2. The double pages shown in NME share a variety of similarities and differences with both each other and the
typical conventions of an indie rock music magazine. Firstly, aspects such as the overall font of all the
articles is easily variable, with emphasis on individualising each band and double page spread in order to
ensure they do not all merge together with similar styles and presentational aspects. Upon analysing the four
double page spreads shown above, one can evidently see this in the size-changing sans serif of the Graham
Coxon article in comparison to the flowery, italic, elaborate font used in the Arctic Monkeys spread, and this
change of font allows the band to help establish their own identity. Also, in accordance with this, the
heading itself differs substantially language-wise depending on the nature of the bands/artists music, with
the Britpop/punk of Blur’s Graham Coxon appealing to the rougher side of the genre (‘orgies, vomiting, and
Vicodin’) and the indie folk band Mumford and Sons appealing to the softer side (‘Gentlemen of the road’).
This allows the reader to establish what kind of band the article will be about if they are unfamiliar with the
band shown, and will consequently prompt them to read it if they are interested.
Furthermore, the size/content of the main image is also entirely variable depending on the band, insinuating
how NME primarily focuses on interlinking their own brand identity with the band identity. This can
subsequently be seen in the complete contrast of the Graham Coxon article, which abides by typical
conventions in having an image on one page and text on another, and the Mumford and Sons article which is
a huge double-page image of the band, with minimal text. The reason NME did this for Mumford and Sons
was to enable the reader to understand that they are a new ‘upcoming’ band and they are therefore
celebrating their success at becoming well-known and completing their ‘journey’ in the picture, which
shows them surrounded by fans. In contrast to this, the other articles depict well known, substantially more
established bands/artists and because of this an introduction is not necessary – the focus is primarily on the
music, and these two ways of introducing artists/bands can be deduced across all issues of NME. Despite
these general differences, a stand first is included in every single issue, and this is because the editors
recognise the importance of them as a means to apply context to an otherwise aesthetically pleasing but
meaningless main image, and they are subsequently used to prompt the reader to read on.
In NME magazines the positioning/pose of the artist/band in double page spreads matters significantly less
than it does on the front cover, as the readers have already shown that they have an interest in the band by
focusing on their specific double page section. Therefore, the images vary considerably more in terms of
content, with band members/artists adopting a more posed position (see Lily Allen) and backgrounds being
introduced (Mumford and Sons) in order to display the band in the recording studio, or messing around, or at
a live venue as shown here. The less ‘staged’ approach shown here indicates that NME are allowing the
band to connect with the audience on a personal level, and expressing familiarity through a band into the
readership is vital in both the success of the band and consolidating a loyal fanbase for the magazine; and
this is why certain pull quotes are highlighted as well, despite their general absence from the spreads shown
above.
Excluding the unconventional Mumford and Sons spread, all shown double page spreads (and the majority
of NME ones) have one page devoted to text and one to the image, balancing out the importance of the
actual music and the band members themselves. Text is structured into small paragraphed columns in all of
these, containing drop capitals in order to ‘break up’ the text and ensure that it is substantially easier to read
while also providing contrast to the simplistic black and white format. Furthermore, these first two double
pages of the rest of the article contain the smallest amount of text, which allows the magazine to insinuate
that there is not a large amount of text on the following pages either and this subconsciously prompts the
reader to read the rest of the article. Serif, ‘times new roman-esque’ font is used to epitomise
professionalism; conflicting with the casual slang that may be used in the mode of address aimed at
familiarising itself with the personality of the young target audience. Indeed, it is this contrast that allows
NME to insinuate that the music and band/artist displayed is of significant importance, yet the humorous

3. undertones and casual use of swearing and abbreviations also enforce the idea that they do not take
themselves too seriously, and it is this that will attract younger readers as well as the slightly older audience
the magazine is familiar with. Ultimately, the general layout of NME double page spreads is typically
simplistic, almost looking like newsprint at some points, but the actual presentation contained within the
layout of content and image can often be unique and elaborate; allowing for the individuality of each
band/artist to be sufficiently expressed in accordance with the conventions of the magazine itself.