“There is a world of inspiration out there, a world of music that needs to be explored” he says, his voice battling with the screeches of moving tables and chairs as the day’s workshops come to a close, “The beauty of events like today’s music academy is that you can interact with people who are getting into music that might be, in some cases, slightly further down their career path.  Being able to pass on knowledge gained over the years is what today is about.  This is school, but the lectures are interesting.”

Stepping into the academy earlier that afternoon-based at Metropolis on Bristol’s Cheltenham Road, in the fashionably Bohemian district of Stokes Croft-I had already begun to realise what Laurie would later tell me in the interview. Fliers were being given out with the day’s curriculum; a dose of Jazz and Soul followed by Dubstep and House, and on stage in front of a bay of spectators-most of whom were slowly sinking into cushions straight out of the BFG’s living room-the first of the day’s tutorials had begun.

Pee-Wee-Ellis, the legendary 68-year old saxophonist, famed for his involvement with James Brown and Van Morrison, and former resident of the musical melting pot of New York City (now living in Frome, Somerset), was taking on the subject of music history.  Sitting on the leather sofa in front of the vibrant Red Bull logo emblazoned on the back wall of the club, he spoke, in his gravelly, baritone voice, that must have charmed many-a-lady in its time, “You know man, it’s a real evolution this music business, one thing just leads to another” he says with a smile, “Even modern music today still has its roots in stuff I was involved in, it’s a beautiful business”. Give him a whisky tumbler and a back street Harlem jazz bar, and Pee Wee would be in his element.  A cool cat in a modern era.

After an insight into the ways of one of soul and jazz’s finest, it was time for a local girl described as “a mix of Etta James and Aretha Franklin” to take to the stage.  Musical Biology was her topic, her being Yolanda Quartey of southern soul specialists Phantom Limb, giving us the lowdown of the muscles that need training for the best sounding pipes.  “I lost my voice for 18 months” she says begrudgingly, not keen to reminisce on that period of her life “I went to a voice coach and now I sing far better than before.  You have to train your neck and shoulder muscles to attain the best performance from your vocal cords”.  Fielding questions from the audience, Yolanda spoke with passion and experience on everything, from advising a young guy how to develop his vocal range to the best ways on singing for modern music such as dubstep.

The Bug aka Kevin Martin, continued the high standards of the day with a unique interview on his new project King Midas Sound, providing the Musical Philosophy.  A real one-off musician, Kevin’s knowledge amazed even the likes of Appleblim with his purist take on the art form, “90% of music is rubbish, it’s the 10% that people should really be looking for” he states, convinced of his own doctrine.  His cynicism of the modern music industry and its “pop” charts was refreshing to hear and was seconded by the majority of the crowd.  Honesty is one thing the RBMA audience appreciates, the deafening applause at the end were proof of that.

Dubcasm, fronted by dreadlocked lyricist Brother Culture, followed on from the Bug, fusing vinyl chopping technology provided by Dubstudio with the jungle vibes of their outfit.  Getting the crowd involved was all part of the performance, “Are you having a good time people of Bristol” rapped Brother with his thick-set Jamaican drawl, “I wanna see you move, make a move to the groove of the Brother with the mic who is about to set loose”.   Whilst this was happening, Dubstudio recorded and cut the music straight onto vinyl, the Music Technology part of the day’s curriculum was done.

If anyone had been thinking about setting up a home-grown private dance label, the next lecture proved invaluable.  Dixon-head honcho of German house label Innervisions, responsible for musical wonders Henrik Schwarz and Stefan Goldman-covered the ins and outs of running a small label.  With his trademark jet-black hair and thick-german accent, he offered some sound financial planning for anyone thinking of embarking on a self-funded musical project, “You have to be willing to cut out the middle man when delivering your music” he explained, “The number costs involved, from A + R to promotions really make it hard to turn a profit, so just cut out the middle man and sell from your website, that’s what I did”.  Having delivered the Musical Finance lecture for the day, Dixon then went onto explain how people’s preconceptions of artists, due to online sets and recorded material, prevents the listener from enjoying an original “live” experience, “People should judge you on the night, not by your previous sets” he says “Every night is different, every set is different, make up your mind on the night”.

The musical altruism I experienced throughout the day was something I have come to expect from the RBMA, it’s pretty much a prerequisite for the event.  It’s not often that so many different genres and generations can be crossed under one roof, from Soul icon Pee Wee Ellis to Techno-head Dixon- it was any music-head’s dream band.  Appleblim did sum it up well, it was like school, although you never want this one to end.

This year I believe is all about rivalries. Button VS Hamilton or Button VS McClaren. But of course the biggest news in Schumacher VS everyone.

A legend in the sport and its good to see him back, but will he damage his reputation in the sport. I hope not because he has given so much, even if you don’t like him he still gives a lot. “Schuey” will hopefully deliver and gives us a tight title race. I am not sure if he will win the title but I am sure he will give a good crack.

I am going to list my contenders and why.

Hamilton – still very young in his career but is a talented driver, as long as he doesn’t become cocky then he’s the man to beat.

Button – it was great that he won last year he fully deserved it, but he almost lost it. I think Button will be living in Hamilton’s shadow but I hope they gel as team-mates.

Vettel – he in my opinion is Schumacher’s heir apparent and I can see him giving Hamilton a close run-in.

Webber – I not sure he has the skill to win but as a team Red Bull may win the constructors title.

Schumacher – not this year but he will give it a go.

The rest I think will push for places, both Massa and Alonsa for Ferrari will have a great season if the car is right and they gel together.

Roll on next weekend! GET READY FOR THE CHAIN.

Red Bull Reporter and Music News partnered up for this assignment.

Let the battle commence…
The seats have been ripped out of Camden’s famous vinyl-shaped venue tonight.  In their place, stand four opposing stages and a central pit, ready for the epic battle to ensue between some of British dance music’s most fearsome architects over the last forty years. Funky dreds group Soul II Soul step up to the plate, with old school roots label Trojan Sounds fast on their heels. Smiling from the next dark corner is grill-faced Goldie with his Metalheadz crew, including drum n base talisman Andy C on the decks, there to represent the junglist movement. And, last but not least, taking place as the relative youngsters on the scene, are Mala and Coki from DMZ, showing off their new brand of vibrant dubstep.

Let the Don decide…
Four groups. Four rounds. One victor – all decided by judge and compare, Don Letts, the legend and linchpin responsible for putting British Jamaican music on the map. “It’s going to be difficult to decide who wins tonight,” Letts admits, “because Jazzy B, Goldie and Trojan Sounds are all personal friends of mine”. So are newcomers DMZ on the back-foot then, I ask? “Not at all” he insists, “because I know them equally well by reputation and they’re undoubtedly the future”. It won’t simply come down to who impresses Letts though, as he’ll have the Roundhouse audience – which is at bulging capacity – on side to sway the vote.

Not just a bunch of beginners…
Coordinator and founder, Many Ameri, tells me how tonight’s event slots in with the wider Music Academy agenda: “It doesn’t really represent the Academy as an entire musical world,” he shouts over the filthy base emanating from within.  “But what it does represent, is the approach we’ve always taken to bringing people from different genres together with the pioneers of a certain music style and those trying to progress and develop it further”. The actual Academy itself has been running as a platform since it started in Berlin in 1998 and now counts some of the industry’s most diverse and dynamic talents among its graduates. From recent breakthrough phenomenon Mr Hudson to Flying Lotus – the producer everyone’s currently trying to emulate – hundreds have used the Academy as a fertile intersection to grow roots, meet other artists and accelerate their creative agendas.  Every year, the Red Bull team of journalists, music enthusiasts and producers, sift through around 2,500 applications from artists across more than 80 different countries to find just 60 hopefuls to take part in the Academy. Those talented enough to make the final cut, are split into two groups, and flown off to the chosen host country for a fortnight-long programme of workshops, guest lectures, recording sessions and raucous nights out at the Red Bull events that run in tandem. They’re invited to work with, and question, musical luminaries from every continent. The current London session has included a kaleidoscopic spectrum of artists from producer and DJ Mark Ronson, to American classical composer Steve Reich, arguably one of the greatest living maestros of his kind.  Some of this year’s participants will turn out to be musicians in 20 years, while others might organise festivals, become journalists or run a pirate radio station. What the Academy’s really interested in is finding people who’re going to leave a lasting mark on their particular scene. “We can’t take credit for these people making it in music” explains Ameri “because, they’re not just a bunch of beginners. All we do is put them together with these crazy people from around the globe, knowing they’ll do something special with it.”

Drowned in sound…
For the moment though, the current school of students are all upstairs absorbing the dense wall of sound that’s wrapping its nauseating tentacles around the Roundhouse crowd. Towering speakers threaten to tumble at the side of each mini-stage as the sickening reverb shakes every defenceless member of the crowd. In the first two rounds Goldie and his Metalheadz seem to be getting the best crowd response, filing the stage with a contingent of widely recognisable faces and tunes. But it’s not just popularity that matters. For the true diehard bass heads, it also came down to stage presence and each system’s deafening ability to enact audio genocide on innocent bystanders. Best at landing the most bruising performance punch, are veterans Soul II Soul, with Jazzy B spinning the decks, while MC Chickaboo – the female drum n base raconteur – throws herself from speaker to speaker, whipping her long dreds through the cascading backlights. Throughout the night they prove that experience pays handsomely, lacing through a series of set smashing tracks that would leave even Her Royal Highness wanting to upgrade Jazzy’s OBE to a knightly Sir. Trojan aren’t far behind in the presence stakes. Preaching a strong message of unity, blind vocalist Supa 4 transforms his sunglasses and cane into idiosyncratic trademarks, conjuring tricks like a sorcerer over the crowd and stealing the show. When it came to sound though, DMZ took no prisoners. Like a pack of Sumo wrestlers sitting on a kitten, their system was undoubtedly the most brutal in terms of sheer sonic force.  It would have been a natural passing of the torch had DMZ won it, as I believed they deserved to. But, after five fearsome hours of fighting toe-to-toe, Metalheadz walked away with the trophy, testifying to their universal appeal among an audience of different ages, cultural backgrounds and musical loyalties. The ultimate winner though, was definitely the musical disciples present on the night, who got to hear a phalanx of formidable pros is session under one roof for the paltry sum of just £10.

States of Emotion are a four piece monster rock and roll band, known in their hometown as the sons of sunny Essex. Humble as they may be, it appears these four young lads are surely set for the big time.

Fronted by skinny rocker Olly and his Mick Jagger-esk swagger, they arrived on stage to woops and whistle’s. As sticks man Luke whipped his top off, the girls mouths had already reached the floor. Guitarist Adam, known by his mates as ‘Bricka’ swept his impressive locks behind his ears and bassist Bonzai (real name Mike) flashed the crowd a cheeky grin.

It was evident that everyone in the room had turned up purely to watch these lads kill it on stage. Armed with real pint glasses, yes that’s right, not plastic ones, and with cameras at the ready, feet started tapping, heads starting bopping and mouths started moving as the band launched into their first epic tune ‘In the Running’. Bonzai’s head bop, not dissimilar to the bop Foo Fighter Nate Mendal does when he’s hammering out All My Life, was however, all I could focus on during this song. For some reason I just couldn’t take my eyes off him!

Next up was the chilled ballad ‘Black and White to Gold’, the song itself may be pretty chilled, but the performance defiantly wasn’t, you could see the power and emotion piercing front man Olly’s eyes. It’s a tune with a banging chorus that’s just perfect for a good sing along, demonstrated brilliantly by the excitable crowd. Followed up by debut single ‘Fight them on the Beaches’, a song which was named Zane Lowe’s hottest record in the world right now, just a few weeks ago on his Radio 1 show, and rightly so might I add.

Next up the band whipped out ‘The Unsung’. Now, I’m not exactly sure what this song is about, but I think there might be a little shout out to the boys Essex homeland hidden in there somewhere. Crowd favourite ‘She Cuts Shapes’ was where drummer Luke really hit his stride, the occasional smirk breaking the beads of sweat on his face only illustrated his enjoyment further. Then with Bricka providing a truly mystifying riff, the electrifying and euphoric ‘Perfectly Blue’ finished up the impeccable set. The band said their thanks you’s and left stage right, but it wasn’t long before they were at the bar, being congratulated by various crowd members, getting the drinks in.

Having seen many, I can say with my hand on my heart that their live shows are nothing short of amazing, and the show the band put on at the Water Rats, their ‘homecoming’ as the boys put it, was no exception! The official London stop on their current UK tour (they also played at The Wimbledon Watershed earlier in the month) was one to be proud of. The band hammered out some serious tunes from their upcoming debut album, and put on an awesome show. The album itself (working title: Black and White to Gold) was recorded at Modern World Studios with the inexcusable Greg Haver, famous for producing bands such as the Manic Street Preachers, and is set to be a huge success. Determined as they are, States of Emotion have even set up their own record label, Perfectly Blue Records, to get the album out to the masses.

The band had a big turnout at the gig, a huge amount of local support, plus, a familiar face, James Buckley from Channel 4’s The Inbetweeners, a fellow son of sunny Essex, and friend of the band, even turned up to show his support. Surrounded by friends and strangers alike, the band were raging on stage, pitch perfect, beat perfect, not a single mistake, and jeez, did they look like they enjoyed it. Front man Olly pens some serious brain twisting, heartbreaking lyrics through the microphone, and you get the feeling sticks man Luke, would be piercing some serious holes in those skins if he hit those beats any harder. Bricka’s intense guitar skills are made strangely more impressive by the way he swings his beautiful mane of hair around, rolls his eyes into the back of his head and crouches over his guitar, affectionately named Rosie, as if it’s a child he’s protecting from a roadside bomb. Bonzai’s relaxed stance seems inadequately chilled considering the alternate realities and realms he reaches with his bass playing. His enjoyment shown through his occasional pigeon like head bop. Each member has their own personal style and finesse, different, yet so well structured, practiced to perfection, like 4 pieces of a perfect puzzle, these guys just work.

But more importantly than that? They are four genuinely nice guys, home grown British talent, boys who appreciate a good British pub when they see one, four young lads who, while surely destined for big things and big money, are humble, charming (as all we Brits are) and more importantly, deserving of the success they are on their way to achieving.

Would I recommend going to see them on their UK tour? Um… YES!

Jostling for a place with old classics such as the traditional curtain raiser in Mexico City (MEX) and the legendary two-day event in the Spanish capital of Madrid (ESP), there will be new and exciting locations for 2010. The second event of the six-stop Tour will take place in the shadow of the Pyramids and the world famous Sphinx in the city of Giza (EGY), where the dry heat and blazing sun will be sure to push the athletes to the limit. The next highlight follows just weeks later, as the Red Square and the Kremlin in the Russian capital of Moscow (RUS) host the world’s 12 best freestyle motocross athletes. Following Moscow, London (UK) will be recharged once more to electrify the crowd and the riders. The Red Bull X-Fighters finally head to the Eternal City, Rome (ITA), to crown the Red Bull X-Fighters World Tour Champion.

Last year it was America’s Nate Adams who claimed the title in front of a sell-out crowd of 20,000 at London’s Battersea Power Station following a thrilling season full of twists and turns. This time around, “The Destroyer” Adams is back to try to defend his title and secure his place as one of the all-time greats of Red Bull X-Fighters. Among his most dangerous challengers will be multi-world record holder Robbie Maddison (AUS), who will be looking to finally secure victory in the overall standings after placing third and second, respectively, in 2008 and 2009.

If you want to become a Red Bull Reporter for one of the Red Bull X-Fighters events in 2010, enter your submission – no matter if writing, photography, filmmaking or presenting. The season kicks off in Mexico City in April and will be followed by 5 events all over the globe. It could be you experiencing the thrilling atmosphere of the event. Exact assignment date and location still to be confirmed.

Coming up in 2010:
16.04.    Mexico City, Mexico
14.05.    Giza, Egypt
26.06.    Moscow, Russia
22.07.-23.07.    Madrid, Spain
14.08.    London, UK
01.10.    Rome, Italy

Check out the Red Bull X-Fighters website …

The event series, established in 2003, is an international series of Air Races in which competitors have to navigate a challenging obstacle course in the fastest time. Pilots fly individually against the clock and have to complete tight turns through a slalom course consisting of pylons, known as “Air Gates”. Red Bull Air Race World Champion 2009 Paul Bonhomme, who happens to be British, will be striving for a repeat of last year’s success.

Also in 2010 Red Bull Reporter will be on site at a Red Bull Air Race.  So get yourself started and enter your submissions – maybe you will be the one reporting! Exact assignment date and location still to be confirmed.

Red Bull Air Race moves around the globe in 2010 – check out the website for finding out more about upcoming races in 2010.

Check out Red Bull Music Academy on YouTube and the Red Bull Music Academy website to find out more about the ongoing Academy in London.

You can also check out the report on the Spinebreakers website!

Curated in partnership with Book Slam – a monthly event which takes place in London – writers, poets, lyricists, MCs and rappers gathered for the second night of the 2010 Red Bull Music Academy to celebrate the power of the spoken word at Shoreditch Town Hall.

My initial thoughts on the way to the event instantly took me back to school poetry recitals and urging the minute hand on the classroom wall to jump to 12, so the incessant pretentious nonsense of deeper significance could end – why can a rain drop never simply be some water falling from the sky?

Isn’t poetry, as Charlie Dark – the compère for the evening – suggested: “For every kid who got picked on at school and used to hide in the library.”

The event rocked my opinion and made me appreciate poets are not simply the Romantics of the 18th century as there is a modern equivalent which is a totally different animal.

Being a huge music fan, and open to listen to all genres and all styles from all over the world, I was never convinced songwriters or rappers should be considered as poets – even when current Poet Laureate Carol Ann-Duffy praised the Arctic Monkeys for their skills as wordsmiths.

“We thought it would be quite interesting to invite some MCs to come down and just open it up,” said Elliott Jack, the brainchild behind the night. “We wanted to get them to turn the music off, slow down their sets, slow down their speech and see what happens.”

P. Money, Rinse and Wariko from Nottingham were the three MCs, alongside poet Kate Tempest, author Dreda Say Mitchell, musician Sui Zhen and once rapper turned comedian Doc Brown – all representing a vibrant and flourishing underground literary scene which is commonly overlooked by Radio 4 or Guardian reviews.

It was staged in the stunning surroundings of Shoreditch Town Hall – sweeping stone stairs leading up to the hall and fantastically high decorated ceilings is perhaps a more common surrounding for book junkies rather than the dark, sweat dripping rooms where grime is normally hidden away.

It was a night where Dunks stood alongside black polished leather shoes as people from different walks of life came together to appreciate the strength of the spoken word.

Mitchell thought the night was fantastic and was keen to stress the importance of these sorts of events: “It’s so important and I think one of the reasons they did it is to get writers, artists and poets out there with a bigger range of people who we know love to hear those things but won’t necessarily find it.
“So to come here, is absolutely fabulous! I mean I had never heard Kate Tempest’s work before and she was great – and I’m eager to buy her book tonight.”
The Queen’s English was nowhere to be heard on stage but the themes were similar – everyday life and events, from living in the humming and often suffocating environment London can be to regretting break ups with ex-lovers.
Kate Tempest was a perfect example. On stage she was nervously confident and her poetry was eloquently accessible to everyone.
People can be put off by the tongue-curling language used in the poetry you learn at school, but her contemporary examples using words from the playgrounds and pubs of 21st century Britain absorbed the audience and made them listen to what she had to say.
Doc Brown – the rapper turned comedian who induced raucous laughter from everybody – and Rinse both mimicked grime stereotypes with which the genre has been associated.

Rinse, on stage with thick Russian hat, wide rimmed glasses and comic-book character Ironman T-shirt, opened with I Ain’t Road – a look at what it would be like if all MCs were geeks.

Two key themes came from the night: firstly respect. Wariko summed it up saying: “You may not agree with my ideas, and you may have different ones, but at least respect mine and I’ll respect yours.” Secondly was the realisation that poets of centuries gone by weren’t that different from the rappers, MCs and writers of today. Although their language may seem stiff now, it was just the tongue of the day.
Charlie Dark’s words were so right when he said: “London is like a sponge or a melting pot. It absorbs culture from all over the world.

“What Book Slam is doing is bringing literary people together with grime artists – the only real people who are keeping the English language alive.”
Will the suits start attending Wiley gigs – I expect not; and will the Dunks shuffle into book shops to grab Wordsworth – unlikely. But the point of the evening was to increase awareness and all left with a much elevated appreciation and understanding of the other.

Inspiration. Muses. Strong women.
(Who has the biggest influence on you?) I could put it down to my family rather than some certain individuals. Musically my influences were changing all the time (but I guess the “Levellers” were a huge part of my family upbringing). Personally I love country and western music like Patsy Cline, Dolly Parton, strong women I guess! (Do you have a certain muse to create music?) …men, boys, animal rights, silly accidents, different books, Edward Cullen, nature, stars…I write everything about that happens in my life or in life of my closest people, so that’s why all of my songs are so personal and dear for me. (Is it always so easy just to sit, take a paper and a pen and to write “hit”?) Recently it’s got a little bit “dark”. I keep choosing the path that looks like I’m going to get a better song out of! At the moment I am emotionally challenging myself for the sake of a song… That’s strange, I know (laughing) But I love it! It keeps me entertaining. (How much time does it borrow to write a song?) That completely depends on a situation. Usually if I drunk a pin of beer or two, or I’m high on coffee I can just sit down and bosh out a whole song. Other times I have verses lying round for months and years before i complete them. I get very touchy when I’m writing; I have to be in a certain mood for anything to happen!

Envy. Money and love to music.
(You have already reached a lot, being young. Probably, many people are jealous because of your success…) People often say I am lucky to be doing things I enjoy and I cannot help. but get a bit defensive. I chose to do this, and worked hard at it, and dated a lot of bad men to get here. Well not bad, just not right (it is something I would like to talk about…). I am extremely lucky to have a family who supported me so much in all my “collapses” and “ascents”. (Whether often do you read about yourself something posted in the internet?) I bet I think everyone is secretly guilty of googleing their name (laughing). I try not to focus on bad reviews of my performances/songs… I think, that the negative opinion of some person will not force me to refuse my hobby, because music it‘s all my life. To twist a head that someone doesn‘t like me – isn‘t necessary, I think everyone should have its own opinion. (Music mostly consists from 3 parts – pleasure, money and glory. What is the most important for you?) Glory is not so important for me and without pleasure singing loses its sense… On the third place is money. It’s not that I don’t want to make money (show me a person, who doesn’t!), but my priorities are little bit old-fashioned, but valuable. (Do people recognize in the streets?) Well, I did get recognised in Shambala festival. Someone asked me if I was the girl who sung about the fast horse. And guess what? This is indeed a true fact (laughing) (When and where are you planning to perform next?) At the moment, I am planning to focus towards my group.

P.S. Special thanks for all the people who was watching Siddy’s extreme dress-changes right on the street and tripping with us, while listening to the her live performances during photo session.

Work and Glory.
“(Recently you became the best Hip-hop performer…). In 2005 I have already been nominated for a rank of the best performer, but, alas, have lost. And recently the goal was reached. That evening I was the happiest person all over the world (but as well as any nominee I wished to win, but doubted…). When I have heard my name – the pleasure was not a limit. I have celebrated a victory in a circle of closest friends, in that club where the nominations passed. (Was it tough to become the best?) Yep… Few years ago I have not enclosed so much love,soul and forces in music – I looked at all as on a hobby, and next year I have worked a lot. Almost all summer I have lead to studios. I almost havent‘ seen the sun! Here, look, I am as white as cheese is ( she shows on half sunbathed hand). I should divide this rank together with Donatas. I can safely approve, that Ewex is the project of 2 people: his music, my words. (How have you get into Hip-hop world?) It is the longest story I know…(laughing). I‘ve started listening to G&G Sindikatas. Their music was pleasant to me, though all considered, that their music – „man’s work“ (laughing). I was interested in their music, but I would like to hear something more gentle, romantic – in fact I am a girl. Since then I have started reading rap, singing. Later “gentle hip-hop” has been named R‘n‘B. My first song was – “You live once ” which I have laid out in the internet. Representatives of Hip-hop (guys, of course…) were interested in me… in my music (smiles). Everyone supported me, therefore there was a desire to develop in this sphere. With a song „Words“ there were many light memories. The more I work – the more it is desirable to be immortalized. So I gained all the strength and has called the performer and producer. So I have called him, named my name and I have told, that I wish to write down the song in his studio. You cannot imagine, how it was terrible. I addressed to him on „Sir“, my voice shivered, I could not find necessary words (laughing). For me he was one of the biggest authorities, and its music is remarkable!On the appointed day I came to the studio and at once I rad in Donatas‘ sight: “Well, girl? On what you are capable? Maybe we will write down something.. Somehow.. “. When I have risen to a microphone and have started singing, has changed on behalf of – he was surprised, like as, and quite good singing… That day he has suggested to work together.. Our ideas and taste were similar. (How have you reacted to such offer?) I was shocked!. I dreamt of the similar offer for a long time. There were ideas that he is joking, but.. 3-rd year we work together and shortly there will be my first album.“

One among guys or „Where are all the girls?“.
“(Some foreign performers have certain prejudices before an output on a stage.. maybe you have some?) I have never noticed, but according to Donatas, before performance I become very serious (laughing). It is impossible to joke with me, and if someone tries to start talking – I do not pay any attention. But on a stage I pour out all my serious feelings. (During the concerts there are sad and funny moments. Do you remember some bright moments of your concert?) In one of the clubs I should sing a song “Move your body” together with raper Pushaz, but, unfortunately, he was busy. Therefore he was replaced with other person. Till our performance there left very few minutes, but my „stage partner“ wasn‘t there! You cannot imagine how much adrenaline I have felt that moment! I called him and started shouting, and told that he have to reach club as soon as possible. He promised to be right on time. But no… he wasn‘t it the club, when I‘ve heard our songs melody! It was necessary to me to sing alone. But Thank God, that he has appeared on a stage during next minute! Public was happy, and I have forgiven my “partner” all the insults (laughing). (Is it taugh to be a girl to in hip-hop industry among guys?) First it seemed to me, that it will be difficult, but guys have seen, that I do qualitative music, so they not only supported me, but also they have accepted me in their ” big – hip-hop-family”. In this industry guys and girls who think that my music is „too sweet“, but also there are lots of people who likes me and my music. It would be great, if there were girls who would be interested in hip-hop style and would sing as solo, instead of being back-vocalists. I would write down one-other song with such girl with a great pleasure.“

This afternoon, however, the streets of Cardiff were eerily void of rugby fans, boasting only a sprinkling of French supporters who had made the trip over to cheer on Les Bleus as they took on Wales at the Millennium Stadium.

The reason? Tonight marked the first Six Nations match to take place on a Friday evening on British soil following the decision to repeat the experiment trialled in Paris last year.

The timing of the fixture has led to widespread criticism from supporters and journalists this week who claim it disrespects the traditions of the game and alienates rugby fans for whom their Six Nations weekend away has always been synonymous with the tournament.

In Cardiff today few people seemed in favour of 8pm Friday kick-off. “Having a game on a Friday just isn’t right – it’s all for TV,” said Chris McNamara, who is putting up a group of French friends who run a bar in Le Mans. “It should be on a Saturday afternoon. That is what the Six Nations is all about and why it is so special.”

The timing inevitably affected those French fans who made the 300-mile trip,with many arriving hours before kick-off and planning to leave on Saturday. Thierry Pouce, from Tours, admitted that for fans who wanted to make a weekend of the game, the fixture had caused problems. “It’s our first time in Cardiff and so far it has been good but having the game on a Friday has made it more difficult,” he said. “We have had to miss four days of work.

“Of course, we definitely prefer Saturday games. It’s a lot easier to get here and back, without having to miss work. I don’t think it has stopped many of us coming over but it has made it more difficult.”

Despite the challenges the tourism and marketing company Cardiff & Co reported few hotels with rooms available within a 15-mile radius of the city centre while Cardiff Airport estimates that more than 6,500 people have made their way through the arrivals lounge, with Peter’s Pies doling out 100 free pies to the visitors.

The timing did not make travelling easy for the home fans either. “It’s not a really great idea especially because of the late kick-off time, perhaps an hour earlier would make it better for people to get home,” said Graham Prance, from the Cardiff Blues supporters’ club. “I don’t think we need to stick with tradition but we have to consider it. Welsh rugby fans will support the team whenever. You could start the game at midnight and people will still go.”

And, inevitably, in the immediate build-up Welshmen frantically filed out of their offices and rushed towards the watering-holes surrounding the Millennium Stadium. Normal service had resumed. The game may not have been received well by all but by 8pm the 74,500 sell-out crowd packed into the ground were transfixed by the 30 players on the pitch and the 80 minutes on the clock.

Roller disco culture is a passion for mythical deep house renegade Moodymann.

Known for preserving the rich heritage of Afro-American (sub-)culture with the utmost respect, he’s done more to keep the roller disco phenomenon alive than any other human being on the planet with his Detroit regular Soul Skate. For this very special session at South London’s Renaissance Rooms, he’ll not only bring a box full of classic skating rink jams with him, but also ten of the motor city’s most notorious four-wheeled dancers between 8 and 80 years of age. They’ve continuously supported him at the original Soul Skate and will now leave the US, some even for the first time in their lives. Also on the bill: the frontrunners of London’s current disco revival, the infamous Horse Meat Disco. More than just a damn good night out, this is a true tribute to the soul we will never ever lose.

WANTED: Red Bull Reporter will send a writer and a photographer to London’s Renaissance Rooms to cover the roller disco.  So put on your rollers and post your submissions!

For those unfamiliar with the scene, Jazzy is best known as the cultural leader and ambassador of Korean hip-hop. Jazzy will be introducing dance battles and shows featuring the top eight breakdance crews in the UK (inc. Soul Mavericks from the UK B-boy Championships & BBC’s Ballet Boys), and stars from every continent will compete against each other to help raise money for charity.

The event promises to be even bigger and better than last year and will bring together some of the best B-Boys (breakdancers) from all around the globe to bring you some explosive dance action and to help raise money for Oxfam International.  For more information check out the Red Bull UK website or www.myspace.com/breakin_boundaries.

Red Bull Reporter is looking for a photographer to cover the Breakin’ Boundaries event.

A day at the academy commences with a whole host of activity surrounding breakfast time.  There is a lot of chit-chat about the previous night’s events, web exploration is possible by use of the many computers, and of course, liquid refreshments are obtained for the hours ahead of them.  The intimate, but laid back setting of the dining areas produces a great chance for participants to interact; whether it be discussing collaborations, the lecture ahead of them, or talking about the one thing they all have in common, a love for music.  I ate with 3 of them, and quickly learned the true internationality behind the RBMA concept, “I’m from Mexico”, student Teresa Suarez (Teri Gender Bender) proclaimed, “she’s from Peru, and he’s from Romania”.  I felt rather plain and uninteresting when sharing that my home city was in fact where we were sitting at present.

Lectures usually start at around midday, everyone piles in, with many’s first port of call at the fridge for another energy drink to perk them up for the onslaught of valuable music-related information coming their way.  The term ‘lecture’ should be used lightly though, as it’s more like sitting down in your friend’s living room, listening to some of the most interesting figures in music tell stories about their culture and roots, discussing performance techniques, explaining equipment, and telling you anything else they feel relevant!  The seating is ever so comfy too.  Much toe-tapping, head-nodding, and claps of appreciation ensues.  The participants here seem to hang on every word of the lecturer, some times with their mouths wide open in awe, and regardless of their musical background and have a great deal of respect for them.

Today’s lecturers are Matmos, an experimental electronic music duo from Baltimore, USA, and A Guy Called Gerald, one of the forefathers of the Manchester acid house scene.  These guys know their stuff, they’ve been around the world, and have their stories too.  Matmos tell us how a small shipping of records, with a bit of luck, can lead to big opportunities, “We made a couple of thousand copies of our album. Nothing sold, but we sent 10 copies to the Rough Trade shop in London. They sold a few, including one to Björk. She loved it, called us”.  As the lecture progresses, they dive into debates about the authenticity of conceptual music, a challenging look in to at what point music becomes an art form.  This is a fundamental idea behind their music, as their latest album ‘Supreme Balloon’ continues to challenge the boundaries, created entirely by using synthesizers; old school analogue system style, with patch-bays, ancient oscillators, and blipping oscilloscopes.  Towards the end of the lecture, the participants are given the opportunity to ask questions, and many of them do, with great interest in the topics at hand.

The second and final 2 hour-ish lecture of the day welcomes A Guy Called Gerald to the living room-like lecture space.  After a well-received and lively background history story, we once again witness a true musical mastermind divulging some of their opinions on the musical world.  Dance music has always pushed itself in to new areas, and in the 80s, this guy was doing the shoving.  22 years on, and even outdating some of the participants, a great sense of recognition for his work is acknowledged by all sitting in front of him.  The acid-house hero also shows us some sleek moves on the synthesizer, to much applause from the audience.  No doubt this demonstration will inspire in the studio later in the day.

Post-lecture time is the when the participants really get to make the most of their stay here.  The academy has set up a recording studio, a radio station, and a whole variety of rehearsal rooms, each with their own theme.  This is any music producer’s dream-like Utopia.  Red Bull also provide in-house studio technicians, ready again to share their vast knowledge with the participants.  These sessions of jamming and recording can go on ‘til the early hours, and do so frequently.  I wander around the basement level of the building to discover participants chilling out on the sofas, talking music, and sharing jokes.  There’s a real sense of community and family-like feel here, almost as if all the great musicians in the world had secret love children and these were brought together to take over the music world.  And they could do so too.  The level of talent here is immense, every single one of the participants wants to be here, they want to learn, they want to engage themselves, and they also really want to be the next big thing pumping out of your speakers!

As I leave, I gaze around the room to try and take memory snapshots of the participants, I know i’ll be seeing some of them in the future making waves around the music world.  The Red Bull Music Academy will certainly be something they credit to their success in the future, wherever their musical brilliance will take them.

The Glasgow player went down in the second half of the game and although laying on the ground unconscious the guy tried to get up.

I cannot believe he tried and everybody in the rugby community still wish Thom a successful recovery period.

I tribute to the determination and bravery of Evans, who many feared could be left permanently disabled after his horror injury 10 days ago.

The winger underwent two operations to repair a displaced bone in his neck and it remains uncertain if he will return to top-flight rugby.

Formidable strength of character was also evident in the decision of Evans’ older brother Max, who was on the field when Thom was undergoing protracted treatment, to make himself available for Glasgow last Friday night.

The unbelivable thing about this is Thom is returning home next week. Hopefully his rugby career can continue because what he displayed against Wales then he is a star of the future of Scottish rugby.

On a lighter note his cousin radio DJ Chris Evans tried to kick a conversion at half-time but slipped over and it was hilarious.

He became the youngest presenter Radio 1 have ever at just 18 years of age when, along with Bethan Elfyn, he was part of Wales’ new regional output on the station.

With the passing of legendary broadcaster John Peel in 2005, Huw along with Rob da Bank and Ras Kwame were asked to step into the shoes of showcasing the best in new music Britain had to offer.

So what does an act need to grab the attention of one of the industry’s most influential figures: “Anything which is a little bit different, anything that’s got that indefinable spark really.

“It could be any genre, as long as it’s not dull and boring and got something about it, something I haven’t heard before. It could be the vocal, it could be the beat, it could be the production – if there is anything which has that spark, it gets my ears.”

He is the figurehead behind the BBC Introducing brand, designed to give a platform to unsigned bands, and has recently seen acts as diverse as Florence and the Machine, MGMT, Chipmunk and Marina and the Diamonds use it to propel their careers.

Though unlike some who dismiss bands once they have exploded onto the front pages of music magazines, and children’s television shows, Huw is only really concerned about the music: “Well it’s a double edged sword – you either go well they don’t need my support now so I’ll let them be, or, as I do most of the time, I stick by them.

“I enjoy listening to bands that have made it big, and you have to remember bands always have to start small and new, and some of them go onto big things and some of them remain.”

As for new artists coming through, the name on everyone’s lips at the moment is Ellie Goulding. The 22-year old Welsh singer-songwriter was named the BBC Sound of 2010 and won the Brits Critics’ Choice for the most exciting prospect for the coming year – a sentiment Huw certainly shares: “Oh I think she is brilliant.

“Every year there is someone who is over hyped if you like, but I think she deserves it.

“Her live show is fantastic, her album is great and she is a talent. Not everyone is going to agree with it – there are always a few bands each year people don’t agree with, but that’s the beauty of music isn’t it?”

Though the list of new names to look out for does not start and end with her: “There are so many great new artists aren’t there!

“I love Jakwob, he is a dubstep and electronica producer, I think he is really good. Frankie and the Heartstrings, from Sunderland, they are very good indeed. But there are so many!

“Welsh bands I’m excited about are Y Promatics, they are a very good band and I’m looking forward to hearing a lot of the good, new electronica coming through out at the moment – from people like Monkey Dubs and Don Ledger and others like that, so they are good names to look out for”

“Everyone’s music tastes are different and there is so much new music out there, so it’s really hard to get it right all the time – I get to play three hours of new music a week on the Radio 1 show and there is never a shortage.”

It is not just on Radio 1 where Huw showcases the best undiscovered talent around. He is a fluent Welsh speaker and hosts the flagship music shows on both Radio Cymru and S4C. He also showcases his new finds in his annual Sŵn Festival in the Welsh capital in early autumn.

With his fortunate break into the radio at such a young age, he also gives new and emerging presenting talent a chance as chairman of the Student Radio Association, which Greg James, new on the Radio 1 daytime schedule, has recently graduated from.

To leave you with a final tip, he suggested: “Tiny Temper – Pass Out.

“It comes out in March; it’s the best single out there at the moment. He is a UK hip-hop artist who is fresh and it’s my favourite track at the moment.”

The fighter from Cefn Fforest added to his growing list of titles, which include the British and Commonwealth light-heavyweight belts.

Cleverly, who won by technical knock-out at Wembley Arena on Saturday night, said: “I’m really pleased with the win and absolutely ecstatic to pick up another championship belt, and with it move up another level to the European stage.”

Brancalion never looked comfortable against the smart combinations and superior fitness of the opponent 12 years his junior. “It was quite a comfortable fight,” said the Welshman, “it was a matter of being patient and taking the chances when they came.”

The 22-year old picked his moments and did not rush to try and secure an earlier victory, as he took his professional record to an undefeated 19 bouts including nine knock-outs.

Cleverly is a very bright prospect, and along with the likes of Kevin Mitchell – who fought on the undercard on Saturday – is among the next wave of potential British boxing champions.

David Haye, Carl Froch and Amir Khan currently head the list, though Cleverly thinks he can match them: “At the moment we have a couple of good world champions, but I’m certainly the youngest and I think the most exciting champion at the moment.

“I think I’m ready to take the step up and soon be the best and most exciting world champion in Britain.”
Welsh boxing on the other hand is in a poor state and in stark contrast to two years ago when Joe Calzaghe, Enzo Maccarinelli and Gavin Rees were at the pinnacle of the sport.

Many have inevitably drawn comparisons between the student and Calzaghe, and he is certainly showing potential of emulating him.

But Cleverly may have to wait for his chance to collect his next belt. He has his final exams in May as he works towards his maths degree at Cardiff University – he is currently on a second-class degree – and he admitted: “I will relax for the next couple of weeks before talking to my management and discuss plans about maybe the first defence of the European title or the WBO belt.

“I might be able to get a fight in before my exams, but realistically it is going to be a month or so after they finish.”

The WBO light-heavyweight belt is an option for the student. Bernard Hopkins is currently the number one contender to take on Juergen Braehmer for the title, but he is likely to favour a fight with a bigger pay packet as his career draws to a close. Therefore Cleverly could well be called upon to take on German Karo Murat for the chance to battle against Braehmer, who vacated the European belt before Cleverly emphatically won it at the weekend.

The light-heavyweight division is currently very competitive with a lot of dangerous fighters. The likes of Chad Dawson and WBC champion Jean Pascal are young and highly talented competitors from North America, while perhaps a couple of fights away lie the big money pay days against Hopkins and Antonio Tarver.

Whatever is to come, having tasted the bright lights on a Calzaghe undercard, the United States is somewhere Cleverly hopes to crack: “Once I’ve got my degree boxing will be my life and I will be more than happy to go to Las Vegas to fight.

“It will be a dream come true to go there and headline in what is the boxing Mecca.”

Promoter Frank Warren, who is caught in a legal battle with his last Welsh light heavyweight superstar, seems to be keeping Cleverly happy: “It’s working well with Frank.

“He is getting me the fights, keeping me boxing and we are going in the right direction.”

The undefeated champion has the skill, potential and charisma to reach the top and wow the boxing world. Talent does not always get you to the top, though Cleverly seems able to tackle the growing media pressure and attention on him.

What the rest of 2010 and beyond will bring is yet to be seen, but if managed well, and if he continues to develop physically and mentally, he is certainly a fantastic prospect for Wales and Britain.

The current national team kicking coach said: “It would be nice to have an A team.
“I know England play so many games a year with it, and go to the Churchill Cup. Its up to the WRU to decide.”

All of the other nations who make up the Six Nations field A teams, including the Italians, and it gives players an extra stepping-stone before entering the caldron of senior international rugby.

Johnny Sexton is the latest success story to emerge from this level. He had a fantastic season last year with his province, helping Leinster lift the Heineken Cup with a decisive penalty in the final to defeat Leicester. In the summer he was called upon by Ireland A as they went onto lift the Churchill Cup.

After appearances against the likes of England Saxons – their equivalent to an A team – and the senior sides of Argentina, USA, Canada and Georgia, Sexton ended November in possession of the full Ireland outside-half spot, ahead of Ronan O’Gara, aided by his experience in international rugby’s second tier.

Kristian Phillips has had to drop down to the Wales under 20 team having been released by Warren Gatland, alongside players who have yet to even feature for their province.

Meanwhile Shane Geraghty, who has been dropped by Martin Johnson after some unconvincing displays in the autumn, has the opportunity to impress and re-establish himself in the Saxons squad – an opportunity he took with 12 points, including a try in the win against Ireland A in Bath last Sunday (Jan 31).

Wales last put out an A side in 2002 and scraped it in 2003 due to financial reasons.

Oxford band Stornoway have slowly developed into quite a special group – both on stage and recorded – since its tentative beginnings in 2005.

Although not usually the kind of music we cover on Radio ClubFoot, their music has helped me through exams and plainly we think its bloody good!

We chatted with bassist and backing vocalist, Ollie Steadman, to explain to us everything Stornoway.

Radio ClubFoot – How was the band formed?
Ollie Steadman – I met Brian and Jon through a jobseeker’s website while revising my AS Russian and trying to figure out a way to play Master of the Mill by Melnitsa on just one guitar.
I wrote them a postcard asking whether the “alternative pop” bassist they were looking for should have any particular favourite bands in order to qualify for the position – they said “if you listen to Gorky’s Zygotic Mynci you’re in” – and I did so I was!
I didn’t know how old they’d be so I took a screwdriver to the audition in my guitar bag, in case of danger.
My brother Rob joined us a year later, formally as a beat-boxer but when we had to start booking gigs in noisy pubs he needed to be louder so started the drums.

RCF – 2009 was a pretty fantastic year for Stornoway – what has been your personal highlight?
OS – Going to Jools Holland and meeting all the famous people, that was fun!
My girlfriend didn’t realise it was Norah Jones she was playing Hacky Sack with, and we got to talk with Jay-Z – it was also my birthday!
Also meeting Caitlin Moran of The Times and Laura Barton of The Guardian in a Winnebago at Glastonbury – I had to carry my double bass around while they made sandwiches and talked about whisky.

RCF – In Oxford there are a few acoustic-folk type bands, but not so many on the Radio One playlists – what was your reaction to your nomination on the BBC Sound of 2010 long-list?
OS – Total surprise. It creates huge pressure though, and we had become so used to being underdogs in music. I spent the following week sitting in the office at uni – where I’m studying for the final year of my science degree – and the guy next to me actually had my picture up on the BBC website without realising it.
I didn’t bring it to his attention, asking him instead where I could get some prescription safety specs, so he’d have to look away until the screen changed – I am trying to keep the band a secret from everyone there.

RCF – What environment would optimise your music to a listener?
OS – I remember reading Sylvia Plath’s The Bell Jar outside a record store – the part where the heroine decides to jump off a cliff into the sea.
Fleet Foxes’ song Ragged Wood came on and I decided it was the perfect description of that moment in the book, and I immediately walked into the store to buy the album. I would like someone to discover our music in a similar way.

RCF – As a band you have done a tremendous amount, yet you are still not signed – are there options or offers in the pipeline?
OS – Still unsigned and proud of it – but it is becoming more and more apparent to us that it will be necessary to surrender to a label at some point soon.
Bands play a tiny role in the full chain of events that leads to anyone hearing or owning music – there are thousands of people working for hundreds of label-type companies, doing bands and fans a favour and not getting any credit.
The way music has always been marketed is such that the only faces and names we associate with songs we listen to are those of the artists – and it seems wrong to me that one person gets the full credit for everybody’s effort.
I would be interested to see a band in the near future take the final step in the devolution that’s been happening in the music industry since file-sharing began – and go without a label right to the top. But the time is not yet right.
Blogging and free streaming is all very well and I’m involved with publicising the band this way, but in real practical terms bands need labels to keep them going as writers and performers, and not as full-time administrators.

RCF – What are the bands plans for future releases?
OS – Two singles and an album in 2010. I Saw You Blink is being promoted now to national radio, and we hope this will do even better than Zorbing did last summer.
The rest is a secret!

RCF – What other acts would you recommend for the future?
OS – Foxes! – from Brighton; The Black Atlantic – from Holland and Spring Offensive (Oxford)

RCF – What advice would you give to bands starting out?
OS – Document everything. Meticulously.

RCF – If you were to curate a festival main-stage, with yourselves and three other bands/DJs, present or past, who would they be?
OS – Charlie Parker, Of Montreal and Hermanos Inglesos.

Thank you very much to Ollie for speaking to us! They are about to go on tour with Beth Jeans Houghton on various dates across the country – so make sure to check them out – and I’m sure they will be making an appearance at more than one summer festival…

Equally hit up their MySpace and support bands trying to make it on their own by downloading the absorbing, the gorgeous, the intoxicating Zorbing and other tracks here.

The Hereford singer who won the BBC’s Sound of 2010 gave a shy, unassuming performance while oozing with vigour and class.

For someone who is still yet to release her debut album – Lights is due out on March 1 – she held the capacity room while performing her brand of catchy pop songs.

The crowd in the CAI all attended for free having won guest list spots via Xbox Reverb’s Twitter or FaceBook campaigns. Indeed the use of social media by the computer game giant did not stop there, as the venue and cover song Ellie sang – The Temper Trap’s Sweet Disposition – was also chosen by the fans.

Radio One’s Huw Stephens, who was compère for the night, is certainly a fan: “I think she is brilliant!
“Every year there is somebody who is over hyped if you like but she is a talent.

“She has worked hard already – her album is brilliant I think, the live gig she does is awesome and she deserves it.”

Highlights were unsurprisingly Starry Eyed and Under the Sheets which have helped to make her such a big name, though given the standard during the rest of the set, the guitar playing singer/songwriter is more than just two hits. Much more!

Reverb came to Cardiff for its fourth night after already swept into Birmingham, Leeds and Colchester with hyped acts such as Egyptian Hip-Hop, Esser and Dananananakroyd. It was certainly an innovative ploy and created a massive buzz about the night from people trying to re-tweet the correct hash tag to bars giving away free shots for people to vote for the gig to go to them.

Xbox pulled out all the stops on the night: a stage perhaps worthy of a bigger venue, DJ Hero and plinths with an inbuilt Twitter facility which every time you swiped a card given to you at the beginning of the night, loaded your social networking details entered you into a competition to win one of their Xbox 360s – though it did spam your feed for a while!

The night was a massive success and certainly something the Prince of Wales’s music, Huw Stephens, believes can go a long way: “What they are doing is interesting.

“They are asking the music fans and the people who use Xbox and the social networking where the gigs should be, who should be playing, what should be happening at the gigs and its really exciting and its always different.”

So keep your eyes peeled for Xbox coming to a town, or web tool, near you soon…

Check out Scott’s best shots of the night.

Three Colours Red.

Starting in 1999, the Red Bull Music Academy has annually gathered together an eclectic mix of the world’s most enthusiastic musical prodigies and thrown them all in one place to cultivate their talents. This year the event takes place in London, with 60 acts plucked from thousands of applications and encouraged to flourish in England’s capital. The Red Bull Music Academy will lend these globally invisible participants the power to become something more than little needles in a musical haystack. The opening night is hosted at Vice magazine’s very own scruffy-chic venue of The Old Blue Last, with DJ Kool Klap easing the crowd into a cheeky Parisian groove of misdemeanour. People are sporting an eccentric selection of attire, from togas to duffle coats to vintage Adidas shorts, and obviously there are practically more pairs of oversized glasses than there are bodies. The bar is stocked with Red Bull, everybody is swapping stories of their elaborate and exotic histories, there is laughter rising up to the ceiling and all the girls look like young boys.

The evening’s line-up has promised an all-girl event, and first to adorn the stage with her lovely haunting vocals is Columbia-born but Barcelona-based The Sound of Lucrecia. A dramatic brown fringe masks a porcelain face, baring the simple subtle attitude of red lipstick. Her mouth mumbles incoherent sentences, she wears jeans and pumps, casually strumming a guitar like your shy younger sister trying to play rock star in front of a room full of your closest friends. Lucrecia gradually builds up moody epic pop until it pushes gently against the walls, and then invites us into the moment by flashing a brief grin. She is dreamy rather than dreary, tender rather than slow, understated rather than understood. But she’s in her own world and we don’t need to be in it to catch the mellow taste of potential. She suspends seconds and minutes with a single chord, nerves melting as the Academy’s opening act blooms into a glittering white rose. I grab Lucrecia after her set for a brief chat. She tells me in an adorable Columbian accent that “The atmosphere is just…it’s just so calm, it’s really good. I’m having a very nice time. I loved performing.” Despite a few technical glitches with her laptop, The Sound of Lucrecia is both pragmatic and beautiful as an opening act to excite the crowd through her invisible stare. “You’ll see me walking on the walls”, she sings. I do hope so.

Following on is May Roosevelt, a dramatically vintage Greek theremin player in a red dress. Just to fill you in, a theramin is an electronic antenna which can detect the musician’s hand movements as they break its magnetic field, thus producing screaming electrical interference. And when I say screaming, I mean it really does sound like a wailing lady. May tells me how she discovered such a bizarre instrument simply “through an old friend…”, and now here she is performing a debilitating lullaby in Shoreditch. Another boyish haircut, another pair of lips covered in red, another girl on the fringes of insanity. May appears to be suffering from a bout of emotional constipation as she keeps her expression vacuous and her body frozen to a static spot, letting the instrumental performance do all the, er, talking. With pre-recorded backing beats and strings and pianos to accompany her, The Old Blue Last becomes flooded with grandeur. This is the sound of your soul after taking ecstasy, it is an electronic alien cemetery, I suddenly feel like I’m dying. A hundred pairs of captivated eyes all point towards the stage, mesmerised by May and her shrieking theramin.

Picture by Scott Webster – view more >>

A computer problem means that the third act Maldita Fan has to be postponed for an evening, and so make way for the finale… melodramatic Mexican lunatic Teri Gender Bender. She sets up the stage by tying daisies and ham (yes, ham) to her mic stand, duct tapes a blank white mask to her face and attacks the microphone with a feather duster. It feels wrong, like drinking red wine on a Thursday before noon. She jerks with her guitar and shouts louder than the speakers, stamping on a bass drum and declaring “I need a little rain on me ok!”. Having supported The Dead Weather (a Jack White side project), there are a few detectable similarities to the White Stripes with Teri’s boisterous garage-rock character. But she is far more disturbing than that. Taking the evening’s red lipstick theme one step further, she pours fake blood down her chin and fiercely screams power-pop reminiscent of Jefferson Airplane. And then suddenly she’s vocally morphed into Kate Bush, and then a drum machine, now she’s on the floor, dancing over our toes, running to the back of the room to kiss blood onto the windows. This girl is the devil. The drum beat rips through horrified and erratic vocals, a distressed glance, a synthesiser. She is the burnt remains of your gran’s wallpaper, she is madness, she is singing about Soviet Russia. The crowd hold their breath as she attempts to eat the microphone, proceeding to rip down half of her dress for a display of armpit hair. Possessed, with deli meat now on her head, every horror movie cliché in the book is being paraded across the stage. Sissy Spaceck eat your heart out.

Having ingested three stupendous parades of girl power, the room is allowed to socialise once more with a guest DJ set from Golden Silvers. The air crackles with inspiration as the participants dance on unfamiliar territory, each marking their spot with a hysterical footstep from another country as they wonder how the hell they’re going to out-perform Teri when their turn arrives.

Paul’s love affair with aerobatics started at a young age, working at White Waltham airfield from the age of 16. By the time he was 18 he had his licence and was out practising. To combat that amount of G (most people have blacked out by 9 G) “lots of practice” is the only answer so that a “G tolerance” can be built up. In a day Paul can spend two hours feeling the strain and if he lapses or gets tired it’s extremely dangerous. And does Paul ever get disorientated? “No”. So how are risks kept down? “The race directors have a good record for safety,” he explains. “If there was a crash it would be a bit of mess,” he says, which is a bit of an understatement really. “But the directors can’t react quick enough if something goes wrong so they instil good discipline. If it looks dangerous you’re disqualified”.

As one of the old hands in the tournament Paul is also its most successful pilots with 30 podiums in 44 races, including 11 wins. But this is his first outright championship title and the relief is enormous. “Winning a race is great but the consistency is so important and that’s what makes it worthwhile. Having come painfully close in 2007 and 2008 winning last year was an almighty relief”. But there have been some dangerous moments too. When a pilot clips one of the giant inflatable markers laid out on the course they usually hear a “huge bang and feel a reaction the aircraft in its flight pattern”. But hit one really badly, like Paul did once in Istanbul, and it can wrap itself around your controls, “which is exciting,” he chuckles.

These incidents are usually avoided by the tireless preparation the pilots put in before each race: “You rehearse the track a thousand times in your head,” Paul explains. Paul winters in Arizona, “because my engineer likes hot weather” and “because the good weather means you can train every day”. Whilst out there he maps out his own tracks in his mind and “goes round and round”, maintaining his G-tolerance and keeping his wits sharp. But what would possess a man to do this insane, dangerous and exerting sport? “It’s brilliant fun. It’s just total 3D freedom”. When does he think he’ll pack it all in? “There’s no age limit on it. I’ll keep going while I’m still doing with. It’s not enjoyably if you’re flailing about at the back”. Paul is taking nine months unpaid leave to concentrate on his racing so he’s clearly still in love with it and though his wife Laura doesn’t come to Arizona with him she does come to support him at the races.

This year’s championship consists of eight races around the world, from Canada to Brazil and from Hungary to Australia, though sadly this year London is not on the list. Paul remains “quietly confident” but is eager to “see what the others have been doing in the break”, something that should become abundantly clear in the first race in Abu Dhabi.

Whilst the Zivko Edge 540 is the plane he flies in the championship and a Boeing 747 in his day job, Paul has flown an enormous number of different aircraft in over 650 displays for the Old Flying Machine Company in Duxford. He’s flown Hurricanes, Mustangs, Hellcats, Thunderbolts, Skyraiders and Yak-500s but his all-time favourite flying experience? “It’d have to be a Spitfire, or a Bearcat. That’s an incredible little plane”.

So, final question, what do your commercial passengers think of having you as their pilot? He chuckles. “Well occasionally the odd comment comes up from downstairs saying someone thinks he knows me and can he please get off the plane!” 12 G in a jumbo jet: now that would be interesting!

The last stop of the Red Bull Manny Mania skate contest took place in East London in the Truman Brewery. Liam Teague,  Sam Gillespie, Tom Quigley and George Gunn hit Brick Lane to cover the event.  Here are their reports …

In the last weekend of February, Red Bull Music Academy is coming to the Metropolis and Motion in Bristol!

With the talents of greats such as Theo Parish, Appleblim and DJ Derek this is not to be missed.

We would like to invite local Red Bull Reporters to report on the Academy workshops, more information on this assignment is coming soon but if you are from the area and have a passion for music this could be your thing!

For more info on events, artists and all the fun at Red Bull Music Academy click here!

Red Bull, OPEN A BAR ALREADY! Ideally in west London.

On my way to see Jamie T at Brixton Academy on Friday night, I went to the Red Bull Music Academy. It was just as a bar should be, full of loud, funky beats, art adorned walls, all types of people out for a good time and free flowing booze. Good music, people and environments may sound like decent requests, and maybe separately they are, but getting all three together is not so common.

I was reminded of the awesomeness of the place by following that Friday night with a Saturday night in a west end ‘club’ that charged me £59 for 3 vodkas and 2 beers, after taking £15 from me for walking through the door. It was my own fault really, I gave up on the wanky west end scene in my early twenties, but like eating Maccie Ds, I have to do it every few years to remind myself of why I never do it…

The Red Bull Music Academy allowed me to walk into the bar that I dream exists, but I can’t find. Or I’m not invited to. And I promise I’m not exaggerating here. First off, the doorman was friendly and the guest list girls had big smiles: that always make a welcome start. THEN the bar was free, the music was cool and the people were ones I enjoy chatting to. Not the ones who partake in the giant fun-free stare offs holding £15 drinks.

The best thing about the Red Bull Music Academy is that the décor is just what I’d like my dream loft to be. In fact, I was quite close to trying to nick a floor lamp I really like (and need), and the only thing that stopped me was the wish not to be an ass and respect the awesome environment I’d been invited into. And I’m so not sly I would’ve been caught anyway.

So, if this piece sounds a little overenthusiastic, I don’t really care, I’d quite like to give Red Bull all the enthusiastic language I can. Because, in fact, Red Bull is one of the only brands I know that actually cares if I have a good time. Red Bull seems to care that I’m living the life I hope to, and there isn’t a part of Red Bull world that fails to capture my heart and mind.

At this point, I should move on to the Red Bull sound studios and all the other wonderful things across the three floors of the Music Academy, but I can’t. I don’t actually know from experience that there are three floors, I read that in the Grace Notes newspaper that explained all of the art works. I didn’t make it very far past the bar. About 10 yards I reckon. I was too busy playing catch up with my boyfriend who’d had a boozy Friday afternoon. Then I was too busy bumping into random people I or my boyfriend knew, and talking excitedly to the lovely people from Red Bull.

So if you’d like to know about the intricacies of the Red Bull Music Academy, I suggest you check out: www.redbullmusicacademy.com/london/

I’ll be online researching my new adventure to find a bar I like, where I can dance, talk to interesting strangers and enjoy a drink or five. I’m taking suggestions if you’ve got any. Preferably in west London.

Amy’s story starts at the tender age of 15 when she was snapped up by Polydor records, after one of her home demos landed in the hands of pop power-lord Simon Fuller. “Oh right, so it’s happening now?” was Amy’s initial shocked response to her being thrust into stardom at a young age, and she certainly did not shy away from it. Her first album ‘False Smiles’ sold over 200,000 records, after being labelled by critics as the UK’s answer to American skater-girl Avril Lavigne. With this, she scored 4 Top 40 hits; 2 of which hit the Top 10. The now aptly named ‘Misfit’ peaked at number 6 in June 2003, and 3rd single from her debut album, ‘Under The Thumb’ charted at number 10. All seemed cheery for the young musician, she was even shortlisted for the prestigious Mercury Music Prize, but from then on, she has failed to make waves in the music charts.

The singer-songwriter was dropped from her record label Polydor, after the re-release of her debut album (which included a new single, a cover of the Sheryl Crow track ‘All I Wanna Do’) fell short of expectations, and missed out on a top 40 spot all together. This then led to a few years where Amy spent some time out of the limelight; “If i’m honest, I had a lot of boy drama”, is her given reason.

A new burst of life, however, was injected into Amy when in early 2006, she signed with the 19 Entertainment record label, and the name Simon Fuller pops up again as he is the chief executive of the label. In a bid to combat stage fright, and continue to stay out of the limelight, she toured with Razorlight, under the alias ‘Jane Wails’. Throughout the next 2 years she released 3 singles, none of which came to any chart success at all. Her second album ‘My Paper Made Men’, was released as a digital download on 5th May 2008, and as a physical release on 2nd March 2009. But alas it seemed Amy Studt had suffered the dreaded ‘difficult second album syndrome’ and her album did not chart at all. There was only one ending for this lack of success; another drop from her label, in April 2009. “I also left my management and publishers” as part of the low point.

Speaking to Amy now, she is currently not under any record label at all. “It’s a lot harder, but it’s a lot more fulfilling”, the singer-songwriter reckons. Amy is now independent, not looking to release any music in the foreseeable future, and has written a script for a short film. It is unclear what the future holds for Amy Studt at the moment, but for now, she is half way through a small venue UK tour, and will most certainly be destined to pop up somewhere along the line in the future.

“Led by local TV personality Tony Wilson, they created a unique collision between conceptual art and street music” (BBC4 2007). The ‘street’ being that of city of Manchester, and the ‘music’ initially being of the punk genre. The foundations were arguably laid after London based punk band Sex Pistols played a gig at the Manchester Free Trade Hall on 4th June 1976, but Cambridge-educated Tony Wilson brought his intellectual ideals and formed a record label that would spurn conventional record label values and ideas.

The ethos of Factory Records conveyed a strong sense of artistic freedom, opposed to the homogeneity of a major record label. Mick Middles states there would be ‘a famous word of mouth ‘freedom’ clause. “All Factory acts have freedom” stated Wilson. “The freedom to fuck off”’ (Middles 2002: 110). As the ‘myth’ goes, this was written in Wilson’s own blood, on a dinner napkin for the contract of the label’s first successful band, Joy Division. This notion, along with the 50/50 split of profits (after costs), was a staple in Factory’s ideology that fiscal success, was not what the label set out to achieve. Factory did not make records to make a profit, they made records to support and celebrate a thriving scene in Manchester. The bands were a part of the record label, not for the money (Joy Division were offered a deal with a higher advance payment from Warners), not for the profile or reputation (something a London based label may have given them), but for the pride of staying true to their roots in the Manchester punk scene.

Speaking on the industry before Factory’s birth, Peter Saville said ‘the whole business of pop culture, particularly music culture had become so commoditised. It was not a kind of touchable experience’ (BBC4 2007). These views prompted the 3rd partner of the Factory Records revolution, Peter Saville to design graphics, again, with the notion that the graphics were more important than the profit. So important, it would seem, that when New Order’s ‘Blue Monday’ was released, “the production cost of this sleeve was so high the single sold at a loss” (Robertson 2006: 62). Similarly, Joy Division’s first LP vinyl, ‘Unknown Pleasures’ “contained no track information on the labels, nor the traditional “side one” and “side two” designations. The back cover of the album contains no track listings, leaving a blank table where one would expect the listings to be.” (Gimarc 2005: 214). At the time, the conventional practice was to have the band’s name and album title in the top third of the sleeve art. Another example was the Dave Rowbotham-designed Durutti Column LP ‘The Return of The Durutti Column’, the cover sleeve material was “raw sandpaper designed to damage all other publications around it” (Robertson 2006: 26). This was “a radical gesture through a simple DIY act” (Robertson 2006:26), and symbolically significant of punk ideology, even though the music on the vinyl was subtle and intellectual, and not stylistically typical music of the punk genre.

Another innovative and non-standardised convention that Factory Records implemented was their unique cataloguing system. Releases were given a catalogue number which were always preceded by ‘FAC’, and this was used for both music and video releases. However, they also applied this numbering system to other ventures, such as a lawsuit involving producer Martin Hannett (FAC 61), a party for The Haçienda’s (Factory Records’ very own super-club) 1 Year anniversary (FAC 83), and even to a cat (FAC 191).

Another example of an ideal that set Factory Records apart from major record labels was their desire to not only produce and distribute the music of the ‘Madchester’ scene, but to give followers of the scene a place to listen and watch the music. At first, this started with a friday night at the Russell Club, and was aptly called ‘The Factory’ after the club’s owner Alan Wise “saw a notice proclaiming ‘FACTORY CLEARANCE’” (Middles 2002: 95). However, as the scene grew bigger, and “In May 1982, Factory Records, in partnership with the band New Order, opened its own nightclub in a semi-derelict area in the centre of Manchester” (Robertson 2006: 52). This was Britain’s first super club, and opened up a whole new level of intimacy, unseen before, between a record label and it’s followers, something major record labels failed to achieve.

In conclusion, I believe that Tony Wilson’s Factory Records is a prime example of the typical stereotypes we associate with independent record labels. The label didn’t care for profit, nor reputation, it cared for the music that their bands made. And even then, they gave their bands complete artistic freedom (although sometimes under the watchful eye of Martin Hannett), along with graphics that were uncensored too. This, along with very fair profit splits and Factory’s lack of ownership over the musician’s music made Factory a very prosperous label to sign to in the late 1970s and onwards until their demise in the early 1990s. With a unique cataloguing system, a super club, conceptual art on their cover sleeves, and bizarre yet fair business principles, Factory Records were most certainly a record label that changed the industry, and they did it, most importantly, without the intrusion of a major record label.

Some of you may have heard this name, you might not be quite sure where you’ve heard it or be able to recall any of their songs but ‘Two Door Cinema Club’ are being tipped for great things in 2010. I usually steer clear of so called “hot tips” for new artists as they are usually only chosen so that music journalists and broadcasters have something to do and make it seem like their job is important, however I did listen in to last year’s BBC introducing and have to admit I stand corrected. Their tip for 2010 is the Northern Irish trio, however in recent months we haven’t heard much of the band. Since recruiting a drummer for their live shows, rather than relying on beats on laptops as with their singles, the band have been touring and a little research uncovering their Myspace page, quite an extensive tour at that.

Although yet to release their first studio album, an EP Kitsuné Music is available and worth a listen; you may struggle to find it in shops so best bet is to get onto your generic download site and have a shufty. Their next single ‘Undercover Martyn’ has already been tipped for number one and is currently sitting at the top of playlist; of their approaching tour dates, sixteen are in the UK or Northern and Ireland and are very impressive live. Unfortunately I am yet to see them live for myself but there is footage of the band performing on the BBC Introducing stage at Glastonbury 2009 available from their website and for such a new band they seem to perform with a maturity you’d come to expect from a headlining act.

Perhaps this is one tip that is actually worth taking ‘experts’ advice for.