Impact Introduces: You Cry Wolf & RedKites

You Cry Wolf

After playing popular venues such as Rescue Rooms and Spanky van Dykes, You Cry Wolf are beginning to establish themselves as the ones to watch on the Nottingham music scene. The unsigned, Brighton-based 4 piece draws influences from all manner of the arts to create an original, danceable, eclectic sound. You Cry Wolf’s melodious lead vocals (provided by the University of Nottingham’s Owain Arthur), catchy riffs and pithy song lyrics are a perfect combination for a band who are easily accessible and have a very wide appeal. The band’s growing following is already familiar with their recently released songs including ‘Venetian Chrome’ and breakthrough track ‘Transatlantic Tendencies;’ a definite crowd favourite and great way to end a set on a high. Check out the band’s myspace or website for more information about upcoming gigs and events. You can also find them on Spotify and iTunes.

Riana Sadrudin


 Having just recorded a demo at Curly Lead Studio, Nottingham, RedKites could well be on to the start of bigger and better things. The band formed last year,  after meeting at school in Essex, and are starting various university courses. Bassist and backing vocalist Oskar Pimlott  is currently studying among us here at Nottingham University, and describes his band as the love child of “Pixies, Nirvana, and Queens of the Stone Age”. The rest of this rock band includes lead singer and guitarist Robert Leedham, guitarist Thomas Went, and drummer Cameron Griffiths. Their first music video for ‘Say It Like You Mean It’ was posted in September on YouTube, and is being acclaimed by many online reviews. Since one of their most recent gigs was at Oxjam Lincoln in late October, I’m sure we’ll be hearing much more of their eclectic and melodic sound in the coming months.

Ellen Newton 

Forgotten classics – R.E.M. – New Adventures in Hi-Fi

As news of R.E.M.’s retirement broke, many were quick to sigh with relief and question why Stipe and co. had kept at it so long. Admittedly, being the forerunners of American alt-rock throughout the 1980s, their later offerings have been banal at best. In many ways, their tenth album ‘New Adventures in Hi-Fi’ marks the end of an era for the band — their last truly great album as well as the last they recorded with their long-term producer and original manager, Bill Berry who, as a founding member and the man behind the ‘Everybody Hurts’ melody, was more than just the band’s drummer.

‘New Adventures in Hi-Fi’ is certainly not what you’d expect based on ‘Losing My Religion’ or ‘Shiny Happy People’. It’s a dark, brooding record and with much of it recorded live on 8-tracks during stadium soundchecks, it has an epic quality which is far from the jangly, Johnny Marr guitars you might expect.

Despite its darker, slower sound, the album is held together by Stipe’s unmistakable vocals and marks a transition between the chamber rock of ‘Automatic for the People’ and the largely electronic ‘Up’. Opening with the syncopated drums and jagged guitars of ‘How The West Was Won And Where It Got Us’, it only gets better as the storming ‘Wake-Up Bomb’ kicks in, full of sneering lyrics and a giant glam-rock chorus.

The album’s central piece is ‘Leave’, which starts with a delicate acoustic intro before an insane siren synth begins (continuing for the rest of the song) and the electric guitars crunch in with a hook that could catch a Great White. The ensuing ear-hammering sounds unattractive on paper, but is simply genius. Elsewhere there’s the Nirvana-esque ‘Undertow’, lead single and Patti Smith duet ‘E-Bow The Letter’ and fragile closer ‘Electrolite’, which bears more than a passing resemblance to ‘Nightswimming’.

Whether you think R.E.M. subsequently faded away or are still mourning their passing, New Adventures is a hard album to ignore.

Kat Rolle

MusicThis Issue

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