Interview: Aimmar’s Tapes
Noise enthusiast, Aimmar Cair, tells his plan to introduce Southampton to a world of noise.
I move a mound of paper from the sofa and perch awkwardly on the end, attempting to avoid the broken springs and food stains that consumes this typical student’s furniture. Aimmar Cair, owner of the newly established noise label Aimmar’s Tapes, sits opposite in an equally uncomfortable sofa- judging by his awkwardly crossed legs.
“I have a huge desire to release music by artists that don’t have enough exposure,” Aimmar spits through a mouthful of tomato-sauce soaked bread, his spare hand cradling a bowlful of pasta. “I want to get artists to pursue new styles. There’s an artist called Heavy Metal Vomit Party who finds old tapes of really awful heavy metal bands, then mixes them together to create something beautiful.”
I notice Aimmar taking a bite immediately after each question, cunningly giving himself time to think, chewing between northern mutters of hmm’s and err’s.
Aimmar gulps, sweeps his shoulder length black hair out of his eyes and raises his head in thought, “I’m incredibly influenced by the label Not Not Fun who have an amazing bill of artists. The label brings artists together and I really want to promote collaboration.”
Aimmar has to excuse himself as he answers a phone call. I spend time to observe my surroundings; perceiving a kitchen decorated with dirty pans, dripping washing and overflowing bins. The Christmas tree consists of a pitiful amount of tinsel and a large clock suspended mid-way. I begin reading Aimmar’s calendar events when the door swings open and a petrified Aimmar marches back to the sofa and resumes his awkward position.
“That was the police.” He rips the bread with his teeth, more hastily than before, and stares at the tinsel on the tree. “They found my wallet I lost a month ago.” I’m bemused; this information doesn’t conform to his alarmed expression. He spends a few moments swallowing his mouthful; “It had a gram of MDMA in it.”
The room fills with silence, excluding the ticking of the Christmas tree clock. We both stare into space, leaving me speechless until Aimmar finally escorts another piece of bread to his mouth and begins to chew.
Abandoning the touchy subject, I lighten the atmosphere by asking him which band he would like to sign most. “Hmm,” His face is still pale with concern, “That’s a good one. I’d love to sign Secret Abuse. I primarily release stuff from side-projects of band’s I like and Secret Abuse is Jeff Whitscher’s side project who is primarily in the band Deep Jew.”
An independent label based in Southampton undoubtedly struggles with profits due to the adverse music scene. I ask Aimmar whether he is concerned about success. “Umm,” he gulps, “I have no intentions of making a living off it. That’s not what it’s about. I just have a desire to break even, just so the artists can make a bit of money. My definition of being successful is so that people want to release stuff on my label.”
Aimmar’s Tapes first release is a Christmas compilation, “Compilations are important to noise music. Most have specific themes behind the songs, so I thought it would be fun to do a Christmas compilation.” He explains. He then mumbles something inappropriate about bestiality with reindeers as he gets up to put his plate in the kitchen. As abrupt endings to interviews go, Aimmar’s won gold.
Reflective Review:
This interview was quite successful as it was relaxed and I managed to portray the atmosphere and characteristics of Aimmar. His characteristics suited the genre of music he talked about, allowing me to convey the appropriate atmosphere. For example, Aimmar talks about noise music, which often is related to drug scenes. During the interview Aimmar got a drug-related phone call, which went well with the interview. However I did manipulate some of Aimmar’s sentences to make it sound more extreme.
Interview: Art Is Hard Records// Label Profile
Art Is Hard is an independent record label ran by two young lads, David West and Richard Walsh, based in three locations (this is just one of the many mysterious talents they possess), yet are primarily based in the Southwest. They have the potential to extend the southwest music scene with their remarkable music taste and co-op and office based wages to release stuff for bands residing from the Southwest. Their first release was a 9 track compilation in September 2010 and have since released a split 7” featuring New Years Evil and The Black Tambourines and are soon to release a 3 part cassette by My Name Is Ian.
‘Me and rich had been putting on gigs in Weymouth for quite a while and although it sounds like a cliché, starting a label felt like the natural progression.’ David explains. ‘In terms of coming up with the idea and starting a label it all moved along fairly slowly and unseriously right up until the day we bought the t-shirts for the first release and there was suddenly no going back and a bit like ‘shit we actually have to do this!’’
An independent label based in the southwest undoubtedly struggles with profits due to the adverse music scene. ‘Its cynical views like this that make the southwest the musical void it really is.’ The guy has a point. There are numerous bands that have become recognised despite hailing from the southwest. Muse, Metronomy and Joss Stone are perhaps the most distinguished Devonshire acts. He continues, ‘But in all seriousness it is hard when there are only a couple of medium sized cities and they’re all very spread out. Unfortunately it isn’t a case of build it and they will come. So yes you’re right, a couple of extra sales would be nice for the bands and the future of the label.’
Tall Ships are a band from Falmouth who have used layers of math-rock riffs to soar their way to success regardless of forming in Cornwall. ‘I would’ve quite liked to put out Tall Ships debut EP’ David elucidates, ‘it feels like we’ve known them for ages and we always knew people would really like them once they started getting out of the southwest/Falmouth.’ David realises that having signed a band with such potential would have gained Art Is Hard attention, ‘I think what I’m really trying to get at is that if we were around at the time, I’d like to think they would’ve said yes we’d love to release our EP with you. Putting the southwest on the map musically is something we’ve always attempted to do; whether it be split 7” singles or putting on music festivals.’
David rejoined when asked whether he is content with developing the southwest music scene knowing there’s potential profit if they were to relocate. ‘For our fourth release we are putting out our first band from outside the region, and it’s purely about being fans and sharing aesthetics. Profit doesn’t even come into it till later on when we calculate how many weeks of the month we’ll have to live off cuppa soups.’ It’s rare to see a label who avoids having a manipulative input.
I asked if Art Is Hard have any control over what the bands do musically, in which David replied ‘Pretty much none at all, the most input we’ve had so far is helping the band decide on tracklistings. I’m not sure its something I’d feel comfortable doing by any means.’ This is reassuring. Labels often seem to prioritize their money and success over the music.
Consequently, Art Is Hard state their views on ‘selling out’ as far as record labels and bands go, an issue that has been exhausted by Journalists, and explain whether there’s a specific level of success that they want to achieve. ‘There’s quite a lot of stigma in alternative music attached to high aspirations and ‘selling out’. Ultimately we want to be thought of in years to come as one of the greats. Be able to place ourselves aside labels like Factory, K records, Sub Pop and Dischord, who have not only championed movements but also created them. In terms of selling out, there are a lot of unnecessary negative feelings attached. People seem to forget how hard it is for bands in terms of getting what they’re due. If there was an opportunity to receive increased recognition and get a bit of money on the side then I would certainly encourage that. I think the key is not compromising any of their values or their brand image.’
Various magazines and blogs have wasted hours debating the issue of ‘selling out’ and David has concluded the issue in one. It’s statements like this that convey Art Is Hard are worthy of being on that aforementioned list of big labels. Abandoning the tedious subject, I ask David about his music taste. ‘I’m never quite sure to believe people who say they grew up listening to Television and Minor Threat or something like that.’ He begins to illustrate how his love for music was initiated. ‘Up until when I first heard Arctic Monkeys about 6 years ago, I’d always been more of a passive receiver of music. After hearing them, roughly the same time broadband internet came around, I really started to investigate and start writing and promoting music myself. That’s not to say I’d be buying mp3s from iTunes and happily attending cheese nights if I hadn’t heard Arctic Monkeys, they were just a timely placebo.’ David’s honesty is admirable. There’s no extensive list conveying a number of influential bands that most music fans feel obliged to love. The lack of pretentiousness is yet another reassuring aspect of Art Is Hard, enhancing their capability of getting ‘what they’re due’.
Finally, I ask the clichéd question ‘What would you advise people who want to start a label?’ in which David replies ‘I’m going to give the standard response I’m afraid, just go for it! Try not to take too much notice of anything that’s come before you, don’t follow press release templates, don’t pay PR companies and most of all just have fun. As a side note, be prepared to have your opinion change 10 times a week, if I answered this interview again next week you’d probably get completely different answers!’
You can read the interview here (however the html is not quite right as the site changed its theme since the interview was published): http://thefourohfive.com/news/article/art-is-hard-records-label-profile
Reflective Review:
For a journalist, I focus on the issue of ‘selling out’ far too much as it is an issue that is overly used. As the interview was via email I could not portray David’s mannerisms which I think would have made the interview flow as the point and explanation structure I used becomes tedious. However I find it a better read than an interview that is merely questions and answers.
EP: Gorgeous Bully// The Young Obese
Art Is Hard Records
Art Is Hard records have been endlessly hurling out hazy EP’s and singles, creating an epidemic of 4-track owning, marijuana smoking youths in the South of England. They’ve made southern music obsessives eager for every new release, generating a mob of drooling teenagers whose ears prick up at the slightest sound of distortion.
Amongst the mist of smoke and nebulous resonance comes Plymouth’s Gorgeous Bully. Abandoning their hometown’s barely-existent music scene, the band has previously delivered 3 self-released EP’s. Gradually gaining reputation in the pandemonium of buzz with every release, they’ve finally conformed to the demeanour of Art Is Hard Records, consequentially releasing their fourth EP The Young Obese with the label.
The opening track ‘Never Cry’ introduces you to Thomas Crang’s charming vocals, inhabiting a (literally) unforgettable romantic melody that’s rom-com soundtrack worthy. Though don’t get swept away by Thom’s allure as it will soon be disrupted by ‘Who Do You Think You Are’s abrasive manner and ‘Adjusting to Change’s underlying rock ‘n’ roll tones, ultimately assisting the comparison with fellow Southwest Art Is Hard chums The Black Tambourines.
The EP’s physical release is presented as a cassette packaged in an innovative case made from a handprinted cigarette packet. The cassette also features a limited and exclusive ‘b-side’ of unreleased Gorgeous Bully Tracks, perfectly designed to keep Art Is Hard fans satisfied.’
You can read the review here: http://thefourohfive.com/review/article/gorgeous-bully-the-young-obese-ep
Reflective Review:
I wrote this for a website so Gorgeous Bully’s genre suits the websites tastes. The brackets used in the sentence ‘inhabiting a (literally) unforgettable romantic melody’ suggests lazy journalism. The use of the adjective ‘hurling’ is a good use of imagery as it conveys the idea that Art Is Hard are constantly putting out records, which they do. The younger readers of the website are also more than likely part of the ‘mob of drooling teenagers whose ears prick up at the slightest sound of distortion’ judging by the websites genres, so it relates well to the readers.
EP: The Black Tambourines// Chica
Art Is Hard Records
Soon to obliterate the UK with their infectious resonance (if rock n roll were the plague), The Black Tambourines third EP Chica, will undoubtedly assist the bands status, catalysing their popularity just in time to potentially sell out venues.
With track titles such as ‘White Album’, the swingin’ black and white cover art and the evident tumultuous fusion of psychedelic surf, their 60s influence is far from secrete. Jovial vocal melodies and riffs surface a consistent buzz, obtaining the band’s previous lo-fi stature (and gracing this E.P with their renowned ‘oooh’s), yet The Black Tambourines have cautiously composed well-structured tracks to satisfy their recently established fanbase.
‘27-25 Blues’ embraces further conventions than mere 60s rock n roll. Thieving Detroit- ridden raw tones and delivering a brawny guitar solo, The Black Tambourines have created a sound far greater than what Cornwall, or anywhere in the Southwest, can digest.
Chica EP is available on cassette and digital download in courtesy of Art Is Hard records. It’s about time for an album, don’t you think?
You can read the review here: http://thefourohfive.com/review/article/the-black-tambourines-chica-ep
Reflective Review:
Although I dislike using brackets, the brackets used in the first sentence are to merely insert slight wit rather than just lazy journalism. However, the final sentence is weak and clichéd as many journalists have used the question to end a review. ‘have created a sound far greater than what Cornwall, or anywhere in the Southwest, can digest’ suggests the band have potential to get out of Cornwall and be heard elsewhere, with an unorthodox use of the verb ‘digest’.
Live: Flamingods// Sticky Mikes Frog Bar
March 17th 2012
The petite, reserved audience stand in ore in the dim lit, underground capacity of Sticky Mikes Frog Bar; the pinnacle of Brighton’s quirk. The room shakes with reverberated drones, as Female Band’s mysterious singer stands hunched over the microphone, her guitar slung awkwardly over her shoulder. She talks into the microphone, generating an inaudible hum that imitates the likes of PJ Harvey and Sonic Youth.
You would expect a line-up of such opposed bands to conjure up a sizeable, diverse crowd, however all three bands are all blossoming from a similar scene, gathering a small crowd of fashionable students and bearded label managers.
Second band Sealings adapt Female Band’s microphone protecting stance, also rarely producing audible vocals. The song’s seep into each other, causing an extensive buzz except for the occasional distinguishable riff that throws the audience burst into a head banging frenzy. However this static drone punk is mind-numbing in comparison to Flamingods’ frenzied set.
Forming at ATP after having played 7 hour set of frantic drumming, Flamingods corrupt the stage, fashioning sequin-enlaced crowns and kippas, the band relentlessly leap from instrument to instrument, crafting a frenzied performance of maraca shaking, bongo punching chaos.
They continue their renowned audience interaction by throwing out various percussion instruments into the crowd, replacing the once motionless audience with a foot-stomping, limb-flailing troop. The crescendo is fierce and somehow stops all at once, leaving the audience startled as they just witnessed the most miscellaneous gig of their lives.
Reflective Review:
In this review I focus on describing how the bands act; mentioning their stature and sound. This relates to Franco Fabbri’s genre rules. Since all the bands differed musically I managed to include a variety of antics that related to specific genres. For example, Female Band stood awkwardly, in one place the entire set whereas Flamingods were running from different instruments, portraying the diverse genres.
Live: Tellison// Soul Cellar
March 9th 2012
All week Southampton has been occupied with youth-filled venues, tipsy students flooding through the parks, making their way to the next Smile event. Smile week is a yearly occurrence for music and media students in Southampton Solent University. It generates a mass of stressed students being ushered left, right and centre by their even more stressed tutors. Amps, leads and guitars can be seen being heaved through Southampton parks systematically throughout the week, venturing to the next unpredictable event.
As student-organised events go, this has been an incredibly successful week. Engendering sets from illustrious acts such as Johnny Foreigner together with student and local bands.
The Soul Cellar is crammed on the Friday evening, making it impossible to find a place to stand in the sweat-filled capacity for the latecomers. Besides missing out on an adequate crowd position, they also miss out on the mandolin screeching chaos that is caused from support act Stagecoach. Their singer is brash, hirsute and spits copious amounts, forming a repulsed crowd. Nevertheless, the band have recently conjured up substantial success by supporting bands such as Twin Atlantic and Jimmy Eat World. Consequently, discovering they are on stage before the mandolin infused chaos that oozes out of local band Drawings, I am dumbfounded, believing the promoters must have made a mistake.
However, it is evident Drawings have various hits, as the crowd transform from a dreary mass of bobbing heads to an uproar or lyric-shouting, arm-waving creatures. Initial track ‘Bones’ embraces an opening riff that all math-rock bands wish they had created, creating an ascent of energy from the audience as the dense riffs commence. Fortunately the whiney, 15 year old-esque vocals were masked by the audiences drunken wails and screams, allowing this set to be a highlight of Smile week so far.
Tellison, however, take to the stage like an astronaut to his rocket. It is obvious they are familiar with on stage territory, having started in 2005, touring with Get Cape. Wear Cape. Fly, the band gained hype early on. Three thirds of the band stand wide-legged, guitars slung loosely around their midriff and their arms working in unison as they strum whilst the drummer stares unfailingly at one spot to the right of the stage. Surprisingly, the crowd have recoiled back to their previous state of being a dreary mass of bobbing heads, yet that is soon changed by various individuals as they scream out the choruses lyrics to the lead vocalist, Stephen Davidson.
The gig has been an unexpectedly successful event, concluding the week with a significant amount of math-rock riffs and wails both from the singers and the audience. If next year’s Smile week is anything similar to this, then I suggest you witness it.
Reflective Review:
I had to do a lot of research on the band as I did not know much about them. I incorporated similies as a form of description, however I found that ‘Tellison, however, take to the stage like an astronaut to his rocket’ sounded quite tacky and clichéd.
Album: Alabama Shakes// Boys & Girls
ATO Records
Residing from Alabama, Albama Shakes’ name is far from deceiving. Lead singer, Brittany Howard, undoubtedly likes to shake too, that’s if her dancing is anything alike her vivacious vocals.
Their debut album ‘Boys & Girls’ is a tumultuous riot of blues, embracing 60s soul entwined with fierce rock n roll that would have The Black Keys quivering in their cowboy boots.
Opening track ‘Hold On’ initiates the catalogue of comparisons that the album harvests; predominately blues artists such as neighbouring Detroit duo The White Stripes. Subsequently, Jack White had the band record a two-song 7” in his studio in late January 2011.
I Found You is a huge contrast to the opener, abandoning the rock and roll of The Black Keys and escalating into a 60’s Ronettes-esque swing session.
Despite Brittany’s expression remaining similar throughout, the comparisons proceed to unveil, as a croaky Macy Gray tang can be heard in Rise To The Sun. However, the crescendo of stuttering guitars and sonorous drums in which the chorus soon escalates into makes you neglect the fact Brittany once sounded like a short-lived early 2000s hype.
There is an epidemic of recent bands endeavouring the 60s impression, creating surf anthems that are ridden with Beach Boys ‘Oohs’ and Beatles harmonies. However, all of these bands seem to have disregarded the soul of the 60s. The passion that The Supremes and Etta James portrayed so skilfully and effortlessly through their vocals and lyrics, which is a gift Brittany Howard possesses. Even her lyrics demonstrate 60s cliché’s with wails of ‘don’t worry baby’ in ‘Be Mine’, suggesting a vast amount of maturity for a debut album.
The band, who have been selling out numerous dates in the UK are set to release ‘Boys & Girls’ on Rough Trade on April 9th.
Reflective Review:
The references made to the 1960s and major blues bands sum up Alabama Shakes sound well, however the review is too structured. The paragraphs have been clearly written seperately as they do not flow. The surf references suggest the band are in a similar scene as other surf bands I have reviewed.
Album: Beach Fossils// Beach Fossils
Captured Tracks
Amongst the mist of marijuana smoke oozing from every 4-track-owning teen’s bedroom drifts hazy tones of psychedelic mess. Driven by indolent Californians churning out weekly EPs of lo-fi-enthused fuzz, this epidemic of slacker-pop appears to generate nothing more than a mass of sluggish adolescents.
Despite having emerged from the depths of bedroom-recorded resonance, Brooklyn’s Beach Fossils cunningly avoid the mass of sluggish adolescents. Fusing twee melodies and psychedelic buzz to produce intelligently looped riffs as opposed to careless chord sequences, lead singer Dustin Payseur’s musical upbringing is evident. Acquainted with a 4-track before even hitting puberty, Payseur was soon accustomed with creating music, choosing composition over homework.
There’s no avoiding the fact that this is a pop album. The songs are sharp, minimal and charming, with jubilant melodies that’ll have you whistling their memorable echoes for days on end. Opening track ‘Sometimes’ insists you dance, making you incapable to sit still. Either that or you’ll want to recline onto a beach towel, allowing Payseur’s blurry harmonies escort your mind into a trance of kaleidoscopic chaos.
The only ploy diverting them from conforming to the mainstream is their large use of reverb. Payseur’s lyrics are vague as his vocals foster a discordant hum through conflicting harmonies. The riffs are saturated with soft distortion, escaping any potential indie-pop comparisons.
‘Lazy Day’ is a leisurely repetition of reverberated jangles, abruptly interrupted by ‘Twelve Roses’ which escalates the album into brash beats and fierce riffs, resulting in one of the most diverse albums of this year.
Reflective Review:
Beach Fossils are a band who emerged from a particular hyped scene, so the references made relate. The genre is not a main genre, therefore music fans who would be reading about the band would be familiar with similar bands, allowing me to refer to lesser-known bands and scenes. The final sentence suggests it is one of the most diverse albums of the year, however this is only relating to the specific genre or scene, as readers should be able to assume.
Live: Still Corners// Occii, Amsterdam
28th March 2012
“You guys are fucking awesome!” bellows Still Corners’ bassist Luke Jarvis, as singer Tessa Murray cringes behind him, playing with her hair seductively. Her awkward audience interaction is masked by her confident bassist, allowing her to pose and pout whilst holding the gaze of every man’s eyes in the room.
An hour before, the stage was swamped with guitar leads and pedals. Dutch support band The Secret Love Parade stand amongst the mess. Hitting the synths that divide them, the two girls stare into each other’s eyes excessively. Their drum machine beats and rich harmonies rebound around the Occii, placing the crowd into a silent trance.
Kaleidoscopic images are projected onto Still Corners’ backdrop, blinding the drummer whilst continuing the crowd’s trance. The band’s static movement and pulsating bass delivers elements of The Horrors, whereas Tessa’s eminent ‘ooh’s’ are almost indistinguishable to Tennis’ charming vocals. Each song fades into another, Submarine being a distinct exception, as the crowd emerges from their motionless trance and move to the occasional twee riff, weaving through the beer bottles that flood the floor of the former horse stable venue. They finish with an encore of acoustic songs, creating an even more inert crowd, yet they convey emotion that the rest of the set lacked, leaving the audience feeling sentimental and lethargic, as though having just watched a romantic comedy.
You can read the review on: http://www.middleboopmag.com/music/live/still-corners-occii-amsterdam
Reflective Review:
This review is incredibly descriptive and could do with more focus on the music rather than the musicians. Switching between the bands did not work either, the review should be chronological, rather than initiating the review with the main band, then later going back to them. The final sentence is weak as I tried to relate the gig to a specific feeling, however it sounds clichéd.
Album: Cloud Nothings// Attack On Memory
Carpark Records
A piano lead intro is not how you would expect Cloud Nothings new album to commence with. It deceives the listener as they wonder what on earth Cloud Nothings are doing. Have they occupied their third album with orchestral symphonies? Are they deserting their guitars and replacing them with violins? Is lead singer Dylan Baldi going to break out into an expressive, operatic performance? No. He’s most certainly not.
Embracing a Thom Yorke drone, it is evident Baldi has dramatically developed since his previous albums. Abandoning his infamous bedroom recorded fuzz, Baldi upgrades to a studio, allowing far better production, potential hits and, unfortunately, a few moments of cringe-worthy tackiness.
The new single, ‘Stay Useless’ is a corny attempt at incorporating sentiment into the album. The verses’ vocal melody makes the listener recoil with discomfort as Baldi whines. Luckily the substantial chorus and the bridge’s addictive riff avoid the song from being the album’s worst flaw.
However, on hearing ‘Fall In’s frumpy chorus, the album’s weakest point is eminent. Commencing with the chorus, (which is rare nowadays for a reason) the song revives its dignity in the hasty verses yet falls straight back into the unpleasant combustion of irritating vocal melodies, unwanted drum fills and grating twee riffs.
American college band comparisons are unavoidable, as Weezer’s ironic, clichéd tones emerge in various Cloud Nothings riffs, however Dylan Baldi’s lacking the irony.
Nevertheless, the album soon recovers with No Sentiment’s heavy undertones accompanied by Dylan’s fierce croaks undeniably generating the albums highlight. A brash chord sequence constructs the chorus, driven by its appealing vocal melody, which later withers out into a relaxed outro that Nirvana wish they had created.
‘Wasted Days’’ four minute instrumental of entwined melodies layered onto a repetitive resonant steers ‘Attack On Memory’ away from becoming a pop album. It’s as though Queens of the Stone Age have created this interlude, with Battles contributing their delicate synths and Led Zepplin undoubtedly influencing the obscurity of prolonged instrumentals. This, in addition to the song’s initial memorable pop punk riff, potentially makes ‘Wasted Days’ one of the best songs of this year.
With each album’s production becoming greater and Dylan Baldi becoming more emotionally involved than the last, I wouldn’t be surprised if Cloud Nothings’ fourth album was a collection of orchestral symphonies. That’s sure to be rid of the American college band comparisons.
Reflective Review:
The primary points made in this review are the popular music references used. For example, ‘embracing a Thom Yorke drone’ relates to the approriate genre as Thom Yorke from Radiohead is seen as an important musician in Cloud Nothings’ particular scene of music. Furthermore, the magazines of which would focus on Cloud Nothings would also include bands such as Radiohead. Additionally, Queens of the Stone Age and Led Zepplin are incredibly famous, allowing readers to get an understanding of how Cloud Nothings sound, yet I included a reference to Battles, who are still well known, yet are in a smaller scene, so that readers with a broader understanding of smaller bands can relate too.
Refering to bands such as these shows elitism in music knowledge, therefore can create a better review. For example, Pedro Nunes states in Popular Music and the Public Sphere: The Case of Portuguese Journalism ‘Those who write better and are more interesting have the tendence to be more elitist in their tastes.’
Nunes.P (2004) https://dspace.stir.ac.uk/bitstream/1893/24/1/Nunes_Thesis_Complete.pdf
