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Exceptional value with a full complement of features and an upgrade worthy frame
Specialized’s Allez Comp Compact M2 Apex epitomises what a good value priced bike should be: an excellent frame worthy of multiple upgrades even years into ownership; a no frills parts package that might be heavy but gets the job done; spot on handling; aesthetics that help it look more expensive than it is.
Most importantly however, it should possess a feature set that’s complete enough so you’re not constantly irritated by what you could have had if you had spent more money. And by “good value” we perhaps should say downright cheap as the retail cost is a fantastically attainable US$1,450.
Ride and handling: just like a Tarmac but in alloy form
MNEK – IN YOUR CLOUDS
LISTEN: http://po.st/IYCsc – WATCH: http://po.st/IYC
Nominated for Best Newcomer at the MOBOs
The Party, MNEK III at the XOYO 6th November
Grammy-nominated singer/songwriter MNEK is back with another vibey track, In Your Clouds…a little something for all his fans before the announcement of the next single. In Your Clouds is a track about escapism and finding comfort in your other half. An uplifting song about the discovery of feelings and how to improve life. In Your Clouds is accompanied with a colourful, rich in aesthetics video, directed by Oliver Hammerton.
MNEK has been unstoppable since summer. He played at loads of festivals, Glastonbury, Bestival, House Festival, Lovebox and Somerset House. Last week MNEK was at the BBC Maidavale Studio, where he performed a stunning session for MistaJam and then a DJ set at the launch of Hunger Party. This week you can catch him live on Saturday at the iTunes festival supporting Kylie Minogue. His jam packed scheduled lined up doesn’t stop there though. MNEK has just been nominated for Best Newcomer at the MOBO awards, which are taking place 22nd October. Lastly, don’t miss ‘The Party, MNEK part 3′ which is happening at XOYO 6th November.Tickets are now on sale: http://po.st/MNEKXOYO
For more updates stay tuned to MNEK’s soundcloud/ instagram / fb / twitter / YT /
Out back, the tall chain stays use every cheap golf clubsavailable bit of height on the bottom bracket shell and they’re joined to comparatively thin and mostly straight twin seat stays with hogged out alloy dropouts.
Though the frame is 100 percent aluminum, carbon fibre does make a guest appearance in the fork blades where it’s most effective at drowning out road buzz.discount golf clubs The rest of the tapered fork including the crown, steerer and tips are alloy.
Frame weight is good at 1,360g (3.00lb) for our bare 52cm test sample but the alloy chunks have a bigger impact on the fork. The deep carbon blades http://www.isoworld.co.uk/ and generously proportioned crown make for very precise front wheel placement but it’s rather weighty at 590g. By comparison, Cannondale’s all new CAAD10 undercuts the Allez frameset by several hundred grams.
Even so, the Allez frameset’s long list Titleist AP1 714 Ironsof positive attributes makes it more than worthy of future upgrades as your skills develop and your budget allows.
LOJINX (UK) SONY (DK) – October 27th 2014
“Getting in way over my head is the best thing I know. And the worst.“
Melody fanatic Hannah Schneider isn’t just the result of a colourful family history. She’s also driven by almost frightening courage – from the time she broke with her internationally renowned family’s classical traditions, until she decided to take the stage as a woman alone with a pile of instruments. But she’s also endowed with the delicate soul of an artist. Now, on her third album, she brings all the contrasting threads together for the first time – and that has set her and her music free.
Over and over, people ask Hannah Schneider where she’s from. The short answer is “Denmark”. The longer one is that her grandfather was famed violinist Alexander Schneider, a member of the celebrated Budapest String Quartet. He had Russian-Jewish roots, and the family’s name had been Znaider before they adopted the German spelling to make it easier for them to cross borders.
Alexander found himself in the United States in the 1930s and had a son there, but he was known to have a “woman in every port”, including one who bore him a daughter in Copenhagen. When Alexander’s American son visited his half-sister, he fell in love with her bohemian lifestyle and decided to remain in Denmark. He met a Danish violinist, and the couple had a daughter – Hannah Schneider. As you might expect, Hannah inherited a bit of everything from her family – the street performer’s free thinking, the artist’s sensitivity, a Russian temperament and a good dose of American ingenuity.
“It’s been a huge conflict, and I’ve always been extremely sensitive. I let everything in the room affect me, but I’m not, like, this nice little quiet girl. I’m incredibly temperamental and I’ll go home and smash things. And when it comes to music, I’m always making all these drastic decisions,” she says.
The contrasts inevitably find their way into Hannah’s songs and the way she approaches her career. It all began with a break – a break with her family’s proud classical music traditions. She describes herself as born in the orchestra pit at the Royal Danish Theatre, where her mother was a violinist. Her earliest musical memories are the sound of the violin, but she was seized by the rhythm when she first heard “Lambada” years later. She also toyed around with a keyboard in her room, and discovered it was more fun to write her own songs than to interpret others’. Gradually, she began to give shape to her own type of gauzy electronic pop music.
Hannah’s ability to take her own path musically was first showcased in a project called “Window Sessions”, where she and special guest artists performed songs in her apartment, recorded them, and released the recordings. More recently, a tour where she appeared completely alone on stage earned her a lot of respect for the courage she showed in getting up and singing and playing all the instruments herself. What people didn’t know was that she was lying awake at night, terrified of having to put her latest musical path into practice. But these are contrasts she has to live with, and that actually drive her onward.
“Getting in way over my head is the best thing I know. And the worst,” she says.
On her new album “Red Lines”, Hannah is fully aware for the first time that she’s always balancing between extremes. This realization has given her songs a new sense of clarity and optimism. She’s also investigating – to highlight the contrasts again – more masculine sounds. Her two co-producers, Andreas “The Machine” Summer and Lasse Baunkilde, have pushed her to go places she’d never been, particularly with beats and bass. But the main thrust of her writing is still the same:
“I’m a total melody fanatic. I have favourite songs in every genre, from Robyn’s “Do You Really Love Me” to Joni Mitchells “A Case of You”. A good melody does the right thing at the right time. You have to be able to cover a whole landscape in three or four minutes. Every time a verse finishes, there’s got to be a little lift,” she explains.
Hannah’s own melodies were composed during stays in different cities and in a little rundown shed in the middle of nowhere. A song like “Everything” embraces quite a bit of the theme that pervades the album. It’s a song about “spring cleaning” gloomy moods away, so you can see that good things lie ahead. “Dreaming Kind” was conceived as a battle cry for sensitive dreamers. And the summery single “Life Is Easy” is about the moment you start to trust in your own life.
“This record is about the glimpse you get of yourself when you can observe yourself from the outside. You know, I’m done with navel-gazing. All I want to do now is just open up,” Hannah explains.
Not that she’s reached the end of the line. Or that she’s now on completely firm ground. She’s got too much classical music in her blood for that. In classical music, you never stop improving and growing.
“If there’s anything that annoys me, it’s this idea that pop musicians – especially women – have a certain limited time to shine. After that, you sit around writing about the kids. I plan to keep on finding my way and getting better and better at writing songs. Being a musician is a life-long project. It’s with you from the minute you’re born to the day you die,” she concludes.
Red Lines will be released on CD, digital & vinyl on the 27th of October on Lojinx in the UK.
SINGLE RELEASED OCT 27TH
PREMIERED ON SCIENTISTS OF SOUND
LIVE: MUSIC CUBE, WESTFIELD – OCT 24TH
THE ISLINGTON, LONDON – OCT 29TH
London trio Honours release their new single ‘Bulletproof’ on October 27th through Killing Moon Records. The song received its official premiere on Scientists Of Sound who described ‘Bulletproof’ as, “An impossible level of perfection [with] adrenaline induced euphoria, blossoming into an infectious array of what all indie-electronic music should epitomise”.
A gargantuan pop anthem from the band – Stephen Hughes, Ed Carlile and Andrew McConkey – ‘Bulletproof’ is a contemporary marriage of intelligent pop, captivating indie aesthetics and unashamed 80s-inspired stadium power.
Hughes’ vocals ring like a topflight Matt Bellamy, while glorious synths rise through emotive reverberations reminiscent of the gigantic moments of The Killers and U2. Their clever alternative mind-set sees Honours tackle deep themes of love and perfectionism through intricately developed dark breaks akin of Hurts at their most emotional, but with the added edge of Depeche Mode at their most dancefloor-friendly.
Bridging a gap between big room pop and intricate indie, Honours happily sit among the hallowed ground of British musical icons, unafraid of making huge pop statements and shooting straight for the jugular.
From their 2013 debut release ‘Ready To Run’ and the critically acclaimed follow up single ‘August’ – also on Killing Moon – Honours introduced themselves as imaginative songwriters with a penchant for a powerful chorus. ‘Bulletproof’ now showcases a heightened sense of maturity and direction that augurs amazing things to come from their debut album.
It’s something that will be demonstrated in the band’s upcoming Music Cube performance at Westfield on October 24th, where Honours share a line up with London Grammar, Emeli Sande and Sam Smith – to name just a few. Following this the band are set to deliver a headline show at The Islington on October 29th.
‘Bulletproof’ acts as a taster for a band that are set to become the next great British staple for 2015.