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I’ve Moved!

I’ve changed domains and now have my own website so to keep up to date with my writing check out heathermcaleavymusicreviews.org!

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Wired Noise: “This HAS to end” – Girls Against Gig Groping

“If you ask your gig-going female friends about their experiences with sexual assault whilst at a gig, festival or even on a night out, I bet the majority will have a story or two. After their own shocking ordeal, Girls Against Gig Groping are standing up for our right not to be grabbed and harassed when men see fit.

“In October 2015, frontman of indie quartet Peace, Harry Koisser took to Twitter following reports of a female fan being sexually assaulted at their gig in Glasgow. Disgusted at what had unknowingly occurred right under his nose, he shared her story, stating “If this happens at a Peace show tell me or security asap. If you think this is ok then please I beg you do not come”.

“This fan was Hannah Camilleri, who is now one of the five founding members of Girls Against, a campaign which aims to prevent and raise awareness about such matters.”

Read the rest here!

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“In retrospect, I should have had the absinthe…” Eleanor Goodman Talks The Reality of Metal Journalism

Photo via Twitter

Print journalism isn’t what it was - just take one look at NME. However, there are still plenty of music journalists who still strongly believe in the power of print, and no one knows this quite like Metal Hammer’s deputy editor Eleanor Goodman. Here’s what she has to say on how to deal with the ins and outs of journalism and why lawyers are always good to have around just in case you need to write about bestiality.

How did you get into music journalism?

I was studying for a degree in English Literature at Sheffield University when I won a Metal Hammer music journalism competition for my live review of a masked Australian grindcore band called The Berserker. As a nu metal fan, I wasn’t familiar with them, but I was desperate to write for the magazine! The gig certainly opened my eyes to metal’s depths. At a careers event soon after, I met Lianne Steinberg, who was an editor at The Manchester Evening News’ entertainment magazine, City Life. She was encouraging and gave me paid work writing music previews and reviews. I also wrote for local Sheffield magazine Sandman, BBC South Yorkshire online, the university newspaper and a bunch of music webzines. After my degree, I moved to London for a postgrad diploma in magazine journalism at City University. I got a permanent job working on business magazines while freelancing for Rock Sound, and then worked full-time for Bizarre, Kerrang! and Metal Hammer, where I’m currently deputy editor. I commission the features section and curate the monthly covermount CD.

When you first started, how did you avoid getting star-struck when interviewing your favourite bands?

Rather than being star-struck, I struggled with insecurity at first, as I felt much younger than the people I was interviewing, not to mention the other PRs and music industry folk, who seemed like an impenetrable clique. But I found people were generally friendly and happy to chat about themselves. I was nervous the first time I interviewed Marilyn Manson, because I’d always liked his music and heard he could be difficult. I turned down his offer of absinthe in case I got drunk and messed up the interview, but he turned out to be on form and quick-witted. In retrospect, I should have had the absinthe.

Did you receive much guidance when you first started writing for bigger publications? Do you think it would have been beneficial in retrospect?

I got guidance on my writing during my postgraduate course, which was beneficial – I can still hear my tutors’ voices in my head to this day – though I only really learned through practice. At Bizarre magazine I started as Chief Sub Editor, and had a great editor called David McComb, who taught me a lot about magazine craft. Alongside managing the workflow of the magazine, I ended up editing the features, books and music sections. By working in teams and across different brands, I learned a lot about tone and audience, which had a positive impact on my writing.

What’s the most frustrating part of your job?

Working within constraints. There are always constraints such as getting access to bands, working within budgets and completing pieces to deadlines. Nothing’s ever certain in magazines, either – you could plan a perfect feature, but it could fall apart due to any of the above, or unforeseen circumstances, so you have to be able to change and adapt plans during the course of each issue. Having said that, constraints can force you to innovate and to really narrow down your focus, so they’re not always bad.

What’s the most rewarding?

Seeing an idea come together. Reading a great interview, accompanied by brilliant photos, and looking at how they work together on the design of the pages. It’s always a team effort that involves multiple people behind the scenes as well as in front. It’s also awesome when readers message or comment positively about our content. We’ve had good feedback on our features tackling serious issues such as depression in the music industry, as well as a lot of excitement and insane memes off the back of our recent Ghost cover shoot, which featured the singer of the Swedish band holding the severed head of the ‘old’ one. They have a dedicated fanbase, so it means a lot that we’ve struck a chord. The Metal Hammer Golden Gods is always a great night, too - we honour the biggest names in our world, and it’s surreal to see everyone chatting backstage.

What has been the main problem you’ve come across working for a print magazine?

The decline of print media and the rise of celebrity online. When I started working in print magazines in the early 2000s, the decline in readership had already begun, but mainstream outlets weren’t taking online journalism seriously enough. That lack of early investment has made it more difficult for big brands to catch up, and everyone is still figuring out how to make money online. People have become accustomed to getting content for free, and the sheer number of outlets means there’s a lot of ‘noise’ around artists – especially tours and releases – even if there’s not necessarily a substantial amount of content. Some artists also promote themselves on social media. This means there’s a danger readers will tire of hearing about certain artists before they’ve picked up the magazine. Part of the solution comes back to innovation – what can we do that competitors can’t? And curation – how can we sift through the noise and bring the best in metal to our readers? Our recent covers are good examples of this. Ahead of Judas Priest releasing Firepower, we brought singer Rob Halford together with Tony Iommi for an exclusive photoshoot and chat. Before the Metal Hammer-sponsored Trivium tour in April, we ran a cover featuring them and tour mates Code Orange, Power Trip and Venom Prison – all newer bands we’re keen to give a platform to.

Are journalism ethics and law just as important in music journalism as they are within “regular” journalism?

Absolutely. Music journalism is regular journalism. You’re often talking to people about their personal lives and influences, and sometimes covering wide-ranging social, cultural and political issues, so you have an ethical responsibility to be honest, fair and accurate. The same goes for law – and on a purely commercial level, getting sued can be disastrous for a publication.

Have you/a publication you’ve written for ever encountered any of these issues first hand?

The weirdest scenario was when I was Production Editor at Bizarre magazine, and we ran a feature about a woman in Portugal who had sex with dogs for adult films. Bestiality is illegal in the UK, so I worked with a lawyer to make sure the copy was ‘safe’ and didn’t include any instructions about how to do it, or any names of the people we talked to, so readers theoretically couldn’t track down the material. When the issue came out, the makers of the movies threatened us because we didn’t include their names; they were angry they hadn’t got as much publicity as they’d hoped. We didn’t see that coming! Most magazines I’ve worked for have had access to a lawyer, which means I’ve been able to run any difficult queries or quotes by them. Music-wise, Kerrang! had an incident in 2007, before I joined, where they had to pay £40,000 libel damages over a claim a tour manager pleasured himself in a dressing room. He argued that it lowered his reputation and harmed his chances of getting work.

As a deputy editor, do you have any specific rules or requirements that you ask of your writers?

We’re looking for experience, enthusiasm, creativity, an understanding of metal and Metal Hammer’s audience, and an ability to work to a brief and hit deadlines. Obviously, music is a sociable industry with a lot of late nights, but we also expect people to be professional when representing the brand.

What advice would you give to aspiring music journalists and editors?

Get as much experience as possible, always say yes to opportunities, and ask lots of questions. The more you read, write and edit, the better you’ll become. And don’t be afraid to go out of your comfort zone and cover new and unfamiliar things – you never know where it might lead you.

Follow Eleanor on Twitter @eleanorgoodman  

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‘GLITR’ - Live Review

Night People, Manchester

27.04.18

Tonight Top of the Hill Events showcased their third instalment of their new event GLITR. The line-up included a mix of indie subgenres, from local acts Cultures and McRae to Violet Contours and Seegulls from further afield.

It was a small turn out for Cultures at first but it didn’t hinder them too much. Their setlist was full of strong tracks that had the potential to be quite emotive and engaging, with slow jam ‘Book of God’ distinctly standing out. However the drums had a tendency to drown out vocalist Josh Spivey’s soft tones, which detracted from the emotion within the songs. The lack of energy in the small audience reflected what was happening on stage, with some members coming across rather meek with their lack of stage presence. When a problem occurred with Spivey’s guitar towards the end of the set, an uncomfortable silence settled across the room as none of the other members even attempted to distract the crowd or maintain their attention. Cultures got though their set relatively unharmed by the technical problem, although by this point what was left of the audience had lost all interest.

Violet Contours’ set saw the 450-capacity venue start to fill, although smaller sized crowds clearly had no effect on vocalist/guitarist Ben Henderson who took it all in his stride. Despite this only being the York-based quartet’s third time performing Manchester, they already had a local fanbase waiting readily. They explored a range of sounds from noughties indie to upbeat electro-pop in ‘Electric Bodies’ and bass-heavy indie funk in a new as-yet-untitled track that was met with a good reception. There was a calm atmosphere that flowed with the mood each song presented; electric ballad ‘Hold On’ in particular captivating the whole room. They were at home on stage as each member was relaxed and 100% immersed in their performance.

“This is where the rock ‘n’ roll starts” shouted a rather intoxicated Seegulls’ frontman James Kitchen – and he wasn’t wrong. Their opening track didn’t start them off well though, with backing vocalist Cash Burns’ guttural yelling in the background conveying just how fucked they were. In a sense that kind of assisted Kitchen’s deep vocals as well as stage presence because he basically ended up coming across like a hilarious albeit completely incoherent Nick Helm tribute. Their catchy one-liners and choruses went down well, with 2017’s ‘Eat Lazarus Eat’, adding hints of alt-rock. Burns’ high tuned guitar notably set Seegulls apart though as their songs had an interesting, distorted edge that transitioned well live.

Headliners McRae managed one thing tonight that no band prior had: getting the audience to actually stand at the front. Their stage presence at first was confident but rather jumbled as you could sense some slight nerves attempting to be covered. Frontman and vocalist Jake McRae’s movements fitted their music perfectly: energetic, erratic and entertaining. Although, he seemed to be the only one bothering to put on a performance, with bassist Jordan Davies zoning out, probably just thinking about what he had for tea. As an indie band, their setlist did suffer from the same problem that’s seen time and time again with others within the genre, as the majority of their songs began to blend together with no real defining elements to set them apart. However, ‘Subjective’ stood out with slower-paced vocals that showed a different side to the frontman’s vocal range. The clear highlight though was the fan-requested encore which consisted of the band’s combined rendition of two classic bass-driven hits: ‘Seven Nation Army’ and ‘Uptown Funk’. Using The White Stripes’ instrumentation with Bruno Mars’ catchy lyrics, McRae ended the night on an indie funk-filled high.

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NOIZZE: Slam Dunk Impericon Stage Low-Down

Anyone heading to Slam Dunk next month, check out my preview of all the bands playing the @impericonuk stage for Noizze here!

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Monthly Musings: Tom Walker - ‘Leave A Light On’

Mancunian singer/songwriter Tom Walker released his biggest single to date ‘Leave A Light On’ in late 2017, following the release of his debut EP Blessings earlier in the year. This track placed him in the Top 10 charts in five different countries, and there’s no wondering why.

Starting off as a slow, soulful piece, led by a simplistic minor piano melody, the song doesn’t come across as anything particularly innovative, with the likes of John Legend and Sam Smith taking similar routes. However, the pre-chorus hints at something big, with strings adding to the anticipation.

The chorus itself is massively intense, showcasing Walker’s powerful vocal range. His deep, gravelly voice, accompanied by a clashing, quirky melody on keys, adds depth to the repetitive section, making the four lines shape this into an empowering ballad. Over the course of the song, he develops interesting vocals, sounding like a pleasant mix of vocalists Danny O'Donoghue from The Script and Dan Reynolds of Imagine Dragons. His sound perfectly encapsulates the pure emotion of the song, which discusses a friend’s struggle with substance and alcohol abuse, and implies this is one meant to be truly felt.

The song has an overall sound similar to the likes of Bastille, Rag’n’Bone Man and Hozier but, despite these comparisons, Walker maintains a high level of originality in the genre, boasting these huge, atmospheric choruses to contrast with mellow verses. While still noting the significant difference between this and his previous releases, ‘Leave A Light On’ makes for a very promising change that will take him far.

Watch the video for ‘Leave A Light On’ here

‘Monthly Musings’ is the new blog series I’ll be carrying on throughout the year reviewing a new song, EP or album I’ve found that month. Follow me on here or Twitter to keep up to date.

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NOIZZE: Selfish Things - Vertical Love // EP Review

“Canada has produced some of the greatest rock bands to define their respective subgenres, from Sum41 and Three Days Grace to Nickelback (okay the last one is debatable). Now with the release of Toronto’s Selfish Things’ debut EP Vertical Love, you can add them to the list too.”

Read the full review here!

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Monthly Musings: American Film History - ‘Golden Mean’

New York DIY act American Film History prove they don’t like to wait around when it comes to getting the name out there. After only releasing their debut EP Proto-Neon last August, they’re back with their latest single ‘Golden Mean’, hinting at their new record.

Musical lead Frank McGinnis conveys diverse influences in his instrumentation, composing parts for keys, guitar and bass. Accompanied by Sammi Niss on drums and Melissa Matthews on backing vocals, each instrument showcases elements of various genres which complement each other well. The popping guitar gives a retro blues feel, meanwhile the atmospheric keys add an essence of chilled, ambient pop. The mixture of genres makes this retro pop/blues rock track sophisticated in the sense that there are so many parts to be considered, you can’t help but notice a new hook, rhythm or groove upon each listen.

McGinnis’ lyrics are simplistic and bold in their meaning, inferring a more relatable and outright approach to his venting. Still, it’s more creative than shouting into the void on Twitter like most of us do. The dreamy instrumentation contrasts with the nightmarish topics of self-doubt and a classic existential crisis which, again, aren’t obvious on the first listen. He proves that songwriting can be more basic without insisting on a new take of the English language; sometimes lines such as “Can I face what I am – a 29 year old man, sitting all alone in a McDonalds?” work just as well.

‘Golden Mean’ shows a lot of potential can be seen in American Film History as they explore an array genres without fear of losing direction. They certainly don’t fit a mould, but aren’t niche to the point of being obnoxious – this is a band experimenting with low mood and a subtle yet funky bassline.

‘Golden Mean’ is available now on Spotify and is soon to be followed by full-length release Be Content With Your Light, Child on 6th April via SubFamily Records.

‘Monthly Musings’ is the new blog series I’ll be carrying on throughout the year reviewing a new song, EP or album I’ve found that month. Follow me on here or Twitter to keep up to date.

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Gigs & Tours: Free Throw - Live Review

Jimmy’s, Manchester

17.02.18

“It’s been three years since Tennessee emos Free Throw first graced a UK stage, but tonight marked their debut appearance in Manchester. Having just recently supported Trophy Eyes – currently one of the biggest names in pop punk – expectations were high.”

Read the full review here.

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NOIZZE: Happy Accidents - Everything But The Here and Now // Album Review

“It’s nice when we associate certain pieces of music with specific things in our lives; the nostalgia ringing in our ears at the sound of a mere, yet very recognisable note. London indie-“punks” Happy Accidents’ sophomore album Everything But The Here and Now has that exact effect, however all it reminds you of is the soundtrack to every British coming-of-age film aimed at teen girls.”

Check out the full review here!

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NOIZZE: Winchester - Life Begins At These Dead Ends // Album Review

“For a band that only went public in October 2017, Winchester really have popped up from nowhere as they drop their debut album just four months later. The post-hardcore three-piece’s self-released Life Begins At These Dead Ends is interesting in its narrative, with the six-word title split up between three songs throughout the track-listing, adding an effective subtlety that implies a deeper concept yet to be revealed.”

Read the full review here.

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Monthly Musings: Grigio - Big House

Well if there’s one thing we’ve learnt from 2017, it’s that psych-rock is definitely back in. But how do you maintain the essence of a genre that arguably peaked 60 years ago? Just ask Grigio. Featuring four tracks and plenty of distortion, this debut EP Big House proves the Sheffield five-piece have found their feet in the field with apparent ease.

Throughout the EP, one theme that remains consistent is the vague, nonsensical yet mature lyrics which keep in touch with the psychedelic concepts. With influences from the likes of Fleetwood Mac, Suede and Vanilla Fudge, it’s no wonder this debut already sounds so mature and developed. Each song is filled with subtle rhythms, instrumentation or effects that seem to reveal themselves slowly, meaning each time you hit replay it feels like you’re listening to something completely different. For example, in opening track ‘Bandalore’ the simple use of bongos adds an interesting touch which only rings clear in the intro, yet creeps back in during the verses.

‘Bandalore’ kicks the EP off to a positive start as the fast drums add just the right amount of chaos to this chilled song. During the chorus, your focus is pulled from one instrument to another as lead vocalist/guitarist Libby Driscoll’s ethereal vocals are distorted and faded at a justified level for you to appreciate every aspect of the instrumentation.

However, at times the distortion doesn’t feel equal in regards to percussion. For example, in ‘Gibson’ and ‘Merlin’ every section has a hazy effect other than the drums, which when left as the only instrument in focus can ring too clear and detract from the psychedelic mood as it overpowers everything else. In title track ‘Big House’ though, drummer Tom Bridger proves the more crash and loud snare rolls the better as he builds up the heavier sound.

Despite the battle for focus in the first section of the song, ‘Merlin’ is one of the strongest on the record as it showcases new levels of talent, especially in terms of synth. The dark, twisted ending which seemingly appears from nowhere is filled with plenty of reverb and delays, and features a strong, alienating synth solo. This is the first time you really get a glimpse of synth player/backing vocalist Leila Price’s potential, although in the form of this experimental breakdown it’s definitely worth the wait.

It’s clear Grigio know what direction they’re going in and are able to reflect the stronger elements of psychedelia that are keeping it alive. This isn’t a band relying on one member to hold them above water as each one showcases their individual talent and own take on how to spice up this aging genre.

‘Monthly Musings’ is the new blog series I’ll be carrying on throughout the year reviewing a new song, EP or album I’ve found that month. Follow me on here or Twitter to keep up to date.

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Luke Buck - ‘Winter’ Single Review

If you stumble across ‘Winter’ by Luke Buck in the ‘Seasonal Jazz’ section, this soulful heartbreak ballad is unfortunately as far from Michael Buble as you can get in terms of mood. However, the overlap of piano and trumpet instrumentation which intertwines jazz and soft rock will have you ignoring the jolly tunes and sharing in the New York singer-songwriter’s woes instead.

The slow, minor piece contrasts peaceful trumpet melodies that imply a strong Christmas spirit which is diminished by lyrics as bitter as the weather (“It’s wintertime here in Brooklyn and you have left me alone again”) – all parts written by Buck and conjured from not one but two break-ups. ‘Winter’s emotive lyrics and seasonal instrumentation proves it to be prime example of how Christmas can leave a bad taste in some people’s mouths.

The mellow intro doesn’t give any hints at the raw emotion and heart-wrenching turn at the escalating middle eight when Buck and accompanying vocalist Jed Nimitz are begging for their partner not to leave. Backed by drums that switch from swung rhythms to steady rock beats at the chorus, this four and a half minute song never gets stale and keeps you emotionally invested through its entirety.

This December single follows the release of Buck’s latest EP All These Things, which was released in October 2017, and more is to come as he aims to record early 2018.

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Gigs & Tours: RedFaces - Live Review

Jimmy’s, Manchester

13.12.17

“Sheffield indie-rock four-piece RedFaces have been on the rise ever since their first single ‘Katie Come Home’ was featured on BBC Introducing in 2015, and quickly became Radio 1 favourites. Tonight they’re headlining Jimmy’s – the heart of new music in Manchester – on the second half of their single release tour for ‘Take It or Leave It’, which came out this September.”

Read more here!

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Why Streaming is Ruining Christmas

Having millions of films, TV series, albums and songs all at your disposal on one device is brilliant – a technological development we will never look back on. But when Christmas comes around, what am I supposed to buy for someone who has so selfishly decided to subscribe to Netflix, Amazon Prime and Spotify?

As a very media-driven generation, physical formats such as CDs and DVDs are the go-to presents for all our loved ones. Although, due to online distribution and the oncoming death of the disc, gone are the days where I could buy my mum a Best of 80s compilation CD and my dad a Fawlty Towers boxset. Now I watch bitterly as my mum annually renews her £79 Amazon Prime subscription, gritting my teeth as we watch another episode of Vikings, knowing that’s another potential gift gone now she’s got it on a USB stick for another 12 months. I can’t deny my love for next-day delivery but it kind of loses its charm when I’m using it to buy pointless presents to substitute for the oh-so familiar discs we once rejoiced in.

Spotify now has 50 million paying subscribers and over 30 million songs to access, which is obviously amazing for students who only have to pay £5 a month rather than at least £7 per physical album from HMV. However, it’s deemed even iTunes gift vouchers (the main substitute given to music lovers rather than just money) irrelevant as even they’ve become part of the music consumption Stone Age.

Netflix is another killer, although even I can’t deny that my life has changed since gaining access to my friend’s nephew’s Netflix account (thanks, Ricky). What do I get my sci-fi and fantasy film-loving brother who now has access to hundreds of the bastards online? A tie. That’s what.

So, dearest friends and family members, you’ve all shot yourself in the foot here. I hope you enjoy another year of Ferrero Rochers and socks.

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Gigs & Tours: Bry - Live Review

“With over 381K YouTube subscribers and having visiting nearly 70 countries on tour (including with electropop duo Twenty One Pilots) it’s no wonder Bry has sold out this 470 capacity venue as quickly as he did.”

Check out my full live review of Bry at Manchester Academy 3 here!

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NOIZZE: LIFETIGHT - Self Titled // EP Review

“LIFETIGHT’s debut EP proves they really don’t mess about. Despite only forming mere months ago in July, the metalcore four-piece come armed with four polished tracks ready to be unleashed.”

Read more here.