Saturday, 28 February 2015
Armed and ready to rock, Brighton's raucous, garage riff monsters Demob Happy are set to follow their 2014 debut single ‘Succubus’ with the equally grab-onto-your-knickers ‘Young & Numb’, due for release later this year via the band's own Milk Parlour Records.
Thrashing a few chords to infinity, ‘Young & Numb’ comes laced with feedback and fuzz, while lyrically the track is less the nihilistic stoner manifesto that its namesake could allude to, and more a vicious rumination on the dazed efforts made to drag knowledge and meaning from the bedlam of youth.
“It's my frustration about the fact that no one is willing to step out of line at a time when we think our freedoms are greater than ever before, when actually our personal freedoms of expression aren't. It's about how no one wants to have an opinion anymore,” frontman Matt Marcantonio explains.
With a live show reputation for energy and chaos, the four-piece hit the road again through March and April, and also take in their first excursion into Europe.
23. Video Cafe, Gent
24. Posten, Odense
25. Musikcaféen Huset, Copenhagen
26. Grüner Jäger, Hamburg
27. Comet Club, Berlin
29. The Louisiana, Bristol
30. Ruby Lounge, Manchester
31. Art Club, Liverpool
01. Bar Bloc, Glasgow
03. Sneaky Pete's, Edinburgh
04. Stockton Calling (daytime performance)
04. Independent, Sunderland (evening performance)
08. Think Tank, Newcastle
09. Brudenell Games Room, Leeds
10. Rocking Chair, Sheffield
11. Chameleon, Nottingham
13. The Basement, York
14. The New Adelphi, Hull
15. The Cookie, Leicester
17. Jericho Tavern, Oxford
18. Oakford Social, Reading (Festival)
22. Boileroom, Guildford
23. The Lexington, London
24. The Haunt, Brighton
There are no less than 20 tracks on Clarence Clarity's amalgam of R&B/synth/warped funk and fractured electronica debut album 'No Now', which, it has to be said, is a lorra lorra music for one LP and takes up all of 1 hour-plus. Admittedly, they range from the extended likes of 'With No Fear' at 6.05 minutes and the four-and-a-half minutes of '1-800-WORSHIP', down to the minimal 23 seconds of 'Tathagatagarbha' (if that is even something, or just a silent interlude) and 58 seconds of opener 'Become Death'.
The album is officially released on March 3 thru Bella Union, but you can stream the whole work now below. If you want an immediate feel, we would recommend for a first off: 'Meadow Hopping, Traffic Stopping. Death Splash', 'Those Who Can't, Cheat', and 'Cancer In The Water'.
For a chance to hear some, if not all, of the album live, Clarity plays the following upcoming live dates.
28. Nottingham Rock City
02. Brighton Dome
03. London Roundhouse
05. Leamington Spa Assembly
06. Norwich UEA
Bad For Lazarus/Saint Agnes/Dolls
Boston Music Room, London
February 25 2015
Words: Richard O'Hagan
Photos: Caroline Garden
Getting a start in the music business is hard. You need to put in long hours, learn your craft, enjoy a good slice of luck and seek out the goodwill of others. You also need other people to do their job properly, and when they don’t you’re still not in a position to complain. Which is how all three bands had to spend an evening battling with a sound system which seemed to have been hardwired to the nearest swamp and a set of intermittently malfunctioning microphones.
Openers Dolls are young, tiny and really rather noisy. Like an angular and less world-weary version of Blood Red Shoes, the spikiness in their music is nicely contrasted by singer Jade Ellins’ softly spoken pieces to the audience. Debut single ‘Killing Time’ is all jagged edges and unexpected time shifts, but makes for an odd set closer – something which betrays the inexperience of the duo. Listen out for pounding new number ‘Audrey’, though.
Saint Agnes are nothing if not ballsy. You have to have extreme confidence to open a showcase like this with the massive harmonica solo of ‘Where The Lightning Strikes’, let alone to overrun your set by ten minutes (as they do). The front duo of Jon Tufnell (late of Lost Souls Club) and Kitty Austen (the one from Lola Colt who actually has some stage presence) works well in the parts where he’s not drowning her out completely. New song ‘Black Hearted Girl’ is sleazy and sublime, ‘Sister Electric’ is, frankly, T-Rex fuelled by Red Bull, and current single ‘Old Bone Rattle’, well, rattles along happily. Definitely a band to watch out for.
Bad For Lazarus don’t do much more than provide good, old fashioned, rock to end the night’s proceedings. Unfortunately, they are also the point at which the sound system goes into total meltdown – four vocalists occasionally harmonising and occasionally alternating is clearly more than it can cope with, to the point that when The Duke Spirit’s Liela Moss comes on for her lead vocal on new single ‘7 Minute Itch’ she is rendered almost inaudible. That BFL deserve bigger and better surroundings is indisputable.
Thomston may be a relatively new name in the frame on this sidebif the waters, but judging by this song, ‘Collarbones’, one who will be around for a while.
Thomston is the solo alias of 19-year-old London-born, Auckland-raised singer and producer Thomas Stoneman, who releases his ‘Backbone' EP on April 20. This follows the international success of 2014’s ‘Argonaut’ EP, which has already been streamed over 4 million times on Spotify and seen the New Zealander named as a One To Watch.
'Collarbones' is a brooding, lush minimalist work that is sparse in a SOHN way, taking hip-hop beats and combining with a Bon-Iver-like ambience in a song that lyrically addresses a friend developing
an eating disorder.
Friday, 27 February 2015
Taking a song that was written long before even your great-grandparents were probably born, and creating your own cover of it, is not quite a standard move in today's music market.
Come in Manchester outfit Hartheim, who have just produced a cover of Billie Holiday's 'Strange Fruit', which was premiered by Mary Anne Hobbs on her BBC 6Music show, earlier this week.
Never a band to shy away from stark material - see our debut feature on them here from just over a year ago with their first release, 'Yellow' - the suitably sombre song was written by Abel Meeropol in 1937, as a protest song against the lynching of African Americans, which was a familiar sight during that period in the nation's history.
Hartheim’s frontman Mike Emerson summed up the reasoning behind such a sensitive cover. "It's the most important song ever written in my eyes," he says. "The startlingly depressing thing is that now, almost 80 years after it was first published, the message remains just as poignant. With everything that happened in Ferguson last year, and no doubt is happening all over the world every day, it felt like the only thing to do… and there's no better way to express it than what's already there in the lyrics. It's brutal, and unsettling, and most heartbreakingly - still completely relevant."
Continuing the muted atmosphere of the instrumentation, the track's video was created alongside 200-year inhabitants of the functioning crypt below St.Philips Church in Salford. Introduced by prose from Roy Fischer and prize winning poet Lauren Bolger, there were few locations that could better induce the frame of mind needed to connect to the melancholic content.
The band release this prior to their single, 'When Did Your Last Rose Die?', which drops on March 9 via JackToPhono Records.
More than 100 new artists have been announced today for the 2015 Great Escape line-up, joining the likes of previously revealed Alabama Shakes, Django Django, Songhoy Blues, Slaves and Jack Garrett.
Amongst the names unveiled today for the Brighton festival, which takes place between May 14 - 16, are fast-rising Reading teens Sundara Karma, electronic producer Ghost Culture, Swim Deep, George the Poet, blissful London based producer Boxed In, Neon Waltz and Pinkshinyultrablast.
The full list of artists that join the 10th birthday line-up today are:
18+ / ALDOUS HARDING / ARKELLS / ASYLUMS / BIRTH OF JOY / BLAENAVON / BLOSSOMS / BOXED IN / BROODS / BULBUL / CAIRO / CASH + DAVID / COLD FRONTS / COMMON TONGUES / CRISTOBAL AND THE SEA / CUCKOOLANDER / DARK WAVES / DELTA RAE / DMA’S / DOPE D.O.D. / DORNIK / DRALMS / EKKAH / FIST CITY / FLIGHT BRIGADE / FREEWEIGHTS / GARBANOTAS BOSISTAS / GEORGE MAPLE / GEORGE THE POET / GHOST CULTURE / H.E.A.T. / HABITATS / HECTOR BIZERK / HIGH TYDE / HIGHS / HOLLIE MCNISH / HOLY HOLY / INTERGALACTIC LOVERS / JACK + ELIZA / JEREMY LOOPS / JOYCE MANOR / K. FLAY / KADEBOSTANY / KALI UCHIS / KANZI / KATE BOY / KATE TEMPEST / KELELA / KNIGHTS / LA PRIEST / LAKE KOMO / LAWSON / LEAF RAPIDS / LOUIS BAKER / M.O / MEW / MOUNTAIN BIKE / MR PETER HAYDEN / MUMDANCE & NOVELIST / NAO / NEON WALTZ / NIMMO / NO JOY / NOAH KIN / NOTHING BUT THIEVES / OSCAR / PINKSHINYULTRABLAST / PITY SEX / PLAYGROUND ZER0 / POLLYANNA / PORT ISLA / PROSE / PUTS MARIE / REDDER / RIVAL CONSOLES / RUKHSANA MERRISE / SEAFRET / SHAMIR / SHANNON SAUNDERS / SÓLEY / SONS OF BILL / STEVE N SEAGULLS / STORMZY / SUDAKISTAN / SUN CLUB / SUNDARA KARMA / SUSANNE SUNDFØR / SWIM DEEP / TEARS & MARBLE / TENTERHOOK / THE BEACH / THE FLAVR BLUE / THE INDIEN / THE POSIES / THE POSTERZ / THE WELL / TODD DORIGO / TURTLE / VAULTS / VÖK / VUKOVI / WAND / WE ARE SHINING
For more information and ticket details, visit The Great Escape website.
Fast-rising North London Gengahr have just released the video for ‘She’s A Witch’, their new single, out on March 10 via Transgressive Records. A perfect take of their hazy melodic guitar-pop, it teases at the band's upcoming (untitled) debut album scheduled for May release.
The video is a literal take on the lyrics and reflects the bands love of comedic horror. Vocalist/guitarist Felix Bushe described the inspiration behind the video: “'We wanted to make a video that John Cleese would have been proud of - it was heavily influenced by our love of Monty Python'.”
A breakthrough 2014 saw Gengahr establish themselves as one of the most exciting new groups around today with debut single 'Powder' / 'Bathed In Light' earning support from the likes of Huw Stephens, with both tracks aired on BBC 6Music and XFM.
Having just returned from supporting Alt-J at the O2 arena and their European tour, they already have a heavy tour itinerary set including playing SXSW next month in Texas, and supporting Circa Waves in the UK.
05. PIAS Nites - Fleche d'Or, Paris
17. Transgressive/Rockfeedback Showcase - SXSW, Austin
18. BBC Introducing & PRS For Music Showcase - SXSW, Austin
25. Bleach, Brighton
26. Boston Arms, London
02. New Slang, London*
08. Riverside, Newcastle*
09. Garage, Glasgow l*
10. Leadmill, Sheffield*
11. O2 Academy, Liverpool*
13. Rescue Rooms, Nottingham*
14. The Library @ Institute, Birmingham*
16. Wedgwood Rooms, Portsmouth*
17. Shepherd's Bush Empire, London*
18. Festival L'Ere de Rien, Nantes
20. PIAS Nites - Lido, Berlin
01. PIAS Nites - Melkweg, Amsterdam
14-16. The Great Escape, Brighton
21. Best Kept Secret Festival, Hilvarenbeek
03. Blissfields, Winchester
17-19. Melt Festival, Grafenhainchen
17-19. Longitude Festival, Dublin
02. Y Not Festival, Pikehall
* supporting Circa Waves
Liverpool Sound City has added a further wave of names to its line-up. Joining the likes of already announced Flaming Lips and The Vaccines are The Cribs, Peace, Everything Everything, Fat White Family, George the Poet, Swans amongst others.
With more still to come, the country’s largest city-based festival, taking place between May 22 - 24, is looking like one festival not to be missed this year.
Commented Sound City CEO Dave Pichilingi: “It’s a really big year for Sound City - with the move to our incredible new industrial home at Bramley Moore Dock we promised to create a bill that smashed expectations. We believe we have more than delivered on this promise. We have brought in some of the biggest names in the business this year from The Flaming Lips, Belle and Sebastian to The Vaccines and some of the acts we’re announcing today including The Cribs and Peace. We’ve also selected the very best of the scene’s emerging talent. You would literally pay three times the price of our tickets to see half the bill we have put together and we haven’t finished yet – we’ve still got a surprise or two up our sleeve."
Tickets are available at £35 per day or £65 for 3 days. For further information, go to Liverpool Sound City website.
The Louisville, Kentucky, post-punk trio Young Widows (often compared to The Jesus Lizard) have just debuted the video for 'King Sol', taken from their 2014 third album 'Easy Pain', produced by Kevin Ratterman (My Morning Jacket).
The psych doom rock sound that is as atmospherically intense as it is big on decibels, and is here accompanied by darkly brooding visuals in the Christopher Wiezorek directed video - which are interspersed with apocalyptic solar flare footage.
Young Widows are on tour in the US next month.
12. Louisville KY Headliners Music
13. Chicago IL Beat Kitchen*
14. Cleveland OH Grog Shop**
15. Philadelphia PA The Boot &
16. Allston MA Great Scott^
17. Brooklyn NY Saint Vitus^
18. Washington DC DC9^
19. Richmond VA Strange Matter^
20. Charlotte NC Milestone^
21. Atlanta GA The Earl^
* w/ Shannon Wright, Tropical Trash
** w/ Shannon Wright
^ w/ Shannon Wright, Austerity Program
WEED - STAY IN THE SUMMER
Vancouver-based outfit with first single (out this week) since signing to Lefse Records. Precedes album 'Running Back' due in April. Just under three minutes of fuzz pop guitar whammys and diluted vocals.
SWOONS - THE NIGHT
Something to swoon over with the Buckingham trio's catchy three-and-a-half minute debut (out March 30), an indie rock stomper. See them live on the night of March 9 when they support Allusondrugs at The Cellars in Portsmouth.
WATERSTRIDER - CALLIOPE
Percussion rich second single to be unveiled from the Oakland, California-based five-piece's debut album ‘Nowhere Now’, released April 6 (UK)/7 (US). Let the lush beats and dreamy vocals wash over you.
MAUI - SLIDE IN
Not from the Hawaiian resort, but Kingston, south-west London, the garage rock four-piece's debut single from their first self-released EP 'Winter High'. Scratchy power at work.
HAZELS - IN CONTROL
Beaty power pop, released earlier this month as a free download, the second single from the Durham five-piece. Catch them live at The Cluny, Newcastle, on March 2.
MEXICO CITY BLONDES - SHOT THE MOON
Lushly produced latest single from Allie Thompson and Greg Doscher, continuing the duo’s way with style of complex layered synths and artfully arranged song lines.
BIG SIXES - UNLESS I'M MISTAKEN
Grower of a track with a big melody and tight harmonies, romantic, hazy vocals, poetic lyrics, and elegant instrumental sound, taken from the Chesham (Bucks) trio's recently released five-track EP, 'The Idles'.
SHOWSTAR - ADULTS
From the self-titled Rory Attwell produced fourth album - out March 2 - by Belgian electro pop outfit who may it out with the morose chorus, “Work work work until you die.”
WILD PACIFIC - THIS PLACE
Washington garage-surf trio who formed last year, meander along the dude road with this first single from their upcoming EP. Slacker vocals woven around plenty of guitar riffs, and minimalist synth.
LOLA COLT - HEARTBREAKER
More brooding psych rock, taken from last year's debut album ‘Away From The Water’. Out March 2, it was produced by Bad Seed/Grinderman's Jim Sclavunos. Catch them on tour tonight (February 27) at Nottingham Bodega.
Thursday, 26 February 2015
When Iceage frontman Elias Bender Rønnenfelt dropped 'Hungry For Love' back in January under his Marching Church project (read more here), it was exciting enough with its sexual overtones and bellow moaned vocals. Now, as a prelude to 'This World Is Not Enough' the Church's debut album, come the equally captivating visuals.
The video, created by Rønnenfeldt with Lukas Bay Højlund and Lower’s Kristian Emdal, is a blue-lit work of shadowy images and forms, nighttime city skylines, flashes of decadent clubs and scraps of Japanese writing. What's the connection? Who knows - but can someone feed that poor bloke.
'This World Is Not Enough' is out on March 31 via Sacred Bones (North America, Australia), Posh Isolation (Europe) & Big Love (Japan).
February 10 2015 (Exploding In Sound / Inflated Records)
Words: Richard O’Hagan
It has taken a couple of years for Leapling to get around to releasing their debut album, but on the whole it has been well worth the wait. ‘Vacant Page’ is the first time that Dan Arnes has recorded with the full live version of Leapling and it has made such a difference; this is a full, rounded record which showcases the abilities of Arnes and Co to the full.
It is also an interesting recording. In these days of download everything and only release a physical copy if you really need to, it often seems that little thought has been given to the actual running order of the record. That is emphatically not the case here. If anything, ‘Vacant Page’ seems to have been recorded in precisely the order in which the band would wish to play it live.
Opening track ‘Negative Space’ is short and sharp, a sparse little number until the muted vocal creeps in and brings the song to a sudden halt. From then on the entire album seems to build to a crescendo, each track seemingly progressively louder and more beguiling than the next. Midway through comes ‘Silent Stone’, with a driving refrain of "what have I been told?" that will take every listener back to the uncomfortable errors of their childhood.
Everything comes to a climax with ‘In Due Time’ where the tempo finally reaches a peak and the band seem just one step away from being out of control, and yet at the same time perfectly in control. ‘Vacant Page’ is already one of the best things you will hear this year.
Those 'weirdy' blokes with whom we had words (of the interview kind, of course) back in July of last year (see here), Weirds, are about to follow up the rather good 'Dig' they put out late in 2014 - and which you can hear here - with the rather excellent 'Off The Hook'.
Regular Little Indie eagle-eyed readers may well remember our including this track last summer in our weekly hot ten, when the band self-released the track as a free download. It now reemerges via the Too Pure Singles Club label as their April release, and seeing as we rather like these Leeds riff-rockers, we are bringing it back to the fore.
Take a listen below to the track, all three-minutes-plus of grungy-riffed, psych-influenced desert rock.
Wednesday, 25 February 2015
It probably wasn't quite the reaction Madonna may have been hoping for at her Brut Awards performance, but when she closed the ceremony with her new single 'Living For Love', a wardrobe malfunction caused her to fall backwards down a flight of stairs whilst attempting to untie the floor-length cloak she was wearing. The 56-year-old icon gamely got back on her feet after a few seconds and completed the song.
Watch as it happened, above.
The ceremony, held at London's 02 Arena, also saw live performances from Royal Blood, Paloma Faith, Sam Smith, George Ezra and an expletive-ridden new track 'All Day', performed by Kanye West, taken from his upcoming new album, but was so heavily censored by ITV, a large part of the song was bleeped out. Check it out here.
Full list of Brit Awards 2015 winners:
Best British Male Solo Artist: Ed Sheeran
British Group: Royal Blood
International Female Solo Artist: Taylor Swift
Best British Female Artist: Paloma Faith
BRITs Global Success Award:Sam Smith
International Male Solo Artist: Pharrell Williams
British Single: Mark Ronson ft Bruno Mars ‘Uptown Funk’
International Group: Foo Fighters
British Breakthrough Act: Sam Smith
British Artist Video Award: One Direction
MasterCard British Album of The Year: Ed Sheeran ‘X’
Interview + Live Review
The Louisiana, Bristol
February 23 2015
Words/ Photos: Pollyanna Sheehan
Plastic Mermaids, the Isle of Wight five-piece outfit, are headlining The Louisiana in Bristol. Having earned themselves a reputation for a fine live performance, notable for its stage production involving handmade sets, lasers, projections and samples from films, tonight is an opportunity to combine such with a mixture of songs from their 2014 EP ‘Drømtorp’, as well as plenty of new material from their upcoming follow-up, ‘Inhale The Universe’ (out on March 9).
Before the Mermaids hit the stage two of the band, Doug Richards and Chris Newnham, kindly took the time to answer a few questions, explaining what the island Mermaids are all about…
Plastic Mermaids are: Douglas Richards, Jamie Richards, Chris Jones, Tom Farren and Chris Newnham.
Okay, could you tell us who all of you are - and maybe one word for each member that you feel best sums you up?
Doug: Douglas: goat. Jamie: is 'god' allowed? Chris: ethereal. Tom: tallest.
Chris: techno (Austrian).
Chris: Yes, and…Douglas - sassy, Jamie - upright.
How did you all come together to form the band? Had you all been friends beforehand?
Doug: We all knew each other before Plastic Mermaids in varying degrees. We kind of formed gradually over a couple of years. Good musicians are rarely not already in a band or busy with some other musical project, so you kind of have to poach them. This was bit of a slow process.
Chris: I used to live next to Tom when I was younger - which is a random one!
'Plastic Mermaids' is a pretty unique name - how did it come about? Which one of you was set on being a 'mermaid’?!
Doug: Uniqueness was definitely a factor in deciding on the name - you don't want to be sharing a name with someone else or even something else, it makes searching for a band online difficult. It's pretty straight forward to spell, you don't want to challenge people before they've even heard your music. I think Jamie had the MySpace for Plastic Mermaids for some reason back in the day and it'd got a couple of hundred views despite having no content. We thought this was probably a sign, so named the band that.
Doug: Home audiences are generally more receptive, as half of them are your friends, but I really like going out and playing our music to people who've never heard it. Generally some of them are into it by the end of the set, which is all that matters really.
Chris: It’s nice to leave the island and go to new places and play gigs to different people - it’s what it’s all about really.
How does the songwriting process take place - do you try to focus on any main themes?
Doug: We all write bits and pieces and every song seems to come together differently. We've got a hatful of ideas we haven't finished, so if we ever find ourselves with some time on our hands - which is pretty rare - we'll pull one of these out and work on it. For us, writing words and actually finishing songs is the tricky bit - everything else comes pretty easily.
Chris: Yeah, the initial ideas always come together pretty quick. It’s the numerous choices of direction to send that idea in that takes the time. Some of the songs we’re playing and recording now sounded very very different a year ago. The whole process tends to involve lots of tea and going round in circular debates, but it gets there eventually - and it's the best feeling when it all comes together.
Who would you cite as your most notable musical and non-musical influences?
Doug: Musical, Bowie. Non, George Greenough (kneeboard pioneer)
Chris: Musically, Hendix got me into guitar (but I don't get to shred much, I get shut down pretty quick for widdling). Non musical, this is hard, I only really care about music. Oh yeah, and my girlfriend, I'm going to say my girlfriend, thanks babe.
Your sound is often described as ‘psychedelic' - do you agree with this, and how would you describe what you do?
Doug: I'm way happier with other people describing our music than having to do it ourselves, I mean, they're the ones listening to it, so if they say its psychedelic then I guess it is.
Chris: I don't think the music is psychedelic at all really, you could probably say the videos are...visuals definitely have a massive impact on how you perceive the music.
Your upcoming EP has a delightfully dreamy vibe - have you in any way gone for a different approach this time?
Doug: Before making a record you always have ideas in your head of what you'd like it to be and what you didn't like about the last one, especially when you're recording and mixing it yourself. I think one of the main differences is we put a lot of thought into trying to make the new EP feel like a complete record: something which flows from track to track rather than just a collection of unrelated songs. This is one of the things that drove it towards being quite large for an EP, but I'm pretty happy with the final thing.
Chris: I don't think so. Quite a lot of time has passed since putting out the first EP, we've done a lot of writing, a lot of jamming, bought and made new instruments and effects. I guess it’s a very organic progression. Doug's on a new diet too, no onions, tomatoes, dairy, wheat… actually 4/5 of us have made the switch to decaf now! And we drink a lot of tea…maybe all this has had an influence!
Doug: There'll be an amount of stuff going on for sure to keep it vague. It’s tricky when we've only got a small van, so can't tour with a heap of stuff at the moment. Yeah, it's definitely something we feel is important, like if you turn up to a gig and the stage looks rad you're already more excited before the music even starts, also from our point of view it's just more fun performing when there’s a good vibe on stage and stuff looks good.
Chris: Smoke and lights make everything better, so you can expect lots of that.
Will you be treating the crowd to any music that does not feature on either EP?
Doug: We haven't done a gig in about five months, which has been really nice to have time to go over the set and make sure everything is sounding as good as possible. We've got a couple of new ones, which we're quite excited to give an airing. Our set up on stage has changed too, a couple of new synths (Jamie's just finished making a fully analogue synth and sequencer which will be getting its first outing for these two gigs).
Chris: We're always coming up with so much new music that we like, doing something new at most gigs, whether it’s a new song or an instrumental. I think it makes it more exciting for an audience that they never get the same show twice.
Do you have a favourite part of live show playing? Has there been one memorable performance that sticks in your mind?
Doug: We did a big gig on the island last year with an eight-piece choir, string quartet and two drummers which took a lot of organising / orchestrating, but was a lot of fun. When you've got that many people involved with something you can never be completely in control, which makes it pretty exciting.
Chris: I bloody love playing live. Probably twice as much as anyone else, if I could do that forever I’d be happy.
What goals have set yourself as a band that you’d like to achieve this year, or in the future?
Doug: We’ve got a load of music we'd like to get out and that’s about it really, you never really know what people are going to like, so just want to get as much recorded and released as possible. Hopefully do some good gigs to people who haven't heard us before too.
Chris: Long term, I'd like to have a hot tub.
Taking to an impressively set-up stage featuring a range of instruments and equipment from loudspeakers to maracas, Plastic Mermaids went on to deliver exactly the type of mind-blowing set you would expect from a band dressed in every colour imaginable - with added sequins and glitter for good measure!
Starting their hour-long set with an astounding amount of noise through combining layers of electronic sounds, light and rhythmic drumming with prominent synths, they proceeded to perform ‘Window Display’ and ‘Polaroids’. Both are impressive tracks from their first EP - the latter being the track that first brought them to attention - that come to life through their live performance. The combination of background animation and vivid lighting add to the electric atmosphere that they create.
The quiet piano interlude of ‘Window Display’ and the incredible extended instrumental section of ‘Polaroids’ highlight the diversity of the sound that the band is capable of. Following lively and appreciative applause the Mermaids produce yet another impressive live track, ‘For Nothing’ - also ser to appear on their upcoming EP. Regardless of the familiarity of the song, the characteristic electronic sounds and upbeat drums served as more than enough reason to get the crowd dancing on their feet and wholeheartedly singing along.
Plastic Mermaids’ set culminates with exceptional performances of ‘Drømtorp’, and ‘Playing In Your Mind’, before finishing with the mind-blowing ‘Saturn’, for which they are joined on stage by guest vocalist Rhian Teasdale, whose operatic vocal tone lend a delightfully dreamy edge. In true PM style, this performance would not have been complete without the use of cowbells, epic synths, megaphones, unexpected drops, energetic bass-lines and incredibly lively drums. To say that seeing and hearing this band perform live was quite literally something of a truly incredible experience, is no exaggeration.