4. Editor’s letter 5. News 6. Review: Albums 7. Review: Gigs 8. Review: Films 10. Review: Fashion 12. Freeze the Atlantic 13. Frank Turner 18. Crazy Arm 20. Paul Du Noyer 22. Liam Frost 24. Twin Atlantic 26. The Trestles 30. Style Bible: Rockabilly 32. The Rise of the Fatshionista 34. Summer Style 2010 42. Accessories 43. Beauty 44. You Should…Visit Liverpool 48. How to…Bake brownies 50. Coming soon

This magazine is the first. It is the first issue of Sellout, a new publication aimed at girls and women who want more. Sellout is for all of you lovely ladies who know music, who care about fashion and who love to read about both. Not to mention films, baking and travel. And what interviews we have for you! Brilliant new and established musicians, including Liam Frost, our handsome cover star, Radio One sweetheart Frank Turner and Liverpool band The Trestles, whose first album comes out next year, but who are already shaking up the scene. There are also interviews with Christina of the inspired blog “Musing of a Fat Fashionista” and remarkable journalist Paul Du Noyer. We give you 20 great reasons to visit Liverpool, as if you needed them, and instructions on how to bake the tastiest brownies known to man. If you want more regular updates and Sellout fixes, follow me, your lovely editor, on Twitter @rosannahynes and check out the blog at Enjoy!

album reviews


pages of astonishingly good content.


interviews with artists, journalists and bloggers


brownies from our amazingly delicious recipe.

Two Thousand Trees lineup announced

The lineup for the cult indie festival “2000 trees” has recently been announced. On the list for the weekend’s festivities are Frank Turner, Crazy Arm, Chriss T-T and 65Daysofstatic. Two Thousand Trees is the coolest festival

around, with new and established acts taking part in the laid-back two day event. The festival is on a farm in Cheltenham, on Friday 16th and Saturday 17th July. The festival’s website explains the festival thus “2000trees is about

music. New music. Exciting music. Your faith in British music shall be restored! There are no genre distinctions (although most of the bands do tend to hold guitars), just great great music. Almost as important are a friendly and intimate at-

mosphere, high quality (but reasonably priced) food and drink, cheap ticket prices and keeping things as green as possible.” Tickets cost £50 and can be bought online from w w w . t w o t h o u


Celia Birtwell Collaboration
£65-£150. Jo Hooper, head of womenswear buying at John Lewis, spoke to Vogue about the decision to choose Celia Birtwell. “Her collection sits perfectly alongside our refreshed trend-led private label called the Collection and the new designer and boutique fashion labels that have been added to our fashion floors over the last couple of years."

elia Birtwell, cult designer and queen of the super-cute pattern, has recently collaborated on a collection with John Lewis. The 25-piece womenswear collection follows on her hugely popular 2006 Topshop collection. The collection features a range of adorable prints on dresses, blouses and trousers, and is priced between


Death of Cash Photographer.
on March 24, but instead the show was a memorial of his work. Marshall had worked on over 500 album covers with artists, and was the only photographer allowed backstage at the final Beatles concert at Candlestick Park in 1966. Marshall published five books qand sold countless prints in his lifetime, and remained passionate about his work to the end, saying "I have no kids, my photographs are my children."

im Marshall, legendary music photographer, passed away in his sleep at the age of 74 on 23rd March 2010. Marshall’s work included photographs of musical greats like The Rolling Stones, The Beatles and Bob Dylan. His most iconic images included Johnny Cash’s one-finger salute to San Quentin and photos of Jimi Hendrix burning his guitar at the Monterey Pop Festival. Marshall was due to take part at an event at the Morrison Hotel Gallery


Yet again, Frank Turner has struck gold. The difference is that this time, however, he might reach gold as well. Riding on a wave of success from 2008’s Long Live The Queen, the timing of the release for Poetry of the Deed is clearly well timed. The sound of Poetry of the Deed is not drastically different to that of the last album, indeed, the songs could have been written at the same time, but it is rather the mood of Poetry of the Deed that shows a drastic change in Turner. The album is full of hope and life; it is an album that marks Turner’s coming of age at the rockstar minefield that is 27. This album is a statement of intent, Turner claiming a stake on the future of music. More than all of this, though, Poetry of the Deed is really good. Blending seamlessly a combination of beat-heavy sing-along hits and a series of slower, more soulful songs, this album is in two parts. The first is the section you will love straight away, the part where you

learn the words almost without trying, and will play over and over again. The second half is a testament to Turner’s diversity. From Faithful Son onwards, we see the honesty that characterised Sleep is for the Week again shines through. This half of the album is not the singles, nor is it the stuff you’ll love straight away. But like similar previous efforts in this style, such as “A Decent Cup of Tea” and “Jet Lag”, these are the songs you remember, the songs that end up meaning something more to you, and the songs that make you feel that you know the singer better. The high points of this album are, without doubt, Live Fast, Die Old, The Fastest Way Home and Journey of the Magi. This varied selection will have you on a rollercoaster of emotion between them, and it is no coincidence that two of these tracks are, respectively, the first and last songs on the album. Go buy this album, it’s without a doubt a keeper.

The critically acclaimed three-piece from South London have created a thing of beauty in their debut album, XX. The album was released in August 2009, and has slowly gathered momentum since. Ranking highly in top ten albums for the year across the board (NME gave it a number two spot, and Rolling Stone a nine), XX is a mellow, indie-boy staple. Vocals are strange and otherworldly, with a quiet presence. The lyrics are, again, strange, with no invitation to even understand the slurred words, much less sing along. The backing tunes are odd also, contributing to the wispy, ethereal sound. The electronic effects and the steady, constantly pervading bass lines are the building bricks of the deceptively simple music, with the eerie vocals holding everything together. It is easy to understand how XX has topped polls in NME and other trendy publications, but something

holds back. There are no elements that are drastically different than what has been done before, but somehow, what these individual elements add up to is distinctly unusual. Note; unusual, not great. It is the strangeness that makes the XX’s debut so compelling and if compelling is what they aimed for, then they definitely succeeded. XX is not an album you’ll listen to easily, it demands too much attention and dedication, but you’ll find your perseverance pays off. Shelter and Crystallised are the stand-out tracks, but still are a lot of effort to listen to properly. XX is an album that will live on in the memory, and is definitely worth buying, but will, in all likelihood, fail to be an album you cling to. Rather, XX is an album you’ll forget about for a year at a time, but when you come back to it, you will find yourself again surprised, and drawn to the dark, strange side of music.

The newest offering from music’s most vital pairing arrives with a pop rather than a bang, writes ROSANNA HYNES. Opening on “Sick Tonight”, a precendent is set. Faster and heavier than anything on 2008’s Angles, this album pounds and sways. Pip’s spoken-word vocals have more in common

with Le Sac’s bass-heavy backing track, due in no small part to the fact that, unlike with their previous offering, the poetry has been written in conjunction with the music, whereas before the poetry stood alone, sometimes for years, before being combined with Le Sac’s brilliant dance tracks.

Le Sac has gone decidedly more mainstream with his choices this time, bringing in more techno and bass, making most songs faster and repetitive, but it works. This album treads the line heading towards bad taste more than Angles did, but for a difficult second album it’s a tremendous effort.


Idlewild are consistently surprising live, which means that you don't really know what to expect. Thursday's show at The Masque was no exception, with a setlist that took the audience on a wave of emotion that rose to a characteristically dramatic finish. They take to the stage looking as though they had already played, all dishevelled and chaotic, but once the indie sweethearts launch into Listen To What You Got, it's clear they're more organised than they look. Hot on the tails of what is,

undoubtedly, a great opener, comes Roseability, a noisy shout of a song, proving they can do singalong repetition and heavy beats as well as any of the late 90s bands they've long outlived. With every song, lead singer Roddy Woomble winds himself around the microphone, apparently unable to get close enough to belt out the emotion that these early tracks hold for him. The band look as enthusisastic about these songs as they ever have, possibly in part due to the amplified energy being fed back on-

stage from the bouncing crowd. The Masque is a brilliant venue for a band such as Idlewild, who have such a diverse audience, ranging from indie cool teenagers to the more hip sixty-year-olds. However, when the bigger tracks from 2002's The Remote Part drop, like You Held the World in Your Arms, American English and A Modern Way of Letting Go, fans alike go crazy. Best of all is the title track, one which should go down as one of the noughties best musical offerings.

The band return for a four song encore, including Little Discourage, a song with one of the catchiest and simplest guitar hooks around, that nods subtly at the band's love of grunge, and less subtly at their REM influences. The closing songs, the melodic Captain and the poppy triumph In Remote Part sum up the evening's message although Idlewild's more recent efforts have gone largely unnoticed, due to their frankly odd nature, they still know how to make a crowd literally jump for joy.



ennifer’s Body is awful, unsurprisingly. And lack of surprise is why. With a dull, stretched, predictable plot and a handful of underage totty for a cast, it’s actually more entertaining than it should be. The problem is, if it was as entertaining as it should be, you would prefer to gauge your own eyes out. The basic story goes as follows: nerdy girl and popular girl are best friends. And when I say popular girl, I mean queen jezebel of floozy town herself, Megan Fox. The small town girls go to a bar, which then burns down, killing the people inside, except for the two girls and the band. Megan Fox aka Jennifer then disappears with the band, leaving geeky Needy (yes, that is her name) to walk home alone. Soon after, strange things begin to happen, due to Jennifer’s newly acquired desire for blood. As boys begin to disappear, Needy decides to take action before her boyfriend, Chip, is attacked. The gore isn’t big enough to make the film a great cheesy horror in the style of Sam Raimi, and not well written enough to make you care about what’s going on, in the style of George A Romero. It’s basically yet another excuse for Megan Fox (now 23) to play a skimpily dressed high school cheerleader. Unfortunately for Jennifer’s Body, you can get pretty girls in cheerleader outfits for free at home, you just Google for them.

his film is yet another testament to the power of Tarantino. As a big Tarantino fan (who isn’t though, really) I’ll admit I’m somewhat bias, but it must be said that the master of weird action films has done it again. Inglorious Basterds is a remake of the popular film, which could have been a daunting prospect, but one of the most admirable qualities of Tarantino is that he doesn’t back away from a challenge – this is the man that reinvented John Travolta, after all. However, the success of Inglorious Basterds is not solely due to Tarantino – Brad Pitt creates a comical yet genuinely scary character in his version of Lt. Aldo Raine, and Shoshanna Dreyfuss, played by Mélanie Laurent, is the almost-perfect Tarantino heroine – brave, violent and threedimensional. Also worth mentioning are Christoph Waltz, who played the comic-book evil Col. Hans Landa and Diane Kruger as Bridget Von Hammersmark. The pace of this film is challenging, as many of Tarantino’s earlier films are, but in this particular effort, it is the relentless tension that never seems to let the film slow or get dull. The violence and gore is shocking and explicit, without looking cheap or being a cover-up for other flaws in the film. The comedy is perfectly timed, dark and dry, as all the best comedy tends to be. There are flaws, and it is by no means historically accurate or even politically correct, but that isn’t the point. Inglorious Basterds is a return to the best of Tarantino – fun, a little bit silly and a little bit .challenging.

You won’t be shocked or surprised at the ending, but if you read this and then proceed to watch it, you deserve to have to wait until the end to find out what happens. Sellout did it so you don’t have to.

he current trend for remaking cult horror films is making millions for Hollywood. This remake of George A. Romero’s classic 1973 The Crazies is surely no exception. It’s good though. Alongside Pontypool (also reviewed here) and 2008’s Rec., soon to be followed by Rec2 this is horror at its best. This new version of The Crazies is full of moments where you’ll jump so hard you’ll be likely to spill your popcorn, and has some moments of truly gripping, edge-ofyour-seat, sweaty palms tension. You’ll find yourself genuinely wondering at some points whether the film is going to end already. With George A. Romero as executive producer of the remake, and Breck Eisner as the director, it isn’t really surprising that the action is slick and gory, with just the merest hint of comedy. The scares are fast and furious, and the characters incredibly likeable. The story goes thus: a small town, Ogden Marsh, in North America notices things starting to go wrong – one or two people are acting strangely homicidal, a dead parachutist is found in the local swamp and pretty soon the whole of the town finds itself in quarantine to the prerequisite mysterious, masked military. A healthy dose of bloody, gory violence and a really quite terrifying combination of enemies – the murderous, insane monsters and the menacing, shoot-first army who are supposedly solving the problem, will have you properly frightened. The town’s sheriff, David Dutton, and his pregnant only-doctor-inthe-town wife Judy make a watchable pair, despite their somewhat saccharine-tinted lives prior to the outbreak. But it is this that makes their characters so threedimensional and enjoyable once all hell breaks loose. It is how their relationship is so solid and normal that makes the chaos of the outbreak all the more shocking – the bad things that are happening to good people, which are what makes Romero’s work so terrifying and believable. It is, as all good horror should be, challenging. For every question we have answered, there are more things to ask. It has been said that this is an American 28 Days Later, and it’s impossible to ignore the parallels. Despite this, The Crazies works, not least because the idea came first.


ontypool is a horror-thriller that, like so many, seems to be breaching the gap between art house and mainstream cinema. Pontypool opens to the silkysmooth sound of a radio DJ, telling us about a missing cat in the small Canadian town from which this film takes its name. This is accompanied by a wriggling blue line that grows to fill the whole screen. The DJ, Grant Mazzy (played to perfection by Stephen McHattie) begins to talk faster and faster, about place names, and we quickly lose track of what he means.

Which is a good start to a film where you consistently find yourself questioning what’s actually happening. As a die-hard “infected” (read: zombie) film fan, and as a linguist, when I first saw the trailer for Pontypool I was on the edge of my seat until I finally got the opportunity to see this new example of the “infection” genre. With the cheery tagline “Shut up or die”, Pontypool is the story of a rural town in Canada, which becomes mysteriously infected by a virus that turns its hosts into babbling, flesh-hungry fiend. The virus is transmitted through language, and Grant Mazzy, on-air when the news of the virus breaks, aided by his staff of two; the irresistibly likeable Sydney Briar (played by Lisa Houle) and the sweet, if forgettable, Laurel Ann. The film is set almost in its en-

tirety in one room where the radio programme is created, complete with sound booth. This could easily become dull, but the quality of acting is so great that it is easy to lose yourself in the carefully crafted dialogue – which is just real enough that you genuinely become scared when things start to heat up. As such, the first fifteen minutes seem to drag by, as seems to be the intention of the writer, Tony Burgess. The only incident of note is the strange appearance of a young woman in the blizzard that routinely envelops Pontypool. This is a tantalising glimpse of what is to come, as the whole mood is changed for the briefest moment, leaving us undeniably on edge. About half an hour in the film starts to gain momentum, and you hang on tight for dear life. You get bombarded with information about the attacks, making you feel the panic and uncertainty that is shown on the actor’s faces. The film is beautifully shot, and provides genuine scares in the same vein as thriller greats like “The Shining” and “The Amityville Horror”. That is, rather than providing cheap shocks and needless gore, you are there with your characters, feeling the isolation, claustrophobia and confusion that they are. This means that you are convinced by the gore, terrorised by the shocks and involved deeply with the characters’ fates. All in all, Pontypool is, I know, set to be a cult horror great.



Fashion Drool Alert!
These are our latest lust-have items. They tick all our boxes for next season: nude, platform, wedge, summery. Ok, so at £240 from Kurt Geiger, they are far from cheap. But so worth it. They will keep your feet dry, whilst being peep toe, because of their giant platforms. They’ll look adorable with tights and the lace dress trend, or with wide-legged trousers for work. They also come in black and white:

Lady Gaga has been the subject of our fashion lust here at SELLOUT for a while now. We love Rihanna.
Not since Posh became Victoria Beckham has the transformation from pop star to fashionista been so successful. On Grammy night Rihanna rocked two gorgeous dresses; one frilled minidress with simple nude Louboutins and one a metallic backless creation with a white lace overlay. Gawjus! Her Grammy outfit was no exception. Dressed in a nude and glittered custom-made ballgown, Gaga proves yet again that she is true fashion royalty. The Giorgio Armani Prive gown was futuristic, with a solar system theme. Lady Gaga’s stage outfits were also designed by Armarni. This included a green leotard with matching sparkly knee-high boots

and a rather spectacular silver headress. Lady Gaga said of the outfit, “I am honored to be wearing Armani this evening. The series of pieces Mr. Armani created for me are truly iconic; they represent not only beautiful fashion, but my spirit and essence as an artist.” The real showstopper, in our opinion, however, was the amazing Malibu Barbie hair. Volumised and curled, with amazing bright yellow layers under her classic platinum, this was the kind of hair that sets trends. We’ve already seen all the best trendsetters rocking two-tone hair; Alice Dellal, Mary-Kate Olsen, and Rihanna.

Tom Ford, the saviour of men’s tailoring is set to conquer the world of film.
Ford’s new eyewear campaign stars Skins star Nicholas Hoult. The young actor, who also appeared in the 2002 film “About a Boy” is in Tom Ford’s new film debut A Single Man, with supermodel Carolyn Murphy. “A Single Man”, which comes out in early 2010, also stars Colin Firth, Julianne Moore and Matthew Goode. The story centers on an English professor who, after the sudden death of his partner tries to go about his typical day in Los Angeles. A Single Man is released on 10th Febuary.


Net-a-Porter founder Natalie Massenet sells stake to Richemont for £50m
The founder of fashion site Net-a-Porter has sold all but 18% of her stake to the luxury watchmaker Cartier owners for £50, intending to invest around £15m back into the website and intends to stay on as executive chairman.

Dare you double denim, darling?
The latest trend to come off the catwalk is double denim. Whilst this look is distinctly 80s, and may seem at first to be somewhat difficult to pull off, it’s actually surprisingly easy. It’s best to wear darker washes on the bottom and lighter on top, but combining the trend for jumpsuits with this denim style earns you extra fashion brownie points. Keep accessories in one shade, black and

browns work best, especially including skinny belts. This trend works best when the bottom half is skinny, fitted dark washes and the top half are looser pale washes. Silver jewellery, floral patterns and gladiator sandals will make this look kooky and sweet. Makeup and hair should be kept simple - you’re thinking prairie princess, not Dynasty.

Socks and sandals
We’ve been aware of this trend creeping up on us for a while now, but we never thought we’d see it pulled off quite so well. Rihanna keeps it simple and sweet with glittery ankle socks and court shoes in shades to complement the rest of her outfit. Fearne perfects her couldn’tcare-less style with clashing sandals. The shapes are simple and classic, and the perfect pins make this work. Be aware that this look will make your legs appear shorter and chunkier, so the height of the socks and the colour of the socks can make a big difference. This looks better with a lot of leg above, so try it with a micro mini or denim hotpants.

Miley’s acting flop
Miley Cyrus recently announced her intention to leave her singing career to pursue acting. Unfortunately, her debut performance, in The Last Song, has recieved terrible reviews. The New York Times critic who reviewed the film said of Miley’s performance, “Acting, for the moment at least, seems almost entirely beyond her...”. We can’t say we’re surprised.

Freeze The Atlantic, one of the most exciting new musical projects of the year, are formed from members of the late, great Reuben as well as cult favourites Hundred Reasons. They have, in line with the current social networking phenomenon, agreed to skip all that pesky E.P. business, and make their initial tracks free online, then go straight to releasing an album. SELLOUT catch up with them.
You are formed from some of the best bands of the past decade – are you a super group? I'd say we were more Supernoodles than super group! It's flattering to be recognised for things we've done previously and I hope that people will be as enthusiastic about this project. Where does the name “Freeze the Atlantic” come from? I'd like to believe it's because we're so cool, we could 'freeze the Atlantic', but actually It's the title of an awesome track by an awesome band called Cable. How did you all meet? We're all members of the Tina Turner appreciation society and met at the 2007 Turnerfest in Milton Keynes. If anyone asks though, this is what I tell them... I'd known Andy since we'd grown up together playing in bands across the local scene, met Guy when he auditioned for Reuben, went to school with Tom and was lucky enough to meet Dan after he sent a track through when we began looking for a singer. What are your favourite tracks that you have created so far? The ones with the best titles! 'This isn't Maths, This is Rock and Roll' and 'Le Track Premiere'. What will the album be called? We're running with 'Mega Jon' at the moment, but it might change. Are you apprehensive about from touring relatively large venues to starting again from scratch on the circuit? Of course. We're a new band. It's a really exciting place to be, but really scary. A lot of our favourite venues have always been the smaller ones and we're looking forward to getting out there. Maybe it's because none of us has headlined Wembley yet! What are your individual musical influences, and what are the biggest inspirations for the band as a whole? Personally I'm influenced massively by the others in the band. Whenever you're around musicians you respect, it spurs you on to improve your playing. Them and Tina Turner of course. Oh, and Sting. How would you describe your sound to someone who had never heard you? Dead good! What is on Freeze the Atlantic’s Spotify playlist? I'm so old school, I've never really utilised Spotify. At the moment, I've been listening to the Silverchair album 'Young Modern' and the new records by Muse, Flyleaf and Biffy Clyro.

“If punk was ever to officially die, I’m not sure I’d really give a shit.”

SELLOUT finds the real Frank Turner.

Frank Turner is well-spoken, polite and terribly friendly. He is also skilled in the art of interviews, as he should be after nearly ten years of tireless selfpromotion. He was also filled with a restless energy that comes through in the form of constant movement, making our photographer, JAMES WILBY frustrated in his attempts to catch Turner still long enough to get a decent photograph. Turner fidgets and interrupts himself, as though there is so much to tell he can’t wait to finish the previous sentence. Articulate and sharp, Turner seems knowledgable about almost any subject we bring up , including traditional folk music, punk and politics, though these are clear specialisms. He is very self-aware, always bringing the subject round to selling his future and current projects, but to catch glimpses of what really gets to him is a rare joy worth chasing. When Turner talks about being onstage and his fans, his face lights up with a broad smile that shows how far he has come from the days of struggling in tiny venues to make a name for himself away from the stigma of Million Dead’s mysterious break-up. Tonight is Turner’s biggest headline show yet – nearly 2,500 adoring fans wait for his peculiar blend of hardcore punk ethics and Springsteen-esque delivery. We caught him backstage at Manchester’s Academy for fifteen relentless minutes.
Your 2008 single, Long Live The Queen, was in aid of Cancer research and you have supported many other fundraising events, such as relief in Haiti. Do you feel that this is something that you have to do alongside your music? I don’t ever feel that it’s something I have to do particularly,

it’s something I like to do. At the end of the day, an awful lot of my job is self promotion, and that’s fine, but it’s just kind of refreshing for me to be promoting something other than me. Doing the whole breast cancer thing, obviously there was a personal level on that for me as well, because my friend Lex was deeply involved in that kind of fundraising… Anyway, so I’ve been getting involved with more political groups recently as well. We had no to ID doing stuff on the last tour, and I think we’ve got the UK libertarian party doing some bits and bobs on this tour as well, which is my political bent. I feel like I’ve got a platform, so I’m going to talk about it. On the last tour, you played a harder, more rock version of “Long Live The Queen” – do you think that this was to, in a way, make the song easier to play live as it is so personal? No not really, I like to try and do something different with the setlist every time we do a tour in order to make it interesting, and to give people a reason to come back again. It’s fun. I believe that songs are skeletons, and they can be fleshed out in different ways. There was a

“songs are skeletons, and they can be fleshed out in different ways”
moment in time when that song was going to be like that anyway, when I was writing it, and then it changed. We’re playing it the old way on this tour, but it was kind of fun to do something different. You recently released a DVD, do you think you play differently when you know you are being videoed? No not really, actually. One of the things about the shoot on that tour was that something I really didn’t want was for people at the show to have their experiences spoiled by some dickhead with a camera wandering all over the stage… so

the crew was all quite discreet. Once I am up there, onstage, I’m quite kind of focused on the crowd, so I didn’t really notice to be honest. Do you find it strange that a lot of the music that espouses the punk ethics nowadays is not traditionalstyle punk music, it is more melodic? How do you think this reflects the supposed death of punk? Ugh. People have been calling punk dead since about six

months after it started. So much like Mark Twain, I think it is, reports of it’s demise are greatly exaggerated. To me punk is an attitude, that comes in many shapes and forms, and I think if you only look for punk rock in skinny angry white boys playing guitar you’ll probably get bored really quickly. Right, not like I want to make out like I think it’s a movement like some people think it is, but this whole punk-folk kind of thing that seems to be going on which I get lumped in with a lot,

shit. By which I mean, I just like music. For me, I grew up listening to a type of music called punk rock, and if people aren’t making any new punk rock records, then I’m still going to go home and listen to the “First Four Years” by Black Flag. You just covered Barabra Allen, a traditional folk song. How does that side of music affect what you do? Well, one of the things about that is that I’ve recently gotten very heavily into finding out about traditional English music. It kind of combines my two passions in life, which are history and music. So I’m working on doing a traditional album at some point, hopefully releasing at some point next year, as well as writing another album, and a book, and being on tour until the middle of next year. Barbara Allen was fun to do, and also kind of a challenge for me because singing accapela is not really something I’ve done before, so I was kind of bricking

They’re all fucking great but particularly Matt, my keyboard player, is just one of the most disgustingly talented people in the whole world ever. I’m doing an Australian and Chinese tour on my own, and Matt was just like “pick an instrument for me to learn while you’re away” and I chose accordion and he said “I’m on it”, so I think we might have an accordion in the future. How did you meet your band? When Million Dead were still together and not on tour I couldn’t not be on tour, so I was crewing for other bands. I was out on tour with Reuben, who are good old friends of mine, who were supported by a band called Dive Dive. Dive Dive featured a guy called Tarrant Anderson (who is now Frank’s bassist) and they are fucking amazing, and very nice people to boot. Then when Million Dead broke up, those guys had their own studio at the time in

“why do we have to stop living exciting, adventurous lives just because we hit a certain age?”
it the first time I did it, but it turned out alright. I really like the whole notion of kind of traditional music, such as found songs, where people don’t really know who wrote them and they have hundreds of years of history. And loads of different versions, I mean I have six different versions of Barbara Allen, and they’re all based around the same kind of riff. To be honest with you, the version that I sung is my version, - I tinkered about with the lyrics, and the tune a little bit, but that’s the idea, that’s the whole point, and it’s a living tradition. How many instruments can you play? A few. Drums, badly, bass reasonably well. I can play guitar, well, rhythm guitar, I can’t solo to save my fucking life. I can play mandolin, lap steel banjo, but they’re all kind of variations on a theme really. Not that many, but I’m lucky that the band I work with includes some serious virtuoso players. Oxford. They offered to let me use it to record some stuff, and also offered to play on it. So I went and recorded the Campfire Punkrock EP with them, and it just sort of ballooned from there. We had about a million different keyboard players, most of whom were shit, or annoying, or both. Apart from Chris TT, who was in the band for a while, which was great, but he has his own stuff to do. In the end, Nigel (Powell, Frank’s drummer) met Matt in a poker game, which sounds fucking rock and roll, ad found out that Matt was a musician and a keys player, and we trialled him out, and he was insanely good. When Matt joined the band it really felt like my shows and the band hit a totally different pitch to where they were before, and it’s really come together now. I’ll still do things in my own name, but I want the band to be kind of like the E Street Band where they are a backing band, but people know who they are. It’s impor-

which is…. Fine, because it’s fair cop to a degree, but that’s a really good example. It’s a really cool thing where, if I’m thinking positively about it, a lot of people, particularly American punks, are reminding themselves what they liked about punk in the first place. The first time you hear Jawbreaker it’s amazing, but when you hear the hundredth band that sound like Jawbreaker it’s kind of like… Eeeh. By taking the same attitude and ethos and ideals, and quite a lot of

the time some melodic structures and stuff, and developing them in a new format, it shocks you out of the haze in a way. If punk was ever to officially die, I’m not sure I’d really give a

“punk is an attitude, that comes in many shapes and forms”

tant to me that people know that I play with the same people, and people know that they are a band. We’ve been trying to come up with a band name, and haven’t really succeeded. Apart from, and they are, they fucking are, joking with this one, but they like Lazer Child. So maybe, Frank Turner and Lazer Child, but I think not, somehow. Do you prefer to headline small venues or play support slots in larger venues? I actually don’t really care. I don’t think shows are made by made by that part, or at least that’s only a really small part of what makes a good show. For me, a good show is about atmosphere, and I’ve seen Springsteen create a good live atmosphere with sixty thousand people, and similarly I’ve seen that it’s possible to play to a huge number of people and have no atmosphere at all, and I’ve done shows where there’s been five people there and it’s been amazing. It’s something a lot less tangible than the size of the venue that you’re in. What’s been your favourite ever performance you have played so far? There’s a few, here and there. I do so many gigs that it’s hard to pick one. The show last night in Edinburgh last night was great. One was, we were in St Louis, Missouri with Flogging Molly. We had a great tour with them generally, but there was something about that show that was just really… I don’t know, we just came on and killed it, straight away. I really felt like we owned that show, and it was a really good feeling, and the crowd seemed to agree. Everyone was coming up to us telling us it was amazing, and I just had to say “Yeah, it was, wasn’t it”. What inspired your newest album, considering how quickly it arrived on the tail of the previous one?

I’ve been writing quickly recently. One thing was, Jay, who is also known as Beans on Toast, is a very old friend of mine, and someone whose opinion I value enourmously, about life, music and everything else. We were having a discussion one day about the song “The Ballad of Me and My Friends” (from Turner’s first album, Sleep is for the Week), and he was basically having a

“it might be time to do something radical like take six months off and just kind of… assess.”
go about that song, saying that it was overly pessimistic and saying that he isn’t giving up. I won’t tell you how old he is, but he’s in his early thirties and he’s a club promoter and a folk singer, and he said “I’m not planning on doing anything else with my life.” His question, essentially, was why do we

have to stop living exciting, adventurous lives just because we hit a certain age? I was kind of stumped, basically. So I thought about it a lot, and that whole conversation turned into the song “Live Fast, Die Old”. That’s the first track I wrote for the album, and it really felt like it had to be the first track on the album as well. Things kind of went from there for me. Generally speaking though, I tend to write about what’s going on in my head at any moment. You’ve been touring almost non-stop for nearly seven years – do you plan on slowing down any time soon? Not any time immediately soon, I had three weeks off at Christmas, and it drove me out of my fucking mind. I feel like I’m going to record another album this year, and get it out next year, and do another promotional tour. After that, I feel like it might be time to do something radical like take six months off and just kind of… assess. Although, I say that, the other thing I’m thinking of doing is setting aside a year, probably 2013 off the top of my head, to be the year of the side project. I’ve had so many awesome ideas of side projects and collaborations with people, like Beardy Man. There’s also the supergroup. Everybody po-

tentially involved in the supergroup wants to do it, but it’s a question of scheduling. It would be Ben from Million Dead on drums, Jim from At The DriveIn on bass, Jim from Jimmy Eat World on guitar and me on guitar. It came about when me and Jim and Jim were hanging out in Arizona, and having one of those conversations where everyone is agreeing with each other over a pint. We were talking about how Hot Snakes are the single best punk band that have ever lived, and we decided to form a band that sounds like Hot Snakes. We’re gonna be called “HammerZite”, which is German for “Hammer Time” and the album is going to be called “Halt”. It’s going to be fucking amazing, but when on earth we’re all going to find the time to do that is beyond me. You once said in a song that “the only thing I’m offering is me” – how true do you think that is today? I hope it’s still one hundred percent true. There’s no fiction in my songs, not because I disagree with fiction, I think it’s possible to be very artistically honest with fiction, but because I’m really rubbish at it. I feel like I write good lyrics when I tell the truth, so it’s all still pretty straight up.


Tonight Frank Turner broke hearts. From the opening notes of “Live Fast, Die Old” from the new album to the triumphant close of “Photosynthesis”, Turner played tonight’s Manchester show as though it were his last on Earth. Taking to the stage, Frank Turner opened the show as his die-hard fans have never seen before, replete with lights, full band, smoke and an astounding 800 strong crowd. Having seen Turner perform to an audience of 50 people tonight was something of an education. Turner has performed every show I’ve seen with gusto and enthusiasm, despite having been touring almost continuously now for six years. That’s a long time to chase the kind of popularity he is now enjoying. The heady atmosphere in Manchester’s Academy Two was a bizarre combination of longing nostalgia for “the good old days” where Frank (as he is af-

fectionately known by fans) ran his own merchandise stand and would give personalised shout-outs to fans based on conversations they had. The other side to this was the excitement and pride felt at seeing someone who deserves it finally make it. Many of the diehard Turner fans have accused him of “selling out” and being disloyal to those who have watched and listened eagerly since the now sepia-toned days of Million Dead. To all these sceptics, all I have to say is; the boy has done us proud. Turner has, in the 8 years since Million Dead released their first EP, never once become jaded or lost his incredible passion for what he does. He has consistently brought to the stage and to our headphones a sense of righteousness and fervour, coupled with an awesome stage presence. It’s not often that someone can do all that and still stay a nice guy. But back to the gig. Turner

played an interesting and well considered set, with a fairly even ratio of new to old songs, designed to please old fans and acquaint the radio one crowd with his back catalogue. His new album has some belting songs on it, and after hearing them played live, I’ll definitely be giving some of the slower tracks, like “Journey of the Magi” another go. My personal highlight was his rendition of The Postal Service’s “The District Sleeps Alone Tonight”, but he also played “Smiling at Strangers on Trains” – a bittersweet reminder of his Million Dead days. Also on the set list were “The Ballad of Me and My Friends”, “Father’s Day” and a reworked version of “Long Live the Queen”. The new version of the latter was, if possible, even better than the original, yet loses none of its emotional punch. Turner played everything well,

as is to be expected, though the sound quality at the start left much to be desired. This was irritating, as this seemed like an ominous sign of things to come – impressive lights and smoke, huge crowd, but terrible sound? Shiver. However, the sound issues were quickly rectified, and the gig went on to be one of the best I have ever seen Turner play, as though the huge crowd’s energy fed his own. In short, if you haven’t yet seen this amazing performer, get yourself a ticket for the largevenue tour next year. At £15, it isn’t much for the chance to say you saw the Dylan of our times. In Summary: Amazing. Grab a ticket for the next tour before they sell out. But if they do sell out, with Frank Turner, there will always be another tour.


SELLOUT catches up with Crazy Arm - lovely blokes they were too. Lead singer Darren Johns talks here about their new album, punk rock radio and how it feels to be sponsored by Frank Turner.
You’ve recently had a new album out that has been very well received. How are you feeling about how the album is doing? I’m not really sure how it’s doing to be honest! We know how it’s been received – the reviews have mostly been great. To be honest, I’m not really sure how to guage how an album is received – I daren’t ask how many have been sold because I just don’t want to know in case it’s such a small number that it brings us all down! I think a lot of people are either downloading it or listening to it on spotify, which is great – we don’t mind how people listen to it, but how it reflects in the sales I’m not sure. It’s worked wonders for us as far as the band getting to the next level.

about. What do you think it takes to make it as a new band in the digital era? I think you just have to believe in music, and not give a shit about how many sales there are. All the bands that I care about never did it for the money, and if I found that they did I would boycott them, you know? We come from an underground punk scene which was never about and will never be abot shifting units – it’s about the music, and the scene and the community that it evolves from. I think the era we live in is good in a way, because it seeds out all those money-makers, because they all think “Oh, well there’s no money in music, so I’m going to go and become an estate agent or something” – it’s getting rid of all those idiots. I think it’s going to be harder for kids to get where they want to get, but it does mean that only the music lovers will be making music, so hopefully in twenty years time we’ll only have the best bands, and the best songs ever heard….possibly! At least, people will be striving to do that, and that’s what we care How did you come to be touring with Frank Turner? We got signed to Xtra Mile last year, which is that same label as Frank Turner is on, and he heard one of our songs, when he was travelling in a convertible in LA and he just got blown away by the song, and he’s been fighting our corner ever since. He always raves about us, if anyone asks him who his favourite new band are, he always says us. We’re pretty flattered by that! Then, I guess because of the label connection, he offered to take us out on tour, which we just jumped at, and now the European section of it as well… To say we were happy was an understatement. Both Frank and the label have done a lot for us, got us playing to a crowd of people that we might not have seen for another five years. I’m still gobsmacked by it all, to be honest. Your music is a great spin on the idea of traditional punk – with lyrics that have meaning, and a very individual vocal style. Where

does that come from? We understand, Like Frank Turner does, that punk music, and folk music are about words and storytelling. That tradition will never disappear, through all the incarnations of punk, and the folk music that’s coming through with punk music. People will always want to continue that tradition of writing meaningful words, rather than just…garbage that you’ll hear from about 80% of punk rock bands these days. It’s a shame, because the underground punk scene is rife with bands that have something to say, but those bands will never get aired. Who are your favourite new band? I’m obsessed with the Skints at the moment. They’re nothing like us, they’re a reggae punk band, and I just think they’re amazing. They’re awesome, they’re going to outstrip all of us in about three years. There are other bands, local Cornish bands near us, like the Bangers, who we play with a lot. They’re happy to stay where they are, everyone on

the DIY punk scene loves them and they’re ok with that, they don’t want to lift up, it’s good enough for them. It would have been good enough for us, until things changed When and how did you form? About five years ago. We were a three-piece formed out of two different bands, a post hardcore band and No Comply, who were a ska-punk band. We lost the ska bit… When those bands fell apart we got together, because we were all good friends, and then about a year later we got another guy in. We had no idea what style of music we wanted to do. We drew from every source then, and people say we’re quite a hotch-potch of sounds anyway, but it was far more so then. Then we lost our fourth member, and along came Tim, and it’s never been better. We’re the band it always should have been. Five years in the making. When you are writing songs, do the lyrics or the tune come first? I write most of the songs, both musically and lyrically. I write all the lyrics, and most of the music, and it all comes together through jams in the practice room. If it’s great, then it goes into a song somewhere. Songs kind of get thrown around in the practice room; certain parts get dropped, or cut off or questioned. That’s not to say that people couldn’t bring things to the table… Tim: I’ve still got things to learn, before I can even start thinking about making something… You say on your facebook that you feel that it’s important to talk about your vegetarianism, your atheist beliefs and your support of human and animal rights. This is all obviously imporbut to tiny amounts of people. After this, we’ll definitely be out – we have to strike when the iron’s hot, really, and just get out there. We’re doing a lot of festivals through summer, and that’s the aim really. We’ve got about seven at the moment, and we’re trying for Reading and Leeds, and apparently we’re in the running for it We’re still out there, but some of us are still working, so we can’t tour all the time. I’m doing a solo tour in May, because the rest of the band can’t do it. The next band tour will probably be October, with the Skints Do you prefer support slots in large venues, like tonight, or headlining smaller venues? They both have their virtues. It’s much easier, in our comfort zone, to play small venues, on the floor with the crowd, right in people’s faces. I love that kind of action. I do like the vastness of these shows, though, and everyone has been really nice to us. This tour is dreamlike, it doesn’t feel real to us, and it’s odd. I’m sure I’ll look back and ask “What did we just do?! That was insane!” We still feel a bit out of our depth. Do you all have similar music taste, or is there a lot of variety? Absolutely. We have the same taste in music, we’re like clones of each other! We always have the same albums on rotation in the van. Baroness, for instance, is everyone’s favourite band, and if it’s not that it’s Sheerwater’s new album, which is amazing or First Aid Kit’s new album, which is amazing as well. Obviously we don’t have exactly the same taste in music, but of all the things that are put on, no one doesn’t want to hear it. We all hang out together at home. I know it’s a realy cliché, but we are a real family band, we’re like a family.

tant, but do you ever worry that by confronting issues like this in your music, you might stop yourself from becoming as famous as someone who just wrote songs about lighter issues? We never worry about it, no. Our label said that to us before, “Do you really want us to put that on the band biography?” We were like, yes, we do. There are far more important things wrong with the world to worry about. I’m not going to compromise talking about things just because it might stop us getting played on daytime radio. Most people agree, they’re not extreme politics, they’re seen as common sense ideas. Vegetarianism for instance. Twenty five years ago we were called “Cranks”, and now it’s completely accepted as the most most viable and wholesome lifestyle. Veganism is maybe not so much acceoted, but another twenty years and it will be. These aren’t extreme views, they’re just common sense. It’s less popular to talk about this stuff though. It’s true. For instance, we did a

show with Mike Davie’s punk rock show, which was a cover of an anti-fascist song by (find info), which was written in the sixties. I wrote one of the verses myself, where I updated the song to include a verse about the BNP. That was one of our main songs for the show, but for some mysterious reason it didn’t appear on this late-night so called punk rock show… I don’t mean any disrespect, because I think the show is awesome, but I just wonder who decided the song couldn’t be aired. We definitely said, this is one of our main three songs, but it wasn’t even included as an internet download. It was just kind of conveniently lost. We were told that it would be played on the show later in the year, but nothing. I think they were scared of the libel attached to it and backed off. Which is a shame, because the song shows a different side to us, it’s an acoustic song. So yeah. it annoys me, but I won’t stop doing it for popularity reasons. Will you be doing a headline tour soon? We headline tour all the time,

ROSANNA HYNES meets the journalist with a reputation to die for.
meet. To be honest, the ones that are pleasant encounters I tend to forget, because you just walk out with a sense of relief, thinking, thank god nothing went wrong! The most memorable ones for me are when I meet the people who were stars before I became a journalist, so when I get to meet Paul McCartney or David Bowie, that’s quite a thrill, because it reawakens the childfan in me, you know, and I would say it was more exciting for me to interview Dusty Springfield than it was to meet Madonna, she was the first pop star I knew of as a child, because Madonna wasn’t a pop star when I was a kid, she wasn’t even invented, so to speak. You have been involved in the creation of a vast number of magazines in your time in the industry, which one would you be most likely to read now? The one that I currently write for now is The Word magazine, and because it’s tailored to my interests, my age, it’s the one I would be most likely to read, were I not also writing for them. I’ve been fortunate in that usually I was able to work for a magazine that I would have been a reader of anyway. I worked for NME at a time when I was an NME reader, Q I started for people of my age and outlook, and the same with Mojo. The one that I didn’t have any personal involvement with was HEAT I suppose, and once I walked out the door after the launch, I never picked up a copy again! What’s on playlist? your spotify

aul du Noyer is quiet, reserved and polite. It is hard to put together the calm man before you with the illustrious career he has behind him – one cannot help but expect the stereotypical editor – but then again, Du Noyer is anything but average. He has written for or created almost every major UK music magazine, interviewed the biggest names in the industry and written several acclaimed books. SELLOUT hunts down the man behind the deeds. You have been in the magazine industry for over 30 years now, what would you say is your proudest moment in journalism? In journalism, it was probably launching Mojo, which when it started, was quite a difficult magazine to persuade the publishers to do – they couldn’t quite see the point of it. But I’m pleased to say that although I don’t have any involvement in it anymore it’s survived, in a pretty hard market It still survives – I think it’s still the kind of magazine that I thought it was going to be when it started. Who was your favourite interview with? Well, some interviews are nice just because it’s a pleasant encounter, and some are a great thrill because it’s somebody that you’ve always wanted to

“It was more exciting for me to interview Dusty Springfield than it was to meet Madonna.”

It’s never just one thing in particular. It’s generally things that are drawn from a hundred different directions. A couple of things at random are Kings of Leon; seventy different versions of a jazz song called I Cover the Waterfront. I liked the song, and I was just wondering how many people had covered it. That’s the great thing about Spotify; I just keyed in the title and up popped seventy different covers, from Frank Sinatra

to Billie Holliday. What song would you choose to sum up Liverpool? I’d pick “The Killing Moon” by Echo and The Bunnymen. What song do you think best represents London? For London I would nominate “Up the Junction” by Squeeze. Who was your most difficult interviewee?

their audiences in the way The Beatles, Bowie or The Rolling Stones have? I don’t see any reason why not. I don’t see why the foundation of musical talent should either grow or decline, and I don’t see

Du Noyers leading interview with Souxise and the Banshees on the cover of NME.

“I don’t see why the supply of genius should be any less than it used to.”

Paul Du Noyer presents Paul McCartney with a Lifetime Achievement trophy at the first Q Awards.

why the supply of genius should be any less than it used to be. However, whom those people will be, when we look back on them in 20 years time, I really couldn’t say. The only difference is that nobody could ever really make the kind of breakthrough The Beatles made, I mean, once you discover the North Pole, nobody else can ever do it, because it’s already been done. A lot of what The Beatles did, apart from being very good, musically, they kind of invented an industry in a way, because everybody else is obliged to do something like it. That doesn’t mean that nobody can be as good as The Beatles. What bands/ artists are your biggest guilty pleasures? The Moody Blues – 60s & 70s prog rock. They’re the most pretentious; fantasy, pompous songs ever written, and they look like poncey hairdressers! They were everything that punk rock set itself up to destroy, but secretly I love them.

Either Lou Reed or Van Morrison. I’d say they were joint top. Do you think the rise of the blogosphere means that the standard of journalism will drop drastically? I think the standard of the blogoshpere is going to have to rise. We’re still at the early stage of that game, and what will happen is that reader’s ways of evaluating different blogs will become more

sophisticated, and gradually, instead of stumbling blindly around the Internet, we will find ways of being steered towards things we like, possibly through a very good system of reader recommendation. And once bloggers have built up an audience, they will have to work hard to keep that audience, because the great cliché of the Internet that your nearest rival is only a click away – it’s very hard to keep hold of your read-

ers on the Internet. Bloggers will really have to work hard, to meet a certain standard. Over the course of your career, you have interviewed some of the biggest names in music. Do you think that the current generation of musicians has what it takes to live on in the memories of

It’s been three years since your last album, why did you leave such a long gap between your first and second albums? That’s a long story…I needed to clear my head on a few things after having a funny couple of years, to get away from things a little. I got an opportunity to go to the Arctic with this group called Cape Farewell; I took them up on their offer. The writing began in earnest on that trip. Shortly after that, I went to record the album in New York. Then a few months after I’d finished recording, I lost my old record deal. Fortunately I left with my album still belonging to me! It took a year to find a way to release and finally get it out there. What is different about the new album? I feel like the songs are a little more rounded and realized. I had plenty of time to refine the album, and make it exactly what I wanted it to be. There’s a lot more pop songs on this album, and by pop I mean proper pop…rather than The Saturdays or something! You have changed record label since your first album, how has this affected you and your music? I wouldn’t say that it’s changed all that much since I’ve left…the change itself occurred while I was still a part of the Columbia label. I think there was an expectation placed upon me to write something that would sell hundreds of thousands of albums. Now I’m not so concerned about that, and I’m writing more of the songs that I want to again. So I guess there has been a change of sorts, but it feels like it’s for the best. What is your favourite track on the new album? Skylark Avenue. It was the last song I wrote for the album, and that song, along with Two Hearts, was recorded over here. In fact, those two songs are my favourites…the album didn’t feel finished until those were recorded. Your music often has an orchestral element, how many instruments can you play? That’s a really nice thing to say… thank you! I honestly can’t play all that many instruments though you know. Other than guitar, I can play a little bit of piano, the ukulele. Not that much else! Why did you reduce your name to “Liam Frost”, are you with a different band now? The thing is, I signed my first deal as a solo singer/songwriter, and ‘The Slowdown Family’ thing was just a name for the backing group really. Undoubtedly they added an awful lot to the live show on the first album, but the name confused an awful lot of people into thinking we were a band, so I decided to just go out as myself for this one. I have one of the Slowdown guys in the band still, the rest are all new musicians. After all that…I want to be in a band again! ☺ Did you take a gap from touring between the two albums, or have you been touring this whole time? I wasn’t really touring as such…but I played a lot of shows kind of dotted round the country. Most of it was Manchester and London though. Do you prefer to headline small venues or play support slots in larger venues? Smaller venues definitely…I find both equally terrifying though! What’s the most embarrassing thing that’s ever happened onstage? We played Sheffield on the tour around the release of the first album, at the Leadmill in the small room. We were getting onstage, and I came on last in line. Anyways, I tripped on the way up and fell face first…this was in plain view of the first few rows. I felt pretty stupid… What’s been your favourite ever performance you have played so far? There’s been so many, the entire tour I played in support to Stephen Fretwell just before I signed a deal was great. There have been loads of really fun shows since the release of the first EP, right up until just this month I played at the birthday party of this ace night in Manchester. The band got up with me too…loads of people singing along to the all the songs. It’s just nice to know that people haven’t forgotten me! What has been the best concert you have ever attended? I went to a Nick Cave and the Bad Seeds show at Manchester Apollo

recently. That was pretty astonishing. Two drummers and an awful lot of noise! They’ve been playing together for years and it shows. The same could be said of Wilco, who I saw at the Green Man festival this year. That was brilliant. Bon Iver, at the same festival, was beautiful as well. Who are your main influences? Bruce Springsteen, Elvis Costello, Bob Dylan, Nick Cave, The Clash…not just in terms of song writing ability, but also what they mean to people. I like a lot of newish stuff as well, like M Ward, Ron Sexsmith. What inspires your music? I guess all the people I just mentioned, but then some writers as well. I like a lot of Charles Bukowski’s books. John Fante as well, who I’ve always kind of put in the same place as Bukowski. Milan Kundera is great. Then all the obvious stuff, personal experiences and whatnot…I think without those I wouldn’t really have all that much

to say in my songs. You have been described as “the UK’s answer to Bright Eyes”; do you think you would enjoy that kind of international recognition? I’ve always really appreciated that comparison, as I admire Conor Oberst a great deal. I’m not really sure about the international recognition…I mean to be known and appreciated by all those people would be a great thing obviously. But I’d have to have it on my own terms if you know what I mean…I wouldn’t want to con a bunch of people into listening to my songs in any way. It always feels like there had to be a bit of a catch with it. There are exceptions though I guess, Conor being one them. Have you ever toured abroad? Not really. I played at South By Southwest in 2006. Other than that it’s all been over here…wait, does Ireland count as abroad? ☺


Liam Frost’s considerable stage presence lights up the room, as the singer-songwriter takes to the stage at The Night and Day. The small bar seems to awaken, as the audience sit up and take notice. As they should. Liam Frost’s discography is not long, but with Frost, it is a case of quality over quantity. His first album, with the Slowdown Family, is a cult classic without a single track to skip. Frost is finally back after three long years away, with his latest offering, “We Ain’t Got No Money, Honey, But We Got Rain”. Manchester is, as ever, damp and dark, with rain bouncing off the grey pavements of the trendy Northern Quarter. This Saturday in late November is the perfect setting for Frost’s melancholy acoustic folk-pop. Opening the show with a shy

smile and a quiet greeting, Frost launches into his opening song from his first album. It is nice to see Frost playing his older work, considering the progress the new album makes on his older work, but Frost’s new lease on his sound injects vibrancy into the classics. Highlights of the show include Frost’s decision, one song in, to abandon the setlist and to announce “I’m only going to play upbeat songs from now on…this is a song about a funeral” – meaning that the audience gets to hear what we can only presume is Frost’s preferred choice of tracks. The show closes on a personal favourite, the “incredibly camp” pop song “Orchestra of Love”, so concluding a wonderful hour of foul-mouthed banter blended with beautiful, haunting melodies.

“I’ll sell you something you’ll swear you’ve never heard before…” So claims Liam Frost on his latest album, the beautifully titled “We Ain’t Got not Money, Honey, But We Got Rain”. This is Frost’s first offering under his new look and name, but there is a clear bridge between his first album with The Slowdown Family and this indie pop gem. First time around, Frost’s critically acclaimed album drew comparisons with Bright Eyes, but this is different. The melancholy elements that made the last album so touching are still there, but they have more depth now. This album is about hope, about how it feels to overcome all the bad and emerge, blinking, on the other side. It is unnecessary to list what Frost has been through – if you listen to the albums, all becomes apparent anyway. It is important to mention to anyone who hasn’t heard Liam Frost before that this album is full of highs and lows emotionally – you can be tapping your foot in time to the cheerful, unashamed pop of the first or second tracks “Held Tightly In Your Fist” and “Good Things are Coming Our Way” and then sinking into the depths of typically Mancunian sadness.

Frost has the rare gift, possessed by only a few, of making the sorrow in his music enjoyable. Morrissey has it, Bright Eyes has it, Joanna Newsom has it, and Liam Frost has it. There is a lot of beauty in this album, too. The echoing harmonies, the brass elements and the steadying piano make this album far more than one man’s voice and his guitar. Though, it must be said, what a voice. The flat northern vowels and the beautifully tuned singing go together incredibly, and Frost rarely backs away from the more difficult notes, sustaining the calls of “woah” particularly well in the hipswinging “Two Hearts”. It is the lyrics, however, that let this album soar. With surprising rhymes such as “My crooked little heart// set off the tiniest of sparks” and a natural rhythm that never lets up once in all ten songs, it is clear why this album was three years in the making. Liam Frost has yet again created musical poetry well worthy of his contemporaries, and produced an album that deserves to go down into the musical history of the decade.


Twin Atlantic are the hottest new band on the scene. With model good looks, brilliantly catchy pop-punk songs and amazing live energy, they’re this year’s breakout band. Their debut album, Vivarium, was released in September 2009. We caught up with their drummer, Craig Kneale.
In the wake of your popular new album, how are you feeling about the band? Much the same really. We're all just as focused and as passionate about the band now as we were in the first month that we started practicing together, as cliched as that sounds. It's great to see all these nice things being said about Vivarium, be it from press or from fans of the band, it's encourag-

ing to feel like we're doing something right. But it just makes me personally want to move onto the next thing and hopefully take our music and band to the next level. Have you found yourselves becoming more recognized? In Scotland perhaps, but not to a massive degree. I think the rest of the guys get recognized quite a lot, but I have a neutral face like a Lego man so I’m usually left alone! Again, it's something that's very humbling and its amazing people want to talk to us - but we try not to let it go to our heads. We're still nobodies in the grand scheme of things. How has your last tour been? Do you mean our last headline tour? It was great thanks! Best one yet I think, in terms of the number of people there and the reactions we were getting etc...

We're all very happy with it. We had our biggest Glasgow gig to date (sold out to 1300 people) and a sold out London show at the end of it as well. Can't really ask for more at this point. What is your favourite city to play? There's so many for different reasons. Glasgow and most of the Scottish cities are obvious ones because we do slightly better in them, but there's ones that always surprise you. Every time we've headlined in Southampton it's been a complete riot of a show, for no particular reason. And we love playing in Germany because you're treated so well. I wouldn't want to say one for definite as I like to sit on the fence! Do you prefer to headline small venues or play support slots in larger venues? Always headline shows, regardless of size. Although I do

enjoy the challenge of support gigs more. With headline shows you know the majority of people, regardless of how big the show is, are there to see you so the pressure is slightly off as they'll probably know most of your songs - but the reception you get at headline shows if you're playing well is a feeling that I don't think i've ever topped personally. But winning people over at a support show is nearly as exciting as you have to work that much harder as nobody knows who you are and have no reason to take an interest in you unless you make them. What is your favourite track on the new album? For me it's the first track, Light Speed. It took a long time to get it to the way we wanted it it was actually the first song Sam and Ross wrote together, before myself and Barry were

by the power of the songs and their stage presence. More recently I went to see Them Crooked Vultures in Edinburgh, my drumming hero is Dave Grohl so getting to watch him play these amazing drum parts with John Paul Jones and Josh Homme was surreal but unforgettable. It was just a rock n' roll show, but the best one I’m ever likely to see. Who are your main influences? Starting out I liked Rage Against The Machine because I had a friend in school who loved them. But it wasn't until I heard Nirvana that I thought I could maybe pursue music as a career. They just made everything seem so real and attainable because they weren't rock stars - they were just guys with really great songs. As a band it's kind of a melting pot of all of our influences that go towards creating our sound. Why did you call your most recent album “Vivarium”? - We called it Vivarium as a vivarium is an enclosure for nurturing plant life of animals, so to us the album represents our growth as a band over the 2 years since we started playing together. It's also a reference to the more organic way we recorded everything, all of us in a room tracking our parts together instead of putting everything down individually. What are your plans for the future? We're just going to keep on working hard and trying to grow naturally. We know we're never going to become huge overnight and we wouldn't want too. As long as we can see our songs improving overtime and people continue to be interested in what we're doing we'll be happy for a long time. We're currently writing towards our first proper full length album and we've got plans to keep touring until the end of summer at least so we've got plenty to keep us busy for now!

in the band. It's changed completely since then, and none of the parts from the original version survived. To me it's the sound of the first two years of our band, and the progress we've made as songwriters together in that time. It's slightly weird, but it's got a really catchy chorus and everything flows together so well. I think so anyway! Other than your music, what do you all do? Well, we're away on tour a lot of the time now so when we're home we all just relax with family and friends mainly. Myself and Ross are keen photographers so we usually do that to relax on tour, and Sam does a lot of art. I'm not sure what Barry does! He's a keen footballer so he plays a lot of 5's when we're at home I think. I used to play badminton a lot

but the people I played with have ditched me because I can't play for weeks on end. Unbelievable... What’s the most embarrassing thing that’s ever happened onstage? It's usually something to do with Sam falling over; he has the balance of small child. On this American tour he's already fallen over on stage 3 times and we're only a week in. I once had approximately 2 beers before we played once and fell off my drum stool, so that was definitely mine as well. A lesson to abstain from alcohol if ever there was one. What’s been your favorite ever performance you have played so far? Our last Glasgow show will be pretty hard to beat I think, mainly because of what it meant to our band. We've been

able to play to quite a few people in Glasgow for a while now, but the show at ABC took it to the next level. Not many bands get the chance to play to over 1000 people who are there specifically to see them - it was so exciting and terrifying at the same time. We usually end up scaring ourselves in those situations and either play badly or don't take the time to absorb what's happening. But I think we all did that night and embraced it and just had a good time What has been the best concert you have ever attended? There's a couple, firstly Radiohead at Glasgow SECC in 2003. I'd never seen a band of that size manage to make it feel so intimate and intense in a room the size of which they were playing. I was only 17 at the time but I was blown away

Sellout girl ROSANNA HYNES went down to meet Al O’Hare, front man from upcoming Liverpool band The Trestles. I met Al O’Hare, The Trestles front man in Leaf Café. He was friendly and open, and it wasn’t long before my cider was growing warm as we got talking about music, politics and the state of the world. I took the opportunity to find out what’s going on with The Trestles, who are, as I have previously said, “the modern antidote to mediocrity”. I love these guys for the honesty and passion that comes across in their particular brand of pub folk-punk, and there’s no letup to that when you get talking to them.
So what’s going on with you guys? We’ve got a new album coming out soon, and it’s nearly done. We’ve got a couple more sessions booked, we’ve got next weekend, all weekend, 12 hour shifts, where we’re planning on doing a couple of things. Then it’ll be one more session after that and we’re done. At the moment, there’s going to be eleven songs. I’ve written a new one though, about two weeks ago, so I’m not sure. We’re always writing songs, but there’s a hierarchy of songs, and this one has managed to shoot itself up to the top. I’ve rehearsed it with the band, and it’s different. It’s a bit darker, a bit quieter; it’s not as rock and roll. It’s got a mandolin on it, and the drums are completely different to our normal style, so there’s going to have to be quite a lot of rehearsal for that. This weekend we’re recording a song called “Sing On”, and that’s going to be the album’s big pop moment, so it’s quite an important one to record really. That could be the big three-minute pop song, it’s really infectious, and so we’ve got to do that right. At the same time, we’re working on the new one that I’ve just written. We want to put the record out on iTunes, and sell CDs at gigs, because there’s no point in selling CDs in shops anymore, for a band like us. We’ll get

it properly produced, and it will come out on vinyl, that’s part of the ideal behind it. Albums aren’t dead. Just because sales are down, you shouldn’t let business make an artistic decision. We believe, as a band, so much in records. I map my life by records. It means we can be seen as moving backwards, but I’m quite happy to be out of step with this world. I think good songs are going to change all that encourage people to choose to buy the album. You see a band now, and you go home and you put it on your facebook or your twitter page and say, oh, they were great. That’s fine, and that’s lovely, and that’s what the Internet should be about, instant word of mouth. But you can also go to see a band, and buy the CD at the end of the gig, and then tell your friend, and give him the CD. There’s still a lot to be said for that. It’s about putting your money where your mouth is. We’re planning on the album having lots of ups and downs, being a journey and telling a story. In my head, I have this vague idea of, well, we’re trying to be the band that makes music important again, and so we’d like to do a side A and a side B. We want side A to be po-

litical and side B to be personal. That’s very idealistic, and I could wake up tomorrow and think that’s a pile of shite. At the minute we’ve got the songs. The promo single we sent around, with The Civilised and A Drink of Water show the two sides of the band. The Civilised is completely a full on, finger pointing

“we’re trying to be the band that makes music important again”

song, in the spirit of The Clash. On the other hand, A Drink of Water is this sort of Waterboys-esque song with all my needs and my wants in life. I want to present both sides of that on the record, I want it to certainly have a foot in the world we live in. It’s an election year, so you’d better have something to say or put the guitar down. On the other hand, I don’t like to ignore the other side of the band, which is a very

joyous thing – playing music and talking about what you feel. Politically, we’re just knocked sick by everything we see at the minute. At the moment, the song “The Civilised” will open the record, for that reason. I watched the prime ministerial debate, and it made my skin crawl, really. To see the men who you’re supposed to look at as your leaders, the people who are going to take you forwards, to see them reduced to, basically the X Factor…ugh. To see them trying to win people’s opinion by the colour of their tie or the way they said a word…it knocks me sick. I also blame the people for it, as well. Each generation gets the heroes it deserves. The album will have just one single, but we’re probably going to just put one song on iTunes. We don’t know which yet though. Singles are kind of dead in the water, really. It’s a funny time to be putting a record out, which is part of why it’s taken us so long to do one. No one’s waiting for the next U2 album, taste being what it is, but U2 being a big band; you get what I’m saying. I mean, who’s going to give a shit that the Trestles put an album out? So we want to do it right, in the best way. The Civilised and A Drink of

Water have both had radio play; they’re both out there doing their thing, promoting it. We might do a video or something as well, basically to announce the album before you can get hold of it. We’ll be touring soon, as well. We’ve got gigs booked in Nottingham, London and Wales, so we’ve got irons in the fire. We’re waiting for the record to come out. I want to playing gigs like the recent one at the Zanzibar in Liverpool, to a hundred people who love it, and everyone gets stuck in, and we love it, it’s what we do live. I want the gigs behind the album to matter, to be important. I love going to see a band, and the album is out, and you know what’s going on and yet something is at stake. Also, we have no bass player at the moment. We’ve rehearsed a few bassists, but no one has been quite right. Tom (Carroll, The Trestle’s lead guitarist) or I can play in the studio. We’ve just not found anyone to be a permanent member, we’re all about playing live, and I don’t want someone to come in and just be. They’ll have to fit in with our whole idea. I mean, the song “A Drink of Water” never ends the same way, and we need someone who would

be able to go with that. When the song has been going for ten minutes, and I’m just screaming Van Morrison lyrics down the mic, they have to be able to go with it. It wouldn’t necessarily be a musician who’s fantastic, just someone with the same spirit as us, has the same reference points, who loves the same bands as us. Musicians are overrated; forget that, we just want someone who fits in. We don’t set out to be a boy’s band though. When I’m looking out from the stage, I see a lot more boys than girls, and a lot more middle aged men. I think that the music we make, though it isn’t this, it’s intrinsically linked with what people call your classic “Uncut” and “Mojo” generation. Your Paul Weller, Bruce Springsteen, Van Morrison fans. I’ve got nothing against them; I’m one of them myself. I just don’t get too concerned with who comes to see us, whether it’s a 21 year old girl or a 45 year old man, for me, it’s about communicating with people. I don’t write with a market in mind. People do, and it’s a big business. I can’t write with someone in mind, I don’t care who buys the record, as long as it’s someone. That’s all this band is, communicating with other humans. Tonight I’m doing an acoustic set in Liverpool, and that’s massively different from what we normally do. I never used to like doing acoustic sets, because I love a band, and I love communicating with people, taking people onstage with me and communicating with them, and that’s totally what we’re about. I’ve grown to love acoustic because, I don’t know, you’re kind of freer to try stuff that even your own band members haven’t heard yet. I’ve got three or four songs that haven’t been heard outside of my living room and it gives me ideas. Tomorrow I could wake up and go “Shit, that went well, that can go on the what inspires the A and B side idea for the album. Tom is a massive Rage Against The Machine fan, and he’s always brought their political ideals to it, as well as their strength, their force. That’s something I’ve never been interested in before I met Tom, force in how you play. There’s a spirit to what Tom does that I’ve never had from a guitarist in Liverpool before. I definitely think he’s the best guitarist under 30 in this city. That’s because he brings such force and power, and such finesse as well. It’s not just hundred mile an hour playing all

“Each generation gets the heroes it deserves.”
the time, though he can do that, and I’ll have to rein him in or catch him. Tom brings a power that a lot of Liverpool band don’t have. They fall into the ‘lets be like The La’s, or The Coral, let’s be The Beatles’ trap. Now, all those bands are really good, and I like them all, but Tom brings something different, he’s a force of nature really. It’s a good thing, Tom’s RATM to my Van Morrison. Those artists all come from the same cloud, as I said before, Tom Morello and Van Morrison aren’t as far apart as they seem at first, they’re just born in different places. Music is very much rooted in where you’re from, and all the current band members are Liverpool rooted. We try not to sound like most Liverpool bands. That comes from not wanting to be rooted in any insular ideals, or be a part of any scene. When I was first getting into music, there was a scene going round here. The Coral, The Zutons and The Stands all got signed, and there was a real scouse vibe going on. That looked really insular to me, and when you see a Liverpool band out of their hometown, it’s a different vibe. I’ve never wanted that. I don’t think a band should be defined by the sounds of where they are, even if as a person you are deeply rooted there. I think people take the bad things from the scene. For instance, lots of Liverpool bands want to sounds like The La’s and The Coral, but they don’t want to

“I couldn’t be in a band with someone who was in the BNP”
record.” The new song is called “Everything I Know”, and that’s forced its way to the top of the recording pile, that I was talking about earlier, was played to about

fifteen people a couple of weeks ago, and I just saw the reaction it had. Acoustic performances are, for me, about trying out new things. Plus, I just love to play live. If someone said to me tomorrow, all you’re going to do for the rest of your life is play in front of people, I’d say yeah. Both Tom and myself write the songs, and I write all the lyrics except for “The Civilised”, which Tom brought to me fully formed. As a band, although our individual tastes are quite different, it works well because all our musical preferences are rooted in good songs. Our drummer loves early 80s stuff, like Michael Jackson, rhythmic stuff. Tom, the guitarist, loves Neil Young and Elliot Smith; Tom loves his introspective rock, to put a label on it. I love the everyman, Springsteen, Dylan, and Weller. I love Van Morrison more than anyone. People who aren’t afraid of big audiences and want to invite them in. How it comes together is, all the artists I’ve just mentioned are rooted in great songs, so it doesn’t

matter how they present them. The song comes first, and as a band, that’s where our references meet. How we all consider our heroes to approach a song. I used to listen to Bruce Springsteen every day, though I don’t anymore. He has a song for every occasion, the bastard, and in some of the darkest times of my life, it’s Springsteen I’ll put on. The ones I go back to the most are Van Morrison, I listen to him a lot, he’s been writing the same song for thirty years and that’s a compliment. I listen to music that touches me, it could be a pop song from ten years ago. Everyone knows I like Springsteen, The Waterboys, classic boy songwriters. But I’ll put on Kate Bush and cry my eyes out. There’s a song called “This Woman’s Work” by Kate Bush, and it’s the most emotional music ever put on tape. So although I’ve got the boyish ‘let’s ‘ave it’ side of things, it’s not what I’m listening to all the time. The contrast in tastes and in different sides to our tastes is partly


So says Al O’Hare, one quarter and lead singer of The Trestles. Last night was living proof of that. The two acts either side of The Trestle’s stellar performance fade into obscurity in my mind. The first, a capable but strained performance from youngsters “Half Cut Harry” ( who have notes of Keane, James Blunt and The Fray – all OK, all mediocre. Honestly, they were acceptable, and kudos must go to the bassist who played with a broken jaw, but with a lead singer whose mind and voice wandered elsewhere, there was little charisma to the band. High points were their cover of “Whiskey in the Jar” and the impassioned “Silver Rain”. I would recommend them as a young act with promise, but in my mind they still have a way to go. Next up were The Trestles. Al O’Hare’s considerable stage presence resonated with Billy Bragg zeal, as he sang of Liverpool and beyond. The band were strong, and seemed to light up Zanzibar, the darkest bar I have ever visited, with a wave of sound. They opened their section of the show with “The Civilised”, a ri-


oo much is mediocre, it’s just alright.”

otous rock song that opens up the stage to the audience. It’s less a man preaching than a gathering of friends listening to someone voice what we’ve all be thinking. A rebellious, motivated shout to remember how we felt at seventeen, a refusal to lie down and take simply what we’re given. The guitar riff will be stuck in your head, and, as all the best

are a startlingly accurate metaphor for Scousers themselves. Hard Faced Town, the title track of their recent EP, again pairs lyrics that resonate with honesty and a Beatles-esque pop musical accompaniment to make a surprisingly mellow sound. The lyrics “Why does it always come down to those with and without?”

O’Hare’s considerable stage presence resonated with Billy Bragg zeal
opening songs do, The Civilised immediately makes you know the band, what they’re about and hits you with foot tapping. hip-shaking and head nodding. O’Hare follows this up with thirty, which while I might not be able to empathise with, I can understand the point. Growing up, doesn’t have to mean getting dull, and I’m sure that the crowd can get on board with that. It’s a remarkably age-varied gathering tonight, and this adds a strength to The Trestle’s argument. Next up is Ghosts of Redundancy, a sentiment that, once again is felt in Liverpool’s Zanzibar. O’Hare’s ability to write lyrics that hit home, speak the truth and that yet are coupled with music that refuses to allow room for self-pity strikes a particularly notable chord, particularly as it follows a song about redundancy, but again refuses to sink into self pity. The gig is wrapped up with “Drink of Water”, a personal possible favourite. The venue falls quiet as “I want…” echoes around the room, going on to list O’Hare’s desires, yet somehow speaking to everyone in the room, asking, what is it that we want. The band are unfailingly good, taking the crowd’s collective mood up and down seemingly at their whim, allowing for no respite and betraying strains of old (read: good) Oasis, Lemonheads, Springsteen and, correct me if I’m wrong, Suede. This is the modern antidote to

mediocrity. To make an audience feel as though merely nodding your head is not enough movement, to make them laugh and cry along with the lyrics and to let the crowd know that this is not just a song, it is an expression of opinion, is far too rare. I know of only a handful of contemporary acts that can make a roomful of people truly feel something; Frank Turner, Reuben, Scroobius Pip, Liam Frost and now, The Trestles. My one argument would be that if they want a hard-faced town, they should try Manchester. The final act that I saw was so bad that to name and shame them seems cruel. They were called Man Get Out. Basically, they were a rubbish stereotype of an 80’s synth band. They were handsome, well dressed and young with decent equipment, so I don’t know why they weren’t making something worth listening to, but there you are. My friend enjoyed them, however, so I suppose if you like both HIM and Erasure, they could be good. In summary, one-third of the night that I experienced was great, making those, I suppose, not bad odds. The Trestles: awesome, Half Cut Harry was potentially good, and currently acceptable and Man Get Out needs to borrow my Bob Dylan vinyl.

This style has hit the scene with the force of a cannonball, and we at SELLOUT are loving the trend. It goes with the kitsch jewellery style that’s hot right now perfectly, and is one of the best ways of looking classy with ease. Luckily, the Rockabilly style lends itself well to almost all tastes and body shapes. Pear shapes can wear the original wide skirts with halter-neck tops and dresses. Boyish frames should embrace the slinky pencil skirts and dresses, apples look gorgeous in shirt dresses, and hourglass shapes can try any style, but particularly suit the wrap dresses and capris with halter tops. Patterns are key, particularly leopard print, flowers, hearts and cherries. Keep the look fresh by picking shapes that are in fashion, like bodycon. Short hemlines are good too, but to stay true to the original style with plenty of cleavage, knee-length skirts and bare legs. Shoes should be super-high platform stillettos or wedges - flats can make this look seem too twee and childish. If you’re just looking for touches of rockabilly style, try tattoo, leopart and floral prints.


As government statistics and The Daily Mail tell us, apparently the country is getting fatter. Marks and Spencer inform us that the average UK woman is a size 16, which seems surprising when you consider that you can’t get above a 14 in many high street stores for love or money. They can tell us to eat less pizza and run about more, but let’s be honest, here at Sellout we only really care for one reason. What does this mean for fashion? If the models are getting thinner, and the women on the street are getting bigger, then in what camp does the average UK girl with style hedge her bets? According to a new wave of bloggers, we don’t have to choose between looking fashion-savvy and dessert. According to the adorable “Messy Carla”, author of “A fashion blog in a size 16”, “No matter what shape you are; whether you’re round and curvalicious, long and lanky, short and skinny and everything inbetween – just strut it out!" Carla has a point. Beth Ditto, April Flores and Kirstie Allsopp have been flying the flag for larger women in the media in recent times, and a return to retro aesthetics like 1950s corsetry in fashion all lend themselves well to girls wanting to work with what they have rather than starve. April Flores is a porn star from the US with a figure that makes her stand out, and a healthy dose of fuck you attitude. She’s not what Gillian McKeith would call “healthy”, and she wouldn’t fit into anything in Topshop, but she looks amazing always. Favouring a nostalgic, rockabilly style – think polka dots, florals, fitted top halves and a lot of pale cleavage, Flores also rocks trademark ringlets of scarlet hair.

Evans, the flagship for plussize dressing in the UK has undergone a revival in recent years, with design collaborations with Beth Ditto, a range called “Seven”, which is aimed at the fashion forward,

“No matter what shape you are... just strut it out!"

that this month’s Vice magazine, the esteemed fashion issue, features an interview with Crystal Renn, the size 12 model making waves throughout the industry. Renn has re-

Renn says, to “I have a lot to tell women when it comes to how they look at their bodies and having confidence.” Whilst this is all well and good, the fact remains that the fashion industry still considers a size 12 model shocking. Kate Moss recently said “Nothing tastes as good as skinny feels,” to much appraisal from the fashion world, and uproar from everyone else. “Kate Moss is talking out of her size zero backside,” claimed TV presenter Denise Van Outen. Lizzie Miller, a plus size model whose photograph in Glamour magazine caused a storm as she had a single visible roll of fat. “It’s sad. In the industry

and an extremely popular US site. Christina, of the sublime “Musings of a Fat Fashionista” is a fully-paid up member of the US’s Evans fan club. It is a sign of the changing attitudes in the trendsetters

cently published a book, aptly titled “Hungry”, charting her life from a just-scouted 14 year old, to a 17 year old anorexic model, to her current incarnation as a 23 year old healthy, size 12 supermodel. The book was also written because,

SELLOUT managed to Christina of interview Musings of a Fatshionista about her style.
You often wear clothes that look cutting-edge fashion, as though they have just come from the catwalk. How hard do you find it to achieve this look? It can be somewhat of a challenge to find the cuts and tailoring that I like in plus sizes. If there is something I feel like I just cannot live without, I definitely go to and reach out to a designer to see if we can collaborate to bring it to life. What inspires your style? I'm an artist first so everything that I came across serves as some sort of inspiration that I can incorporate into my style. My main sources of inspiration these days are from movies, fashion mags, runway shows and other personal style bloggers. I love seeing how others interpret trends and the ideas behind their outfits. So I take a bit from everywhere, mash it up, cover it in black and its me! Where do you do your favourite shopping? My favorite places to shop are the thrift stores because you can always find a one-of-a-kind pieces that no one else will have! Etsy is also one of my go-to places because I love supporting independent designers and the diversity of offerings on the site is amazing. There's something for everyone! As far as retailers go, lately I'm doing most of my shopping at Evans and ASOS, whose new plus line Curve is getting better and better. What item of clothing do you tend to buy most of? I mostly buy dresses because I find they are easiest to just throw on and go. I'm not much of a morning person so I always look for things that I don't have to think too much about

wearing. With dresses, I can put on a blazer/jacket and some flats and I look chic! Your style is not traditionally feminine, but is rather edgier, which sets you apart from a lot of other fatshionistas what is it about this harder style that draws you? I'm more interested in dramatic silhouettes and shapes. Being as how as fatshionistas we are already a bit more round, its always fun to exaggerate that shape or totally manipulate it into something else. I like to challenge the notion of how fat women can and should dress. Its not always about defining your waist, elongating the leg or any of the other "tricks" that magazines constantly write about. At the end of the day, the most important thing to me is achieving a great look. What advice would you give to girls who aren't sure how to dress their curves? The only advice I can give is to dress to please yourself and have fun! Wear what makes you feel good and don't be afraid to step out of your comfort zone sometimes!

anything over size six is considered a plus-size," said Miller in an interview with the Guardian. Miller also claimed in the interview that even supposed plus-size brands, like Marina Rinaldi, use models between a size 8-10 to sell their clothes. Basically, we’ve come a long way, baby. Fashion has always been a constantly evolving thing. To us at Sellout, whilst trendsetters can shout about how a skinny model doesn’t distract people from the clothes themselves and pro-plus sizers will bring up Marilyn Monroe, the “real” women argument and both sides will bleat about health issues, the fact still remains that it is what is in

fashion that will be popular. Fashion is picked up selectively by the public dictated primarily by the fact that people want to look attractive. A size zero rarely looks as good in real life as it does swathed in couture Chanel on the catwalk, and a size 18 on the street looks considerably less sexy when not corseted and covered in make up, as Beth Ditto or April Flores do on the covers of magazines. The sooner people start to look a little deeper than what body size is on trend this week, instead embracing a size, whether officially condoned as healthy or not, in which they feel sexy, happy and that they can dress with pride, the better.

summer style

feminine patterns and colours make cute statements with bad-girl makeup.

bare legs and studded boots add a tough edge to a classic summer denim skirt

put classic male fabrics like checked shirts and denim in feminine shapes with heels

super-girly dresses need harder edges with leather and plenty of attitude.

for night, use textures. patterned tights, feathers and big jewellery rule

ladylike looks are all about stripes and florals mixed with messed up hair.

achieve a classy daytime look with dark colours and twee accessories.

a masculine jacket affords more feminine touches everywhere else


super cute charms

we’re loving...

BEAUTY soap&glory products
These products are totally tasty. They’re also cheap and effective, as well as smelling delicious. The best products include: “The Firminator”, a gel that improves the look and feel of wobbly bits, and is great for cleavage. “The Righteous Butter”, a yummy body butter that smells really tasty, as well as being longlasting and making skin as soft as can be. “Sexy Mother Pucker” is the best lip plumping product out there. The gloss makes lips tingly and full, whilst adding a gorgeous shine.

we’re loving...

Heel Genius Foot Cream £5.00


Liverpool has gone through something of a renaissance in recent years. In 2008 the city was named “Capital of Culture” in Europe, not without reason. Liverpool has an amazing musical life, from its roots in the Beatles to its present in the amazing legacy of live music in the pubs, clubs and bars. In Liverpool there are many theatres, art galleries, cinemas of the mainstream and arthouse varieties, pubs, clubs, bars, restaurants and shops. Liverpool is a city with not only a fascinating history, but a bright, shining future.

Functioning primarily as a “tea bar”, you can pick up a tasty cuppa in almost any flavour, including Turkish Apple, Jasmine and classic Earl Grey. The staff are knowledgable about the tea menu as well as being friendly and helpful. Other great things about Leaf are the delicious food menu, including a full English in carvivore or vegetarian variety for and the free parking. There are lots of open mic nights and film screenings to keep you busy, but we recommend popping along to “Out of the Bedroom” a free open mic night hosted by Johnny Sands on Tuesday 6th April.

Lark Lane. With cheap drinks, plasma TVs and a truly superb jukebox packed with Liverpool bands, Vinyl is one of the best places to while away a quiet evening. On a Sunday and a Thursday there are live bands, with a great variation between styles – jazz is always a favourite. uk/vinyl

liant and competitive Monday quiz night. The food is cheap for huge portions of good quality home cooking, and on match days they do a beer and burger offer.

4. Mojo
Back Berry Street This city centre bar is trendy and popular with a wide audience, especially students. Part of the Mojo Familyof three UK bars all carrying the name Mojo, this cult venue specialises in great music and tasty cocktails at reasonable prices. One of the best things is the “5 to 9” special, with drinks offers and free chilli and nachos for early birds. Also good are the cocktail masterclasses, which are booked in advance.

3. The Fulwood Arms
308 Aigburth Road. A great pub, with a lively atmosphere and stylish décor. The staff are warm and helpful, offering a wait-on service that means that you can get drunk fast and cheaply! The Fulwood treads the line between pubfeel and bar-quality beautifully, showcasing local talent in the popular Thursday open mic night, showing football whenever it’s on and hosting a bril-

1. Leaf
27 Parliament Street. This adorable little space combines a bar, a performance space and an upstairs gallery.

2. Vinyl
88 Lark Lane. Vinyl is a secretive little basement club underneath the Pistachio Restaurant at the end of

visit Liverpool

5. Sefton Park
This beautiful Victorian park has been recently renovated, with a new café. The stunning palm house plays hosts to regular events, as well as being home to exotic plants and statues of explorers from Columbus to Darwin. The 200 acre oark has a lake, long winding paths, playgrounds and big fields popular in summer for student barbeques. The circular route around the park is always crowded with joggers and cyclists, if you’re a fitness fan. Get down to the Africa Oyé music festival in June for something a little different.

Beatles, but it’s all about timing. Avoid the day trippers (see what we did there, ha-ha) and see the club as it’s supposed to be, on a Thursday night. The Mersey Beatles are one of the best tribute acts around, go onstage at 8pm every Thursday night, and at £2.50 entry for a full night of dancing and cheap drinks, you really can’t go wrong.

missed. Other new galleries are the Weston Discovery Centre and Clore Natural History Centre. uk/wml

8. Speke Hall
This Tudor Hall is far more than just another stuffy historical house. Located next to Liverpool Airport, the strange juxtaposition of modern life with the old-world charm of Speke Hall, it only serves to make this quaint attraction more beautiful. The café is great, if pricey, as most National Trust establishments are, and the gardens are expansive, traditional and gorgeous. There are also longer walks around the grounds if you’re feeling active. ekehall

7. World Museum
William Brown Street Formerly the Liverpool Museum, this brilliant space houses exhibits for everyone. The new galleries include a brilliant aquarium with handson labs and a World Cultures exhibit that includes over 1,500 historical pieces. The popular Bug House has animatronics and vivariums with live creepycrawlies, which is not to be

Seel Street Supporting Liverpool’s great Irish culture, Pogue Mahone’s is one of Liverpool’s best pubs. The Sunday dinners are cheap, tasty and come in great portions. The atmosphere is the best thing about this strange little nook, which can pack in twice the amount of people you’d think, especially on match days. It’s noisy and friendly without being rowdy, and the late-night Thursday open mic nights are popular because of their high quality. http://www.poguemahones.c

10. Zanzibar
Seel Street This brilliant club is the place to go for unsigned acts in Liverpool. Cheap and cheerful, there are two stages in use, one upstairs.

6. The Cavern Club
Matthew Street No visit to Liverpool would be complete without a visit to the “world-famous” home of the

9. Pogue Mahone’s


11. The Fly in the Loaf
35 Hardman Street This sweet little pub is just out of the city centre, up past China Town. Traditionally decorated and full of character, this hidden gem is a great location for pre-partying drinks or just a quiet afternoon pint. The selection of beers is huge, but the knowledgeable and friendly bar staff are on hand to give tips.

eign-language films. There are also special screenings and one-off performances, and the gallery space has a regularly changing series of exhibitions. Tickets for films are reasonably priced and the bar is well stocked, with the option of alcohol being available to take into the screens.

two levels, each with it’s own bar, and a lovely garden for smoking. Drinks are relatively cheap, with offers on doubles and bottles.

15. Bumper
18 Hardman Street The best late-night destination in Liverpool. Students flock to this trendy venue, which doubles as a bar and a club. The downstairs section has comfy sofas and a quieter atmosphere, whilst the upstairs has a busy bar and dancefloor. Staying open til 4am seven nights a week, Bumper is where everyone goes when the clubs are closed. The music is usually good, and drinks are relatively cheap, but it is the atmosphere that makes Bumper so popular. The bouncers prevent anyone too drunk coming, meaning that everyone is there to have a good time before they have to go home to bed.

14. Krazyhouse
16 Wood Street The main rock club in Liverpool, “the Kray” has three floors of music and dancefloors. Each floor plays a different style, with the first floor blasting out metal and classic rock, the second playing mainstream indie and rock, and the top floor playing pop music and cheese. Drinks are ridiculously cheap, with buy one get one free every night.

13. Kazimier
4-5 Wolstenholme Square This little club is one of the coolest locations in Liverpool. Tucked away on Wolstenhome Square, it’s hard to find, but worth the search. The circusthemed interior is strange but fun, and the space is well laidout, designed so that everyone can see the stage. There are

12. FACT
88 Wood Street This is Liverpool’s main arthouse cinema, and the fourthlargest alternative cinema in the UK. FACT shows mainstream blockbusters, but also independent, arthouse and for-

visit Liverpool

16. Tate Liverpool
Albert Dock The most famous modern art gallery in Liverpool presents displays of work from the Tate collection alongside special exhibitions of modern and contemporary art. The special exhibition programme, presented on the Gallery’s fourth floor, brings together works from national and international collections, both public and private. Most people expect art snobbery, but with displays for everyone, as well as brilliant, friendly guides, this couldn’t be further from the truth.

17. The Liverpool Big Wheel
Albert Dock Not cheap, but one of the best ways to see the city. At 60 metres high, the wheel means that you get great views across the city centre and the surrounding towns. It’s best to go at night if you can, when the queues are shorter and Liverpool is beautifully lit up.

cial. With vintage shops, mod stores, the infamous WAG haven Cricket and a Vivienne Westwood, Cavern Walks is a great place to splurge. There’s also a good nail bar and a hairdressers, along with two tasty, if pricey, cafes.

tasty options being the jerk chicken with chilli gravy and the cod and chorizo skewer.

20. Mello Mello Café, Slater Street
An amazing community project, this vegetarian café and venue is hidden deep in the centre of Liverpool. The food is great, even if you aren’t a veggie, and the selection of organic beers and ciders are all yummy. They have poetry, comedy and open mic nights, or you can just spend the afternoon playing scrabble with a cup of one of their many varieties of tea.

19. Alma de Cuba, Seel Street
Set inside a lovely ex-church in the heart of the alternative nightlife district, Alma de Cube is a strange and wonderful combination of Cuban, Hispanic and Latin American influences that work great with the down-to-earth nature of Scousers. The food is delicious and original, with particularly

18. Cavern Walks, Mathew Street
Despite Liverpool One being the usual main location for shopping, Cavern Walks is a more hip alternative if you’re looking for something a bit spe-

how to...
All recipes are based on a Jamie Oliver recipes available on Cracking Carrot & Lime Cake
250g unsalted butter, softened 250g light brown soft sugar 5 large eggs zest and juice of 1 orange 170g self-raising flour 1 teaspoon baking powder 100g ground almonds 100g shelled walnuts 1 ground cinnamon a pinch of ground cloves a pinch of ground nutmeg ½ teaspoon ground ginger 250g carrots, peeled and coarsely grated sea salt For the icing: 100g mascarpone cheese 200g full-fat cream cheese 85g icing sugar, sifted zest and juice of 2 limes What to do: Preheat the oven to 180ºC/350ºF/gas 4. Grease and line a 22cm square cake tin or a round equivalent with greaseproof paper. Beat the butter and sugar together by hand or in a food processor until pale and fluffy. Beat in the egg yolks one by one, and add the orange zest and juice. Stir in the sifted flour and baking powder, and add the ground almonds, walnuts, spices and grated carrot and mix together well. In a separate bowl, whisk the egg whites with a pinch of salt until stiff, then gently fold them into the cake mix. Scoop the mixture into the prepared cake tin and cook in the preheated oven for about 50 minutes until golden and risen. You can check to see if the cake is cooked by poking a cocktail stick into it. Remove it after 5 seconds and it if comes out clean the cake is cooked; if slightly sticky it needs a bit longer, so put it back in the oven. Leave the cake to cool in the tin for 10 minutes, then turn it out on to a rack and leave for at least an hour. Mix all the icing ingredients together and spread generously over the top of the cake. Finish off with a sprinkling of chopped walnuts.

Brilliant Brownies
Ingredients 250g unsalted butter (yes, we know it seems like a lot, but trust us...) 200g milk or dark chocolate, according to taste. 80g cocoa powder, sifted 65g plain flour, sifted 1 teaspoon baking powder 360g caster sugar 4 large free-range or organic eggs Optional extras include combinations of: 2 large bananas 50g chopped nuts 100g peanut or plain m&m’s 50g sour cherries 50g popping candy 100g white chocolate chunks

What to do: Preheat your oven to 180°C/350°F/gas 4. Line a 25cm square baking tin with greaseproof paper. In a large bowl over some simmering water, melt the butter and the chocolate and mix until smooth. Add the cherries and nuts, if you’re using them, and stir together. In a separate bowl, mix together the cocoa powder, flour, baking powder and sugar, then add this to the mixture. Stir together well. Beat the eggs and mix in until you have a silky consistency. Pour your brownie mix into the baking tray, and place in the oven for around 25 minutes. You don’t want to overcook them so, unlike cakes, you don’t want a skewer to come out all clean. The brownies should be slightly springy on the outside but still gooey in the middle. Allow to cool in the tray, then carefully transfer to a large chopping board and cut into chunky squares.


things you want
Every issue we give you four things to lust over until next time

Jamie Oliver’s chocolate fridge cake
It’s scrumptious, decadent, and requires no baking. Find instructions on how to at

To Write Love On Her Arms tshirt
Support a great cause and look adorable in this tshirt. Buy one online at for under £20.

World War Z by Max Brooks
A terrifying insight into what the world would be like if the z-words took over. this book is a fun read. Available on for less than £5.

Laura Marling: I Speak Because I Can
Laura Marling’s popular new album is well worth a listen, and can be bought from all good record shops and is available for free on Spotify.