Live Review Swim Deep + Catholic Action + Sweat The Dome, Tufnell Park, London February 24 2016 Words: Rosie Mulhern
After the dreamy, romantic blissfulness of their first album 'Where The Heaven Are We', Swim Deep surprised us all by taking a completely new direction with the drop of their highly anticipated second work, 'Mothers', late last year. It's always good to see a band that isn't afraid to push their own limits and take risks with confidence in their own unpredictability. I think it's no insult for a band to hear that they're 'hard to categorise'. When I interviewed the band's keys man James Balmont at the time of 'Mothers' release, he told me how he felt it was important "not to be bookmarked alongside one particular artist. As long as people struggle to do that for our sound, then I think it means we must be doing something different and that’s what we want to do really - we just want to be Swim Deep".
Judging by their performance tonight at London's sold out Dome as part of the NME Awards Shows tour, I think they've achieved exactly that.
Photo: Beatrix
Warmimg up the night early on were newcomers south-London's Sweat, who successfully fired up the crowd with an enticing set. Their individuality is what struck me most when seeing and hearing their set with their capability of pulling off their unusual indie meets 80s synth-y dance vibe, similar to the likes of Jagwar Ma. Frontman Mike definitely created a cutting edge look for the band, adding to the appeal with his indefinable stage presence as a dramatic entrance was made as he appeared in sunglasses and a white overcoat. It would seem that putting on a show visually and capturing the attention of the crowd, to say the least, was just as important to this band as sounding good.
It was difficult not to be completely engrossed when watching their performance through fear of looking away as you might miss something. Overall, I was left really impressed; they're doing their own thing in the new music scene. After a set which included their just released debut single 'Be Complete' along with 'Tambourine', it ended with the dramatic throwing of the mic stand and tambourine that was casually held next to him throughout the performance, adding to the sheer air of confidence this 'sweaty' outfit exude.
Photo: Rosie Mulhern
Next to the stage was Glaswegian four-piece Catholic Action. I had heard about this band before due to the praise and hype that other bands within the current indie music scene were giving them - such as tonight's headliners, for example. With a tight and refined performance of their lively tune 'L.U.V', an Adam and The Ants meets 70s glam rock track, it was hair-swishing galore as vocalist Chris McCrory mumbled through a veil of his locks: "I've had it cut since I was here last, but I still can't see a thing."
Photo: Roxana Dotsenko
After growing anticipation, the lights went down and the familiar surge of frantic fans pushing towards the front took over. The stage was polluted with smoke and hazy blue lighting as a guy (who looked as if he could've been in the band) strolled onstage playing the trumpet, to be followed moments later by the Brummie four-piece themselves, making an assured entrance. Regardless of the fact that the band now seem centred around London, they'd clearly stayed true to their roots with frontman Austin Williams promptly throwing a "Y'am alright?" at the crowd; proving - you can take the B-town scene band member out of B-town but can't take the B-town scene out of the band member.
Photo: Roxana Dotsenko
The sheer enthusiasm from both the band and crowd seemed too much for the size of the venue; the fact that this was their longest set ever with 15 songs played -including ‘Namaste’, ‘One Great Song And I Could Change The World’ and 'Is There Anybody Out There' - from both albums, added an even bigger sense of excitement for the band. It was clear to see their humbleness was still very much intact with Austin slurring out several "thank you's" between songs and insisting: "You don't know how grateful we are, It's nice to see that people are actually having a dance as well."
It was hard to keep a fibre in your body still as the euphoric first few bass notes of old classics 'Honey' and the synth heavy fan favourite 'King City' gave the intimate venue a run for its money, as if a go-ahead for a bigger outburst of energy. I was intrigued to know how the crowds would react to some of their newer material live but knowingly, as this was the second time seeing them live since their album release, although creating a different feel in comparison to their older songs, they still had just as much of an impact. From hearing older album tracks such as 'She Changes The Weather' and 'Red Lips I Know' you’d be deceived by expecting a rather mellow and laid-back vibe when played live, but the band and crowd completely over-ran expectations as the response from both Swim Deep and the audience couldn’t have been more lively with the ecstatic crowd shouting back the lines from old classics as if it was second nature to them.
As they draw 90 minutes to a regal close on 'Fueiho Boogie' - which indeed everyone was by this time, boogieing - you simply couldn't fault their drive, enthusiasm, and the quality of their songs. With a headline US tour in the offing, you can already sed Swim Deep being another proud British export to our American cousins.
Power pop three-piece Soft Fiction, who hail from Bury St Edmunds, Suffolk, mark their debut with this free download release, 'I Don't Even', which came out on February 19.
Likening their style to that of Big Star, The Cars and Cheap Trick, 'I Don't Even' is a radio-friendly bouncy mover of a tune that hops along at a foot-tapping pace before a beautiful mid-section breakdown. Give this a few listens as really does grow on you.
Live dates
March
12 The Hunter Club, Bury St Edmunds w/ AUTOBAHN
17 Norwich Fashion Week Closing Party @ Open w/ No
Holy Men
April
11 The Portland Arms, Cambridge w/ High Tyde
30 Norwich Arts Centre, Norwich w/ Keep Up
KYKO - NATIVE
Following his debut EP ‘Animals’ (which has racked up over 2m online streams) and infectious single ‘Pull Me Up’ released late last year, 19-year-old Londoner Scott Verrill returns with some more infectiously melodic indie-pop guitar melodies and soulful vocals. Star rating: ****.5/5
ONLY GIRL - YOUNG BLOOD
South East London's Ellen Murphy works her haunting soul-diva vocals on R&B-infused melodies once again on this EP title track out on March 11 via Akira Records. Catch live tomorrow (March 1) at London's Electrowerkz. Star rating: ***.5/5
THE BRIEFING - FAVOURITE PLACE
This title track from the just released EP by the Latvian four-piece, now residing in London where the home-recorded EP was produced. Interesting keys and programming effects with Kristina Dobele adding a delicate vocal touch to a catchy jangly electro beat. Star rating: ****/5
JAMIE MOON - OH, MY HEART
The Nottingham alt-folk singer/songwriter delivers an emotive touch on this title track from his new EP, out on Ukiyo Records, that builds up from solo guitar to work in some effective instrumentation. Lyrically, about "love and heartbreak, about blossoming romance and the fears of commitment." Star rating: ***.5/5
KARÓ - WOLFBABY
21-year-oldReykjavik-born, Dundee-raised newcomer with her glitchy follow up to last year's ‘Silhoutte’. The trap-infused track of hypnotic vocals, and crystalline production by Logi Pedro, and guitar from his brother Unnsteinn Manuel (both members of Iceland’s Retro Stefson) is released on March 4. Star rating: ****/5
Brighton grunge rockers The Rocking Horse Club have just released their debut single, 'Rocks and Shoes'.
Taken from their first EP which will be out on March 8, lyrically the band say it "aims to capture an attitude of bemusement with modern existence: it's a sarcastic, almost surreal take on life as a young person in 21st century Britain."
Check out the video to the feisty rockin' track below.
Essex five-piece Eliza and the Bear have unveiled their video - shot in Argentina - for new single 'Friends':
The single follows 'It Gets Cold' and 'Lion's Heart', coming from their self-titled debut album out on April 8 via Capitol Records, which was recorded in Nashville with Jacquire King (Kings of Leon, Of Monsters and Men, James Bay).
The anthemic ‘Friends’ tells an uplifting story about the importance of friends and family, combined with gleaming guitars and stadium-sized optimism. Live Dates April 07 London - Islington Assembly Hall
13 Birmingham - O2 Institute2
14 Bristol - Thekla
15 Manchester - Academy 3
16 Glasgow - Garage
West London's Babeheaven cast their melding of smooth nu-soul, electro and woozy jangly pop on their debut single 'Heaven', which is out on April 8 via Handsome Dad (UK)/B3SCI (US).
From its slow, mininalist opening through delicate synth and guitar progression, slinky bass and steel pans, 'Heaven' is dominated by the heavenly voice of Nancy Andersen that floats serenely over it all.
Babeheaven are on tour from this week.
March
06 Brighton Bleach**
07 London The Lexington**
08 Manchester Fallow Cafe**
April
07 London Corsica Studios
25 Oxford The Bullingdon^
26 Norwich Norwich Arts Centre^
27 London The Lexington^
29 Southampton Joiners^
30 Live At Leeds
May
01 Nottingham Bodega^
02 Guildford Boileroom^
26 London Dingwalls w/Blaenavon
** supporting Cigarettes After Sex
^ supporting Beach Baby
Chicago's Twin Peaks have shared the visuals to accompany their new single 'Walk To The One You Love', taken from their forthcoming album ' /Down In Heaven/', which is set for release on May 13 via Communion / Caroline International.
Filmed in the band's home city by frequent collaborators Ryan Ohm and Jackson James, it follows various pairs of feet on a continuous one-shot take through a stretch of Ravenswood Street, and features friends and family and including guest appearances by singer and guitarist Cadien Lake James' father Michael - and dog Che.
Following their SXSW date in a few weeks, the five-piece return to the UK in April for a run of four dates.
UK Live Dates
April
15 Sheffield Picture House Social Club
16 Glasgow Stereo
17 Manchester Deaf Institute
19 London Camden Barfly SOLD OUT
'Marathon' is the new single from London three-piece Bengal Lancers, released via Secret Dinosaur Records on March 4, and which Little Indie premieres here.
Recorded at Fat Tank Studios and produced once again by Max Perryment, 'Marathon' sees the band on form with their trademarks of heartfelt songwriting and stirring melodies, which we last saw on double A-side single 'Moon'/'Sun' - which Little Indie also premiered here last October.
After what the band describe as having been "a bit of a turbulent year for the three of us: re-locations, break-ups and uncertainties in regards to our next steps", they now seem once again focused, with 'Marathon' being what vocalist and songwriter Harry Sullivan describes as "a really positive song. It's about carrying on with life, even when you feel you're about to fall apart. Knowing that there is a light at the end of the tunnel and that things have a way of working out in the end."
As its title suggests, 'Marathon' was borne out of Sullivan's participation in long distance running as a means of clearing the mind as much as honing the physical body - "I guess the method of coping remains the same mentally in the same way that it does physically" - and at almost seven minutes in length, it is one that takes things at a measured pace. Its alt-folk elements and Sullivan's passionate vocal delivery, which in its build of strident guitars and forceful drums soundscape resembles that of a runner pounding the turf.
Bengal Lancers have produced here in 'Marathon' something quite masterly, and epic in its own way. "I think the message of the track is pretty clear. It's definitely one of our maturer tracks," says Sullivan. We agree.
Bengal Lancers play London's Birthdays on April 2.
Words: Sam Geary London/Brighton-based garage punks The Gaa Gaas have been treading the boards for a few years now, with their debut single 'Voltaire' (produced by James Aparicio - Nick Cave, Mogwai) being released back in 2010.
They now follow up two EPs and various songs released on a number of compilations, with new single 'Close Your Eyes', out tomorrow (February 29) on Movement-2 Records.
Produced by Ali Gavan (ex-The Electric Soft Parade), 'Close Your Eyes' cuts a fierce blast of fuzzed-up art-rock punk right slap bang in your face.
DMA'S Hills End February 26 2016 (Infectious) 8.5/10 Words: Alison Mack
The debut album from Sydney's DMA'S trio has come after a long two years since they released their self-titled five-track debut EP. And to say that 'Hills End' hasn't been much anticipated would be an understatement.
Heralded as Australia's Oasis (Oasis producer Mark “Spike” Stent takes mixing credits in the album) through their Britpop style swagger and swerve, the three - songwriter and producer Johnny Took (guitar), Tommy O’Dell (vocals), Matt Mason (guitar) - they have steadily increased their profile over the last year, not just in their home territory, but with their recent UK visit and the success of 'Delete', abroad as well.
EP track 'Delete' features here, as does the infectious 'Play It Out' and early single 'So We Know' (re-recorded here to bring in a climatic wall of distorted guitars) but overall there's a heavier, rockier feel. Opener 'Timeless', for one, conveys an upbeat rhythm of driven guitars and free-flowing textures braced beside O’Dell's vocalising lyrics of failed romance, belting out the line, “Couldn’t make you happy/I wouldn’t know you from someone else”, and last year's single 'Lay Down' is the pop-rock dancer of the pack ; these, however, are juxtaposed against acoustic ballads like 'So We Know' and the slow-burning melancholic 'Step Up The Morphine' (written by Took after his grandmother passed away: “You are the silence in my brain/We built a kingdom in the rain/I think we’re getting better/Sometimes I wonder why we bother at all”), 'In The Moment' and 'Blown Away'.
But 'Delete' is still perhaps the song that gets under your skin like a burrowing worm and won't let go. Can anyone not help but swoon over that tingling chorus line of “let it all out”, as it winds over a bank of distorted guitars. Despitetheir undoubtedly having more than one big song in their musical arsenal, this surely is the anthemic DMA'S definer.
'Hills End' is one mightily impressive debut, beautifully constructed and simply just bonza.
It's hard not to think of Poliça when listening to 'Criminal', the debut single from Minneapolis-based duo Fraea, released this past week. Their slickly evocative synthpop sound also looks like setting Jessie Daley and Drew Preiner - who are friends of Poliça - on the same path with what they term 'shadow pop'.
Taken from their forthcoming EP 'Bend Your Bones', out on April 29, Daley's sweet and airy vocals draw you into a smoothly melodic composition of catchy beats and title line refrain, "you've waited so long/keep holding on/it's not criminal."
Fraea open for Poliça on March 2 at Minneapolis’ Turf Club, marking what will be only their second live show. They then play the city’s Icehouse venue on April 30.
'Painting Of A Panic Attack' is the intriguing title of the forthcoming album by Frightened Rabbit - out on April 8 through Canvasback / Atlantic.
'Death Dream' is the album’s lead track - which you can hear below - a slow number that contains the line “You died in your sleep last night.”
Other track titles like 'I Wish I Was Sober' and 'An Otherwise Disappointing Life' make it sound an interesting work.
'Painting Of A Panic Attack' Tracklisting:
01 Death Dream
02 Get Out
03 I Wish I Was Sober
04 Woke Up Hurting
05 Little Drum
06 Still Want To Be Here
07 An Otherwise Disappointing Life
08 Break
09 Blood Under The Bridge
10 400 Bones
11 Lump Street
12 Die Like A Rich Boy
Norra Far Below It February 25 2016 (digital release) 8/10 Words: Ellie Ward
19-minutes-worth of four tracks here from Bristol alt-rock band Norra making their extended play debut, that show quite a mature, healthy depth in range and lyricism.
For a band who are intent on exploring 'musical boundaries', they do so with with conviction on this EP where they cover each track with an atmospheric use of instrumentation, distortion, and construction. The first and title track, builds on all three with a big distortion driven wall of sound filled with shining guitar riffs and effects, deep bass and drums, with Kieran Marsden's baritone vocal being the big pull.
'For Better/For Worse', in contrast, is of a softer, down-tempo of heartfelt lyrics and swells of ravishing guitar that work to an effective climax. 'Busy' by name, and by sound, as this ups the pace and treads the line between alt-rock and post-punk thrashes of guitar and hard-focused vocals, which work on coming together to a manic fusion of guitars and percussion in its second half.
'Out Of Your Mind', yields a poignant opening of no more than guitar and vocal, with some interesting chord structures and harmonising being introduced, leading to a big flood of rock soundwaves
An often musically complex, sharply produced and impassioned debut, seemingly not to be pigeonholed in one genre, and one that shouldn't be overlooked.
Words: Ellie Ward
Following his debut 'Cruel Game' last month, Los Angeles-based bedroom soul producer Mike Harris - aka VOKES - makes a swift return with 'Value'.
Released yesterday, 'Value' - taken from first EP, 'Fractalism' which is out later this year - blends mellow electro with synth and soulful vocals in a style similar to HONNE, but listen to the the track's structure as it progresses along its sub-three minutes. It's a slow-burning head swim.
Filmed at DIIV frontman Zachary Cole's New York apartment, he and fellow DIIV member Colin Caulfield are captured in a live session for Hero magazine covering Elliott Smith's 'Ballad Of Big Nothing'.
A longtime fan of Smith (Cole's girlfriend Sky Ferreira made him a gift of a guitar once owned by the late artist), he and Caulfield deliver a sensitive rendition of the song written by Smith in 1997. Watch the performance above.
Leicester siblings Andy and James Stone, aka Lusts, follow their debut album 'Illuminations' with the release of new single 'Sometimes', out on March 25 on 1965 Records.
The reverb-rich and hazy psych-grooved chorus of 'Sometimes' - a track which first saw light of day in 2014 - is accompanied now by a new video, directed by Silk Jaguar, which is shot in fast action showing life on the road for the brothers.
Prior to the band playing The Great Escape in May and SXSW festival in Texas in a few weeks, Lusts headline the Camden Barfly on March 1 for John Kennedy's X-Posure Night along with FEWS. This is followed by March 11 at Night & Day Café, Manchester with Blossoms DJ.
The Dublin quintet September Girls have announced their new album 'Age Of Indignation' for release on April 8 via Fortuna POP!
Watch the video below to lead track 'Love No One', a song which makes a statement on the vacuousness of modern society, mourning a narcissist's inability to see true beauty. The film was directed by the band's guitarist Jessie Ward O’Sullivan, assisted by Simon O’Neill, with Cormac Walsh and Braun Junior on additional camera and production assistance. As well as starring in the video, the band members also lentlent a hand in costume design by Caoimhe Derwin, hair by Paula Cullen and props by Lauren Kerchner and Sarah Grimes.
September Girls head to SXSW in a few weeks' time, before embarking on a UK/IRL tour in April and May.
Live dates
March
15 - 19 SXSW, TX, USA
April
15 Grand Social, Dublin
16 Cyprus Avenue, Cork
29 Laverys, Belfast
May
15 Arts Club Loft, Liverpool
16 O2 ABC2, Glasgow
17 O2 Academy 3, Birmingham
18 O2 Academy 2, Oxford
19 O2 Academy 2 Islington, London
20 Full Moon, Cardiff
(more to be announced)
Fresh from their rousing support slot to Blossoms last night at London's Scala, INHEAVEN get the weekend started by sharing their new single, ‘Baby’s Alright’.
With its pop ambience and big chorus title line, the song is one that has been powering up their live set for some while - and now you can have it in your ears too via the stream below.
And if you just can't wait to hear the London outfit perform it live again, get yourself down to the Old Blue Last tonight in Shoreditch where they play a free late show (stage time 11pm).
Violent Femmes We Can Do Anything March 4 2016 (PIAS) 9/10 Words: Richard O’Hagan
If you look closely, there’s a quirky little trend developing in music at the moment. It is one which is hard to summarise succinctly, but it pretty much amounts to ‘bands who never really split up but who don’t do anything for years and years, and then reappear with a rather good album’. The Chills did it in 2015 after 19 years away, and now Violent Femmes are back, a mere 15 years after their last album.
It is as if they have never been away. Which is another way of saying that, if you were expecting anything new and radically different from them, you’re going to be sadly disappointed. After all, Gordon Gano and Brian Ritchie remain steadfastly at the control of the Femmes, the music remains resolutely the same punky acoustic aesthetic that made such hits of ‘Blister In The Sun’ and ‘Gone Daddy Gone’ all those years ago, and the only change has been the addition of Brian Viglione on drums. You might remember him as the powerhouse behind Amanda Palmer in Dresden Dolls (whaddaya mean you weren’t looking anywhere but at Amanda Palmer?) and here he’s again playing the brilliant foil to (in this case) two charismatic frontmen.
Opener and the album's lead single ‘Memory’ is subliminally brilliant, the band reminding themselves of what the Femmes do, and at the same time reminding the listener as well. ‘Big Car’ juxtaposes the band’s signature spritely sound with some very dark lyrics. ‘I Could Be Anything’ features the first recorded appearance of the name ‘Bungo’ since the Wombles were in their prime. It is all a magnificent mish-mash.
At the heart lie two stunning tracks. ‘Holy Ghost’ is somehow both moody and atmospheric, and yet uplifting – as if the Femmes had decided to try their hands at a very acoustic version of Eighties Goth. And then there is ‘What You Really Mean’, distinguished by being written by Gano’s sister Cynthia Gayneau and as joyous and pithy as anything you will hear this year. Dear God, it’s good to have these guys back.
Following their debut EP 'Castles' released last summer, three-piece alt-rockers De'Nova have a brand new single out.
'Brighter Days' released last Friday, is the lead cut from their upcoming sophomore EP, 'Young Hearts', which drops on March 4 via Dirty Pop Records. We are pleased to premiere here, the new music video for the track, unveiled today.
The visuals reflect the anthemic, soaring nature of 'Brighter Days'; dipping between light and shade, uplifting and melancholic, melody-wise, so too does the studio shot clip which features the band playing live in often shadowy oceanic coloured hues.
Loosely Manchester-based, the three - Kevin Daos, Luca Nardella, Sam Hardman - come from various multicultural backgrounds - Philippines, Italy and Ireland - and as a result, De'Nova incorporate a diversity of cultures and influences that can be traced in their invigorating sound.
De'Nova play Jacaranda in Liverpool tonight (February 26), followed by De Bees, Winsford on March 3, and an EP launch show at Manchester's Soup Kitchen on March 5.
To celebrate the release of 'Young Hearts', the band are offering a limited bundle package that includes an exclusive signed physical copy of the EP and a ticket to the Soup Kitchen show. Further details here.
'Santa Fe' is the lead single from Beach Skulls' upcoming debut full-length, 'Slow Grind' - recorded at Liverpool's Parr Street Studios in four days - set for release on April 29 via PNKSLM Recordings on limited edition vinyl and digital.
Formed in Liverpool and now also based in Manchester and Glasgow, 'Santa Fe' is a sublime laid-back slow groove of spacey garage pop, governed by Ry Vieira's sultry vocals and deft guitar hooks. If this is representative of the rest of the album - bring it on.
Originally started in 2011 as the solo project of frontman Vieira, he was later joined by Jordan Finney, and after a trip to Berlin and meeting with Dan West who took on bass duties and completed the line-up.
Matty Healy doing his hair thing again in a new performance video for the disco jam 'The Sound', taken from the over-long in sound and title new album from The 1975, 'I like it when you sleep, for you are so beautiful yet so unaware of it', out today on Dirty Hit.
THE KVB - IN DEEP
Taken from Kat Day and Nick Wood's fifth album ‘Of Desire’ out March 11 via Invada Records. Having begun life in 2010 as a bedroom project for then Southampton-based Wood to experiment with ideas around minimal electronica, the duo now paint icy touches to the genre, coupled with shoegaze elements.
CHINAH - COLDER
Danish trio's new EP 'Once The Lights Are On' came out two weeks ago, and this cut sees them fusing the swooning vocals of Fine Glindvad with luscious, delicately layered instrumentation that moves between intensity and intimacy.
OUR MOTHER - SURPRISE MACHINE
The north London four-piece take an off-kilter brooding pop jam, fill it with ambient synths and an ethereal chorus and John Hartley’s pitch-shifting vocals, and make something unique. Taken from their upcoming debut EP, 'A.O.B.' out on April 29 via Lucky Number.
EASY KILL - NOT EVEN LOVERS
Second single from the Mancunian doomsters, and featuring on their EP ‘Sermons’ released today (February 26). Five-minutes-plus of melancholic pop, built on a bed of warm instrumentation, and Theo Tobias' outstanding and rich vocals. Catch them tonight at Manchester's Deaf Institute.
LISBON - VICE
New single out today via Killing Moon Records, and the follow-up to last year's debut EP 'Life Is Good' for the Newcastle quartet. Produced by Dan Austin (Doves, Pixies, The Enemy), the record depicts a more mature style from the Newcastle band, flowing with rich guitar melodies and a catchy groove.
RATS ON RAFTS - SOME VELVET MORNING
The Dutch post-punks' abrasive and raw cover released via Fire Records on March 4 (b/w 'Last Day On Earth'). Nancy Sinatra and Lee Hazlewood's original sounded nothing like this.
TWEAKS - THE FLOWN
London alt-electro-pop duo release their debut EP 'Sisters' today via Outset Recordings. Displaying a funk, tropical vibe in this track in contrast to previous 'Girl On The Wire' and the darkly affecting title track.
PLASTIC FLOWERS - DIVER
Smooth and flowing, MBV riffed follow-up to his 2014 album 'Evergreen', and taken from the upcoming ‘Heavenly' LP, released on April 22, by dreampop/shoegaze project of London-based Greek multi-instrumentalist George Samaras.
CLEA - DIRE CONSEQUENCES
Captivating alt-folk singer-songwriter Clea Pratt from Brisbane. With only this and previous single 'Polyester', and support tours to Harts and Gang Of Youths behind her, she still sounds like a major player.
DEAD BUTTONS - 16-22
Veering around post-punk/rock n roll, lead single, out April 15, from the forthcoming album 'Some Kind Of Youth', released via UK label Baltic Records. The Seoul-based duo - Korean guitarist/vocalist Jihyun Hong and Paraguayan/Korean drummer/vocalist Kanghee Lee - create something spirited and infectious.
Daughter have today shared the video for single 'How', taken from their second and latest album 'Not To Disappear'.
After sending three songs to writer Stuart Evers (Ten Stories About Smoking), he then wrote three short stories, which were used in turn as the basis for the previous videos 'Doing The Right Thing', 'Numbers', and this latest.
Evers' story for 'How' is called “5,040,” which is reference to the number of ways the woman seen in the video can lock her door.
Out on March 4 (via Mom + Poo / Inertia), the new album 'United Crushers by Minneapolis synthpop three-piece Poliça, is now available to stream in full online.
The 1975 I Like It When You Sleep, For You Are So Beautiful Yet So Unaware Of It February 26 2016 (Dirty Hit) 7.5/10 Words: Linn Branson
You sort of have to ask yourself why any band would want to saddle themselves with such a pretentious, preposterous, 16 word album title? It may work as a sweet whispering in the ear of a lover, but as the title of your second record? Really?
But that is what Manchester upstarts The 1975 have chosen to do here; on par with their overblown, ostentatious glossy style from Matt Healy's often half-clothed I wannabe a sex god demeanor to their online writing of E V E R Y T H I N G I N C A P I T A L S S P A C E D A P A R T W H I C H I S B L O O D Y A N N O Y I N G.
Whether this over-long - 75 minutes' worth of 17 songs: did someone supply a studio form of viagra? - record does the biz or not may well depend on how you view the band generally. There's no denying they have well-liked the PR machine wheels in the build-up to this release, so if it fails to chart - which is probably unlikely - it will be down to the songs themselves. Matt Healy has previously said, quite modestly, that on this album he's seeking to challenge folk to sit through it, because, presumably, it would be good for their souls as: "It's art. The world needs this album."
'Need' may be subjective: one man's need is another man's can't be arsed, let's not forget. There's a hypnotic instrumental, 'Please Be Naked', there's the poppy, synth-driven 'A Change Of Heart' with the - memorable? - lines: “Was it your breasts from the start? / They played a part,”, and the dreamgaze style of 'Lostmyhead' (we are unsure to which part of the anatomy this pertains). You almost want to slap old Mats with a wet fish and tell him to get over himself. But if you put aside all his posturing and posing, when he turns on the aural charm as on the down-tempo throb of 'Somebody Else' and 'Loving Someone', you can't help but start to crumble.
Elsewhere, the title track - all nearing seven minutes of it - contains some nice keys and sighable harmonies in its textured electronica; the funk-roots lead single 'Love Me', 'She’s American' and 'UGH!' shows another side again, while the 'If I Believe' delves into gospel/soul territory.
'I Like It When You Sleep ...' is, taken overall, a work of several parts, each of which can separately be enjoyed, yawned over, or dismissed entirely.
Well, well, well. Have Eagulls ever sounded better than what they do on this latest track, 'My Life In Rewind'? That may be arguable, but they are certainly ripping a new, more textural, sound here. It's all emotive, and lush, and big, and, very very good: I personally like it to at least an 8/10 level, I will admit.
The track follows 'Lemontrees' revealed recently, also from what has now been announced as the second Eagulls album, 'Ullages', which will be released on May 13 via Partisan. The record - the follow-up to 2014's self-titled debut - and whose name is an anagram of Eagulls , was recorded in a converted church in Leeds, where it would seem, going on these two tracks, the Leeds outfit consciously sought to draw out new melodic shapes.
'My Life In Rewind' is a down-tempo, sprawling beast that slowly and sinuously works itself into your head. George Mitchell's vocals add an air of both gloom and depth to the refined lyric writing.
'Ullages' Tracklisting:
01 Heads Or Tails
02 Euphoria
03 My Life In Rewind
04 Harpstrings
05 Velvet
06 Psalms
07 Blume
08 Skipping
09 Lemontrees
10 Aisles
11 White Lie Lullabies
Toronto's experimental quartet Fresh Snow are always nothing less than captivating in both their sound as much as their visual treatments (who can forget last year's epic 'Don't Fuck A Gift Horse In The Mouth'!)
The band now share the video for the instrumental track 'King Twink Rides Again', taken from their EP 'WON', which is out now on Hand Drawn Dracula.
Directed by Craig Orrett and Sturdy Films in analog/cut screen style, it balances natural elements of water, greenery, woods with states of mind; fusing beauty with sharp angularity.
TIM GLAE ZEE - YOUNG AND BREATHLESS
Electro-pop/R&B vibes in the debut track from New Zealander Glae Zee (formerly known as Boy Wulf). Spread with smooth and subtle glitchiness and atmospheric pads. Taken from 'Dis Graceful' EP out June 6. Star rating: ***.5/5
DAZY CROWN - HONEYDEW
Solo project of songwriter and multi-instrumentalist Thomas Little, originally from Newmarket Ontario, now based in Norwich. Surf indie lo-fi with a Mac DeMarco infectiousness. Star rating: ***/5
JARBIRD - IONA
New single from the debut EP, out March 4, from the London-by-way-of-Leeds art-pop four-piece. Chilled, ethereal dreaminess, that gives a feel of the remote Hebridean island it is called sfter. Star rating: ***/5
HAPPY HOLLOWS - WAY HOME
Catchy hooks, angular guitars, shimmering analog-synth based melodies and gripping vocal delivery in the new single released this week, from the Californian quartet, featuring guitarist Sarah Negahdari and bassist Charles Mahoney. The two initially met at a LA strip mall where Sarah was reading tarot cards to pay the bills. Mahoney had just moved to the city from Washington D.C. to pursue his Ph.D. at UCLA. Star rating: ****/5
SEA SPAN - WINTER SUBLET
Self-produced/released debut track - written during a blizzard - which came out last month from the four-piece originally from North Carolina, now based in Philadelphia. James Thomas's light and mellow vocals ease along a flowing melody. Star rating: ***/5
Exeter pop-punk threesome Muncie Girls have followed up first tracks - 'Gas Mark 4', 'Balloon' and 'Gone With The Wind' - from their forthcoming debut album ‘From Caplan To Belsize’, out on March 4 via Specialist Subject Records, with their latest single.
'Respect', now unveiled with an accompanying video, is vocalist Lande Hekt no holds barred punch to society’s degradation of women and tolerated violence.
Hekt decided to record herself reading aloud some extracts from other writers (Stéphanie Genz and Laura Bates) that help express her feelings on the topic. These are included in the bridge of the song.
MOTHXR Centerfold February 26 2016 (Kitsuné Records/Sony Red) 6/10 Words: Richard O'Hagan
Listen carefully, because this is very important. Do you like 80s music? Do you really, really, like 80s music? Because if you don’t like 80s music, you’d be better off skipping this review and going and reading about one of the other excellent bands that we’ve featured on Little Indie today.
Seriously, this record – the debut album from Brooklynites MOTHXR (no, we don’t know how to pronounce it, either) – couldn’t wear its 80s influences any more prominently if it went on strike for several years or bombed Libya. For a start, it’s called ‘Centerfold’, which for most people will always be a slightly dirty J Geils Band hit. Musically, it is as if the band have taken every instrumental electronica act from that decade, from Freeez to 808 State, and thrown them all into one giant musical fondue. And then, just in case all of that was a bit too subtle, the cover features a 1980s model wearing a Sony Walkman.
Generally speaking, the vocals are either so far back in the mix or so deliberately distorted as to be incomprehensible. ‘Touch’, a single in the past, possibly features the vaguely worrying line “If only I can touch her” in the course of sounding like a sleepy version of Hot Chip, whilst the low and occasionally droning title track features an “I don’t know” riff that pretty much sums up trying to understand what MOTHXR are going on about.
That’s not the big beef here, though. There are eleven songs here and they all follow the same musical theme, all clocking in at roughly the same sort of time and in the same sort of time signature. ‘Fight The Feeling’ briefly threatens to break the mould, kicking off with a few bars of wacky syncopation in the manner of Late Of The Pier, but is swiftly reined in. Closer ‘I Can See’ features the most extreme vocoder action since the days of Does It Offend You, Yeah, and current single ‘She Can’t Tell’ at least has a touch of 80s funk about it. None of it, though, makes for a record you’re going to be listening to very often – no matter how much you love the 1980s.
Live Review Marsicans Tooting Tram & Social Club, London February 19 2016 Words/Photo: Yuni Situmorang
A great band isn't a great band until they make me go, "HOLY SHIT!" when I watch them live. Marsicans made me do that, which was quite amazing considering that was my first time seeing them live after been listening to their music, kind of religiously for the last month or so.
Coming all the way from Leeds, James, Oli, Matt and Rob performed a short set - for me anyway, but it's quality not quantity, no? - at the Tooting Tram tonight as part of Radio X DJ John Kennedy's regular Remedy nights (and a night which they have also played before). They sang a few songs, a couple from their EP 'The Chivalry', and of course, their latest single 'Arms Of Another'.
Their vocals all synchronized quite perfectly. Individually, however, their stage act is a whole different story. Bassist Rob Brander is definitely the most active one compared to the others - it's hard to ignore his stage presence with all that dancing, arm movements and the jumping up and down. But don't think because Matthew McHale is slightly hidden behind his drum set, he's just sitting there quietly - no, he is not! And both vocalist/guitarist James Newbigging and guitarist Oli Jameson offered their own personal stage style, vocally and guitar-wise.
'Swimming' and 'Absence' -with a soupçon from Whitney Houston's 'I Wanna Dance With Somebody' - and 'Chivalry', the title track from their 2014 EP, we got tonight, but only left the crowd hungry for more, and after pretending to say goodbye and leave the stage - they then returned after the "We want more!" chants.
All in all, a short, but memorable, gig. I only wish it had been longer, because while it may have been a lot longer in practice, it still only felt like five minutes to me.
The Joy Formidable, Eagulls, Black Honey and one of Little Indie's favourite US bands, SWMRS, are all lined up for this year's Great Escape. They, plus 146 other acts, are the latest names announced to be announced today for the three-day Brighton festival.
This year’s event takes place from May 19 to 21 in various venues across Brighton.
The full list of new additions is as follows.
Albin Lee Meldau / Aldous Harding / Alice Jemima / Amber Arcades / Anne Marie / Ardyn / As Lions / Astroid Boys / Atlas Wynd / Ben Caplan / Black Foxxes / Black Honey / Bleeding Heart Pigeons / Bonzai / Boy Jumps Ship / Bry / Cadet / Charley Marley / Ciaran Lavery / Clean Cut Kid / Cloves / Craig David’s Ts5 / Cullen Omori / Cult Of Dom Keller / Day Wave / DBFC / D/C/ Dressmaker / Eagulls / Eska / Ex-Magician / Fai Baba / Fakear / Fews / Finn / Formation / Frances / Frankie Cosmos / Gaika / Get Inuit / Girl Friend / Good Foxy / Gordi / Guy Andrews / Haiku Salut / Halo Tora / Haus / Heavy Trackers / Highasakite / Holly Macve / Isaiah Dread / It It Anita / Jalen N’Gonda / James Tw / James Mac Cormack / Jodie Abacus / Joe Nolan / John Metcalfe / Jones / Joy Again / Kero Kero Bonito / Kevin Garrett / Keziah / Keziah Hodgson / Klyne / Larkin Poe / Lawrence Taylor / Let’s Eat Grandma / Limb / Lisbon / Living Hour / Louis Mattrs / Mass Gothic / Me And My Drummer / Meilyr Jones / Money / Mothers / Nadine Carina / Nap Eyes / Nessi / NZCA Lines / Oh Pep! / Pauw / Pixx / Porches / Queen City Stoop Kids / Rag N Bone Man / Rationale / Reigning Days / Rhys Lewis / Riko Dan / Riz La Teef / Rozelle / Shakka / Shvpes / Skinny Girl Diet / Skinny Living / Sly Johnson / Splurgeboys / Starling / Stephen Kellogg / Strong Asian Mothers / Surf Dads / SWMRS / Tangerines / Telegram / The Heavytrackerz / The Hunna / The Invisible / The Island Club / The Joy Formidable / The K / The Rubens / Sherlocks / The Shimmer Band / The Telerman / The Velveteins / The Wholls / The Wild Feathers / The Zolas / Tiggs Da Author / Tiny Ruins / Tom Misch / Trevor Sensor / Twin River / Vodun / Warhaus / We Are The City / White Miles / White Room / Wyvern Lingo / Yes We Mystic / Yonaka / Yungen
They join the likes of previously announced:
Alina Orlova / Axel Flovent / Banff / Banfi / Beach Baby / Blossoms / Boo Seeka / Cherie And Renno / Conner Youngblood / Dagny / Declan McKenna / Dilly Dally / Dirty Frigs / Dorsal Fins / Drones Club / Elle Exxe / Edna / Fenne Lily / Fort Lean / Foxtrott / Girli / Holy Esque / Isaac Gracie / Jack Watts / James Gruntz / Junk Son / Kloe / Lcmdf / Methyl Ethel / Money / Mura Masa / Mystery Jets / Natur3 / Northeast Party House / Oh Wonder / Otherkin / Owen Rabbit / Pumarosa / Rukhsana Merrise / Saint Sister / Salute / Shura / Slum Sociable / Strange Bones / Tigercub / Timberwolf / Trudy / Tuff Love / Vant / Will Joseph Cook
For further information and tickets, visit The Great Escape website.
The new single from Liverpool psych rockers The Vryll Society, 'Self Realization', is just what you might expect - and be longing for - from a band drawing in a growing reputation for their unique blend of psych-spacegaze sounds.
Produced by Joe Fearon and Tom Longworth, and released on March 11 via Deltasonic Records, 'Self Realization' offers a whirl of soaring guitars, Kraut pop esoterics, sounds and Mike Ellis’ vocals veering from the ethereal to a howling scream - which all comes to a spine-tingling climax.
The band are on tour with Blossoms through February and March, before headlining their own UK dates in April.
February
24 KINGSTON UPON HULL
25th LONDON, SCALA
26th LEICESTER, 02 ACADEMY
27th MANCHESTER, ALBERT HALL March
02 ABERDEEN , TUNNELS
03 EDINBURGH, THE LIQUID ROOMS
04 COVENTRY, KASBAH
05 STOKE ON TRENT, THE SUGARMILL
25 LIVERPOOL 02 ACADEMY
The Vryll Society headline UK tour April
06 BIRMINGHAM, HARE & HOUNDS
07 NEWCASTLE, THINK TANK
08 GLASGOW, KING TUTS
09 MANCHESTER, NIGHT AND DAY CAFE
12 LONDON, THE LEXINGTON
13 BRIGHTON, GREEN DOOR STORE
14 BRISTOL, THE LOUISIANA
15 SCUNTHORPE, CAFE INDEPENDENT
16 SHEFFIELD, THE ROCKING CHAIR
It might be just their first single, but brother-sister duo Madeline and Richie James Follin, otherwise known as simply Follin, are certainly pulling in praise for 'Roxy', being picked up by both Zane Lowe on his Beats 1 radio show and John Kennedy on Radio X.
Madeline (of Cults) and Richie (of Guards/Willowz) having finally realized an idea for working together, and inspired by distorted synthesizers, drum machines, samples, harmonizers, tape effects and atmospheric sounds they experimented with, 'Roxy' - out now via Father/Daughter Records - emerges as a brooding pop jam, utilising keys and synths and a distorted edge to Madeline’s voice.
C Duncan EP February 19 2016 (FatCat Records) 7/10 Words: Conran McMullan
After the success of debut album ‘Architect’, Christopher Duncan shares with us a musical journey of his career so far. Being Mercury Prize nominated for ‘Architect’ shows just how gifted he is as a musician and songwriter; a talent that has not gone unnoticed by critics and tastemakers.
This latest EP starts at pace with “A Year Or So”, a recently written song which retains his ghostly sound, while featuring a jazz style guitar backing to bring more life to the track. 'Garden' will be familiar to those accustomed with Duncan's music, being his third single release, and is a live session recording that was done for BBC Radio 6 Music's Lauren Laverne’s show. It is a track which serves to prove his ability to perform, albeit offering nothing new to listeners placed here on this record.
Third track 'The Age For Love
(Is The Wrong Age For Me)' is as old as the title is long, and not previously released. It's old-school romantic and could easily have come from the 60s or 70s but still sits brilliantly within today’s industry. To bring the EP to a close we are treated to a cover of Cocteau Twins' (who Christopher cites as a major influence) 'Pearly-Dewdrops’ Drops'. Sensibly choosing to stray from the original – the Cocteau Twins are after all demigods to some – it is performed with gentleness and delicacy, but keeping the passion of its roots.
With this taste of C Duncan’s development, we can look forward to him continuing his journey through the musical world.
Massive Attack unveil the massive video for 'Voodoo In My Blood', taken from the EP released last month, 'Ritual Spirit', which also features Scottish rap experimentalists Young Fathers.
Gone Girl's Rosamund Pike stars in the Ringan Ledwidge-directed video, in which she is called upon to walk through a deserted subway before having a rather nasty encounter with a floating metal orb.
It is easy to see why there is hype building around WILDES and her debut single ‘Bare’: her simplistic, stripped back style allows her to show what an incredible singer and lyricist she is.
Classically trained, 19-year-old Londoner Ella Walker - aka WILDES - has softness to her voice which sits perfectly over the simple guitar melody. Influences of Laura Marling and Joni Mitchell, as well as a love of literature, have shown her the ‘importance of words within a song’ and have had a deep effect on her songwriting.
Ella's introspective lyrics come from music giving her ‘a way of asking questions she’d be too afraid to ask in everyday conversations’ and make her music rather endearing.
Released via Hometown Records, ‘Bare’ is an authentic and truthful debut which has seen her likened to Daughter's Elena Tonra and quickly gained her many influential fans.
Words: Sam Geary
Hookworms member and ubiquitous producer MJ has shared his first solo offering under the name Family Scraps.
'It Follows', which will be, erm, followed, by a full-length later in the year was recorded last year at his Suburban Home studio - before the Yorkshire floods swept in causing severe damage in the area, and to the studio. The follow-up, therefore, may be a while in coming.
Yorkshire's finest pop-psych-grungers Allusondrugs have just kicked off the their co-headline 'ScuzzTV Presents: UK Throwdown Tour', and as a little adjunct they have shared a live-in-the-studio video of fan favourite ‘Nervous’.
Check out the video below, then catch them on one of the 16 dates that also features Press To Meco and Max Raptor.
ScuzzTV Presents: UK Throwdown Tour: w/ Press To Meco + Max Raptor
February
22 Birmingham, The Rainbow
23 Glasgow, Broadcast
24 Aberdeen, The Tunnels
25 Dundee, Buskers
26 Carlisle, The Brickyard
27 Edinburgh, Sneaky Petes
29 Newcastle, Think Tank
March
01 Manchester, Deaf Institute
02 Derby, The Victoria Inn
03 Tunbridge Wells, The Forum
04 Milton Keynes, Craufurd Arms
05 Norwich, Owl Sanctuary
06 Southampton, Joiners
07 Bath, Moles
08 Cardiff, Clwb Ifor Bach
09 London, Borderline
In their continuing bid for world domination - or at least a charting album - The 1975 last night (February 22) aired their new single 'A Change Of Heart' as Annie Mac's Hottest Record In The World.
The electro-pop track is yet another to drop from the album pre-release, after 'The Sound', 'UGH!', 'Somebody Else' and 'Love Me'. You soon won't need to bother with the impossibly titled 'I Like It When You Sleep For You Are So Beautiful Yet So Unaware Of It' album, out on Friday (February 26) at all.
Darkly brooding post-punk new single released last week, from the dark and brooding post-punk Birmingham four-piece Semantics.
‘My Detainer’, recorded and mixed by Ryan Pinson (the man behind the desk for a growing number of West Midlands' bands), is the second single from the band's forthcoming EP which they plan to release this spring. Opening on some nice guitar, it's when Rob Lilley's deep baritone vocal and drums kick in that it really takes off, with some marvellous guitar riffs coming at the midway point. Proper brightens a Tuesday...in a dark way.
Here at Little Indie we have become somewhat enamoured of Australian band Horror My Friend, not just because their debut album 'Stay In, Do Nothing', released last month, is stonkingly good, but because they tweet about the Brit 'institution' that is Val Doonican with their mates in the band British India!
The following interview originally appeared in the music blog Casual Band Blogger. For this and more music profiles, you can reach their site with a click here.
Words: Genevieve Gao
Storming the Aussie music scene with a fine balance of raw power and well-crafted melodies comes a refreshing approach to shoegaze and noise rock. Gearing up for a national tour, Gen chatted with singer and guitarist Josh Battersby about playing BIGSOUND for the first time, the impact of ‘80s heavyweights Sonic Youth, and being inducted into the Robert Stigwood Fellowship. First of all, congrats on making it to BIGSOUND and showcasing some ‘Radelaide’ talent. What were the highlights, and what was it like transitioning to a much larger crowd?
It was great playing to a bunch of people who we’ve never met before. That’s the goal when you’re playing to the state I guess. It was a great time playing with Skies and Grenadiers as well, really good friends with those guys. So I’m glad they got to do the same thing. BIGSOUND was a pretty good experience. We only got to stay for one night though ‘cause Tom and I had to go to uni the next day. I was with a friend and looked through a bunch of rad bands that I’ve already gone to see at school, so yeah, it was a great time.
Now January 22nd – clearly a huge date for you guys with your upcoming album and tour kicking off. Which tracks from the new record are you most excited to play live, and what are you expecting the energy to be like from crowds you’ve never played before?
I guess my favourite song on the album is probably the last track called ‘PB Remains’. I guess we like to put out a lot of energy live, and it’s nice to view that return, and the crowd if they like it. I just hope everyone has a good time.
Last year was a massive one for you guys – great work on hooking up with Poison City Records! How did that opportunity actually come about, and what’s a unique aspect of the label that really nurtures artists?
So we tracked our album in early January but we didn’t finish mixing and mastering it until probably July. So we got a bunch of record label emails to send the album to, and yeah we got a reply from Poison City. We were pretty surprised by that to be honest, a bunch of good bands are at that label. In terms of nurturing bands, they’re just nice guys but you know, they just encourage you to tour a lot. I guess that’s the best thing about it, they get you to tour and just play with bands on the label as well. We love bands like Postblue, and White Walls released an album through Poison City too. But yeah, I guess we were stoked with that. So with 'Stay In, Do Nothing' you recorded it at Melbourne’s Hothouse Audio and then had Richard Bowers mix it. Was there anything about the location that helped shape the album, and how was the process different to recording 'A Million Hands'?
I guess with 'A Million Hands', we recorded it with Matt Hills in Adelaide. I think that was the third or fourth time we’d recorded with him before, and Richard mixed the EP. So this time, we got a grant for a fair bit of money, which we were super lucky to get I think. That’s another reason why the album came about in the first place. Our friends actually went to record at Hothouse and they raved about it, so we booked four days there as well. We did two days of drums at Hothouse, and then we did a week with Richard at Soundpark Studios just on bass and guitars. Soundpark was really cool, because Richard’s a big nerd and he’s got heaps of gear, so we just took all the gear from his house and set it up at Soundpark. Then we were back at Hothouse for the last two days just doing vocals.
I guess it was cool not doing it all at the one place, that’s what I liked about it. Some places give off different vibes I guess, and being able to travel and record’s pretty incredible.
One of the things that defines your sound is the crossroads between raw aggression and melodic songwriting. What have been some of the challenges in developing that?
I guess we used to be a bit more collaborative in how we wrote our songs, whereas this bunch of songs for the album was either Tom and I would go away and we’d both sing on different songs, or pretty much write songs to completion and then just do it in band practice. So that was a bit different, that’s just how the songs came out.
You guys have previously cited ‘Life Blood’ as “a big turning point” for the band in terms of honing in on a more specific sound. From where you guys are at right now, does that still stand and is it a sound that you can hear through the new record?
Yeah, that’s for sure. I guess ‘Life Blood’ is a bit more melodical than the kind of stuff we’re used to doing. So yeah, we’re just trying to get more melodies in our sound. Now you’ve collaborated with Brett Walters to produce some great lo-fi, intimately shot clips for ‘Mazes’ and latest single ‘Stay In’. What were the creative and shooting processes like in working with Brett?
So I guess with ‘Mazes’ we just wanted to go with the lo-fi, grainy, kind of like it was shot on VHS or something like that. I think that clip was a bunch of fun, everything was in Tom’s backyard, pretty much. For the second one, Brett came up with idea to have the clouds in the background with the people just sitting around not doing all that much, which was really cool. We liked that idea, so yeah we just went for that.
We didn’t really have all that much say in how the clip went, I suppose, but that’s fine with us, ‘cause Brett’s a wizard behind the camera.
It’s awesome to see you guys get included in the Robert Stigwood Fellowship last year. How successful has the program been in promoting the South Australian music scene, and where do you reckon it’s at overall?
I think the Robert Stigwood program’s a pretty recent thing, it’s in its second year now. So what kind of happens is mentoring sessions where Dan Crannitch and Stuart catch up every month to cover where we’re at and where we want to head, and they’ll just give us ideas on anything we haven’t thought of doing yet and just help us achieve our goals. So the last event they had a bigger bunch like Tkay (Maidza), Bad//Dreems, Jesse (Davidson), all those bands are doing incredibly well. So this year’s a pretty cool bunch, Grenadiers are doing it, Skies. So it’s just a pretty good mentoring thing and everyone’s just mates and you go out and drink beers and talk about what you’ve been getting up to. Let’s talk two of your favourite subjects: noise rock, and Sonic Youth. Why do you think Sonic has created the massive impact that it has, not just on the ‘80s era but for bands like you guys who are immersed in that sound?
That’s a good question. I guess for us, Tom and I love the guitar players Thurston Moore and Lee Ronaldo. I think also how they turned that massive sound into pop songs as well, that’s pretty incredible. It’s just very melodic and just the way they sing; Kim Gordon too, more so even. Their singing you wouldn’t official call like pop singing but they work it into a melody and I don’t know, it just all works somehow. You don’t think it would, but it does. Finally, I couldn’t go without mentioning the great support tours you’ve had with your favourites The Cribs and Sincerely, Grizzly. Have those guys influenced you musically, and have you talked about collaborating on a single or even an album?
The really good thing is that Tom and I used to listen to them you know, when we were in high school, like before we even knew them, met the guys. But we never so much co-write I suppose, I guess ‘cause The Cribs are from the UK, so yeah when we got to play with them that was pretty incredible. They’re one of my favourite bands, like you always dream of playing with your favourite band and getting to hang with them afterwards. They were the nicest guys as well. So yeah, I guess it’d be cool to do that at some point. It’d be pretty hard to do it with The Cribs, but Grizzly for sure, that’d be pretty cool. I’d never thought about that before. We’ve gone out and done covers and stuff together but yeah, that could be on the cards one day.
See live Australia dates for Horror My Friend, which include special guests on the Grenadiers Oz tour next month.
February 26 Melbourne The Old Bar 27 Ballarat Karova Lounge
March 10 Brisbane Crowbar * 11 Sydney Brighton Up Bar * 12 Melbourne Shebeen * 18 Adelaide The Jade * April 01 Adelaide Jive * with Grenadiers
