Beat Down Pro

The year 2009 has been a great year for new video games. There has been ample selection for gamers to choose from and many of them have been much anticipated releases. There are several titles that make the most popular selling list of 2009, for all three systems; Nintendo Wii, PSP and Xbox360. Each system offers consumers something different when enjoying some of their most favorite games.

Nintendo Wii has released a whole slew of games this year, aimed at kids and adults alike. The Wii Sports Resorts is a game that was well waited for and introduced a new Wii accessory called the Motion Plus. This little gadget allows players to get full motion access to the resort games of choice. The games in this game are fun to play and really make you feel like you are at a resort. Rabbids Go Home, was another popular game, it is one of a series that keeps getting better. People seem to like moving the rabbids around and participating in many action filled games.

The New Supermario Bros, was a very highly anticipated game. Many users young and old were lining up to get first copies. This game features the super Mario crew that we love and all of what we would expect in a Mario game. The game’s graphics and unique worlds have us only guessing as to what is coming next. Nintendo Wii also released a mature game called Madworld that was quite popular. This game is for mature gamers who find different ways of killing characters to be entertaining. This game has provided lots of shock value for Nintendo Wii users.

Xbox360 has also released some excellent games. Batman Vs Arkham Asylum is a game that exhumes another chapter in the batman saga. In this game, Batman is lured to the asylum and trapped by the Joker. Batman must return the asylum back to normal while defeating the Joker and his new cast of crazy helpers. The Beatles Rock band is an assortment of video game, microphone, drum set and guitar. The game is well loved because it features all of the Beatles music that fans love and it puts the player in the perspective of the Beatles characters.

DJ Hero is another game that has been very successful in 2009. This game brought hip hop music to the gaming world and provides 93 original mixes for gamers to listen to. This includes a game, a turntable and a two-pack of CDs featuring Jay-Z and Eminem. In this game players can scratch, and mix music, move a record back and forth and rewind and replay songs.

PSP had a successful 2009 with lots of new releases and great games for all ages. DJ Hero was one of the top selling games for PSP users. Street fighter IV was also a popular game for fans. This game provided gamers with all of the fighting they have come to love, with well liked characters and beloved combat moves. This game allows for better graphics, new characters and some new fighting moves that have made this game a hit.

Rachet and Clank Future: A crack in time has been a well loved game in 2009. It features two well loved creatures of Sony and provides them with an excellent journey. Ratchet must save his robot friend and while doing so must solve lots of puzzles. This character can run and jump through-out the game while shooting his enemies.

Roberto Sedycias works as IT consultant for Polomercantil

How to become a perfect DJ?

With 5 years of my experience as a leading DJ, I am sharing with you my DJ and music business secrets that will help you become more successful with your DJ music and career.

 

If you like listening to music, updating up with the latest music trends, and playing pre-recorded music before a live audience, becoming a professional DJ may be the perfect for you. However, DJ involves much more than just simply playing records, CDs or MP3s for a group. You must learn how to effectively use DJ equipment and master the skill of seamlessly transitioning from one song to the next. You should be able to keep your crowd engaged, entertained, and most importantly, dancing.

 

Its also important to learn and understand how to control DJ equipment. This could be learning how to use vinyl turntables, CD players, laptop software & other. These are the popular ways to perform your music. DJ equipment can be expensive, if you haven’t done any DJ  before, it’s a good idea try it out and get some practice before spending more of dollars on your own equipment. If you have a friend or relatives with DJ equipment, ask if you can practice using his equipment. You may also be able to use the equipment at a local bar or club during off hours if you have a good rapport with the owner or manager. Or you can also find this from other source whatever you know.

 

If you have access to equipment, practice as much as you can. The players and mixer will have several different functions, such as cross-faders, gain, volume, pitch, and so forth. Practice playing around with the different controls to experience what they are doing and learn how to manipulating them to get different effects. Practice switching back and forth or fifth between songs and alternating between your two players since this is arguably the most important skill a DJ must possess. Deliberately make mistakes so that when you make errors during a live performance, you are more likely to know how to fix the problem.

 

Consider your own free party or DJ at a friend’s house. In that way, you will be able to practice your skills in front of a sympathetic audience. So you will likely be less nervous than if you were DJ for a large group of audience. Also, since you aren’t getting paid you’ll have nothing to lose if you make any mistakes. After your set, ask friends for feedback, find out yourself what the attendees did and didn’t enjoy and use this information to perfect your style and technique. Once you have caught the basic skills, you may be able to practice your skills at a small local radio station or college show.

 

Its important for you as a DJ to develop your own personal style of music. This way when people come to see your show they will have a good Idea about what sort of music you play! Your aim is to entertain a crowd with the right music. You want to appeal to a certain niche of music lovers. Once you master this you will be know as the DJ who plays, rock, soul, hip hop, house or whatever music you perform to a crowd.

 

Once you feel you’re now ready to DJ professionally, go out and promote yourself. It’s a good idea to create a website with basic information about you and your skill where people can go to find out more about you if they are interested. Also print some leaflets and some business card that you can distribute to interested parties in your local.

If you’re interested for DJ at clubs, visit clubs in your area and introduce yourself to the manager or owner. It’s possible that you may if find a club that happens to be in need of a DJ, but, if not, be sure to leave a good impression and a business card behind so they can contact you if they will need DJ in the future. If you live in a big city or locality, it may also be possible to forge an affiliation with a management or booking agency that will help you find program, although you may have to pay a registration fee.

Follow these steps for you to success in your carrier. You just need to be persistent with it, that’s all. I wish you the best of luck with it!

If you interested in learning how to beat mix, scratch etc? Tired of searching the net for tutorials that only give you limited info? Want to learn from a proven method that has helped hundreds if not thousands of beginner DJs? Then, please visit http://www.poweruser.be/shop/index.php

About the Author

My name is Antaryami Rout, hobby & experience in web related work, Interest in listen rock, pop, classic, romantic video & audio  Music, gaming, content writing, news reading, painting.

 

Name – Antaryami Rout

Email – antaryami.webmaster@gmail.com

Have Others Sway to Your Dance Music

What separates an achiever from a sheer dreamer? It’s persistence and passion. Most of all, you have to be fiercely determined and be a risk-taker in order to savour the fruits of success. All these are de rigueur anytime, anywhere.

Making it big in the dance music business, just like any other venture, has its own series of challenges and trials. It is good to be aware that in order to engrave your own niche in the sun, there are examples whom you can get tips from.

Be Visible and Audible

Ascertain that you are visible as this is probably the best method in getting to the top of the heap. Believing that the public will just discover you without presenting yourself and your talent is inexcusable. People should notice you, hear you and sing praises to your beat. A few simple suggestions can help you through this:

Be part of online clubs for dance music aspirants and experts. This way, you are paving your way towards getting to know other DJ’s and industry honchos who may be your ticket to success.

Attend events and gatherings where dance music fans and producers meet like dance halls and clubs. Aside from rubbing elbows with them, you also get the opportunity of emulating them and in taking advantage of their networks.

Patronize the web for mileage. Ask your network to comment and spread the news about the music videos that you’ve shared. Ascertain, however, that you do not run out of videos to upload so you can keep supporters coming. Initially, you may want to focus use of YouTube.com and dropyourtalent.com

Creatively promote yourself through an online domain. Nowadays, it’s rather easy for you to have your own online domain. This is a very good marketing tool as you’ll have adequate online space to introduce your profile and your music.

Fame and wealth, especially in in this industry, isn’t uncomplicated. Ther is no time to be shy. You need to be bold and of course, you have to think that your dream is on its way of being materialized..

Consider the Public

Conflicting but applicable, you need to create a beat that is distinctively yours if you want to succeed in this business. Otherwise, you may just be tagged as a copycat who thrives using others’ music.

Take the famous Tiesto, for instance. Early in his career, he was into hardcore tracks; later he became an enthusiast of acid house and new beat prior to becoming among the figures of electronic and trance dance music.

All the renowned DJs – Tiesto, Paul van Dyke, Armin Van Buuren, Fatboy Slim, to name a few – have to find their unique sound and so should you. In this kind of business, you must find your own beat, literally.

Be it known, however, that you’re not playing only for yourself. Dance music needs other people so they can sway to the tune. With this, you should make sure that while you’re following the current trends of music, you make one that will speak of you, and will sound original.

Towards this end, you have to practice, practice, practice and produce, produce, produce. You must never grow tired of turning that turntable, listening to the groove and mixing your music. And then do it all over again the next day.

Soon enough, you will just be surprised at the progress that you are making and you’ll see yourself on track of being the best DJ there is!

About the Author

“Eager to get
the dance music
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you personally produced in the spotlight? Then join us free at MyDeejaySpace.com, the number one
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Hip-Hop Love Stories and the Construction of Socially Acceptable Urban Identities

Hip-Hop has historically existed as a male-dominated industry. Being a reflection of urban life and struggle, past Hip-Hop artists have been forced to maintain a certain level of masculinity in order to be accepted by their urban communities. Old school rappers who talked about love were often viewed as soft or corny. Because of this perception, the existence of love in Hip-Hop is a fairly new concept.

As the movement has gained support and recognition throughout the world, love has become an increasingly common theme in Hip-Hop music and poetry. However, the taboo still exists. Even today, Hip-Hop artists and poets present their love stories in a manner that allows them to maintain socially acceptable identities. Hip-Hop stories about love must still meet the masculine ideology in which the movement is rooted in order to be perceived as real and true.

The purpose of this study is to analyze Hip-Hop love narratives and how artists present these love stories in order to construct socially acceptable identities. I believe personal narratives are closely tied to the construction of identities. It is through personal narratives that people can recount life-changing events, realize socially acceptable behavior and create individual identities.

I have researched and studied several Hip-Hop love songs and analyzed the lyrics as text and poetry. In my research, I have found five common narrative forms used by Hip-Hop poets to tell their love stories: contrasting, perceptual, spiritual, conversational and metaphoric. These five narrative forms are used not only to present the story correctly, but also to maintain positive perception among a society that might view this sensitivity as weak or disrespectable. I plan to demonstrate each of these narrative forms and show how the poets use them to tell their love stories while establishing acceptable identities.

The Contrasting Narrative

One of the most common forms of Hip-Hop love stories is the contrasting narrative. Many artists use Hip-Hop music and poetry to tell stories about the negativity surrounding their urban environments. The contrasting narrative allows the poet to express his or her love story as a contrast to this negativity while constructing an acceptable identity because that negativity is real and understood in urban communities.

A great introductory example to the contrasting narrative would be the following passage from Method Man’s “All I Needâ€:

Back when I was nothin’You made a brother feel like he was somethin’That’s why I’m with you to this day boo no frontin’Even when the skies were grayYou would rub me on my back and say “Baby it’ll be okay”

In this song, the poet uses the contrasting narrative to show his love for someone who stood by him when “skies were gray.†He speaks of his love interest as someone who helped him get through troubled times, thus providing a positive contrast to his negative surroundings.

Another example of the contrasting love narrative can be seen in this passage from Guru’s “All I Saidâ€:

This world is crazy, she’s supposed to help me stay saneSupposed to help with the pain, supposed to help me maintain

In this song, Guru uses the contrasting narrative to share his view of what love should be. He admits that his “world is crazyâ€, and that his love interest is the one person who can make it bearable.

In “She Triedâ€, Bubba Sparxx uses the contrasting narrative to tell a story that actually recalls his love being there for him when he was in trouble with the law:

A fly country girl, just workin’ them giftsShe’s my queen, was a virgin I guessBut I ain’t never ask and I ain’t never tellBut Betty had the cash every time I went to jail

This song further illustrates the use of contrasting narratives to express love. Though the poet confesses spending a lot of time in jail, Betty was always there to bail him out, again acting as a positive contrast to his troubles.

The Perceptual Narrative

Another common narrative form of Hip-Hop love stories is the perceptual narrative. Like the contrasting narrative, the perceptual narrative is based around the negativity that surrounds the poet’s life. But instead of presenting this love as a contrast to that negativity, the poet uses this narrative to explain how that love changed his or her previously negative perceptions. This narrative form also allows the poet to construct a socially acceptable identity due to the acknowledgement of the negativity of urban life.

In “Jazzy Belleâ€, Andre of Outkast uses the perceptual narrative to tell of how his love changed his former perception of women:

Went from yellin’ crickets and crows, witches and hoes to queen thangsOver the years I been up on my toes and yes I seen thangs …Now I’m willin’ to go the extra kilo-Meter just to see my senorita get her pillowOn the side of my bed where no girl ever stayHouse and doctor was the games we used to play But now it’s real Jazzy Belle…

In this song, Andre talks about a personal change of perception caused by love. He admits that at one time he thought of women as “witches and hoes.†But “now it’s realâ€, and he has a new perception of women as “queen thangs.â€Another great example of the perceptual narrative can be found in the following passage of Black Star’s “Brown Skin Ladyâ€:

I don’t get many compliments, but I am confidentUsed to have a complex about, gettin’ too complexYou got me, willin’ to try, looked me in the eyeMy head is still in the sky, since you walked on by

In this example, the poet admits to having relationship issues, but tells of how love helped him to overcome these issues. The poet’s love interest helped him to change his perception of love and fear of “gettin’ too complexâ€. In “Ms. Fat Bootyâ€, Mos Def further illustrates this point by demonstrating the perception of other men and speaking to his love on how he is different:

Yo, let me apologize for the other nightI know it wasn’t right, but baby you know what it’s likeSome brothers don’t be comin’ rightI understand, I’m feelin’ youBesides, ‘Can I have a dance?’ ain’t really that original

In this song, the poet uses the perceptual narrative to acknowledge that some men “don’t be comin’ rightâ€, but that he has a different perception of women than these other men.

In “Come Closeâ€, Common uses the perceptual narrative to express how love has made him change from his old ways:

I want to build a tribe wit youProtect and provide for youTruth is I can’t hide from youThe pimp in me May have to die with you

Although the poet used to be a “pimpâ€, an urban term for a man who romances a large number of women, he tells of how his love interest has changed his actions and perceptions.

The Spiritual Narrative

A third common form of Hip-Hop love stories is what I like to refer to as the spiritual narrative. The spiritual narrative relies on the poet’s characterization of love as a kind of godly being, spiritual force or royalty, often with the feeling that the story teller has to protect that force. The spiritual narrative allows the storyteller to construct an acceptable identity by characterizing love as spiritual or perhaps even predetermined.

A great example of the spiritual narrative can be found in this passage of The Roots’ “You Got Meâ€:

Somebody told me that this planet was smallWe use to live in the same building on the same floorAnd never met beforeUntil I’m overseas on tour And peep this Ethiopian queen from Philly Taking classes abroad

Here, the poet uses the spiritual narrative to describe the time, place and emotions that his love was founded on, speaking of them as if they were somehow meant to happen. He also refers to his love interest as “this Ethiopian queen from Phillyâ€, using the royal characterization so common in spiritual love narratives.

In “Love Languageâ€, Talib Kweli also uses a spiritual narrative form and refers to his love as a kind of royalty:

Now if they call you out your nameThen that’s a different thingAnything but Queen I’ll go to war like a King

This example shows the protection aspect of common spiritual love narratives. The poet feels it is unacceptable for anyone to “call you out your nameâ€, or in other words, use derogatory language toward his love. If someone were to do so, he would “go to war like a Kingâ€, thus maintaining his masculinity.

In “Mind Sexâ€, Dead Prez uses the spiritual narrative to talk about love introductions:

African princess, tell me yo’ interestsWait, let me guess boo, you probably like poetryHere’s a little something I jotted down in case I spotted you aroundSo let me take this opportunity

In this song, the poet uses the spiritual narrative to tell a story about the introductory conversation he had with a love interest. He refers to her as “African princessâ€, once again showing the tendency of poets who use the spiritual narrative to refer to their love interests as royalty.

The Conversational Narrative

The fourth common form for Hip-Hop love stories is the conversational narrative. The conversational narrative allows the poet to recite or recreate a conversation with his or her love and present it as play-like story about a specific love experience. Conversational love narratives are typically characterized by introductory speech and compliments, and are most commonly used as tools to tell a story about a first meeting or impression. These narratives allow the storyteller to construct an acceptable identity mainly because they often include many smoothly-structured compliments, and make the poet look like a cool ladies man.

A great example of the conversational love narrative can be found this passage from Dead Prez’ previously mentioned “Mind Sexâ€:

Pardon me love but you seem like my typeWhat you doin’ tonight? You should stop by the siteWe could, roll some weed play some records and talkI got a fly spot downtown Brooklyn, New York

In this example, the poet is reciting the conversation between himself and a love interest. As with many conversational narratives, it is based around meeting someone for the first time. The poet is telling a story about a girl he met that “seem[ed] like my typeâ€. He then inquires “What you doin’ tonight?â€, and follows with a list of charming speech in an attempt to create a social relationship with the girl.

In a similar narrative, “Beautiful Skinâ€, Goodie Mob uses the following conversational narrative to retell the first phone conversation he had with his love interest:

This is Carlito from a couple of days ago, you sound tiredForgive me if I’ve called you too lateBut what better time to relate mind-states?
Where could I begin?Has anyone ever told you ‘You got beautiful skin’?

This example further illustrates the use of introductory language in conversational narratives. The poet asks his love interest if she would like to “relate mind-statesâ€, or get to know each other. He then tells her that she has “beautiful skinâ€, an often successful introductory complement given to women.

Cee Lo uses the following conversational narrative in “Slum Beautifulâ€:

Look at you, unbelievably, brilliant beautiful youYou’re looking deliciously divine darling you really and truly doThe very thought of has got me running at the speed of loveExploring everything about you from the ground to the God above

In this song, the poet uses the conversational narrative to speak directly to his love interest through the song. Note the wide range of compliments offered in this passage, as well as the charm, again illustrating a common aspect of the conversational narrative.

The Metaphoric Narrative

This fifth form of Hip-Hop love stories is possibly the most fascinating. It is the metaphoric narrative. The metaphoric narrative is used when the poet speaks of love in a metaphor of some kind. The most popular and socially acceptable form of metaphoric narrative is using Hip-Hop as the metaphor. Many followers of the movement view Hip-Hop as a driving force of love and happiness in their lives. Thus, many metaphoric love narratives revolve around Hip-Hop itself.

A good example of such a metaphoric narrative is the following passage from Black Eyed Peas’ “Rap Songâ€:

Yo, she got hips to hopAnd she ain’t goin’ popShe like a record that I wanna rockWhen I’m rollin’ in my ride cruisin’ down my block

In this example, the poet actually uses a unique play on words and speaks of a love interest as a Hip-Hop metaphor. He relates this person to “a record that I wanna rockâ€.

The group further extends the metaphor in the following passage:

She like a beat that makes me wanna grab the micShe like the lyrics that I wanna reciteShe like the old school mic with the cableYou can bring your records and I’ll bring the turntable

Again, the poet relates his love interest to other things he and his audience love, including “old school mic with the cableâ€, reciting lyrics and spinning records on a turntable.

Another great example of the metaphoric narrative is in The Roots’ “Act Too … Love of My Lifeâ€:

Learnin’ the ropes of ghetto survivalPeepin’ out the situation I had to slide throughHad to watch my back my front plus my sides tooWhen it came to gettin’ mine I ain’t tryin’ to argueSometimes I wouldn’ta made it if it wasn’t for youHip-Hop, you the love of my life and that’s true

This passage is unique because it utilizes both the metaphoric and contrasting narrative techniques. The poet refers to Hip-Hop as “the love of my lifeâ€, while simultaneously showing how that love created a positive contrast to the tough “ropes of ghetto survivalâ€. The poet admits that he “wouldn’ta made it if it wasn’t for youâ€, showing that his love for Hip-Hop was and is a driving force in his life.

And that leads us to the most popular metaphoric Hip-Hop love narrative of our time. In “I Used to Love H.E.R.â€, Common Sense uses the metaphoric narrative to express his love for Hip-Hop. He starts off the narrative with the following passage:

I met this girl, when I was ten years oldAnd what I loved most she had so much soulShe was old school, when I was just a shortyNever knew throughout my life she would be there for me

In this example, the poet starts off telling a story about a girl he met when he “was ten years oldâ€, and how she was always there for him. The poet continues to use the metaphoric narrative to speak of this girl, including the good times and hardships they faced together. Not until the end of the poem does the listener actually realize that the entire song is a metaphor. The song ends with the following passage:

I see rappers slammin’ her, and takin’ her to the sewerBut I’ma take her back hopin’ that the stuff stopCause who I’m talkin’ bout y’all is Hip-Hop

In this song, the poet used the metaphoric narrative to tell a story about the love of his life, the struggles she faced, and his desire to save her. In the end, he admits that this love is not a real person, but instead his love of Hip-Hop.

The presentation of Hip-Hop love narratives is a very difficult task. In order to talk about love and still construct a socially acceptable urban identity, artists tend to implement one of the five successful love narrative forms. I believe that our society’s analysis of Hip-Hop music and culture is lackluster at best. The Hip-Hop love narratives presented above could provide a great basis for linguistic and sociolinguistic studies. Not only are they presented in a variety of styled narrative forms, but they also include deep thought, perception and analysis of the urban environment that characterizes an increasing majority of American society. Through the analysis and study of these love narratives, linguists could come to a greater understanding of and appreciation for the Hip-Hop vernacular, literature and, ultimately, culture.

Works Cited / Discography

A Tribe Called Quest. People’s Instinctive Travels and the Paths of Rhythm. Jive Records, 1990.

Black Eyed Peas. Bridging the Gap. Interscope Records, 2000.

Black Star. Mos Def & Talib Kweli are Black Star. Rawkus Records, 1998.

Bubba Sparxx. Deliverance. Interscope Records, 2003.

Common. Electric Circus. MCA Records, 2002.

Common Sense. Resurrection. Relativity Records, 1994.

Dead Prez. Let’s Get Free. Relativity Records, 2000.

Goodie Mob. Still Standing. La Face Records, 1998.

Guru. Jazzmatazz Streetsoul Vol. 3. Virgin Records, 2000.

Method Man. Tical. Def Jam Records, 1994.

Mos Def. Black on Both Sides. Priority Records, 1999.

Outkast. ATLiens. La Face Records, 1996.

Outkast. Stankonia. La Face Records, 2003.

Talib Kweli & DJ Hi-Tek. Train of Thought. Rawkus Records, 2000.

The Roots. Things Fall Apart. MCA Records, 1999.

About the Author

Nathaniel Long is the creator and editor of Hip Hop Linguistics, a website dedicated to studying, interpreting and understanding hip-hop music, language, philosophy and culture. You can read more articles and reviews at http://www.hiphoplinguistics.com/?HipHopAlbum_Reviews.

Essential DJ Equipments To Create Great Beats And Tunes

Whether you aspire to be a disc jockey, just starting out as an amateur DJ or have the talent and desire to be a professional DJ ready to churn out a career in the world of music remixes, you need to have some knowledge of and experience in the basic DJ equipments. This is essential because these are the tools of the trade that will get you going in this world of mixing and matching beats and tunes.

There are a number of aspiring youngsters who want to start out as a DJ, but do not know enough about getting started and what to start with. For those who are serious about becoming a DJ, the first step is to invest in the basic but essential DJ equipments that you cannot do without, that being turntables, headphones, speakers and a DJ mixer. Of course, as you gain experience and popularity as a DJ, you can then upgrade to more sophisticated DJ equipments.

The most important DJ equipment for you to master is the turntable. For your first set of turntables it is always a good idea to start with a used version, or if you decide to purchase a new one, at least to purchase an inexpensive model. Getting to the level of spinning the turntable in front of a packed audience and wowing them with your great beat and music requires much work. In fact, to many beginners, that is a nerve-wracking prospect, as being great on the turntables requires a lot of practice and dedication. So start out amongst friends and friendly crowds before stepping up to bigger and less familiar audiences. Once you become quite good at it, you can start upgrading the turntable. The Technics 1200 or 1210 is a popular model to start with.

The next important item on the DJ equipment list is a good pair of headphones. According to the more experienced DJs, the Sony headphones make the best choice for beginners.

If you are on a tight budget, you can postpone your purchase of a DJ mixer as you can manage without one in the beginning. Once you have made a mark in this business and started making some money, then you can think about investing in a good DJ mixer.

In order to get started in any profession you have to make some investment and the DJ profession is no exception either. A beginner in this profession should expect to set a budget for basic DJ equipment purchase of approximately US$2,000, as a turntable sells for about $1500, and the mixer, headphone and speaker for about $100 each.

About the Author

To be a
DJ
get
DJ Equipments
at
DJ-Equipment-Shack.info
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Baptising Thee Vicars

‘I predict a riot’ is a familiar theme from a recently structured sub-genre known as new-wave punk rock, a melodious take on our snarling DIY heroes from the late 70’s (“Oh here he goes again, punks!” Bare with me…), and despite its mainstream acceptance – and the fact that we all have a couple of tracks tucked away somewhere in a party play-list – let’s face it, it’s crap. About as close to a riot as Tai Chi, a foot-tapping forage into metro-sexual rebellion, “sometimes I actually sprinkle non-organic pumpkin seeds on my watercress and drink Coke zero – and my parents love meeee…” Enough is enough, so without further ado, I introduce a bunch of teenagers who’ve stolen our hearts here at Modern Design. At the almost pre-pubescent age of 16ish, the core of garage-punk rock band Thee Vicars (check MD issue no.3 for garage rock feature) is at the centre of something truly revolutionary. By throwing off the sticky-sweet coating of an image conscious permutation of the genus, and at the incredible risk of repetition on our part, Punk is back – but this time with the kids, and that means it might not die out when the old-wave of narco-addled punk pioneers finally give up the ghost.

7:30 on a Friday night, we take a recess from Friday recess in the bar next door, stumble back into the office, shorthand capabilities severely annulled (how rock ‘n’ roll), and dial the mobile number kindly provided by Lee, the band’s manager. Fortunately for us, as far as scoops go, Lee’s phone rings in the tour bus somewhere on the A11 in Suffolk, the whole band are present and moving at the hurtling vantypical speed of 65mph – not quick enough to get away from Bury St Edmunds apparently – and certainly none of them could get away from us, even if they wanted to now.

MD:  Firstly, where are you headed, and please tell us you’re in a Transit Van?

TV: (Mike – bass and vocals – answers Lee’s phone). We just left Bury thankfully and no, it isn’t a Transit (Someone in the back shouts out), “It’s a big Bluey, a Leyland cruiser- second best but it works.” Paul continues, “We’re on our way to Norwich, a wicked club called P2 to play a gig.”

MD:  Do you get nervous before a gig?

TV: Never get nerves, we love it.

MD: We can hear a lot of influences in your music, but admittedly we are old – which bands really drive you on?

TV: The Remains,

MD: What, the Ramones? (one of our main, guessed influences)

TV: Naaaaaa, The Remains….. and 13 Seeds, 13th Floor Elevators, The Kinks and The Mummies. We’ve taken all our favourite bands and planned out our own version of things. It works for us.

MD: Us too; it says on your website that Jasper (the drummer) smashes things up, like what?

TV: Well, collectively only our own stuff, but I did blow up an old valve amp once that wasn’t mine – but it was accidental.

MD: So is the controversial punk compliment of crowd-spitting coming back?

TV: No way, Some guy threw a glass at us once and I chucked my guitar at him, NO WAY would we be egged-on by a load of Spitting, totally unacceptable! (Admittedly there are more virally transmitted diseases these days, so we let them off this one)

MD: What time do the younger members have to go to bed?

TV: Ha ha (sarcastically) 6:30 on a non gig night before the pub opens, and 2:30 on a gig night (I guessed they’d answered that one before).

MD: Do you like the Buzzcocks? Your lead singer Mike sounds a bit like Pete Shelly on steroids.

TV: Deffo.

MD: My claim to fame is that I once went for a Kebab with Pete Shelly in Amsterdam (well, he had a falafel – vegan punk). If you could go for a Kebab with anyone in the world, past or present, who would it be?

TV: (Reuben the guitarist grabs the mic) Oooh that’s a really tough question…Steve Marriott from The Small Faces, but I dunno what he’d be like, maybe not so cool so I might not like him. (Marcus the other guitarist pitches in) Maybe someone fat, like the woman from Gossip…mind you she’d just eat everything (everyone laughs then Lee has a turn). I reckon Bjork’d do something nice ‘n’ weird with a Kebab (he’s got a point).

MD: So what’s up with Bury St Edmunds?

TV: (still Reuben) Ah, it’s okay, but there’s a very small mentality there, no decent music, just copy-cringe Indy and…Metal, we can’t stand metal or metallers. It’s obsessed with religion as well but it is on ley line with Glastonbury and Stonehenge – that’s how we came to the band name.

MD: So where’s your favourite Venue?

TV: We’ve played the Dirty Water club in London 4 times, we love it there, it’s got a great sound, good groove and Professor Blindin’ is wicked.

MD: Who’s he?

TV: The resident DJ, yeah he’s cool.

MD: And what about groupies? I noticed your facebook’s are full of babes, whereas mine’s full of old reprobates.

TV: No one would get in this van after a gig, trust me. The drummer gets millions though, I got 5 or 6 but we’re usually just buzzing after a gig and it’s just not on our minds.

MD: How did it feel winning Best Punk Act at the Indy Music Awards in London this year and then playing in front of 1,500 people?

TV: Just amazing, your mate Pete Shelly presented us with the award (sarcastic), but then we weren’t used to the big stage at The Forum, it felt big, we’re just used to bumping into each other on stage – but it was pretty amazing.

MD: What did you do after?

TV: We just went home from London, ah no, a few of us went out with Shane McGowen. (Like you do)

MD: What’s he like?

TV: He’s alright; he’s done a lot for us, top bloke.

MD: We’re loving the vinyl releases, why are you doing it, is it worth me investing in a turntable?

TV: Yeah, we love vinyl, most of our collections are on vinyl – we are heavily influenced by the 60’s music in our collections – You can’t be punk without a bit of vinyl and basically, CDs are for soft Indy kids (I guess that means yes, you better buy a turntable).

MD: In all honesty, do you think you were born 20 years too late?

TV:  Definitely, we all wish we’d lived in the 60’s (someone in the background says no and an argument sparks up… in the end the decade-defector comes round to peer pressure and starts agreeing with the others).

MD: Punk has been something else for years now, do you see yourselves as rescuers or revolutionaries, or am I just reading too much into all this in the hope that it is well and truly back?

TV: We are revivalists for sure, but we’re part of a new sort of strand of punk.

MD: How are the parents of the younger members handling things?

TV: (Reuben) Well I’m sixteen, but my parents are punks, they’ve been there and done that. They come to the gigs in Bury St Edmunds and London so it’s no sweat. (I bet they are younger than me, but I daren’t ask)

MD: You’re taking part in some amazing garage festivals, Rotterdam, Valencia, New York. How does that feel?

TV: It spurs us along no end, but we’re just part of that scene – we get a pretty good reception though.

MD: We also love the label Dirty Water Records; are they influential in what you play or are you pretty free spirited?

TV: No, they are cool and they sign garage bands, that’s what they do – they push to release vinyl as well. But we play what we play the way we want to.

MD: Who writes the songs then?

TV: Mike, he had a troubled childhood in a small town. (Lots of laughter)

MD: Have you got any advice for our younger readers who see music as the way forward?

TV: Go to charity shops and buy vinyl, 60’s, 70’s and 80’s music – it’s a cheap way to do it – and read about bands.

MD: Where do you think Thee Vicars are heading?

TV: Dunno, we are planning to see who approaches us in New York, apart from that we just want to live off playing and see where we end up.

MD: So have you got jobs right now?

TV: Well 3 of us are working on our ‘A’ levels, and a couple of us have part-time jobs too. (‘A’ levels? I doubt Sid had any of them!)

MD: Like what?

TV: One cleans at a school, two of us wash Lorries outside Bury and Mike works at Home Base. (More Mike-bound taunting laughter).

MD: Nice one, so what about the drummer, we heard he’s leaving the band to go to Uni, that’s not very punk rock is it?

TV: He loves music, but he wants to do what he wants to do, there’s no pressure. We wanna wash Lorries and play, he wants to go to University – that’s just the way it goes.

MD: When’s he leaving?

TV: He left last weekend, Will’s our new drummer.

MD: So one week with you and he’s already gigging?

TV: Just a few hours’ practice to be honest, but he’s shit hot – we are well happy.

We could only wish them the very best for their upcoming gig, and the boys politely invited us to come and watch them play whenever we liked – and we’ll take them up on it. Their sound is unique for today, and after talking to them I really don’t imagine they care what anyone else thinks about it. In true punk fashion, they improvise, the way punks should – and it’s an integral part of their resonance. And though perhaps the fuzz that these retro vinyl-bashing teenagers discharge may be a touch short on the melodic for many, it is a truly accomplished sound. Like the UK Subs, The Buzzcocks and a subtle background seasoning of the 60’s all whisked up in a pogo-processor (ach, just go to the website and listen to ‘Don’t wanna be like you’). It seems like this bunch of affable young punk rockers, veritable angelic upstarts who honestly made my jaw ache with laughter at some of their daft comments about Kebabs and Lorries, are on their way to something special. Thee Vicars are kneeling at the gaping font of international recognition, poised to altar the opinion of a generation, and if anyone is going to predict a riot – it’s got to be them.

Thee Vicars are; Mike Whittaker 18; Reuben Kemp 16; Marcus Volkert 16 and Jasper Kemp 17 who has given way to Will, the new drummer.

Check out Thee new album and Thee latest single at   www.theevicars.co.uk

About the Author

Dave Vickers of is a seldom present features writer at Modern Design, a magazine published by architects Diseño Earle. He leads a strange kind of double professional lifestyle, and when not contributing his prolific pun flavoured ramblings to the magazine (that to be honest just make everyone groan in despair) he does other stuff that will perhaps one day mount to something. In his spare time Dave pretends not to drink much and avoids dancing at all costs – freedom in choreographic expression making him feel a bit exposed. To help practice what he writes about, he occasionally cycles to work, reducing his immediate carbon footprint and allowing him to wear body hugging Lycra, his favourite material by far.

Hobby’s: Frisbee

Favourite food: Thai coconut soup, chips

Haircut: Looks like Mcfly’s dad. (on a good day)

Girlfriend: Yes