14 corners are a 4 piece from Glasgow who despite only being together for a matter of months are already stating to turn heads in one of the Europe’s most important musical cities.

Removing themselves from the Franz Ferdinand aping wannabe’s clogging up the underground circuit, 14 Corners instead concentrate on making a fast, sharp punk rock racket, a blink and you’ll miss it guide to song writing and a to- the- point lyrical approach that will undoubtedly bring them to the attention of a wider audience. Their first effort in a recording studio is everything a demo should be- a literate statement of intent buzzing with energy and hinting at the future.

Tracks like ‘Born’, ‘Hypothermia’ and ‘Recluse’ recall ‘touch me I’m sick’ era Mudhoney, all blistering drums, fuzzed up guitars and soaring shouty melodies whilst EP highlight ‘Something in Me’ is a poppier more melancholic affair, a distant cousin of Nirvana’s ‘About A girl’.

However, whilst the group clearly wear their hearts and influences on their sleeves this is no retro rock exercise in hero worship. 14 corners have their own spin on sub pop style guitar noise and a refreshingly modern one it is too. Hometown accents are pushed to the fore eschewing current trends for libertine’s lunges and studio polish is forsaken for a live ‘first take’ style recording favoured by the most 4 real hardcore bands.

14 corners are the perfect soundtrack to a Saturday night in Glasgow, so check out the website, stalker demand a demo via e-mail a get down the front for one of their sweaty live shows.

Review by Andrew Moran
www.14corners.net.tc
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Bit of an interesting one is this. Although it may not be from a reader’s point of view, as it impels me to employ all sorts of lazy journalistic comparisons! This does not, however, mean that they are a copycat band, as their epic sound is still somehow their own.

'Def. Con.', the opener, while its title appears to be in thrall to Radiohead’s ‘Com. Lag.’ EP, is pure Placebo. With its heavy, pounding guitars and powerful vocals, it is quite the little anthem. Next up, like a crazy Placebo/Queens Of The Stone Age hybrid, is ‘Leave Quietly’: think ‘No-One Knows’ sung by Brian Molko, but with different lyrics.

Finally, we have ‘Soldier On’, which is both the title track and my personal favourite of the EP. This song reveals the Cheshire band’s softer side, boasting a Radiohead-like intro, with softly sung vocals which gradually gain power, leading to a melodic climax. Perhaps the songs could do with being a little shorter as the outros are slightly on the long side, but this is a minor complaint, and probably more to do with personal taste than anything else. A good effort.

Review by Anne-Marie Pattenden
www.pollenmusic.com
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Do we need any more bands from London releasing new-wave punk material just now? Ach, maybe we can let the occasional one slip through and enjoy them, one or two won’t hurt eh?

Crash Convention are your average grime rock band with their street urchin dress sense and good looks. But there’s something distinctly addictive about their music which we can’t quite put a finger on. We should just be passing them off as a bunch of no-hopers, but can’t quite bring ourselves to do it. “The Watch Committee”, is an instantly eye, or is that ear, catching song sounding like a cross between The Departure and early day Blur. It’s likeable and if you suddenly find you have it stuck on repeat, you won’t mind that much. “Thick as Thieves” seems slightly more aimed at making people spazz out on the dance floor and for that fact alone, we rate it very highly indeed. It’s got a quaint charm underneath its hard exterior.

The band are a personal favourite of Carl “London’s answer to Jesus” Barat and you can almost see why in these songs. They’re more than just another indie rock band, they’ve got that special factor that just makes them so much better than the majority of the shit currently coming out of the city. It’s bands like Crash Convention who are ensuring that London is still most definitely burning brightly.

7/10

Review by Jason Edwards
www.crashconvention.com
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First thing I thought when I picked this up this CD was "Who are this lot then?.....Oh good there's a website"

Within minutes I was on the website, hours later I was still on the website, unfortunately all I had been doing was gawking at the pictures of the female bass player. Man, she is hot! Then I thought "Sonic Youth have Kim Gordon on bass, oh but she's married to Thurston....I wonder if that story about the Backbeat soundtrack and him tuning down to C and getting out a spanner are true?........I hope this one isn't married…Shit, it's a EP. Does that mean I have to review all the songs? Oh, ok I better get on with it then."

1. 'Polystyrene Aeroplanes' - I held my breath and waited for some cheap Sonic Youth rip off. I was pleased, the intro sounded more like this Jacob's Mouse or Pond song I have on tape from a 1994 Peel Session than anything else. I say "or" because i didn't press record quick enough and now I can't remember. The song features some nice discordant guitar work, slightly cheap sounding distortion and some backing vocals by the siren bassist. Unfortunately, she doesn't sound as good as she looks (that's my chance of date blown). "I'm never awake" screams the singer and then it ends up sounding like Sonic Youth, but to be honest not enough music does sound like Sonic Youth so that can only be good.

2. 'Twenty Two' - Again a nice intro followed by some heavy drums. A good song that is never going to get airplay as opposed to Rik Waller, a load of tripe that will get airplay. Not so sure I can hear the vocals properly but one line sounds like "Smell my cheese sir under leg!" Now that can't be right, can it? Maybe Alan Partridge is ghost writing for them. The song ends with a short instrumental break down that makes you think there are more reasons to go and see them live than to just perv at the bassist.

3. 'Vices' - Sultans of Ping vs Zombies Ate Neighbours Super Nintendo game theme tune. Oh no, don't like it, the vocals make it sound like a musical. I hate musicals, except Annie of course.

4. 'Popular Art' - Again a nice intro although I am becoming convinced I am listening to Justin Hawkins. This is bad. I want more of what the first track was about. Would be a good instrumental, vocals tarnish it.

5. 'The Church Song' - Fast paced, punky.....oh no the singer is swearing and my mum has just got home I better turn it off......

Did I mention the bass player is sexy hot?

Review by Jamie Boyer (www.angelfire.com/theforce/jamieboyer)
www.endofthenew.com
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Wherewithal write (in their own words) “pop tunes with bollocks”. To imagine what their debut single ‘Sixth Form Poetry’ sounds like, you’ll have to imagine Sophie Ellis-Bextor secretly videotaping a love-in between Elastica and Nicky Wire! The guitars throb like early Snow Patrol and singer Stacy Hart has a fine voice that put me in mind of the aforementioned Ms Ellis-Bextor and her old band theaudience. Lyrics like “shibboleths of panacea/make me ill” are obviously going to grate with some listeners, but in a song called ‘Sixth Form Poetry’ I think that they’re probably missing the point. Double A-side ‘I Know This’ isn’t quite as strong – but still sounds cool in a slightly-less-subtle Delgados kind of way. Final track ‘Lay The Blame’ is a great half-dreamy/half-damaged slow-burner and shows that they can also turn their hand to delicate post-rock. All-in-all, a good value package, and it would be heartening to see an indie band as resolutely unfashionable as Wherewithal do well.

Review by Tom Leins
www.wherewithalonline.com
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The Free Jazz movement at not Jazz at all- they are four teenagers from north London currently kicking up a critical storm with their stirring take on post hardcore. I recently had the luck of stumbling across them at the Bull and Gate, and was surprised to see the venue packed to the rafters for the Jazzers set- unheard of at a venue widely known throughout the underground for its overpriced entry fees and rubbish atmosphere.

Their 2 track demo takes the ‘emo’ formula- melodic clean vocal harmonies, metal influenced guitars and big sing along choruses- and infuses them with youthful abandon and a genuine song writing talent lacking in some many of their contemporises. First track ‘myth of the hero’ is the better of the two, as singer Kumar wrestles with Jimmy Eat World style catchiness over Dean Smith’s quite simply stunning drum patterns. It is worth noting that during the Bull and Gate show Smith’s Keith Moon style heroics made me seriously consider retiring from the drum stool in jealousy. He is easily the best drummer I’ve seen play live since the time I saw a young man called Matt, who now plays in some band called Bloc Party, beating skins at the Paradise Bar in New Cross. This comes across in the band’s recordings too.

Second Track ‘Good Girl’ is heavier, packing some ‘screamo’ style backing vocals al la Refused, Thursday and Minus in for good measure. Whilst it lacks the immediacy of its predecessor, it’s a good track on its own terms and highlights the various sides of the bands eclectic sounds.

A most promising start for this young band then. Expect to hear a great deal more from them in the future.

Review by Andrew Moran
www.thefreejazzmovement.com
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The North is the place to be: it’s official folks. Forget London and its grimy, sleazy scene and look towards the bright lights of Leeds, Manchester and Glasgow where the country’s finest new bands are not only creating the finest music, but the most original. It seems as though every day there’s someone new to be talking about and discussing their greatness, well today let’s bask in the glory of The Shadow Call.

Sounding like a mix of early Manics, Placebo and Radiohead, they not only re-create their dark, lyric heavy, gothic sound, but contort it in such a way that truly makes it their own. The most incredible thing about this band, however, is that they’re just babies in the industry and yet just look at the comparisons being drawn between them and some of the most influential bands of our generation. On this collection of songs, released at the end of last year, they show no signs of being a struggling upstart band, and instead they sound like they’re entirely in control of the musical monster they have created.

“The Bride at Every Wedding, The Corpse at Every Wake”, not only has one of the best titles of a song we’ve seen in a long time, but it manages to be more emotive and powerful than the most heart-wrenching of Hope of the States material and sounds so positively huge that, if it wasn’t for it’s more fragile moments, it would probably engulf the other songs on the disc. “Rouse the Rebels” is seemingly sung by a newly re-discovered Richey Edwards. Not only that but its spookily beautiful lyrics that lie on top of a layer of chugging guitar riffs and eerie backing vocals, mélange to create the tastiest sandwich you’ll have until your next visit to Subway. Then there’s “Mexico Blues” sounding like something lifted straight out of the soundtrack of “From Dusk Till Dawn” with the magnificent trumpet intro and then the salsa rhythm that runs throughout. It’s unusual but still as thought provoking and brilliant as the other songs that the band have on offer.

So if you like your music sophisticated, dark and edgy then The Shallow Call may just become you’re new favourite band. But please don’t approach them if you’re looking for your next disposable, Towers of London type band that you’ll love for a week and then forget about. These guys deserve more than that.

8/10

Review by Jason Edwards
www.theshallowcall.com
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I discovered The Ape Drape Escape at the ‘Filthy Little Angels records’ night in Nottingham as reviewed by Joyzine. I must say after 5 hours stuck in the back of a mini metro with rocks smelliest rhythm section, Tim and Craig of The Swear, how nice it was to walk in on the ADE’s sound check and have my ears blasted by such an insane noise.

Their EP ‘I’m a sexy boy’ showcases the band’s ace live show. Opener ‘I am the uniform’ bombards the senses with rockabilly drums, off kilter guitar lines and possessed vocals. To my ears its The Fall being fronted by The Blood Brothers, gloriously uneasy listening anti pop. Other influences I would throw in would be early Fugazi, certainly in the lyrical approach which takes a personal/political punk rock swipe at anything and everything, whilst other songs on this 6 tracker come across like Pulp or Sparks being played through clapped out speakers in a multi storey car park in Leeds, by mentals. Like all the best punk bands, they have also realised that moshing at gigs is wrong wrong wrong and have thrown in some nice post punk disco drums and wobbly synths for us all to dance to. However one look at this boy/girl combo (high cheekbone count, cool choppy haircuts and a record collection I’d imagine to be in the millions) will tell you we are dealing with some serious indie kids and throwing up half a dozen references won’t begin to cover it.

Review by Andrew Moran
members.lycos.co.uk/adescape
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"Smoke Rings" has a rustic feel like it was recorded in a bar where everything including the glasses are made of wood, they don't serve food here because everyone smokes cigars that smell of camel dung. Not a synth to be heard or an epic chorus to drunkenly sing, this mainly acoustic song is nothing new but is pleasingly lazy and warm. I am not too overexcited about it. He likens smoke rings to "circles of friends", I think my sister had that film on video. There is some nice work from the keyboard player and some pretty twangly guitar work by a Hank Marvin derivative but all in all it just kind of passes over you.

I don't know why it is an EP because the title track clearly stands out and the others are obviously just b-sides. The second song "A Time to Live In Dreams" is fairly inconsequential and short. "Shifting Sands" is another lazy sounding song drenched in reverb like Suede’s "Dog Man Star". "Spinout" is a nice instrumental again with some gifted piano touches.

In conclusion it's alright but I didn't really get into it. Maybe I just didn't give it enough time? Maybe I had no time left after being compelled to rediscover "Jollification" again and then spent the evening listening to that instead. Actually it is available second hand on Amazon for 65p, that’s cheaper than a bottle of Lucozade and better for your teeth.

There’s never a shortage of good alternative music; it’s a surprise the majority of the public haven’t caught on yet and stopped buying Elvis Pressley re-releases. Ambulance LTD need your money, not some dead fat man who, let’s face it, was never that good. This single is a true joy but we’re going to be selfish here and say we hope it doesn’t become too popular, as it’s the sort of tune you want to keep and cherish and call your own. The chorus is enough to make you melt into a pile of sugar and the vocals are even more soothing than Barry White singing you a lullaby.

If you’re sick of the rain, the cold and the wind then just throw this into your stereo, not literally (Legal Ed- Joyzine will take no responsibility for electrical faults due to the advice of this writer), and sit with a nice cup of coffee as you stare at everyone getting thoroughly soaked outside…and laugh at them. It’ll make you feel so much better.

Review by Jason Edwards
www.ambulancenyc.com
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Big Cash Prizes are an unsigned band hailing from Stoke-on-Trent who deal in angular guitars, sneering vocals, heavy bass-lines and abrasive electronic assaults. Track one 'Movement' mocks some unnamed enemy with lines like "is it harder to take knowing there's no one to blame" and "the fear consumed by the fury" sung with a passionate white-hot anger, while a propulsive bass-line battles with some eardrum-shredding high frequency squeals. Comparatively 'Untitled' sees the rage turned inwards ("I always say the wrong thing. I should leave before it's too late") while the band create a suitably melancholic feel without losing any of their inherent funky-ness. Track three 'Shock of the New' is a personal highlight, featuring a perfectly realised punk-funk sound and more confrontational lyrics ("watch your step, it's a fine line that you tread") sounding like The Rapture if they had been born and raised in the Midlands- angrier, harder, but still undeniably primed for the dance floor. The final track 'Thrive Under Pressure' sees Big Cash Prizes checking out over a fierce motorik beat that builds into an intense climax, as the singer states that "we come alive under pressure, we go down together" thus completely nailing this band's all out assault- when they're up against it they're going too hit back with fury, taking the listener with them.

The sparse, driving edge that informs all four tracks comes on like a more aggressive and confrontational New Order, or Kasabian minus the embarrassing northern-monkey posturing. In the previously mentioned 'Untitled', BCP sing that they should "seize the moment", and on the basis of this demo you can't help but agree that their timing couldn't be better.

Review by Ian Viggars
www.bigcashprizes.net
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On ‘A Work In Progress’ new Bristol-based rock band IAmTheDoor blend together emo and grunge and come up with three tracks of energetic modern rock. Melodic, emotive and angsty, IAmTheDoor bear a passing resemblance to the now-defunct Vex Red in sound, tone and vocals. If their high-pitched pop-metal shine doesn’t get you, then the sheer urgency probably will.

Review by Tom Leins
www.iamthedoor.com
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