody and hardness, a youthful vigour that the decades of their existence has not diminished, and simple chemistry. No prizes will be won for variety, but there’s enough to maintain the listener’s interest, from the belligerent call and response of “Dogs of War” to a headlong charge on “Baptism by Fire”.

 

Lyrically, the lewdness and single entendres may not be to everybody’s taste particularly delivered by a group of this vintage, but Brian Johnson sounds as energised and ever and somehow gets away with it. The music could never be described as complex, but it shows a mastery of the base elements of songwriting that may never be bettered. ‘Rock or Bust’ may well be the last AC/DC album the world gets, and it’s thus appropriate that it’s as single-minded and uncompromising as anything in their discography. No matter how many imitators continue to spring up in their wake, their like will not be seen again.

 

~ Michael Bird

Album Review – "Smoke + Mirrors", Imagine Dragons

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The difficult second album. It’s one of the great challenges in the career of any band with aspirations to reach the top of the mountain, particularly if they’ve put out a debut as well received as Imagine Dragons’ ‘Night Visions’ was. With singles as immediate and anthemic as “Radioactive” and “Demons” it could only ever have been a resounding success, but inevitably gave the young band a mountain to climb when it came to crafting a follow-up. Not that it seems to have deterred them – ‘Smoke + Mirrors’ is a supremely confident collection of songs that lives up to and surpasses the best of the Imagine Dragons back catalogue.

 

Far more nuanced and unorthodox than many critics have given it credit for, the album spans myriad genres often within the context of single songs. There are times when this means the record feel’s a tad lost, and the folkier elements of admittedly huge-sounding single “I Bet My Life” and deeper cuts “It Comes Back to You” and “Trouble”. But at its peak this is an enthralling experience; on the one extreme there’s the hip-hop-sass of “Gold” and crunching oriental pulse-charger “Friction”, on the other the lovely ballad “Hopeless Opus” and immaculately produced title track. Producer Alex da Kid indeed deserves plaudits for drawing out the best of the group again and again.

 

Set to top the bill at some of the country’s vastest arenas on their upcoming tour, Imagine Dragons have filled their arsenal with songs of the appropriate enormity with this new album. ‘Smoke + Mirrors’ may very clearly be geared towards accessibility, but has enough of an edge and significant textural shading to avoid vanilla banality. In other words, the band could have become just another Coldplay clone and laughed all the way to the bank. Instead, they’ve cemented their own identity and recorded a damn good album to boot, and it’s hard to not respect them for that.

 

~ Michael Bird

Album Review – "Happy People", Peace

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Peace are a band renowned for their wild live performances and hard work, so it’s no surprise that that they’re already onto album #2. ‘Happy People’ is a statement of the band’s influences and their experimentation with new sounds since their 2013 debut ‘In Love’, and I think it’s a really sophisticated album.

The album kicks off with ‘O You’, a track which to me sounds like it reflects on the musical styles of the ‘60s era. The whole album actually gives me a Beatles-y vibe, but this song especially. You can really hear Peace’s influences, more than you could on their previous album and the track’s defining catchy riff makes it a cracking opening track to set the tone of the rest of the album. Track 4 on the album, ‘Perfect Skin’, is one of my favourites as it’s catchy and doesn’t require much attention when you listen to it. When I saw this track at Peace’s album launch in Kingston it was obviously a stand-out crowd-pleaser so I reckon this will be one to watch out for at festivals this summer.

The album’s title track, ‘Happy People’, takes a slightly slower melody with a brilliant bassline and layered guitars. It’s the kind if track that gives you goosebumps when you see it live and really listen to the lyrics. I personally feel like ‘Happy People’ is a beautiful choice for a title track and probably deserves more credit than it gets on this album.

If I’m being completely honest, ‘Someday’, a track nestled in the middle of the album, really doesn’t appeal to me. It’s the slowest song on the album and the start of it somehow reminds me of something that a band such as Green Day would write (really not good in my eyes). To be fair, the chorus of the song is actually not too bad and the track was surprisingly beautiful live. It’s the most acoustic track I’ve ever heard from Peace, but I must say that I don’t see how this track could ever match up to other slower offerings from the band such as the beautiful ‘California Daze’ or ‘Float Forever’.

‘I’m A Girl’ is the heaviest track that Peace have ever put out and it’s bold, brash nature and carefree lyrics really stand out on the album. Whilst it’s tailored for crowds and rowdy mosh pits (I can’t wait to rock out to this one at festivals!), ‘I’m A Girl’ makes the biggest statement on the album for me, in terms of things I’ve never heard from the band before and how they are put together in a track. This track outlines the album’s new sound and hopefully is an omen for things to come.

‘Happy People’ is closed with ‘World Pleasure’ which is a track that I feel is one of Peace’s most defining tracks to date, alongside other older tracks such as ‘Bloodshake’ and ‘Follow Baby’. It’s 6 minutes and 23 seconds of brilliant layered guitars and retro vibes and THAT bassline. The way the bass takes the lead in this track is something I’d love to see more from Peace, and other bands in their music. For me, this is the best track on the album by a mile!

Overall, ‘Happy People’ is a great offering from Peace as it shows changes in the way the band are composing their songs and mixing their styles – it’s in no way samey to their other albums like so many are. Though I have to say that ‘Happy People’, whilst great, still has not lived up to Peace’s first EP, ‘Delicious’, which is one of my all-time favourite pieces of music. Though, of course I will still have ‘Happy People’ on a loop for the foreseeable future. More tracks like ‘World Pleasure’ please, Peace!

~ Ceri-Ann Hughes 

Album Review – "Everything Is Fine", Hawk Eyes

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It has been three years since Hawk Eyes’ last full length release “Ideas”. However, despite receiving almost universal critical acclaim in the mainstream music press, the album only sold modestly. This eventually left the band without a major label, forcing them to adopt the more DIY approach in their following EP “What Is This”.

 

I have very much enjoyed all of Hawk Eyes’ offerings to this date, so was really looking forward to getting my hands on “Everything is Fine”. On first listen I was not entirely sure of how much I liked it, due to how different it was from their previous releases. Initially the album lacked some of the manic energy from songs like “Hollywood Sweatshop” and “You Deserve a Medal” from “Ideas”. Despite this, upon further listens the album began to grow on me and I found I very much enjoyed the new approach. While being a little tamer than Ideas perhaps, most of the heaviness is still there and the focus seems to have shifted slightly to making the songs more concise and cohesive.

 

The band’s signature guitar sound is back and better than ever in my opinion: their continuing work with producer Andy Hawkins is really paying off, his touch giving the album some of the best guitar sounds I have heard in a long time. This is particularly apparent on tracks “The Trap” and “More Than a Million“. The drums and bass are also clear and well placed in the mix and serve the songs very well thought the album.

 

Vocally the album is not a huge departure from their previous work, which for me is a good thing as I have always enjoyed Paul Astick’s vocal style and the lyrical content found in Hawk Eyes’ back catalogue. They continue exploring themes of disillusionment with modern society, as well as some songs with what I would assume were slightly more personal themes. I would think of it in terms of following similar themes to much of the alternate music of the early 90’s, something that really excites me since I’m a fan of the time period.

Despite my initial reservations I really like “Everything is Fine” and think that I will be listening to it for a long time to come just like I did with “Ideas”. I would recommend it to anyone who is a fan of alternate rock or metal as the band has such a unique and distinct sound that I think they are well worth giving a try and “Everything is Fine” is a great place to start.

 

~ Robert Appleton

Live Review – Marmozets, Electric Ballroom, 19/02/15

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Every so often a band comes along that makes you question why everybody else settles for musical mediocrity when they could strive for so much more. Marmozets showed promise from the moment they burst on the scene, fresh-faced teenagers spitting venom in every direction. But last-year’s debut full length The Weird and Wonderful raised the bar not just for them, but British rock as a whole, and it’s off the back of that that they’re headlining a rammed Electric Ballroom (one of the finest clubs in London) to a totally partisan crowd.

 

Before the main course comes two starters of very different quality, the first of which is steak. Belgian sludgy-post-metal quartet Steak Number Eight to be precise, who immediately impress with their often-instrumental bludgeon. Frontman Brent Vanneste has an impressive howl on him when he lets rip, but for the most part it’s the thick, ripping groove riffs that course through their music that seem to make a big impression on the already surprisingly full room. There’s an unusual accessibility to them that makes their half hour on stage a resounding success – and frankly any band that end a song called ‘Dickhead’ with “banana!” screamed repeatedly deserves plaudits. They fare far better than the bizarre Thought Forms, whose long-winded droning loops fall largely on deaf ears and provoke little more than polite applause. In comparison to what came before and the thrillingly direct headliners, the lack of energy results in a damp squib of a set.

 

Not that anybody stood a chance coming on before Marmozets. Opening with your best and arguably most popular song is a risky move, but as soon as ‘Move Shake Hide’s opening riff pours out of the speakers, the Ballroom is electrified into action. For the next fifty minutes, a thousand people lose themselves in reckless abandon to a soundtrack of apocalyptic rock ‘n’ roll – and this really is rock ‘n’ roll, as easy to dance to as it is to kickstart a mosh pit, many of which carve open the Ballroom’s floor this evening. From there it’s a thrill ride that takes in everything from dizzying mathcore on ‘Vibetech’ (for which even the breakdown is a sing-along moment for the crowd) to gorgeous atmospheric post-rock yearning in a passionate ‘Back to You’. A symbiotic relationship is established between the band on stage and the audience, each feeding off the energy of the other.

 

It’s easy to forget in this maelstrom of energy how capable and talented the musicians that make up Marmozets are, intricate riffs and unusual guitar parts adding an extra dimension to their white-knuckle punk rock rush. Worth singling out for praise is drummer Josh Macintyre, who has the unenviable job of keeping the perfect chaos together in a coherent rhythm, a job he does seemingly effortlessly. His sister Becca seems somewhat lost for words between songs, perhaps overwhelmed by the crowd’s adulation, but while singing she’s a commanding presence and her ability to flit between beautiful clean singing, a towering wail and of course feral screaming is unparalleled. Highlights come thick and fast – ‘Is It Horrible’ is as deliciously scuzzy live as it is on record, for one. “Hit the Wave’ boasts a chorus so huge it would better fit arenas than this small room, but perhaps best of all is the thousand voice singalong to now-established anthem “Captivate You”.

 

Captivating is the perfect word to describe a brilliant set that concludes with consummate crowd-pleaser ‘Why Do You Hate Me?’ and absolute bedlam across the floor. What Marmozets bring to live music is unique and thrilling, and the quintet deserves far bigger venues to slay next time around. Their songs represent everything good about rock – they are exciting, unpredictable, uncompromising, adrenaline-charged and catchy as hell. ‘Weird and wonderful’ indeed, Marmozets are here to stay.

~ Michael Bird

Check Out Marmozets’ single “Move Shake Hide” here: https://www.youtube.com/watch?v=a8ZPrdAwg3M

Live Review – The Kathryn Wheel @ The Retro Bar, Manchester

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The best sort of gig is always the one in a tiny, dingy underground bar in the back streets of a city – and Manchester is as good as any! I haven’t had time to attend many of these little events recently so it was a welcome change which led to an absolutely fantastic evening in ‘The Retro Bar’. Although a few local bands were on, ‘The Kathryn Wheel’ (who were headlining the evening with an extended slot) are a band particularly close to my heart; front-woman Sarah Woodcock is a close friend of mine, whose gigs I’ve been attending since we started sixth form – meaning I’ve seen her grow and develop as an artist. Sarah has always stood out as she has a really unusual voice – especially now having reached the age of twenty. As I listened to her singing, I really struggled to find artists to compare her to. Her voice is much lower with a more sultry tone than most modern female singers, and a woman at the venue in fact pointed out how it reminded her of Stevie Nicks – which seemed an apt comparison! Top songs of the night were in my opinion ‘Save The World Tonight’ and ‘A World Away’, receiving an impressive response from a very enthusiastic audience.

 

The addition of the country-esque bass and guitar sounds of Peter Woodcock and Geoffrey Peach respectively, give a strong hint of a Fleetwood Mac or REM style, their music sounds so brilliantly raw and perhaps reminiscent of a variety of seventies southern American groups. Tracks are available to listen to on YouTube and their debut album ‘It’s Only Life’ can be downloaded on Itunes or Amazon. My Favorite from the album has to be ‘Welcome to Hell’, definitely worth a listen! For more information visit their website at http://www.reverbnation.com/thekathrynwheel.

 

~ Natasha Barrett

 

Check out “Save The World Tonight” here: https://www.youtube.com/watch?v=_k_bFSUdGVA

Pick Of The Week – "Why Do You Hate Me?", Marmozets

Underground British rock is alive and well in 2014, and few bands embody the spirit of it quite like the marvellously unconventional Marmozets. Industry attention has been fixed on the young group for the last few years, and the last single they released, “Move Shake Hide”, saw their potential completely fulfilled in a jawbreakingly good anthem of a song. With a debut album due to be released later this year and big festival appearances booked for the summer, 2014 seems like it could well be the year of the Marmozet, their latest single “Why Do You Hate Me?” only likely to continue to build the hype.

Striking the perfect balance between zany razor-edged mathcore and refined, accessible pop rock, a fusion that has become something of a trademark for the group, “Why Do You Hate Me?” packs a chorus perfect for radio play without compromising its raw flavour. Fans of any kind of rock music will likely fall prey to the undeniable charms of Marmozets. The future’s bright for British rock, and the guys and girl that make up this band should by all rights be a massive part of it.

~ Michael Bird

Listen to “Why Do You Hate Me?” here: https://www.youtube.com/watch?v=cGSWfuiO0Ps

Pick of the Week – "Gasoline", The Silent Comedy

Created from the minds of the San Diego based Americana band, The Silent Comedy, “Gasoline is but one example of this band’s magnificent talent. The emotional impact of the intro alone is amazing, with such beautiful music having the capability to calm and relax anyone who listens to the track. It can even, for some, provide that weird and wonderful feeling of completeness, which is only enhanced by the heart-warming voice of Jeremiah Zimmerman. Despite there being more recent tracks by The Silent Comedy which are just as brilliant as “Gasoline”, very few can truly match up to it’s beauty, and taking time out to listen to this track is 3:48 well spent.

~ Hannah McCaldin

Listen to the acoustic version of “Gasoline” here: https://www.youtube.com/watch?v=Pet-frXJtAs

Interview – We Cut Corners

We spoke to Conall O’Brachain about the Dublin duo We cut Corners and their new found fame. The band is made up of just Conall and John Duigam but there is nothing lacking in their incredible sound. The duo have been compared to bands like Vampire Weekend in terms of sound.

ACA: Hello Conall, how are you doing?

Conall: I’m OK, thank you. Hope you’re well?

ACA: We’re great thanks. What can you tell us about We Cut Corners? Any new exciting news?

Conall: We are just preparing our new album ‘Think Nothing’ for release on 25th April so that’s keeping us busy and we’re also on tour right now around Ireland.

ACA: wow, that does sound busy, do you ever stop?

Conall: Me and John are literally always busy writing songs and doing tours, we do not stop! Haha! But it’s what we love doing so it doesn’t feel like work to us just good fun.

ACA: Who would you compare yourselves to in terms of sound?

Conall: That’s a difficult one because I feel that we have a really individual sound. Other people have compared us to bands like Vampire Weekend and Red Shoes.

ACA: Interesting. Do you find it difficult being a two piece? Is it more hard work than the stereotypical band?

Conall: No, not really. We have too much fun to consider it work and we like being busy. We’re odd like that!

ACA: Thank you so much for your time, we love the music!

Conall: Thanks Andy, Alero and Chloe. Speak to you later. I’ll check out Insanity radio!

The band have an album available on ITunes called “Today I realised I could go Home Backwards” and have an amazing sound to them. Well worth a listen!

~ Andy, Chloe and Alero

Give  We Cut Corners’ single “Best Friend” a listen here: https://www.youtube.com/watch?v=IbdcIKA09mU