Category Archives: music

Happy 20th Birthday Reading ’95

This blog post is dedicated to anyone who has ever had an asthma attack at a festival.

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I know that it’s easy to over exaggerate the importance of past events when writing blog posts about days gone by, but, bare with me, because I feel that what happened 20 years ago this August bank holiday weekend can easily be classed as a milestone event in my own personal musical history. And with that, justifies having a whole blog post dedicated to its memory. It seems weird to say, as if it can’t quite possibly be true, that this weekend marks exactly 20 years since I first attended the Reading Festival. Reading ’95 was the first time I had ever been to a ‘proper’ gig where big and famous bands were playing, so as of this weekend I can say that I’ve been going to see live bands for 20 years now. An incredible amount of mind-blowing things have happened in the decades since and it all started with that one life changing weekend.


I imagine that most people get misty eyed about the decade they lived their teenage years through and I’m no different. For me, the 90’s was amazing time. The last decade before the internet and mobile phones took over, a time when high streets were still packed with shops that were open, kids could play in the streets and you would watch TV shows when the TV scheduler’s dictated you should watch them. It was also a time when bands and music really mattered. For example, a whole week in the summer of 1995 the news focussed on whether it would be Oasis or Blur who would score the number 1 position in the singles chart that week. I couldn’t even tell you if there is a singles chart anymore let alone name the pop combo who sits on top of it at the moment.
In the July of 1995 I turned 15. At the time I had long greasy hair, played guitar in a band called Toothpaste and had a group of friends at school who everyone else there referred to as the ‘Grunge Club’. Music was all that really mattered to me at the time. I hated school, for the most part, but I had a cool group of like-minded friends there for whom music was everything. We wore Doc Marten’s, had band names scrawled across our school bags and spent our lunch times practicing Nirvana/Pearl Jam/Stiltskin covers.

That year had already been a turning point, our bands had started to try to play gigs in public and not just at school and we were allowed out in the evenings more and more. We would spend these at shows where slightly older teenagers would play slightly better covers than we could (my favourite local band, Flannel, could do a near perfect version of ‘mayonnaise’ that would blow my teenage socks off) or drinking sickening amounts of White Lightning cider at the beach. As part of our work experience fortnight our school had paid for us to spend a day at a recording studio to record songs we had written to form part of our Music GCSE coursework. That day cemented our obsession with playing music, we felt like rock stars to walk away with a cassette with our songs on it. We repaid this privilege that the school had bestowed on us by playing a cover of Rage Against The Machine’s ‘Killing in the name’ at the end of year school music competition which ended with a group of us being suspended from school for the last couple of days of the summer term.

Despite the amount of trouble I had gotten in at home for this misdemeanour, and to my great surprise, my parents agreed to allow me to go with a small group of friends to the 1995 Reading Festival. I had been going on about going since my best friend at the time had been to the festival in 1994 and when I had seen the line up announcement in Kerrang a few months before it was due to take place I quadrupled my efforts. I repeatedly emphasised how this was a ‘once in a lifetime’ opportunity to see all my favourite bands in one place and in the end they said yes and gave me the money and permission to go.

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This will tell you how different things were back then. To obtain my ticket my parents had given me the cash, I caught the bus in to Canterbury and walked hurriedly to Richards Records believing everyone would know I was carrying more money than I ever had before. I entered the shop, asked for one weekend camping ticket for the Reading Festival and put my £65(!!!) on the counter, the man produced a book of tickets, tore one out and handed it over. I carefully put this in my wallet and headed straight to get the bus home. The thought of being able to go in to a record shop and buy a ticket over the counter a few weeks before the event seems so alien now.

There was a group of 5 of us that were lucky enough to go that year, all of us 15 and for me, at least, it was the first time I was allowed to travel away from home unaccompanied overnight. The sense of freedom was both liberating and maybe a bit overwhelming. I’d gotten the train to London plenty of times before that point, so everything seemed pretty normal until the point. When we boarded the 2nd train to take us to Reading I started to realise that pretty much everyone in the carriage was going to the same place. Then on exiting the train station at Reading and seeing the mass of people who were all heading in the same direction and for the same reason, it hit me that this was really happening. The first sight of the main stage in the distance as you head along the road to the festival site got me really excited, I think it’s safe to say that night I got a little carried away.


The Thursday night at the Reading Festival gives you no option but to go crazy. The bands don’t start until the next day, you’ve set up your tent, had a walk in to town for supplies and something to eat, played ‘Bollocks’ a fair amount, so then you’re there in a massive field with thousands of young people all wanting to party. So that’s what we did. My memory of that night is pretty vague, I remember sitting in my tent with one of my friends and starting off a 2 litre bottle of cider but from then on it gets hazy. I have a vague memory of being in some strangers tent laughing but apart from that the only thing I can really remember was stumbling into my own tent, throwing up on my sleeping bag, turning it over and then getting in it and going to sleep. It must’ve been quite an eventful night because in the morning I had a massive headache and as I sat outside my tent to eat some cereal I’d bought with me all these people, whom I have no idea who they were, kept saying hi to me and knew my name.


Absolutely ruined in my tent

There wasn’t a lot of time to wallow in a hangover as there were bands to go and see. Being allowed in to the arena for the first time of the weekend is always a fun feeling. You’re finally allowed to see the stages up close with the promise of bands about to come out, plus there are cleaner toilets here at opening time than there are in the campsite and usually better food options. Although by the Saturday I was usually relying on the salvation army to supply the rest of my weekend’s sustenance, soup and a roll for a quid is all you need to survive. That Friday in 1995 I made my way straight to the front row centre to take up my place for the day. Being naïve I thought I’d stay here all day, not realising that pretty soon the weight of thousands of people pushing up against you is pretty hard to take. It worked out ok for a good while that afternoon though. And at one point, when I felt really sick after the first band had played, I seemed to be in the best place as the barrier provided a nice buffer between the vomit and the rest of the crowd and I. Plus a nice security guard was on hand to give me many cups of cold water to try to hydrate.


The main stage lineup on the Friday is something etched in my mind and will probably stay with me forever. Even though I was mainly there for the bands playing later in the day, I really enjoyed every band that played that day which is rare with festival lineups. China Drum isn’t a band I would ever go on to buy any albums of but they’ll always be the first proper band I ever saw live. They did a great job of kicking the festival off with their inflatable Newky brown bottles and Kate Bush covers. I pretty much fell in love with Juliana Hatfield from the time she took to the stage, back home I would go on to buy her records and ‘Only Everything’ still gets regular plays to this day and evoking memories of that summer every time. Deus were good fun, it’s always enjoyable when you’re watching a band you barely know at a festival and they play a song you both recognise and like too. ‘Suds and Soda’ was definite highlight and I can still picture them playing it in the sunshine that day.

I was a bit disappointed with Beck, not because he wasn’t good , he was the opposite in fact but because when I’d seen him perform ‘Loser’ on Top of the Pops a few months earlier his backing band had all been really old people. I thought they just must be his band and was a bit gutted when these young guys in backwards baseball caps walked onstage and started playing. Not that it put me off though, I really like Beck and he was great that afternoon playing all the hits from ‘Mellow Gold’.


It was during the next band, Teenage Fanclub, though that being in the front row had become unsustainable. The crowd had swelled in size and the pressure felt by being squashed against the barrier, coupled with being at the point where all the crowd surfers landed meant I could stay there no longer. I had desperately wanted to be in the front row for Hole but I couldn’t hack it and shouted for a security guard to pull me out of the crowd. I felt comforted by the fact that I must’ve got some pretty decent photo’s that day from my front row vantage point but even more frustratingly my camera jammed later on that day. I made the rookie error of opening the back which exposed the film and with it wiped every photo I had taken. There was no bringing them back, they were all lost and I feel annoyed to this day just thinking about it.

The next 3 days formed the main basis of why it was that I was so desperate to go that year. Just the mere thought of watching Hole, Green Day and Smashing Pumpkins all in the same evening sent me into hysterics. I was besotted with all 3 of those bands at the time, spending many hours in my bedroom at home playing my guitar along to their CDs whilst staring at their posters on my wall, fantasising that one day they would ask me to join them onstage.

By the time Hole had taken to the stage I was in the much more appropriate place in the crowd of towards the front but to the left. It is still my go to place to stand during shows and it worked out well then too. Not only did I have a great view of the band, I also narrowly missed a section of the crowd that seemed to just fall to the ground whilst pogo-ing to ‘Violet’. I was blown away by seeing Courtney Love in the flesh, I was used to seeing her all the time on MTV and in magazines but here she was screaming in to a microphone just a few feet away. My love for her at the time had been impacted partly by how much my Dad hated her. Not to sound too much like a stereotypical teenager but when Hole were on Top of the Pops to play ‘Doll Parts’, my Dad spent the entirety of the song spewing forth anti-Love vitriol based on how talentless he thought she was. For some reason this made him really angry and this hardened my pro-Love stance. To be fair, he may have had a point and my opinion of Courtney Love has certainly changed over time but back then I couldn’t disagree more and seeing Hole play live that day was one of the most exciting times I had as a teenager.

As a 15-year-old I think I was the perfect audience for Green Day’s set. Not only was it packed with all the hits from ‘Dookie’ but sandwiched in between this was loads of jokes, swearing and audience interaction. Being told by Billie Joe Armstrong to , as part of thousands of people watching, yell ‘Fuck off you Yankee cunts’ at the band felt like the coolest thing ever. The energy didn’t let up for the whole time they were onstage and they even treated us to a new song, ‘Geek stink breath’, which makes me feel really old to say now.


Talking of new songs, most bands headlining festivals would limit the amount of new material in their sets to appease the crowd. But then most bands aren’t Smashing Pumpkins. And considering those new songs happened to be some of the best songs on ‘Mellon Collie…’ you can understand why they wanted to play them. It was amazing to hear songs like ‘Zero’ and ‘Bullet with butterfly wings’ for the first time in this setting, especially as I would never see Smashing Pumpkins play again having gone off them by the time ‘Adore’ was released. Plus they played my favourite SP song, ‘Geek USA’, just after I’d bumped into my friends in the crowd, one of whom let me watch from upon his shoulders. That moment really topped off an incredible day, my hangover had gone, Billy Corgan had a full head of hair and all was good in the world.

The next day though, things went downhill. Having been asthmatic since I was 6 years old I had done the sensible thing by packing my inhaler. However, no one had warned me how dusty it would be at the festival site and what an adverse reaction I would have to this. In those days the emergency inhaler I carried around with me was really old-fashioned. It required a caplet to be inserted into the bottom of the inhaler, which you would then twist back and forth before breathing it all in. The case I took had the space to carry 8 caplets which you could take up to once every 4 hours as required. In a normal summer I’d probably use my inhaler 5 times tops, it’s always been mild asthma that I suffered from. By the Saturday morning that weekend, I was down to my last caplet. I sat in my tent about to take it when my friend Gee piped up with the classic line, ‘Al, are you sure you wanna use it now, we’ve got Skunk Anansie later!’. However much I wanted to join him in the mosh pit for ‘Selling Jesus’ and all the rest, I was struggling to breathe and needed the momentary relief the Ventolin would provide. Shortly after this I followed my friend’s advice and took myself off to the medical tent in the hope that they would prescribe me some more medicine. This started a long tradition of visiting the medical tent at the Reading Festival. In total I’ve been to the festival 6 times and only have only avoided requiring medical assistance on one of those times, and that’s only because 1996 was a rainy mud fest so it was nowhere near as dusty.

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My friends

Luckily the medical team there saw what a bad way I was in and ordered me a new inhaler, it would take until the next day to arrive so they hooked me up to a nebulizer in the meantime. This got me through the rest of that day, a day that was nowhere near as jam-packed with bands that I wanted to see as the previous day had been.

I made it back in to the arena to watch Skunk Anansie, I didn’t risk getting stuck right into the middle but enjoyed them from my new favourite position to the left. They were a definite highlight of an afternoon that also included watching Tricky and the Boo Radleys out of sheer laziness of not wanting to move from where I had chosen to lay down near the sound booth at the main stage. After a second visit to the medical team later that evening, I headed over to the Melody Maker tent for the first and only time of the weekend, ignoring Paul Weller as I passed the main stage and found myself a decent position for the Foo Fighters.


The Boo Radleys from afar

The Foo Fighters performance at Reading that year is the stuff of legend. Having booked the band before the release of their self titled album, the organisers had taken a bit of a punt on putting them on the second stage. Little did they know that approx. 20,000 people would try to fit themselves in a tent that could barely hold a third of that. People were climbing the scaffolding holding the tent up and sitting on the fences at the side of the tent. Because of this Dave Grohl had to repeatedly tell people to get down otherwise the organisers were threatening to pull the plug on their set. If only everyone had known that all they needed to do was to get down early and patiently stand through Echobelly’s set to get a good space in the crowd. Maybe the thought of that was too much for some to bear, I never liked Echobelly and they seemed to drag on for an awfully long amount of time but the lure of the Foo Fighters to my 15-year-old self was worth it. And it paid off because when they took to the stage I had a great view of the band and enough space around me to not feel the pressure of the crowd. They tore straight in to ‘Winnebago’ and didn’t look back. Although the atmosphere in the tent that night was pretty electric, I really wasn’t well. By the time they launched in to ‘Weenie Beenie’, which was about halfway through their set, I needed to get a drink and sit down. It took me forever to reach the outside of the tent as the crowd seemed to go on forever but I could still hear them as I reached a refreshment stand, bought a coke and sat down. They sounded amazing and I regret not seeing it through to the end, at the time though all I wanted to do was go back to my tent and try to get some sleep. I made my way back, pausing for a couple of minutes to watch Bjork be great from afar on the main stage.

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This is Foo Fighters, honestly it is. Not that you can tell

I still felt really rough on the Sunday morning, I don’t know whether this is the case for most festivals but Reading is really not the place to be if you suffer badly from a mix of hay fever and asthma. Luckily though there was some good news though when the arena opened that afternoon. My new inhaler had arrived at the medical tent, going to get it meant missing Pennywise and NOFX on the main stage but that was a small price to pay to be able to breathe again. My spirits were instantly lifted, even to the point where I was able to join in a water fight with a friend in the arena.

My friends and I planted ourselves in front of the main stage again that afternoon and that’s where we stayed for the rest of the day. Blind Melon did a good enough job of easing me back in watching bands play, ‘No Rain’ being both a pleasant soundtrack to lazing in the sunshine and an apt description of the dust fest Reading had turned in too. They were nothing, however, compared to what was to come next. I loved White Zombie at the time, ‘Astro Creep 2000…’ being an album I would listen to repeatedly and they didn’t disappoint. I even stood up and moved nearer to the stage for them, which considering the circumstances was a great honour. I still remember being confused though at one point when Rob Zombie was telling the assembled masses how great it had been to play Donington the day before and asked if anyone had been there, a huge roar went up in the crowd as if to say ‘YES!’. Bloody liars. I don’t know why that has stayed with me but it seemed to get under my skin.

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This could be anyone

Babes in Toyland and Buffalo Tom continued that afternoon’s great entertainment but both were blown away by Mudhoney who were truly awesome.



By the time they were done, my friends and I decided it was high time we got some dinner and go for a walk. Looking back this was an awful idea as it meant missing most of Pavement. If I had known what a massive fan of Pavement I would become then I would’ve stayed put. Luckily I would get to see them properly a few years later but that was still a dumb thing to do. I wanted to make sure to make sure I was refreshed and ready for the next band so at the time it made sense. For up next were Soundgarden.



In my eyes Soundgarden were legends and a huge reason for me to attend the festival that year. To this day their performance that glorious summer evening continues to be one of the most disappointing musical experiences of my life. They were dreadful. They sounded weak, they looked bored, there was zero energy and I was gutted. Being 15 and watching big bands for the first time I must’ve been someone who was easily impressed, I’d much rather be able to enjoy something and was nothing like as cynical as I can be now. So, they must’ve been pretty awful for me to feel that way then. They completely bored me and were the only band that I had wanted to see to do so that whole weekend.


Neil Young

I stuck around for the whole set though because I wanted a good spot in the crowd to see my absolute heroes. Up next were PEARL JAM!! Well, kind of. It was actually Neil Young, but this was ‘Mirrorball’ era Neil Young so it meant Pearl Jam, minus Eddie Vedder, were his backing band. It was a great thrill to see Neil Young, who I’d come to like by proxy of being a massive Pearl Jam fan, but an even greater thrill to see Jeff Ament, Mike McCready and Stone Gossard on that stage that night. I didn’t last, however. About an hour in there was nebulizer in the medical tent calling out my name and I needed its help to breathe once more. And that’s where I stayed until the bands had all finished.

The next morning I was glad to be going home. That Monday morning trudge to Reading train station is never fun, it is amusing to get back in to London to change trains and realise you are amongst normal people again though. You wear the festival stench with pride as you get back in to normality. I felt instantly well again once I was back home and just wanted to stuff my face and tell everyone I knew what an amazing weekend I had just had.


The following week’s issue

My friend Gee and I talked about Reading constantly for months after, there wasn’t a school day that went past without it being mentioned. we kept our Reading festival wristbands on until they eventually fell off at around Christmas time. Our stories of the weekend must have had an impact on our friends as come Reading 1996 there was a massive group of at least 20 of us that went. A few years later my friend Gee had Reading 1995 tattooed on his wrist where his wristband had once laid such was the impact that weekend had on our impressionable 15-year-old selves.

I felt rough, but it was worth it!

The festival seems so different now, I haven’t been since 2003 and even then it had started to lose that magic and charm it once had. Overbearing corporate sponsorship, strict security firms patrolling the camp site, the addition of Leeds and the main stage moving further and further away from the crowd have all taken the shine away. But then I guess that Reading isn’t meant for someone in their mid thirties who likes home comforts more and more. It has a youthful energy to it, a spirit that won’t stand being fobbed off and will bottle second-rate performers. I really hope teenagers that go this year for the first or second time get something like that same experience we had back in 1995. It was life changing, I’ll never forget it and still dream one day that, however unlikely, I’ll be able to be in a band that plays the festival. Obviously, as long as there is a nebulizer on stand by at the side of the stage.

Thanks for reading

Get in touch., or @alex_itto on twitter.



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You can’t have read this blog without knowing our feelings on Mineral. From naming ‘&Serenading’ as the no.1 emo song of all time to the love letter/tribute to Mineral we published last year we have made it quite clear how much this band means. On the eve of their first ever UK tour, it is a complete honour to share with you a Q&A with Mineral drummer, Gabriel Wiley, we conducted by email.


Is This Thing On? – Hi. On the eve of your first European tour as a band, how is everything in the Mineral camp?

Gabriel Wiley – Doing well, real excited about playing Europe.

ITTO? – I heard that Mineral reuniting was Jim from Jimmy Eat World’s idea, had you ever discussed reforming before then? When did you first start realising how much people still loved Mineral?

GW – Yes, Jim wanted to put together a show with many of the bands they toured with in the beginning of the band. We were among those asked which caused us to get together and discuss it. Due to many problems the show never happened but we had started practicing and figured we might do a show or two. A nice fella from the windish agency said he’d like to book us some show out east and so he did. Everything has grown from there. After mineral, we were all in other bands and through shows with those bands we would be asked a number of times if and when mineral was getting back together. So we had some idea of the interest yet, it is very enjoyable to see how excited people have been.

ITTO? – Have you talked as a band about why you split up when you did? Was it an amicable split at the time? And was there any awkwardness when you first got back together?

GW – No, we haven’t and it would be counter-productive. I would not call it amicable but no knives were thrown. I don’t remember much awkwardness, at least for my part.

ITTO? – You’ve already completed a lengthy tour in America, how has the reaction been?

GW– It’s been fantastic and a bit humbling. There are times when I can hear the crowd singing louder than Chris’s vocals. The band that opened the US tour, Into It-Over It is awesome and we had a surprise in NYC when Frank Turner opened. That was incredible.

ITTO? – Have you discovered anything new about these songs that you’ve not played together since the last century, some of which you never played live?

GW – No, I know it’s not a very interesting answer, but they seemed to be just as we left them. I would like to say that I had some kind of spirited re-kindling with the songs, but didn’t happen.

ITTO? – I have friends who have seen you numerous times on this tour already and they’ve all commented about how you just keep getting better every show, have you noticed a progression? Are you a better live band now than you’ve ever been?

GW – That is true. Nothing prepares you for tour like touring. I believe we are better now than when we were actually a band. It definitely hurts more now.

ITTO? – In 2012 this blog counted down the top 100 emo songs of all time and ‘&serenading’ was number 1! What’s your favourite Mineral song and has it changed since you’ve reformed?

GW – Favorite is parking lot, and no. We would be a damn fool to change any of it. But &serenading is my wife’s favorite as well.

ITTO? – Do you have anything special planned for your Euro/UK shows? Do you have any idea what to expect over here?

GW – Nothing special, we’ve added a new song, 80-37 to the list (well new to the list but not a new song, as it were). I have been over here with a couple of bands and have a rough idea as far as some cultural differences and the like. (In Germany they like to make you pay to use the toilets!). But as for how people will receive us, I try not to expect or assume how a crowd will react to us.


ITTO? – There has been a massive resurgence in bands playing this type of music over the last few years and many bands have cited you as a major influence, do you feel part of the current ’emo’ scene? Or do you still identify yourselves as still very much a 90s band?

GW – I feel much more like a 90s rock band, but I can use the word emo in the same sentence as Mineral. As for a current emo scene, I’m not sure I know who that would be. I am 43 and listen mostly to podcasts and music recorded before 1980. I never made music with the intention of influencing anyone, but it is nice that some bands point to us as inspiration.

ITTO? – I see you’re still announcing tours/festival appearances, what else is next for Mineral? Any plans to bring back any post Mineral bands (Gloria Record/Imbroco/Pop Unknown) ?

GW – After this tour, we play a festival in Belgium and Spain in May. After that, maybe nothing, not sure. There is some talk of South America, but difficult to say. I don’t see any of my old bands doing anything, but might talk to the other fellas about their intentions.


Sorry kids, Dad has some new babies now!


ITTO? – And finally. I bought my first Mineral album in 1998 when you had already split, I never dreamed that almost 17 years later I’d get to see you play live. Is there any band you would absolutely love to see reform?

GW – If I could go back to 1977 and see led Zeppelin that would be my wish. But without time travel, ummmm a Seattle band called these arms are snakes, a fantastic Seattle band. Super kick ass. See you at the show.

ITTO? – Thanks so much Gabriel

Get in touch., Twitter @alex_itto,

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Review: Sleater-Kinney – No Cities To Love

Band – Sleater-Kinney

Album – No Cities To Love

Label – Sub Pop


I’m going to start this review with a story. I have a few set stories that I seem to tell every time someone mentions a certain band, it drives my wife, Hannah, nuts so I thought if I commit my Sleater-Kinney story to print it might stop my retelling it at every available opportunity and save my marriage. It’s not even a great story but here goes anyway. Back in 1998 I was 18 years old and had gotten in to Sleater-Kinney in a big way, ‘Dig Me Out’ was blowing me away every time I heard it and when they announced they were touring over here my best friend, Paul, and I snapped up tickets.


It was September of that year that we made our way to Kings College, London, for the show and decided to watch from the upstairs balcony. It was our preferred way to watch bands at the time, especially if the show was at the Astoria, the view from upstairs on the left so you were virtually on the side of the stage was unbeatable. Sleater-Kinney began to play and they sounded great, it was then that we noticed that someone was stood next to us to our right. It was Jarvis Cocker. Now, we were never big Pulp fans and the whole Britpop/cool Britannia thing was definitely fading at this time but that didn’t stop us tapping each other on the shoulder and saying ‘Look, it’s Jarvis Cocker’. We went back to paying our full attention to the band, when I did look back to where Jarvis was standing he had gone, we looked back to where there were some booths with tables at and they were some proper smug, sharp suit wearing, twats with expensive haircuts guffawing loudly and drinking heavily. We soon realised these were Jarvis’s friends and he was sat with them. We gave them so filthy looks to show our annoyance at them, not that they noticed. And after that I noticed Jarvis only came back to look at the band one more time for a couple of minutes during the whole set and spent the rest of the show with his ‘friends’. We obviously managed to watch the rest of the show ok, Sleater-Kinney were incredible and totally cemented my feelings for them. But after the show the Jarvis thing had really wound us up and took up much of the conversation on the way home. What a scenester, what a fake, bet he got in free, bet he spoke to them afterwards and said how great they were, hope his yuppy friends choke on their own vomit, were the kind of things we were saying to each other. It left a bitter taste in the mouth. Thinking about it, he might just happened to have been there, maybe he and his friends always hung out there but that didn’t stop us drawing our own conclusions. In our eyes he was no better than the idiots that would turn up to the local punk shows just to hang outside and get drunk. He has since become revered as some indie godfather, some icon of cool but every time I see his weasley face all I wanna scream is Fraud! Fraud! Fraud!!!


The poster for the show that I pinched from outside the venue, I now have it framed obvs


Ok, hope I didn’t bore you too much with this weeks trip down memory lane, on with the review.

It feels strangely like I’ve woken from a coma to discover that Sleater-Kinney are now the biggest band in the world. This band that I have completely loved since I was a teenager in the late 90s seem to be everywhere right now. It’s weird yet exciting. Weird I never knew anyone, bar a few friends, really cared and obviously exciting because they really are one of the best bands in the world and I can’t believe how lucky we are to have them back.

Sleater-Kinney are an anomaly. Over the course of the 10 years or so that they were actively together putting out records they never put a foot wrong. They consistently released incredible record after incredible record, constantly reinventing their sound without ever losing their identity. They never phoned it in, never lazily put out a live record or submitted anything below par. It didn’t matter how popular they got, they never changed for anyone except themselves. How many bands even get to release 7 studio albums? Let alone their 7th being one of the best albums of their career, yet Sleater-Kinney did just that with their 2005 classic ‘The Woods’. They ended their initial run on a total, overly distorted and noisy as fuck career high. As they’ve said in recent interviews, stopping when they did has made it easier to ‘comeback’. They left us wanting much more and now they can pick up where they left off. Instead of cashing in on former, early career glories, with reunion tours of one crowd favourite record in full, they are properly back. And with ‘No Cities to Love’ they have delivered the goods.


‘No Cities to Love’ is there most concise record to date, gone are the extended, improvised, noise solo’s and general rocking out that made ‘The Woods’ such a classic, here they have stripped everything back to leave 10 songs that barely exceed 3 and a half minutes all of which have a massive focus on hooks. This record has more hooks than a Peter Pan convention, it’s so flipping instantly catchy that you won’t be able to resist its charms, ‘Gimme Love’ will find itself lodged in your subconscious for quite some time. Even when lyrically mixing in the politics of wage slavery and cultural identity they will be making you wanna get up and move. To back these hooks up, Sleater-Kinney sound big on this record. The production leaps out at you like ‘The Woods’ did, it’s loud but with a crispness to it. Even with the multiple effects laden guitars, there is a clarity to it all which makes it all the more special when Carrie Brownstein’s lead guitar is given free rein to go off on a Sonic Youth tangent like it does on ‘A New Wave’.


Sleater-Kinney when I saw them at Koko, Camden in 2005


Everything that has ever made you love Sleater-Kinney in the past is still all here on ‘No Cities to Love’. The lo-fi indie sound of ‘The Hot Rock’ and ‘Dig Me Out’ are there in the guitar lines and chord progressions, Corin Tucker’s other worldly vocals shine through like only she can and Janet Weiss’s drums are just as solid as ever. This is definitely not a nostalgic cash cow, this is a continuation of an unparalleled, consistently astonishingly brilliant career.


Again at Koko, amazing show!!


‘No Cities to Love’ sounds so relevant it is hard to believe they’ve been gone for almost 10 years. All this talk of guitar bands being dead, albums being a thing of the past and a lack of bands good enough to headline festivals has been made to look ridiculous by 3 friends from Portland making one hell of a fucking brilliant record. Long live Sleater-Kinney!!!!!

Thanks for reading, get in touch:, @alex_itto on twitter or

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The Is This Thing On? Top 20 Records of 2014

Working out this list has made me realise that, although this hasn’t been the best year for new music (found myself at some points being much more excited by old music than new), there has been some flipping brilliant records this year. Deciding upon a top 20 has been harder than I first imagined, but I did it!! So here we go:

20. Hightide Hotel – Naturally


After announcing they would be splitting up in 2012, there was always promise they would release one more LP. Luckily we got it this year and it was worth the wait. A brilliant swan song record that reminds of how bummed you were when you heard they were calling it a day.

To stream/download click HERE

19. Gnarwolves – S/T


I think Gnarwolves played a blinder not rush releasing their debut full length record. They have been relentlessly gigging for years but this year seemed the perfect time to put this record out and with it they’re likely to take over the world. Some bands have been trying to defend pop punk for ages but Gnarwolves have delivered a record which makes that an actual possibility. Fantastic!!

To buy click HERE

18. Playlounge – Pilot


I must start by saying that the 2 guys that make up Playlounge are two of the nicest people you’re ever likely to meet. It was an honour to put them on in Margate at the start of the summer, I listened to ‘Pilot’ so much around that time, when I put it on now it takes me right back!

To stream/download click HERE

17. Dikembe – Mediumship


That difficult second record handled perfectly with all the usual heart you’ve come to expect from Dikembe, backed up by a big slab of 90s grunge. A mix that works so well, ‘Mediumship’ is an album I’ve returned too lots over the last few months. It’s a really relaxed and easy listen, love it!

To stream/download click HERE

16. Three Man Cannon – Pretty Many People


American Indie music in the great tradition of bands like Pavement, Grandaddy and Built To Spill will always make me weak at the knees when done well. It completely bowls me over when done as well as Three Man Cannon do on ‘Pretty Many People’. I didn’t really know what to expect when I put it on for the first time and have been consistently blown away by it on each listen since. Great record!!

To stream/download click HERE

15. Cosmic Thoughts – S/T


It’s been a really great year for Cosmic Thoughts and the local scene that they’ve had a big hand in reinvigorating. Their S/T debut record is infectious beat after infectious beat and far too good to be ignored. If you haven’t already please check the album out, you won’t regret it.

To stream/download click HERE

14. Cayetana – Nervous Like Me


The early promise shown on their demo and 7″ is fully realised on ‘Nervous Like Me’. A lot of people had high hopes for this record and I’ve not heard of anyone being disappointed. Lo-fi indie punk in the form of 3 minute pop gems delivered to perfection!

To stream/download click HERE

13. Acid Fast – Rabid Moon


This was the first new record I got this year and I knew I’d be discussing it here with you now even then. ‘Rabid Moon’ bounces along with plenty of energy and not a fuzzy note out of place.

To stream/download click HERE

12. Baton Rouge – Totem


Kicking myself that I missed the opportunity to see Baton Rouge on their recent UK tour, in fact this year has not been the best for me getting to shows, something that will hopefully be rectified next year. This album is an amazing progression from a superb debut record, it’s beautifully packaged and completely sets them apart from being just another French screamo band.

To stream/download click HERE

11. Prawn – Kingfisher


Whilst never quite reaching the dizzy heights of their last EP ‘Ships’, ‘Kingfisher’ definitely cements Prawn’s position as one of the leading lights in the current wave of Emo bands. They have really made this post rock/indie Emo crossover sound their own and have been consistently brilliant on every release, ‘Kingfisher’ is no exception.

To stream/download click HERE

10. Cloud Nothings – Here and Nowhere else


Fucking ATP! Cancelling Jabberwocky just days before I was supposed to attend, meaning I missed out on seeing an array of incredible bands – namely Cloud Nothings. ‘Here and Nowhere Else’ is perhaps the catchiest and fastest indie rock album of the year. Love it.

To buy click HERE

9. Crows-An-Wra – Kalopsia


It’s amazing that in 2014 bands can still push the envelope of what post hardcore is and how it sounds, but that’s exactly what Cornwall’s Crows-An-Wra do on their debut LP, ‘Kalopsia’. The result is terrifyingly brilliant. The electronic melody mixed with the vain bursting screams of 2nd track ‘Perseus’ make for one of my favourite songs of the year.

To stream/download click HERE

8. Sport – Bon Voyage


As I said in my review of ‘Bon Voyage’ at the start of the year, if you’re gonna include on one of your songs a sample of Steve Buscemi talking from my favourite film of all time, Fargo, then you’re gonna get me on side straight away. Sport did just that. Obviously it helps that it’s backed up by some of the best indie/Emo/punk music of the year. Still can’t believe they’ve called it a day.

To stream/download click HERE

7. Kind Eyes – It’s ok, It’s not ok


I don’t even this has been or will be released apart from being made available on bandcamp, hopefully it will and if it does, buy all the copies you can. It’s fucking brilliant. Margate’s finest smashing out riff after riff, it just gets better and better throughout the record. Love these guys!!

To stream/download click HERE

6. Tigers Jaw – Charmer


Deep down, everyone knew Tigers Jaw would be just fine. They are one of the most consistently brilliant bands of the last few years, something which they further proved with the amazing ‘Charmer’ released earlier this year. They are the ultimate downbeat indie/Emo Rock band.

To stream/download click HERE

5. Human Hands – S/T


After being completely blown away by Human Hands when I saw them live for the first time in 2013, I knew their debut LP would be one of the highlights of 2015 and I wasn’t wrong. 6 songs so gut wrenchingly beautiful and heartfelt that they leave you exhausted by the end. The gloriously lo-fi packaging tops off what is a must have record!

To stream/download click HERE

4. Plaids – Plaids


Plaids recently called it a day, which is way more than an utter shame, but not before releasing a killer record. Channeling influences like Dag Nasty/Jawbox etc.. into what is an essential and relevant modern punk record. This band will be missed :(

To stream/download click HERE

3. Braid – No Coast


I’m sorry but did Braid not only reform but come back with one of the albums of their career? Yes they bloody well did. It still surprises me (in a really good way) just how amazing this record is, in a year of disappointing ‘nu-emo’ records it’s a big relief that some of the forefathers of this movement can come back and show everyone how it’s done. Hopefully they’re here to stay.

To stream/download click HERE

2. Papayér – Boo


What could possibly make an Emo band even better? Well, one answer may be to take a huge Pavement influence and put out an album of incredibly well crafted pop songs. This is what Papayér have done and the results are astonishing. British independent music is in a really good place right now and, for me, Papayér are right at the forefront. And if they keep making music as good as this it won’t be long until they’re my favourite band. Incredible!

To stream/download click HERE

1. Empire! Empire! (I was a lonely estate) – You Will Eventually Be Forgotten


They made us wait a hell of a long time for the full length follow up to 2009’s debut LP ‘What It Takes To Move Forward’ but 2014 finally bought the long promised new record. And what a blindingly brilliant record it is. Empire! Empire! (I was a lonely estate) are unique, not in the style of music they play which follows a great Emo tradition, but in the fact that they have made this sound completely their own. You who it is as soon as you hear the first notes being played. Also, switching to a straight, autobiographical narrative to the lyrics set this record apart from anything they have put out before. ‘You will eventually be forgotten’ is a really wonderful record, and thoroughly deserves to be album of the year. Thanks guys x

To stream/download click HERE

Thanks for reading. Get in touch.,, or Twitter @alex_itto

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A couple of months ago Dikembe, the band whose name I recently realised that I have no idea how to say out loud, made an emphatic return with their sophomore record, ‘Mediumship’. Their debut record, ‘Broad Shoulders’ got a lot of love from this blog and I’ve been wanting to write about how great their new record is since I first heard it. But instead of listening to me badger on for 700 words about how their subtle grunge influences coupled with the bands innate ability to write moody but very infectious melodies make for one of this years must hear records, I thought it would be a much better idea to get Dikembe to agree to an interview. As luck would have it they did, so here it is. Answering the questions is drummer David Bell.


Is this thing on? – Hi. You have a new record out, how did you go about writing and recording this time round?

Dikembe – Our last record, Broad Shoulders, was written and recorded on the fly, so much so that there were a couple songs we had to learn to play together after the album was sent for mastering. We wanted to avoid that situation this time around. New songs were pushed into our live set as often as possible so that we could get a sense of how the tracks felt to play. If something felt weird we would bring it up during our next practice and try to make it feel better. When it came time to track the record we decided to track everything live, which saved us a lot of time and reaffirmed for ourselves how comfortable we would be to tour with these new songs.

ITTO? – The songs are recognizably Dikembe but there seems to be a progression in the sound from your previous records, has this evolved naturally or have you made a conscious effort to change your sound?

Dikembe – I would say we made a conscious effort to go with our gut and give little to no thought on the expectations of others. We just focused on writing and recording a group of songs we knew we’d all enjoy playing live and not worry about whether or not elements fit a predetermined genre or sound.

ITTO? – I love this record but found it to be a grower. Sticking with it has paid off really well, how has the reaction been to the record? Have you been nervous about how this record will be received compared to your previous records?

Dikembe– Feedback about the album has seemed pretty positive. I don’t think we were too worried going into the release. We were just excited for people to hear the jams we were having fun with during our live sets, especially since it felt like a lifetime since we finished our first album. I think Steven was the most nervous about Mediumship’s general reception, but we were on tour when it dropped and it wasn’t too hard to distract him from the twitters and such.


ITTO? – I’ve noticed a grunge influence to the record with some of the riffs used and the loud/quiet/loud pattern on some songs. What have you been listening to recently and what has influenced your writing this time round?

Dikembe – Steven had the sudden realization that Pearl Jam’s Ten is an amazing album about two years ago. He has also been claiming that Soundgarden’s “Fell on Black Days” is his favorite song ever. Most of the musical elements to Mediumship were developed during practices, so I think this album displays more of the group’s collective tastes than our previous releases. Randy and I grew up heavily influenced by our fathers’ CD collections, which they probably attained through some sort of Columbia House Record Club style subscription. Late 80’s, early 90’s “alternative rock” feels very familiar to our ears, and it probably seeps into our song production style.

ITTO? – Steven Gray’s voice does weird things to me, it melts my heart like an emo Eddie Vedder. What vocalists have this kind of effect on yourselves?

Dikembe – Jeff Buckley’s voice in “Hallelujah” gives me goosebumps every single time. It’s disturbing.

ITTO? – You recently put out a split with veterans the Jazz June, how did that come about? Any other bands you’d love to do splits with?

Dikembe – I believe they contacted us in some way and pitched the idea about a year ago. We were blown away by the idea that they had heard our music, let alone dug it enough to let us be part of their long-awaited return.

Randy says a split with Creepoid would be cool.


ITTO? – Are you guys able to commit to the band full-time or do you have to fit everything in (touring/recording etc.) around your regular lives?

Dikembe – As much as we would love to commit our full-time to life on the road and in the studio, Steven has a big-boy job teaching middle school kids and Ryan just produced a real-life baby human. We practice maybe once every two or three months because Steven lives in Orlando, a two-hour drive from the rest of us in Gainesville. It’s astonishing how much we’ve been able to do and how often we’ve toured given how little time we commit to this band as a whole.

ITTO? – What would have to happen for you guys to come and tour the uk?

Dikembe – We’ve gotten close, but scheduling issues continue to kill off plans. We would need a UK band to agree to a summer tour, let us squeeze into their van, and allow us to use all of their gear every night. I don’t think we can afford to fly over, rent gear, and rent a vehicle with our own finances.

ITTO? – Bands keep getting robbed on the road, seems to be an everyday occurrence at the mo. Have you had bad experiences yourselves? Does it put you off going on the road? What security tips can you give aspiring bands?

Dikembe – Thankfully, we have not had any bad experiences on the road so far. It helps that we tour in a 2013 Dodge Caravan that features an alarm system, slightly tinted windows, and an overall look that suggests it carries a family of six around instead of hundreds of dollars in musical equipment. Nevertheless, we still are very careful about where we park it. There are only two things I can think to suggest for a band going on the road in a 15-passenger van:

Get an alarm system installed or insurance on your gear. It’s obviously an investment, but you don’t want to have to rely on internet donations if the worst happens. Plus, it would really suck to have to cut a tour short because someone popped a lock off your van door with a screw driver.

If you can’t throw down that kind of money, invest in making your van look like a difficult job. Buy a fake alarm system with a flashing LED light on the dashboard, or get some tint on the back windows so that the value of heist is less defined. Carjackers and thieves look for easy wins, not possibly complicated scenarios.

ITTO? – Since the World Cup, we’re told that America has fallen in love with football (soccer) and football (soccer) is about to surpass regular American sports, such as basketball, as the national sport. can we now expect a Dikembe football (soccer) themed EP?

Dikembe – The United States’ love for football is as transient as it’s love for the Olympics. We’re just big fans of the concept of national pride. I’ll believe soccer is reaching the hearts of Americans when I can watch an MLS game on basic cable. I think Steven and I are the only members in the band that have any interest in professional sports, and that is solely reserved for the NBA.

ITTO? – Everyone says the UK is always a year or two behind America. What is the next big thing (TV, music, fad) sweeping America we can expect here in a years time?

TV personalities taking selfies while on the air and constantly mentioning their twitter handles. Be prepared, it’s awful.

ITTO? – Sounds awful. Thanks for talking to us!

You can buy ‘Mediumship’ on vinyl in the UK from Monkey Boy Records HERE

Or you can stream/download it HERE

Thanks for reading. Get in touch:, @alex_itto on twitter or

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TheLastWordIsRejoice: A Tribute To Mineral

You can’t possibly have missed the fact that Mineral are BACK and playing live again. Even though I bought my first Mineral album 15 years ago, I, like many other fans desperately excited to see them play live, had gotten into them when it was too late. They had already broken up by that point. In 1999 I completely fell in love with Mineral. I took the train on my own to London at some time that year with a weeks wages in my pocket with the sole purpose to find CDs I couldn’t find locally, I found ‘EndSerenading’ in the alternative section of Tower Records in Piccadilly Circus. I had heard of them but had never actually heard them, that was until the train ride home when I unwrapped the case, put the cd in my discman, put my headphones on, pressed play and shut my eyes. I was totally sold from the first note plucked on the guitar. ‘EndSerenading’ became one of my favourite records of all time, with ‘&Serenading’ my favourite song. It was hard, at the time, to find out much information about the band, the cover sleeve gave nothing away and I was gutted to find out from friends that they had split up already.
At the age of 19 I never would have believed you if you had told me that at age 34 I would have tickets to see them play, and yet here I am aged 34 with tickets to see them play live twice next February (February!! How perfect is that?) when they come to the UK for the first time ever.

I wanted to do something on the blog as a tribute to this legendary band and try and share with them the outpouring of love that has emanated since their reunion. This is a collection of writing containing the memories and feelings towards the band from friends, fellow blog writers, musicians and label owners.


Tom Mullen (Washed Up Emo)

I was introduced to Mineral thanks to a giveaway bin at the college radio station my freshman year. My first week I had signed up for a show and went to hang with the music director to find out what he was into and talk about the hardcore show I wanted to do. During that meeting, there was a box in his office that was labeled for giveaway. I caught out of the corner of my eye “Static Prevails” on vinyl and perked up to ask if I could pick through it. He said, by all means, that stuff was going to be given out at the next radio station meeting. In that box, among a treasure trove of emo goodness, was the first Mineral album. I was floored by this album and still are to this day. I never saw the band as I missed a show they played near my college by a month or two back when message boards and flyers were the way to promote a show. This band always left before saying goodbye and now we’re lucky enough to be around to see this band come back and play for those that never got to see them. Mineral may have been typecast into the emo genre, but if it’s a band people mention every time, I won’t be mad. They’re the true definition of the loud/soft, heartfelt and loud sound I miss when most of the “emo revival” is derived from the midwest. Mineral’s impact and influence will still be intact regardless of this tour and what’s next. It’s right for them to reform, so it should be right for us to show respect to a band that for many thought would never reunite. For myself, I’ll be screaming along right next to you and smiling every second.


Oliver Craven (Crash Of Rhinos)

I’m not usually the guy from our band that does this sort of thing, but when asked to write a few words about Mineral I felt I had to. Through my teens, twenties and now into my thirties, they probably mean more to me now than even then.

A lot of people have come and gone in the time since I first heard Mineral. Family, friends, girlfriends, bands.
leaving school in 1999 and wanting to do nothing else except smash the fuck out of a drum kit and skate, I ended up meeting like-minded people through record shops and rock clubs.
I’m still close friends with most of these people now. Four of them were in Crash of Rhinos. It didn’t seem to matter back then that none of us really gave a shit about much else except jamming and skating. There’s a sense of freedom from that age that you don’t really get again. Mineral was the soundtrack to pretty much all of it.

Times like that are rare, bands like Mineral are rare, and kinda should be.
Makes it all the better.

A lot of those people will be back together for the first time in a long time the night Mineral play Nottingham in February. We’ve all changed a fair bit over the years, but I’m pretty confident as soon as Scott McCarver plugs in and the feedback starts wailing, it’s not gonna seem like it.

Favourite song then: A Letter
Favourite song now: A Letter


Lindsay Minton (Football, Etc)

I’m not totally sure, but I think I found out about Mineral on a message board the summer before I started high school. The song “Slower” became my anthem of the next 4 years. I somehow managed to put Zookeeper on in a basement in New Brunswick in 2007. Not only was Chris Simpson in the room, but also Kyle Fischer from Rainer Maria (playing lapsteel in the band Balthrop, Alabama). What an impact playing a show with my two biggest influences was for me…
Last Friday, I saw Mineral play their first show in 16 years. It was a smallish venue (capacity at 180). It’s kind of hard to describe it– but it was perfect. A bunch of mid-twenty to thirty-somethings standing around with their arms crossed, singing along to themselves. Hearing Mineral come from the stage, instead of the various sets of speakers and headphones I have heard them from over the years was absolutely refreshing. It was something my 14-year-old self never thought I’d be able to experience.


Glen Bushell (Punktastic)

I was a bit of a latecomer to Mineral if I’m honest. I only cared about punk, grunge and metal pre-2000, until I saw At The Drive-In at Reading 2000 and it changed my life forever and opened my world up to a whole new area of music. After that I started to go to emo and hardcore shows in Margate and Canterbury, and I picked up the Mineral/Jimmy Eat World/Sense field split because I had just started getting into Jimmy Eat World, and I really enjoyed Mineral’s cover of Crazy. I picked up Endserenading after that, and it blew my mind. It was raw, impassioned, and very honest. It embodied every feeling I was going through turning from a teenager into an adult. From then on I forever compared every emo band to them, and even now in my 30’s when I need to find solace in a record, Endserenading, and also Power Of Failing are still my go to records. Finally getting to see them in the UK next year will be the end result of 15 years waiting and wishing to see them, and I’ll be honest, I may shed a tear or two with no shame during Walking To Winter, which is still my favourite song.


Frank Turner (Kneejerk/Million Dead/Mongol Horde/Frank turner)

I first heard Mineral rifling through a friend’s record collection in 1998 or so, about a year after they broke up. I fell in love pretty quickly, and they became one of my foundational bands musically – I think I subconsciously still try to write and sing like Chris, and the production is pretty perfect for me as well. When I found out they were reuniting this year I lost my mind, booked my flights, and ended up playing an opening slot at the Brooklyn show, which was a dream come true.


Ray Harkins (100 words or less podcast)

My exposure to Mineral was a complete blur. When you are 16 years old and shoving a bunch of music in your head, it’s hard to discern exactly when/where you heard something but Mineral immediately stuck out. I had begun the process of accepting that “non-screaming” music was okay and I was allowed to listen to it after my initial punk & hardcore blitzkrieg. “Gloria” was placed on the stereo by the guitarist of my band at the time and it was loud, fast but had these things that I later called “dynamics” that I wasn’t used to. It felt good to have a moment to reflect on the song, while it was still going on. This was 1996 and ever since that small exposure, Mineral loomed large in my life. I do remember that I specifically ordered the LP because I had HEARD that it included a lyric sheet (which the CD version did not). I was ecstatic to receive the LP (before I was a full fledged collector) and poured over the lyrics all night. Long live Mineral.


Paul Waller (OHHMS)

I don’t remember how I came across Mineral but I do know that I was listening to Sunny Day Real Estate, Boy Sets Fire and the UK’s very own Sunfactor and Spy Vs Spy before I got wind of them. Somewhere along a very fuzzy line I had bought ‘End Serenading’ and just fell in love with it straight away. My initial reaction was that I really dug the vocals. It was slow to mid paced pop music with this askew melancholic edge that kept pulling me in. But that voice, this guy was so obviously upset about something… I don’t know his name and I don’t need to but that singer guy, he was the real deal, he had almost as great a voice as Jeremy Enigk from SDRE but there was far more passion in the vocal delivery. I wanted to give him a cuddle.

A big plus with ‘End Serenading’ was that the bass lines were pretty easy to learn. I remember spending a night on my own figuring out each song track by track until I could play all of side one and then doing the same for the flip side. Don’t know why I did that. I’m not a bass player, but if I could do it then anyone could.

Every now and again somebody asks me what I think of their first album? They say it’s better, harder, even more emo. Well, I do have a copy of it but I never listen to it. The front cover is so awful that I refuse to give it a chance. If a band is going to take so little care about the way in which they present a record then I dread to think what the actual music is like.

‘End Serenading’ is the only emo album I still regularly listen to.

I can’t wait to see them play some of it live next year.


Lewie Peckham (Bearded magazine/Is this thing on?)

I first heard Mineral through a Pop Unknown track on the second Emo Diaries compilation ‘A Million Miles Away’ (those titles) in ’98 and the sombre pace of ‘Writing it Down For You’ reminded me of Red House Painters (A favourite at the time and pretty much still to this day). I saw that Pop Unknown had ‘Ex-members of Mineral’ printed in the little catalog you got with every Deep Elm release and took a chance on a mail ordered copy of The Power of Falling and was hooked from the opening notes of ‘Five, Eight and Ten’ and by the time ‘Parking Lot’ faded out in a screech of feedback i was a devoted wreck and i still am 16 years later.

I can never listen to Mineral in the summer. Much like American Football I know when to break out The Power of Falling and EndSerenading and it’s not during July and august, save that for Something to Write Home About and Clarity. When that first hint of autumn hits you, be it a slight chill in the air that stays there all day or a walk through a park with its grass obscured by fallen brown leaves. That’s when you can find Mineral filling my ears, their songs tightly held in place by my headphones and just for me only, an exclusive club for one.



Kristy Diaz (

When The Power of Failing was recorded in 1995, I lived in Austin, TX. Just 11 miles away from Music Lane Recording Studios, in fact. However, the first time I heard that record, like many Mineral fans I imagine, was around 10 years after its release. I mean, it’s probably for the best, I wouldn’t have ‘got’ it when I was 8. My main concern was looking for snakes in the front yard.
I don’t recall anyone introducing me to them, but I was listening to a lot of Sunny Day Real Estate that year so I guess it was just association. I have a bias toward the urgency and imperfection that comes with a band’s first record, so whilst EndSerenading was great in its own right, The Power of Failing was, and still is, my favourite. In terms of highlights, it would be hard not to mention the guitars in If I Could and the intro to Take The Picture Now, but, perhaps predictably, Gloria always stood out.
To be a dick and choose a song that they didn’t actually write as a favourite, I was always super into their cover of Crazy, from the split 7” with Jimmy Eat World and Sense Field. The guitars are interchangeably gorgeous and infuriating, but mostly I love it because it’s a bit silly, too.


Kevin Duquette (Topshelf Records)

My earliest Mineral-related memory is having a bunch of records recommended to me after I had just recently discovered toe, Pele, Jimmy Eat World and American Football in high school. Mineral was in that bunch and I never quite made it to listening to it because — as a designer — I thought the album cover art was pretty awful (“The Power of Failing”) and chose to try many of the others first, eventually forgetting that one altogether. I went on a road trip that summer and a friend was DJing from the passenger seat, playing their albums over the car speakers. I eventually asked what it was we were listening to and realized I’d overlooked a pretty important band. I quickly remedied that when we got home.


Morten Andre Samdal (Youth Pictures Of Florence Henderson)

I grew up being a skatepunkdude in the mid 90s (still am!), and me and my friends had this band. While the others listened to mostly fast punkrock, I looked for something a bit different. I tried my way through britpop, grunge and some other straight forward rock bands, but nothing really hit as hard as the fast paced melodic punkrock I loved. Not until I bought a bunch of records, with bands like Hot Water Music, Mineral, Alkaline Trio, Christie Front Drive and Jimmy Eat World, if I remember it correctly. Mineral was life changing. The record I first got was The Power of failing, and it hit me in the guts. The tender melodies wrapped in distorted raw guitars, and the way Chris Simpson dragged the words much longer than I ever thought was possible – I’d never heard anything like it. I got the other guys in the band to give it a listen, but they just laughed and said it was music for pussies. Not long after my band parted ways, and I started an emo-band. Mostly because of Mineral, I guess!
While bands like JEW, HWM and Alkaline Trio just got worse and worse over the years, Mineral and CFD were smart and disbanded, like a real emo band should do ;) To this day, these two are my favourite 2nd generation emo bands, and I still listen to them regularly. I am so coming to London in February (hope they play that song).



James Benwell (Fan)

I found Mineral through The Gloria Record and I found TGR through the guy working downstairs at Tempest Records (R.I.P) in Birmingham. It’s been a 15 year love affair that hasn’t faded. The rawness of The Power of Failing still sounds as visceral as ever and EndSerenading became the soundtrack to my winter nights, and made me wish it was winter the rest of the year round.
They’ve always touched a chord lyrically. Stories of love, the beauty in the world around us, and then songs like MD, perhaps a precursor to the likes of the latest Empire! Empire! album; so personal, so simple, yet so heart wrenchingly beautiful when told over a soundtrack that can make you feel like you want to tell everyone you know that you love them, or to fall in love just so you can find some words of your own.
I never thanked the guy at Tempest, I wish that I had. He’s the reason that I’m not deaf at 31 to the sound of the greatest band that i’ll ever got to hear.


Gary Sleith (Good post day records)

I first heard Mineral thanks to the (Don’t Forget To) Breathe compilation CD. I bought it from Amazon, and at the time I was heavily into a few of the bands on it, bands like Promise Ring, Knapsack, Hot Water Music & Fireside, but I had never heard of Mineral. For me, their track on the record, ‘Rubber Legs’ was a real Jerry Maguire ‘You had me at hello’ moment…5 seconds in I was hooked and by the time Chris Simpson sings “your boy is all alone tonight but i will never forget how you taught me to stand on these rubber legs and fight.” at the end I was head over heels. I bought EndSerenading online immediately and connected with it in a way that I had only done with one record up to that point; Clarity. My favourite song on it initially was ForIvadell but when I listen to it today, I’m always blown away by &Serenading(probably the influence of Alex!) but if I had to pick a favourite Mineral song, I would have to go with ‘February’ from their self-titled 7”. For me, that track perfectly encapsulates Mineral despite being perhaps one of their, for want of a better word, “heavier” tracks and to this day I use it as a benchmark for truly great emo music, up there with songs like ‘E. Texas Avenue’ ‘For Me This Is Heaven’ & ‘Never Meant’

Thank you so much for reading xx

Contact us:,, twitter @alex_itto @BonersaurJR

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Review: Joyce Manor – Never Hungover Again

Band – Joyce Manor

Album – Never Hungover Again

Label -Epitaph

By Lewie Peckham

joyce manor

One of the most divisive arguments that follows Torrence, California indie-punks Joyce Manor around is about the shortness of most of their recorded output. Some listeners feel cheated that many of the bands songs rarely exceed the 2 minute mark and albums can be finished in as much time as it takes to watch an episode of Seinfeld (or insert any U.S sitcom in its get the idea). The other side of this debate is that Joyce Manor are the masters of concise punk rock songwriting, trimming the fat of their songs until perfect blasts of hook-laden Indie/Emo/Punk/Whatever you want to call it remain.

Never Hungover Again lasts for about 19 minutes (give or take a couple of seconds) but in that time Joyce Manor have found enough space to make their most musically ambitious album yet. The usual hallmarks of their sound remain, Barry Johnson’s impassioned vocals over gritty Pinkerton-era Weezer and Jawbreaker guitars and Guided By Voices melodic exuberance, but now with added instrumental depth and influences excavated from outside their usual sound.

The swells of gorgeous synths that appear in sublime highlight ‘Falling in love again’ recall the wistfulness of The Psychedelic Furs and the dual guitar lines that arrive in the middle of ‘Schley’ could have been lifted from seminal Ohio art-punks Pere Ubu’s most accessible record (1989’s Cloudland). It’s a testament to Joyce Manors songs that these nods to their record collection never throw the album off track or leave it scrambling to get back on its path. It’s the subtle compliments that make you realise that you are hearing something very special.

joyce manor2

There are still the usual blasts of pop-punk that will appeal to even the most casual fan of the band. The lovelorn ‘Victoria’ and self-deprecation of ‘Heart Tattoo’ are glorious, fuzzy gems that once again are the best examples of Joyce Manors sharp, concise song craft. The ambiguous amped-up Smiths riffage of ‘In The Army Now’ and Jangle-pop of ‘Heated Swimming Pool’ show the different and exiting musical paths the band may choose on future releases and how adept they are at incorporating these into Joyce Manors existing sound. Never Hungover Again is probably one of the most rewarding listens of 2014 and will, quite rightly, find itself lavished with repeated listens and justified acclaim.

Proving that there is still life in a genre that can sometimes feel stodgy and overladen with mediocre bands, Joyce Manor are one of the better examples of what heartfelt, interesting music can be made within the shortest bursts of noise.

Thanks for reading. Get in touch.,, twitter – @alex_itto, @BonersaurJR

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