30, 31 JULY & 1, 2 AUGUST 2015

“For sheer class and integrity, it can’t be beaten.” – THE INDEPENDENT
Tickets for next year’s Cambridge Folk Festival, one of the longest established and most prestigious folk festivals in the world, will go on sale on Monday December 1 and can be purchased from: Box Office 01223 357851 or

Tickets: Full Festival £150; Thursday £25.50; Friday £55.50; Saturday £65.50; Sunday £65.50. Camping: (Full Festival tickets only, per 2-3 berth tent) Cherry Hinton £61.50, Coldham’s Common (second site) £42.50. All ticket prices include booking fees.

A flavour of the Festival can be found here:

Having started life in 1965, the 14,000 capacity Festival draws acclaim for its combination of internationally renowned headline artists and support for up and coming young performers and continues to enjoy sell-out crowds year on year.

Popular for its unique parkland setting, great facilities and family friendliness, the Festival offers something for everyone with four covered stages, street theatre, music workshops and sessions, raucous ceilidhs, open stages, a youth area, internet café, kids’ ceilidh, storytelling, free creche, paddling pool and playground, real ale bars.

Following the triumphant 50th anniversary last summer, Cambridge Folk Festival won the highest possible environmental honour at the Greener Festival Awards, becoming one of only nine festivals worldwide and one of only two in the UK to achieve the Outstanding category.

The first artists confirmed for next year’s bill are due to be announced in early 2015.

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I shouldn’t have to introduce either of these bands to you (the loyal reader), James have been mainstays on the indie rock scene for numerous years (first forming way back in 82), releasing intelligent, infectious and passionate albums throughout their career, from the early spiky, new wave inspired years to this year’s mature widescreen model (added trumpet and violin) as heard on the stunning new album La Petit Morte. As for Starsailor, they possess one of the best voices in the world of indie in the shape of James Walsh and released one of the most memorable albums of the noughties, Silence Is Easy.

My expectations for this one hit an all new fever pitch, here were two bands I’ve listened to for years on one bill, I’d not seen either group live before, so here was a chance I wasn’t going to miss. For me this was a must see, a chance to see those worshipped groups up close and in the flesh.

Starsailor took to the stage accompanied by a huge roar of approval from the crowd, the band drew from the audiences energetic response and delivered a spellbinding set, drawn from the band’s four albums to date, the band proceeded to produce a stunning masterclass of mesmeric indie rock. Frontman James Walsh tour into his guitar, whilst deliver those soaring vocals that he’s become known for, the likes of Poor Misguided Fool, Lullaby and Tell Me It’s Not Over all peppered by those lush keyboards and spiraling crescendos were lapped up gleefully by the masses, whilst the likes of Alcoholic and Silence Is Easy were hollered back to the band with more muster than most headline acts receive. James left the stage with his guitar still ringing out, whilst the rest of the band laid waste to rest of the audience with a tight finale, leaving blown minds and screams for more.

Few bands could follow the engaging spectacle of Starsailor, but then few bands can draw on thirty plus years of experience and less bands can boast a frontman like Tim Booth.

Now I know I said I was excited by the proposition of seeing James for the first time, but nothing could have prepared me for the exuberance, the energy and delivery of both the band and particularly Tim, I’m not really sure what I was expecting, I knew Tim possessed an incredible, moving vocal range, I knew that about his songwriting ability, a talent unequalled by any of the band’s peers, but what I didn’t expect was his movement, Tim jerks and moves around the stage like he’s been electrocuted, his movement is unique and compelling and he doesn’t stop, the band launch into an instrumental break and Tim’s off convulsing adding to an already bewitching spectacle. By the third or fourth song he’s dropped into the welcoming arms of his audience, carried aloft my the welcoming masses whilst still delivering his passionate lament, never have I seen a frontman embraced with the enthusiasm shown by the NIA crowd.

Of course the theatrics and Tim’s expressive vocals still wouldn’t mean a thing if the rest of James couldn’t back it up, but right from the opening duo of Sound and Walk Like You, the far reaching mix of trumpet, keyboards and of course guitar shape, each and every lament, whilst the rhythm section drive each number on. Lifting material from every corner of the band’s career, the audience welcomed each song like a long lost friend, with both the likes of golden oldies such as Laid and newbies such as Frozen Britain both hitting the mark as the band captivated the audience with a varied and always compelling set-list, obvious highlights included the mesmeric and poignant Moving On and a raucous main set closer Gone Baby Gone to name but a handful.

The audience naturally hollered for more and eventually a spotlight hit the balcony on the far side settling on trumpet player Andy Diagram in the audience introducing Born Of Frustration with a jazzy flourish and then another spotlight, this time our side, right above me and there in all his glory is frontman Tim Booth, embracing his audience, somehow hitting every note as a melee forms to hug him as he makes his way across the balcony.

With both Andy and Tim safely back on stage the band conclude their epic set with a frenzied Interrogation and a final flourish of fan favourite, Sometimes to a euphoric cries of adulation as the band depart the stage for the last time, knowing their job here is well and truly done and no one is leaving unsatisfied.

Rhythm & Booze Rating 10



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Babajack at The Cube, Malvern 22/11

+ The White Feather Collective

This was to have been an evening with Babajack and special guests, Lloyd Grossman’s New Forbidden, however Lloyd was ill so unable to bring his band. Local new boys, The White feather Collective, were duly called up for duty, a band with only 6 months behind them, the big stage awaited. The line up was Josh Lambe on an acoustic guitar and vocals, Will Turner, electric guitar, Roo Macphee on bass, and Chris Reynolds on drums.


Their style is really planted well and truly in the early raw rock/blues era of the 60’s, and that is reflected in the sound, which is raw and edgy, helped by the use of valve amps and analogue equipment. A nice blues riff going on with ‘Writing A Novel’, with Josh changing his guitar for a harp, before finishing with a restructured and renamed song ‘Keith’, played in the manner of some bloke who used to be in a band called the Stones!

An excellent start, and I’m not sure Lloyd was missed too much, though he may have been peaking through the key hole to see how they managed. One thing is certain, we will be hearing more from this Collective.


Babajack, have certainly evolved over the years I have been watching them, a duo sometime trio, with their own brand of roots music, has become an established ‘main stage’ band, gaining drums and bass, not to mention a very strong following. They have collected numerous awards on this journey, but retained that unique touch to their form of blues. Tosh Murase’s right fist, smashed down on his Floor Tom, booming out the start of ‘Running Man’, and away they went, Becky in full flow, freed from the roll of sole percussion, Trevor, as ever, testing his wine box guitars to the limit. Slipping in to the group for the evening, Julia Palmer-Price, brings her cello to stage, as she did in the recording studio for the album. Bassist Adam Bertenshaw along with Tosh, lay the foundations for Becky and Trevor to weave their web through to the fabulous ‘Falling Hard’, before the boys take a break. Trevor’s slide and harp are kept busy, as Becky writes her ‘Death Letter’, their take on a song they have made their own, but crafted by Son House. They continued into one of (for me) the choice songs from their ‘Running Man’ album, Trevor on harp, accompanying Becky, as she sings the lovely ‘Hammer And Tongs’, great vocals and superb harp, it does not get better than this.

The band rejoin, and the music rolls on, examining Babajack’s catalogue of songs, slipping in the yet to be recorded, ‘Back Door’. Aired on Paul Jones R2 show, and taken from the live sessions at The Albert Hall recently, now presented to us.

Julia is giving everything on her Cello, enjoying the evening, teasing Trevor as he works his strings, Tosh is hitting those big drums like never before, and Becky is on fire, auburn hair flying, as the evening reaches its crescendo. Gallows Pole, a well used old folk song, is a a portent to the musical explosion that is ‘Skin and Bone’, Trevor resonating like a tuning fork, teetering on the edge of his seat, Becky, slapping her cahon, that hair tossing back and forth. BUT, there is only one way to finish a Babajack gig, the false end, the audience participation, it is of course, ‘Black Betty’, ‘nough said’.

Words And Photos Graham Munn


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Italian electro-acoustic composer BJM Mario Bajardi is set to release his new ‘Inverse’ EP on the 28th November 2014 via ONDE Electronic Contents.

Mario Bajardi is a man of many musical talents. He is a violinist, film score composer and award winning music producer. Early in his career he was a finalist at the International Competition of Electronic’s Pierre Schaeffer Prize and ICMC –  these awards are given to the artist who explore new horizons in music. His music and sound composition approach is constantly evolving as seen in the case of ‘Metamorph’ an electro-acoustic and designed sound library Mario coproduced for  Twisted Tools. His ‘Inverse’ EP will be his second EP for ONDE following last year’s ‘Glass Orchestra’ EP and his debut album ‘Archives’ which was released in 2012.
‘Inverse’ opens with ‘Rest’ featuring vocalist Eleze who has previously released on Ministry of Sound and Ego. The intro is awash with ambient textures as a gentle piano and Eleze’s crystalline voice float on the surface of the background swells. The female vocals and ambient textures bring to mind Bonobo’s recent tracks with the vocalist Szjerdene. The high comparison continues on the following track ‘Standing’ which was taken from a theatrical soundtrack, for ‘Riccardo III W. Shakespeare’ which was composed and produced by Mario in 2013. The pizzicato strings and long wavering notes rise and fall together before fading away into ‘Interlude’ which opens with a snippet of natural recordings. Cinematic swelling strings then morph into electronic pulses and waves before the two intertwine.
Drawing from a wide range of influences gives Mario a broad palette of inspiration to draw from. He lists some of his own influences as composers like Bach, bands like The Cure and fellow film scorers such as Hans Zimmer. His cinematic approach can be found on ‘Crusty’ which opens with what sounds like a field recording of faint sounds of the city. It then builds and swells with the same emotion found on Jon Hopkins’ Mercury Music Prize nominated album ‘Immunity’. ‘Crusty’ then progresses into an industrial style breakdown before bursting back into the light and back to life with Mario’s signature strings.
‘Inverse’ features glitchy electronic pulses with an array of buzzing sounds flitting around the track – sinister low synth rumble before being joined by a burst of background strings which break through the futuristic white noise. ‘Inverse’s chaotic use of electronic sounds is reminiscent of Luke Abbott’s recent releases on the Border Community label. ‘Missing’ then closes the EP with plucked strings and fast strokes of the violin’s bow creating a tension building that creates an evocative and cinematic final track.
Sound artist and producer, Carlo Ascrizzi, creates a slow burning remix of ‘Crusty’ which introduces dark skittering drums and glitches, deconstructing and stripping away the brightest elements; switching the mood of the track from midday to midnight. His interpretation gives us intricate and complex sound textures, reminiscent to his sonic works
Mario’s sheer talent shines through in his music which balances elegant electronics with evocative natural instrumentation. His experience of composing for film gives his music a cinematic feel with textures overlapping and sounds floating in from all angles. His years of hard work have led to this expertly realised body of work. BJM Mario Bajardi’s ‘Inverse’ EP is one of this year’s most accomplished and impressive collections of music.


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“A mesmerising concoction of psychedelia set to blissed-out vocals” – NME
“Brilliantly DIY – #12 Hottest Bands In The World Right Now” – Kerrang!
“A trippy injection of bulldozing riffs, hypnotic vocals and moshpit-igniting fury” – Q Magazine
“Grunge, heavy rock, psych and emo all thrown in” – Artrocker



Hot on the heels of October’s single ‘I Should Have Gone To Uni’, West Yorkshire psychedelic alt-rock-grunge-pop weirdos Allusondrugs offer the world a new slice of what they do best, in the form of live favourite ‘Am I Weird?’.

The new track is available as a free download from:

You can watch the video now on the band’s Youtube channel here:

The track – written by guitarist Damo – deals with the social awkwardness of adolescence and was recorded and mixed by the band in their home studio earlier this month; never ones to shy away from a spot of hard work, the band also produced, directed and edited the video at home in Castleford, West Yorkshire too.

Allusondrugs hit the road again this week for a short run of headline shows (see daters below) following a year of heavy touring, that recently culminated in travelling up and down the UK as guests on the Marmozets / Lonely The Brave co-headline tour in October.

The band end the year with a pair of Christmas shows; first with Enter Shikari + Baby Godzilla at Enter Shikari’s Xmas Party show in Liverpool on 17th Dec and then in Sheffield for their own headline Xmas Party at Corporation on Friday 19th Dec.

Allusondrugs formed in the autumn of 2012 & have been building a rabidly loyal following with their alluring sound and DIY approach to releasing music online as and when they like (sometimes before it’s even finished), streaming practices live on the web, and hosting debauched parties at monthly club residencies / in the woods / wherever they damn well like.


Sat 29th – Leeds, The Wardrobe
Sun 30th – Stoke, The Underground

Tue 2nd – Tunbridge Wells, Forum
Wed 3rd – London, Black Heart
Fri 5th –  Cardiff, Club Ifor Bach
Wed 17th – Liverpool, Camp & Furnace (w/ Enter Shikari + Baby Godzilla)
Fri 19th – Sheffield, Corporation (Xmas Party)

Tickets for all shows can be found at

Allusondrugs are:

Jason Moules (Vocals)
Drey Pavlovic (Guitar)
Damo Hughes (Guitar/Vocals/Effects)
Jemal Malki (Bass)
Connor Fisher-Atack (Drums)


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