Haven’t they Don well?
I arrived to interview Don Broco before their sold-out headline slot at the O2 Academy last Wednesday to find fangirls already sitting on the pavement. Since the release of the band’s hook-heavy debut, the album and their live reputation have added to their gathering momentum, which was easily seen in the line starting to snake down Cowley Road. The band were running fashionably late, of course, so I hid at the back of soundcheck and waited.
I spoke, ensconced in the maze of corridors that is backstage at the O2, with the lead singer, Rob Damiani. The tour has seen them headlining in places that they came to in support of other bands not long ago and Damiani seemed almost surprised by their rise, describing it as ‘amazing’ when you consider that they ‘were putting on (their) own shows a few years ago and would turn up just hoping there’d be a few people to play to’. This is partially due to the success of the album, from which the fifth and final single ‘Whole Truth’ will be released on April 22nd. The single also has a ‘Club Sex’ remix which is a name the band used to play under for two or three shows when they first started- it was discarded for fear they’d be ‘pigeonholed’, which is fair enough when you consider that the name apparently sprang from a ‘lads holiday in Kavos’.
It would be unfair to dismiss Don Broco as just being ‘laddish’- although the content of many of their songs and videos could be said to fit that description. Throughout the interview Damiani came across as someone who felt that the band shouldn’t be tied down to one style or genre- when asked who he’d like to collaborate with, he named Diplo; when asked who he’d like to see down at the front of one of their shows he said ‘George Clooney looking dapper’. This particularly came through when asked about lyrics- in particular on ‘Back in the Day’, which was written during the riots- and whether he could envisage any more politically-minded songs. Here he strongly declared that ‘I like to not give myself any limitations when it comes to our music’ although he also described himself as not ‘particularly politically-minded’ and this comes across in most things the band do. They’re no concerned with labels- they’re confident in themselves and their ability.
What can we expect next from the band? Apparently work on a second album is underway, although there’s nothing more than ‘a few demos’- at this point we were interrupted by a very cute puppy which was duly cooed over in a perhaps slightly-less-than-rock fashion by both of us, stunting any talk about a possible album. Don Broco’s next single ‘Whole Truth’ is out on Monday April 22nd and their debut album ‘Possibilities’ is out now. The band are heading out to Europe to support We Are The Ocean and they’re thinking about ‘one or two’ big UK festivals but ‘can’t say anything’ yet… I, for one, will definitely be keeping an eye out.
Styles stays a-Float
This is a time where New York City, not-withstanding the throwback attempts of the pro-era crew, is losing it’s rap identity. But Styles P’s latest album Float seems to have evaded the recent emerging trends, primarily by shunning the usual checklist of hip-hop’s current A-list producers and rap tropes. He helps himself by not pandering to the domineering Southern ‘Trap’ style increasingly etching its way into the fabric of many New York rappers such as French Montana and A$AP Rocky.
Given this, Styles P attempts to pay hom- age to the New York boom bap style of the 80s with ‘Take it Back’, though the Maytals sampling feels out of place in the middle of a rather gritty, underground-sounding record. Nonetheless, Float is stripped to the bare bones with fellow LOX member Scram Jones producing every song. This allows for a conceptual constant and common sound largely lost in many contemporary rap albums.
Fans of a time when rappers sought to illustrate the trials and tribulations of an overworked drug baron will find solace in the early parts of the album with tracks such as ‘Manson Murder’ and ‘Bodies in the Base- ment’. By ‘Red-Eye’ Styles, however, takes a well-earned vacation from all his stress, lavishing in ‘Audemars and Oyster Perpetuals’. On ‘Reckless’, Styles takes time to assure us “I’m a criminal rappin’” and, given that this is his eleventh musical project, it appears these bois- terous claims are the ones that fans have found consistent comfort in. Styles P’s astute lyrical talent does remain on show throughout the album, beckoning through Jones’ simplistic but thuggish, head-nodding productions. This, complemented by brief appearances from old accomplices such as Jadakiss and Wu-Tang’s Raekwon, make in total for a very inoffensive but listenable work.
Download: Take it Back
Listen here
We’re sick of Steve!
Seasick Steve is back with his sixth offering, Hubcap Music, which, he explains on a handwritten press release complete with coffee stain, is titled due to his latest hand-made musical creation, a guitar made out of two hubcaps and a garden hoe. His oth- er instruments include the infamous “three string tri-wonder” and the “Mississippi stomp box” which were both featured on his break- through performance of ‘Dog House’ during Later with Jools Hooland in 2007. From here, Steve was catapulted to late-life fame with “I started out with nothing and I still got most of it left…” -a characteristically wry understatement; he’s worked on Hubcap with John Paul Jones of Led Zeppelin, as well as Jack White.
The album maintains Steve’s down-to-earth vibe commencing with ‘Down on the Farm’, complete with tractor and some classic pow- er-blues which can’t help to put a smile on the face of even those in the Cherwell offices, whether ironic or not. The influence of Jones can be felt with some memorable and well- delivered bass lines, especially on this open- ing track, complemented by Dan Magnusson’s stick-work, who’s affectionately described as “still banging on the drums and still banging down the wine”.
The problem with Hubcap centres around two main, and key, aspects of the album’s conception and production. First and foremost, it is simply far too produced and, even though Steve claims to have recorded the album from “old fashioned tape to vinyl” tracks, just sound too well worked out for a true blues record. It is almost like a cheesy 80s synth interpretation of blues rather than the true product. Steve seems to have fallen into the Mumford & Sons trap, whether pres- surized by record company bosses or not, of finding a formula and sticking to it. The only problem is that we’ve all heard it before.
Download: ‘Over You’ Released April 29th
Tiddlywinks strikes again
Wales of despair from Torfaen MP
"Subtext of racism" in universities
A new report has found “a definite underlying subtext of racism” in British universities, according to its author, Dr Kalwant Bhopal, reader in education at the University of Southampton.
The paper, due to be published June, found that an overwhelming number of academics considered race to be the biggest barrier to career progression.
She said, “Speaking 20 years since the murder of Stephen Lawrence I am surprised at how little progress has been made. There are signs of improvement, but we are progressing in small steps.”
She continued: “The statistics show that most ethnic minority academics are concentrated in post-1992 universities. But the problem of racism is widespread; it is not only confined to Russell Group or elite universities”.
Of the 65 individuals surveyed, only two had reported that they considered gender a greater barrier than race to career progression, both of whom were from a mixed race background. It is thought that only one university in Britain – Liverpool Hope – has a Chancellor from an ethnic minority group.
However, Bhopal said that her research had found that ethnic minority academics not only felt excluded from career progression, but discriminated against through more subtle means. She said that many of those surveyed reported that the body language or lack of eye contact of their colleagues had left them feeling excluded.
“One of the individuals I interviewed recounted that some people were surprised to find that she was black after speaking over the phone”, she said. “Such forms of racism are very hard to prove”.
A spokesperson for Oxford university told Cherwell, “We do recognize that black and other minority groups are under-represented at most academic levels. However, this is also true across most leading universities, higher education in general and in many other sectors
“The overall proportion of Oxford University academic staff declaring themselves as black and minority ethnic is 6.3%, which compares with national figures for academic staff of 6.7%. 7% of the UK labour force identify themselves as BME”.
In 2005, an internal Oxford report found serious failings in attracting minority candidates to administrative positions at Oxford, and recommended immediate action.
However, Dapo Akande, a lecturer at St Peter’s College of African ethnicity, told Cherwell “I have worked in several universities in the UK and the US and have found each of them to be pleasant environments to work in. I would not say that race or racial discrimination has been a barrier to career progression in my case.”
In recent months the university has undertaken a comprehensive audit of ethnic minority staff. The university also said that it reviews its Race Equality Policy on an annual basis, and has sufficient measures in place to ensure the wellbeing of its staff.
Ibaad Aleem, a British-Pakistani student studying at Hertford College commented: “I wouldn’t think anyone would find race a deterrent from academia in the modern world”. He added: “Personally I don’t really think about the race of the people around me”.
Opportunity bursary delay
Pembroke building bridges
On Monday 23rd April HRH the Duke of Kent officially opened the new quadrangles and buildings of Pembroke College.
The small college, located in the centre of Oxford, has undergone a great transformation after building new student accomodation, seminar and meeting rooms, a multi-purpose auditorium, a purpose-built art gallery, outdoor social spaces and a café. One of the most noteworthy additions is the over-street bridge, the first since the famous Bridge of Sighs.
The footbridge passes over Brewer Street and adjoins the two new quads to Chapel Quad. It is the first over-street bridge built in over a century, the last to be constructed was the Bridge of Sighs of Hertford College.
Giles Henderson, the Master of Pembroke, released an official statement, “This major extension of our main site will benefit members of Pembroke for years to come, as well as enhancing this area of Oxford for local residents and visitors. This development should be seen as an outward and visible sign of Pembroke’s increasing self-confidence and ambition.”
The buildings were designed by architects Berman Guedes Stretton and funded by donations received from over 1,000 different people from more than 40 countries.
At the opening the Duke of Kent together with the Master crossed the bridge and attended a ceremony in the brand new Pichette Auditorium where he unveiled a plague signifying the occasion. The Chancellor and Vice-Chancellor of Oxford University and the Lord Mayor of Oxford were also present.
Students are pleased with the result. Rebecca Henshaw, a 1st year student at Pembroke, when asked about the student accomodation, commented, “Yes the rooms are great, hotel-like in that they are clean white and modern with lovely bathrooms and luxuries such as heated towel rails.”
She added, “Students were somewhat hidden away from the ceremony but caught glimpses of royalty and many donors for the site yesterday morning. The hall resounded with thunderous applause in response to the opening and the porters seemed to be highly enjoying the ordeal!”
David White, Pembroke’s JCR President, was also highly enthusiastic about the recent development, telling Cherwell, “The new buildings are an amazing addition to Pembroke. They represent the realisation of an ambitious vision for the College and they signal a fantastic enhancement of the Pembroke community.”
In particular he raved about Pembroke Bridge, commenting, “It’s like the Bridge of Sighs – but just far more modern and far more cool – it connects fabulously the old and the new at Pembroke. It unites the first and second year residents of Pembroke’s main site and makes this landmark development in the College’s history feel natural.”