HANNAH DORMAN - Fake Heartache

We spoke to Hannah Dorman who has released a great slice of pop-esqe goodness in her new single 'Fake Heartache'.

It’s a definite pop banger with more than a nod to the 80's. She's currently killing it with her follower numbers on Tik Tok, Spotify and YouTube. We asked Hannah some pressing (!) questions below:

Tell us please, how long have you been making music?

I wrote my first song when I was eight! I used to write songs all the time at school but started really writing and performing when I was fifteen.

I played all the local open mic nights, entered various talent competitions and that’s when it all began! I then went to study music from the ages of sixteen to twenty at The Academy of Contemporary Music and went full time music in 2019.

What’s been some of your highlights so far on your musical journey?

I played an event called Scoutabout back in 2017 which was in front of thousands of Scouts and Guides. I performed on the Friday and Saturday night with my band who backed me, it was the best experience and I still have people supporting me today who were there in the crowd. It was meant to be on again in 2020 but with covid it’s been moved to 2022 and I can’t wait to be back! And of course this year building my TikTok following, I started the year with 1,000 followers and I’m now just over 285K, I’ve got new management who take care of my brand deals as I also do makeup and lifestyle videos on YouTube / TikTok. So this year has been really special for me

Your single is called 'Fake Heartache'. What is the fake thing you hate most?

I think fake people, I really pride myself on being genuine and what you see is what you get, so when people aren’t their true selves it doesn’t sit well with me.

Tell us more about the single. Is there a meaning behind the song or a story attached to it?.

I wrote this song about that feeling you get when you stop talking to someone or stop dating someone when it wasn’t that serious. You might feel a bit sad or lost but it’s not really heartache, it’s a fake heartache! I wanted this to focus on self love and finding your worth when you’re single. The lyrics in the verse say “but oh what can I say, I’ve taken your place” saying I’m now putting my time and energy into me, not into you. I wanted to put a fun twist on all the different feelings you go through when dating as it’s such an emotional time with so many ups and downs, but is so healing at the same time.

What albums do you never get tired of listening to?

McFly - radio:ACTIVE is one of my all time favourites, I don’t skip any songs and I think that’s the tell tell sign it’s a good’un!

What can we expect from you in 2022?

Next year I’m focusing on music! I really put my time and energy into building my TikTok following this year which has been so fun but now I’m ready to write and release loads of music. I’ve been co-writing with my good friend Ivon Roberts (who’s an incredible artist and songwriter, you should definitely check him out), we went to a songwriting camp together in the summer and we’re off to another in the spring so expect bops in 2022!

Interview by Kelly Munro

Fake Heartache is out now.

#GoldStrike is everybody’s strike

Goldsmiths must remain an excellent educational mecca.

The uni's Warden and Senior Management Team (SMT) have planned mass staff redundancies over two years. In 2021 alone; twenty academics in History and in English & Creative Writing, thirty two Professional Services staff - all sacrificed to commercial exploitation.

#ZineAndHeard Gold Strike Day 15

After threats and refusal to negotiate, Goldsmiths University and College Union (GUCU) took action to prevent the fire-and-rehire travesty which risks chaos and student harm. “Fifteen days of free education for students learning what disputes are about”, remarked Jeremy Corbyn during his speech on the picket line.

"Management"? Puh! As a documentary (largely working class women), TheZineUK also says #NoJobCuts - Watch two minutes of direction information from Nevenka Martin of the History Department. https://www.facebook.com/watch/?v=229307505816967

#GoldStrike is a human rights landmark. To donate to the GUCU fund for low paid members: https://goldsmithsucu.org/donations/strikefund


There is a surplus of finance in the world to fund education, environment, easily affordable housing, health, sustenance, employment and the arts - but millionaire and billionaire villains (villianaires) steal from the hard working and the poor. Tax dodging is fraud but these are lawless times with only our moral compass to guide us. If we have one.

TheZineUK documents a fraction of the 21st century’s newer wave music movements. Being alive is political. This is all connected. “Education is a way out of discrimination” (Jeremy Corbyn at #Goldstrike)

I started Monday 13th December in raging sadness.

Those poor Amazon labourers forced to work in the tornado while panto-baddie, Jeff Bezos, bragged banality from his vulgar shallow throne of finance-fame celebrity. @BeezyManzell tweeted “The extent that human labor is treated as a fleshy machine is an idea that must be stamped out."

I spoke to one of my best friends (a musician working sixteen hours a day on a beck-and-call, zero hours framed "contract" to fund their immense talent) finding themselves on a sudden day off from earning rent. We, the people, create the wealth the bosses take most of, but our lives are viewed as disposable.

Blessed to be low income but self employed, I go for a walk and fresh air. Past the vaccination booster queues snaking around the Waldron Health Centre, past New Cross Station (where I last saw musician and gold heart, Joe Wilkes - he would have been here today, the Palestine flag at the picket line put him in mind), then ArtBeat HQ the Amersham Arms towards a growing communty of solidarity: Socially distanced (and mostly masked when not publicly speaking or singing).

The sky was grey but my heart was, no longer. Outside the grand Goldsmiths building it's obvious decent don't view any human life as inferior. Banks and other crime rings are out of touch, but rule nearly everything. "Developers" are destroyers. Their choice of "management" often don't understand what they are parachuted in to run and profit from.

Of outstanding global and unique repute, Goldsmiths stars a culture of twinkling alumni.

Only mismanagement could come up with such damaging cuts (as well as specifically targeting the uniqulture that is entrenched in this heritage. I hope the SMT reconsider swiftly. With so many fine minds to hand, why not find a better narrative?

People power -v- Establishment's Empire.

From a (26% of the voting population) "win" in 2010, we are years into selfservatives misrule (a fascist coup heist rebranded as "austerity").

On 13th December 2019 I was so down from the suspicious General Election result that I just lay down, depressed and drained. The above mentioned and zero-houred friend texted to assure that it was going to be alright. My eternal gratitude for that kindness.

Fast forward two years and things are simultaneously alt right and alright. In the midst of death eaters we are all in loving life. Despite their effort and our eco anxiety. hope is not destroyed.

2020 vision +

More a grave than brave new world, time to shape new futures. For "low skilled", SEE the truth - "essential but low paid". Over the last two years especially, propaganda has fuelled hate for teachers, medical staff, firefighters, the poor, travellers, non aryan/hetrosexual, the aged, youth and even the national lifeboat institute! This insane white mirror to reality is damaging to our health.

Fire And Rehire is another disgusting spite that pervades like a virus.

Released 13th August 2021 in commemoration. Photography with kind permission of Syd Sheldon

Understand that #GoldStrike is as ground-breaking as “The Battle Of Lewisham’ (which drove away national front nazicowards in 1977).

In March 2016, TheZineUK blagged into a Jeremy Corbyn rally, having been re-invigorated by a genuine Labour Party leader. "Music For All. Theatre For All" still resonates with us.

I’m a a vintage Black Rock Chick and events department of TheZineUK’s punky DIY music socials. (Our next one is 27th January at Amp Studios. These kinda vibes).

As a huge fan of DecoloniseFest values increasingly flavouring positivity, I’m in awe of this institution's musical and tech accomplishments and connections, let alone it's other academic and political honours. Quite a few of our cast and crew are part of Goldsmiths or woven into today's tapestry. Our editor, Dizzy Spell's union is also on strike. Six degrees of separation but three degrees of celebration.

Theatre professional, Dizzy is also one half of new, 101% DIY band Weather Underground, whose austerity-pop singles 'Sister Palestine' (video) and ‘The S*n Shines Lies’ have flavoured 2021. We are a natural ally of #GoldStrike and join staff, students, locals, visitors - on land/on-line - in solidarity. The Musical.

"The People, United Won't Be Defeated"

From the single 'Battle Of Lewisham 1977’ by local musicians, Ceri James and Mark Sampson). A lyric and a fact. DIY video made locally with profits to Love Music Hate Racism - this event is a part of Jeremy Corbyn’s legend, also.

TheZineUK doc (born in the back bar of Amersham Arms) is a kismet and karma powered situationist performance theatre. Of course I felt better for attending this picket.

Much respect to decent politician, Jeremy Corbyn of the Peace And Justice project.

In ten minutes, this gentle man (a Generation Tremorist of Young Labour) sums up how essential #GoldStrike is and takes in all the above, articulately. Democratic socialism may be mocked out of fear by the privileged, but it is definitely and defiantly articulate: click for the full speech.

After his speech, Mr Corbyn politely and professionally took his time to hold conversations, take selfies with members of the public who approached him. Fair play, geez.

Lewisham is London Borough Of Culture 2022.

In our Republic of Rocklands (SELondon postcodes where Lovers Rock meets Rockers Love), Gold Strike and Little Amal In Fun City began it for Uniqulture’s dream of a caring free society with equality. Thank you for the uplift, GUCU and everybody involved. Congratulations. Purrfect.

Midlight – ‘Consume Me’

It seems like a long time since I first heard the demo of ‘Consume Me’ in the summer of 2020. It was the first song of four that Midlight had sent to me, with a view to reviewing their first single release and I could tell even in demo form ‘Consume Me’ was a great song. The official release of that song is now upon us and it is not too dissimilar to their original, as the arrangement has thankfully been left untouched.

And for me this is the song’s beauty.

It is massively unconventional as it is a song with three different sections with no obvious chorus or repetition. It also doesn’t resolve itself particularly either, but far from this being a criticism or a problem, this made me want to play the song immediately again – the hook really is the song, not a riff or a chorus, but the song itself. That takes courage in the music business, where generally the hook is the focus and the song takes a back seat.

After a minimalist, whispered intro, ‘Consume Me’ kicks in with a glorious groove from an understated but funky bass line and a drum track that highlights the off beat and has a delightful

Steve Gadd shuffle on the snare reminiscent of ’50 Ways to Leave Your Lover’. The bass and wistful vocal lines syncopate beautifully and the crossing grooves coming from the drums are totally hypnotic; Midlight are past masters of utilising complex rhythm patterns in this way, it’s almost like their signature sound.

The acoustic guitar drives the song through the sections and then swirls of electric guitar feedback and reverb trails take over in an all encompassing sonic experience. At just over two minutes into the song it feels like it is winding down, but then there is a stunning change of bassline which again has accents at odds with the drum kit. This leads to a mesmerising extended outro, and as already mentioned, an unresolved ending; the song kind of tails off as instruments drop out one by one.

There is a feeling that this is a somewhat deliberate attempt to subvert pop music conventions, but I actually think this is not at all cynical or clinical, because it feels like a band’s natural expression and I love they have the conviction to go with that without overthinking where their music belongs.

Midlight are in total control of their creative output and they somehow make writing, arranging and producing seem effortless, but it isn’t – they construct and perform their songs with an absolute attention to the smallest detail. They may not follow conventions, and choose to ditch a chorus in favour of a guitar sound or a bass groove, but their ultimate goal is always representing their feelings and emotions first and foremost – it is about capturing an attitude and a vibe, and I cannot fault such honest intentions.

I managed to discuss the band’s background and way of working with guitarist Isaac, as I was interested in how any up and coming artist is able to keep afloat post-Covid, without financial support from the business. It is also imperative, I believe, to remove the smoke and mirrors and online image that is used in promotion, so you see that at the heart of any good band is a group of focused and hardworking musicians, not puppets controlled by a large organisation:

Isaac: We don’t have financial backing and we fund the band from our day jobs and also from the money the band makes. Gigs are very important in this process, especially gigs that are self-promoted. Gigs that we book and take the ticket money for are essential to funding the writing, recording and releasing of our music. Streaming doesn’t contribute in any meaningful way to the financial support of the band. We also got a grant from a university to help us buy some microphones for our studio, which we wouldn’t have been able to afford otherwise. Grants can be a very important source of funding for musicians without financial backing.

Although I don’t want to be misleading, we have had lots of support from our families and people in our lives. We wouldn’t be doing what we are today without that. We were lucky to grow up in Brighton which has a very strong music scene and lots of culture, and at school (where we all met) we were encouraged to do music. We have always made the most of all the music facilities at our schools and universities. But as it stands, we do rely on the limited income from our live shows and our day jobs to fund the band.

You said that you self-produced and recorded ‘Consume Me’ at your studio, how was your studio set up and financed?

Isaac: The studio was a stroke of luck that we have made the best out of. A friend of Ollie’s was working in an art gallery and an old artist studio became available, and he knew we were looking for a space for our music. It is not designed for music (at all!) but we have spent two years now slowly turning it into a more acoustic friendly place. We have done that all DIY, using spare parts from the art exhibitions in the gallery and using cheap, makeshift materials. It is by no means perfect, but it has allowed us to carry on making and recording music ourselves on the cheap, which has been a gift over the last few years. We have picked up almost all of the gear second-hand and we recently bought a small, second-hand upright piano.

Do you have an audience in mind when you are writing and making your music?

Isaac: Our music is not marketed or aimed at any specific audience or demographic. Our songs just exist and are a document of our lives, and if people can relate or find connection in what we do that’s that - it doesn’t matter who they are, where they are or who we are.

How do you deal with distribution, promotion, getting airplay etc - is this through a manager or do the band do it all?

Isaac: The release process is something we are continually working on and trying to streamline, especially when we don’t have financial backing to put into a PR company. There are a lot of time consuming aspects that might not be as obvious as the music itself, for example, we make all our own artwork, do all of our own press releases, make our own social media assets, pitch our music to press, etc… the list goes on. A lot of these things are about trying to cultivate an image/brand which is very frustrating, because we just want what we do to be about the music we make. A lot of hard work and hours goes into that side of things, which is hard to justify when we just want to be making music. We would love to have more time to focus on our music and hopefully that will come. But, regardless of that, it is for all of us, something that we love and need to do.

Our biggest breakthrough with promoting our music came when we did a lockdown virtual gig for Oxfam and Shaun Keaveny (who was at BBC 6 Music at the time), was compering the show. He really liked our performance and since then has been a big champion of our music on the radio, which has helped get other people to take notice of us.

‘Consume Me’ is released on 10-12-21 and can be heard and purchased here:

New VOODOO RADIO single and album!

Woohoo, who do the voodoo two do?

Out now: ‘TURN OUT THE LIGHT’ the new single from VOODOO RADIO (Holy Dotage Records)

‘Turn Out The Light’ is energised air-pumping punkabilly roc,k for turning up loud to jump n shout along to.

A new cosmic-beat outfit of generation tremorists, Voodoo Radio are Paige (vocals - she bangs the drums) and Tony (rock n roll guitar riffs).

At the end of January 2022, these cumbrian power-punks will unleash ‘POP PILLS’ - a debut 10” mini-album of eight self-penned, infectious pop gems of relentless, raw power.

If you’re bored with the establishment’s idea of what a band should be, you’re gonna love the way that Voodoo Radio are driving their own story - it’s like punk actually happened.

As a Shampoo fan, I hear where they’re coming from. Tony is a seasoned performer who was inspired by hearing Slaves on the radio. Unafraid to glam rock a guitar solo, he suggested to his daughter, Paige: “get two shoe boxes, anything that’s like a drum stick – a table knife and a wooden spoon and see if you can sing and play rhythms whilst hitting a beat”. Fuck, yeah, that’s worked an absolute treat.

In 2018, the hard working duo started rocking the tunnels of Central London’s Leicester Square tube station.

Their presence stopped commuters and tourists in their tracks with mesmerising ‘summer of 76’ power-pop.

TARDIS time travel from tube tunnels, through Planet Earth’s white mirror looking glass of the last few years, to 2021.

Fresh, fierce and full on ready to bring it.

Pre-order the debut VOODOO RADIO album, ‘POP PILLS’

https://holydotage.co.uk/shop/voodoo-radio-pop-pills/

The October 2021 debut single, ‘SPACE GIRL’, was recently on America’s iconic Rodney On The Rock radio show, as well as being track of the week on the BBC! A hint of B52s x The Cramps but a 21st century guitar-licked sound of their own.

p.s. I really enjoyed my first glimpse of Voodoo Radio live on stage this October.

Kick Out The Jams sure know how to pick out the glams. “How freaking cool.” TheZineUK remarked, capturing half a minute on our instagram.

Paige Cook of Voodoo Radio at Amersham Arms, New Cross, October 2021

After their set, I tried to join their mailing list without my specs on in the semi-dark of gigworld.

Bless the band for replying:

“Were really sorry but we didn't catch your name at the Amersham Arms we've got your email address and you wrote in our book that you didn't have your glasses so you've written it extra big Haha! Please let us know who this mysterious person is lol.”

It’s me, and I dig it!

(Caffy, TheZineUK Events Dept.)