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Nick Mulvey has had a whirlwind year of touring in 2014, including an appearance at American music festival SXSW, a summer trip to Australia, and a full autumn tour of the UK. The video for ‘I Don’t Want to Come Home’, the next single from Mulvey’s album ‘First Mind’, was partially filmed during his voyage Down Under, where sun-drenched stretches of road led to the joyous festivity of live performance. Interspersed with the Australian imagery are glimpses of Mulvey in the studio with his fellow in folk Johnny Flynn as the two recorded the new single version of ‘I Don’t Want To Come Home’.
Cleverly backed by Mulvey’s Radio 1 Live Lounge cover of Drake’s “Hold On, We’re Going Home’, the new single is available now in digital form, with physical release to follow on the 15th of December via Fiction Records.
Antipodean alt-pop quartet Allo Darlin’ have just released the video for ‘Bright Eyes’, the first single from their recent album ‘We Come From the Same Place’, out now on Fortuna POP! Records. In a slight change of direction for the band, ‘Bright Eyes’ is a playful duet featuring the vocal talents of guitarist Paul Rains alongside usual lead singer Elizabeth Morris. The interplay between the two voices reflects the affable opposition of the characters in the song, while the quirky video suggests a possibly darker subtext. Directors Casey and Ewan (John Grant, Sweet Baboo) have also snuck in a cheeky reference to one of their earlier videos. Bonus points if you can spot it for yourself!
Allo Darlin’ will be on tour in the UK at the end of November. You can find a list of their live dates here.
By Mary Chang
on Friday, 31st October 2014 at 2:00 pm
Ever since I started blogging, I’ve been whinging about terribly mismatched headliners and their support acts. (Pretty sure the worst pairing I’ve ever seen was LA punk band Abe Vigoda opening for Vampire Weekend at Constitution Hall in April 2010.) Earlier this week, I probably witnessed the best pairing of my life so far: Kettering’s Temples, who have made their name in the 21st century by successfully resurrecting late ’60s psychedelia, were preceded by Brooklyn band Spires, who might not look as wigged out as Temples but they’ve got the same vibe. Both made their 9:30 Club debut in Washington Tuesday evening.
Yet to be signed Spires were originally started by singer/guitarist Matt Stevenson, whose intention was to make it a home recording project. Eventually, I guess touring became a viable and potentially profitable option once band members Jack Manley (guitar), Michael Goodman (guitar/synth), Jack Collins (bass) and Carter McNeil (drums) were added. Last year, NME dubbed them “the US’ answer to Temples”, which makes one wonder if Temples were sat around a laptop one day to come up with potential bands to take around America as support, Googled what bands were being compared to them and came across that NME blog entry. No matter how this all came out, it’ll go down as one of the better matched band bills in recent memory. Having already made a splash in the UK with their single ‘Candy Flip’ appearing on the Too Pure Singles Club in early 2014, you could never blame them for enjoying this stroke of luck of getting this tour.
While the psych rock feeling definitely runs through the bulk of Spires’ songs, I couldn’t help but notice the haircut and swagger of Stevenson, recalling less so Mick Jagger in the Swinging Sixties and more of those ’90s charismatic Britpop frontmen Liam Gallagher and Richard Ashcroft, both of whom as of late have seen better days. As evidenced by songs like ‘Comic Book’, there seems to be a poppier undertone to their music too compared to Temples, which seems to beg for listening in almost complete darkness, with the only light coming from one spare lava lamp.
Spires also seems to have a lot of material, which is pretty good for an unknown band, and their headlining buddies were nice to let them play a pretty long opening set. Their most recently released song, just public for a mere 2 weeks, is ‘Sleepy Eyes’, which like its name suggests is a dreamy, hazy soundscape. For even more street cred, the track was engineered, mixed and produced by Connor Hanwick, who you may recall as the former drummer of The Drums.
The dressing rooms at the 9:30 Club have adjoining balconies so that bands can watch the others on their bill from a bird’s eye view. This particular night, I was wondering why Temples’ balcony seemed to full of equipment. Shortly before they went on stage, all was revealed: in addition to two blokes on the Temples’ balcony, another two had been dispatched to the other side of the club on the punters’ balcony upstairs, and all four were in charge of the pulsating, constantly changing coloured backdrop onstage that can only be described as appropriately trippy for this band. One can only assume they thought the foursome would somehow feel dwarfed by the massive stage of the 9:30 without the kind of lighting rigs only bands like Cut Copy and Kaiser Chiefs can afford, feeling desperate that they had to come up with some kind of visual gimmick of their own. While the manpower deserve an A for effort, the effect was entirely unnecessary and to be honest, mostly distracting.
So what does one do at a Temples concert? It isn’t the kind of music to mosh to, though a pair of kids near us insisted on throwing their bodies and their backpacks around, much to the chagrin of the predominately older, non-teenage crowd who preferred to be respectful, their heads bobbing side to side with the shared knowledge that they were witnessing a pretty special band play. Frontman James Bagshaw – you can’t miss him with that glam rock-y, Marc Bolan-esque, massive perm of hair almost totally obscuring his face – seemed truly touched by the reception. He smiled while commenting, “I see someone in the front who knows the words better than I do. Which is good!” There must be no greater validation for a band than to come to the world famous 9:30 and to see your fans clearly enjoying your performance. While the club wasn’t anywhere near sold out and heaving as I’ve seen for other bands, it didn’t matter: you could tell from the mood and general excitement that everyone who was there were there because they truly adored Temples, which is not something you can for most shows at this venue, often attracting hipsters who disrespectfully chat their way through sets, swilling beer.
Debut album title track ‘Sun Structures’ is fantastic in its tempo, chugging along and being less psychedelic oozy, which I can appreciate. ‘Shelter Song’, their most recognisable tune, was saved for the end of the main set and got the best reception of the night, and with good reason: it’s fun, it’s happy and you can tap your toes to it. However, the highest technical marks must go to ‘Mesmerise’, which on record is less than 4 minutes long, but Temples somehow manage to stretch over 10 minutes (I think?) with instrumental flourishes and expanses. As the song went on and on, I had to wonder when it would end, but after getting my ears screamed in a couple of times (yes, those kids again), I think it’s safe to say most punters didn’t want to see the show end. Is psychedelic rock back? Why, yes. It is.
After the cut: Temples’ set list.
Continue reading Live Review: Temples with Spires at 9:30 Club, Washington DC – 28th October 2014
By Mary Chang
on Friday, 31st October 2014 at 12:00 pm
Arguably, the most famous thing that late Factory Records boss and journalist Tony Wilson ever said was, “but this is Manchester. We do things differently here”. The same can be said for bands in the North: far away from the reach, influence and trappings of London, the majority of them choose not to leave their home for the big smoke, instead making their name under their own terms, many thriving thanks to old-fashioned determination and incredibly hard graft.
Little Comets are one of the bright stars from Newcastle, though the brothers Coles and their growing families now call the Midlands (Birmingham to be more exact) home. The trio – singer/guitarist Rob Coles, his brother Mickey on guitar and Matt Hall on bass, supplemented by live drummer David “Greenie” Green – decided earlier this year to go it alone and leave Dirty Hit Records to strike out on their own The Smallest Label for all future releases. One of their great ongoing marketing plans in 2014 has been to release a series of EPs in lieu of a full album. (This will come later, in February 2015, when ‘Hope is a State of Mind’ will be released.) Monday sees the release of the third and final EP in the trilogy, ‘The Sanguine EP’, which follows ‘The Gentle EP’ (starring the brilliant ‘Little Italy’) released in February and ‘Salt’ in June. As seen with those previous records, Rob Coles’ lyrical content continues to be weighty and reflective, while the music is intelligent.
The foot-stompingly good ‘Ex-Cathedra’ begins this EP. As described by Coles himself on this entry on the band’s blog, the title comes from a Latin phrase “from the seat” that is used to describe the infallibility of the Pope’s thoughts and decisions. But ultimately, Coles wrote the lyrics to it in remembrance of his son William’s birth: the word ‘sanguine’ (frankly not used enough these days) that appears in the EP title also makes an appearance here as a sign of optimism, and the words “never let the winsome die” further this upbeat feeling.
The moniker of ‘Creeping Up Appearances’ is no doubt a pun on the BBC’s farcical tv series starring Patricia Routledge, but in some ways it’s a perfectly appropriate title if you consider Hyacinth Bucket’s primary goal throughout the series: to keep up her and her husband Richard’s appearance, things are business as usual as she continues her reign of snobbery while totally unaware of how she really appears to be to other people. While the guitars are suitably jaunty for Little Comets’ fare, the actual topic Coles is talking about is how the status quo is being maintained in Parliament while no-one is being held accountable. The overall instrumentation is restrained, allowing for the Comets’ trademark harmonies to shine bright.
With cheerful guitar noodle-y bits that sound like country western crossed with Jimmy Page’s parts in ‘Over the Hills and Far Away’, ‘Cover Your Rain’ (shown acoustically live above) is the most instrumentally interesting track of the EP. Though the two songs sound different and have entirely different purposes, I can’t explain why this song reminds me of ‘A Little Opus’, the title track of their second studio album ‘Life is Elsewhere and it’s really bothering me. Maybe it’s time for me to sit down for another chat with the lads and pick their brains again to get to the bottom of this irksome feeling in my psyche.
And while I had their attention, I’d also thank them for ‘The Assisted’. It is in stark contrast with the rest of the EP, as it is presented as simply as humanly possible, with just Rob Coles’ voice and him playing piano. He’s explained it’s about assisted suicide and not wanting to live any longer with a terminal illness. As you can probably imagine, this is quite loaded subject matter; in the wrong hands and without true consideration of the gravity of such a situation, a song like this could easily come across completely insincere and out of touch, the song equivalent of the most terrible of train wrecks.
Instead, Coles has written a truly beautiful, moving piece, showing an astonishing gentleness and cognisance of a difficult decision, and a final one at that. It’s a real tearjerker. For those of us who have had to contemplate for ourselves or for others such a fate, it’s not something that can or should be taken lightly. Even if the song doesn’t resonate with you personally, you can use it as one of many examples of the Little Comets back catalogue of their great artistry. If you haven’t figured this out already while following their story, Little Comets are a band who aren’t afraid to defy convention, to touch hot button topics like this and deal with them head on, and we should thank our lucky stars every day for this.
‘The Sanguine EP’ will be released on Monday, the 3rd of November, on the band’s own The Smallest Label. Their third album ‘Hope is a State of Mind’ can now be pre-ordered on their PledgeMusic Web site, along with the opportunity to purchase a whole series of unique and limited edition items. The album will be released on the 16th of February 2015. You can stream EP track ‘The Assisted’ below.
By Mary Chang
on Thursday, 30th October 2014 at 6:00 pm
Scottish girl duo Honeyblood – who went through a line-up change a short while ago, with original drummer Shona McVicar leaving and replaced by Cat Myers – have released a new promo for ‘Choker’. The song features on the act’s self-titled debut album, which dropped over the summer. Watch the presentation in monochrome below.
By Mary Chang
on Thursday, 30th October 2014 at 1:00 pm
Our friends at Gigs and Tours have given us something – well, 3 pairs of somethings – that are pretty cool and naturally, we’re eager to share the wealth with you, our faithful readers.
American band The Gaslight Anthem are playing two shows at the famed Manchester Apollo in November, and we’ve got 3 pairs of tickets for the show on the 18th of November to give away to 3 lucky TGTF readers. Fancy your chances? Then fill out the form in its entirety below.
First fill in your full name and your email address so we can contact you if you win. Then to make sure you really want to see the Gaslight Anthem and to test just how massive a fan of theirs you really are, tell us what the name of the band’s latest album is, released in August of this year. We will then choose three winners of all the correct entries received.
Get your entries in by noon British time Monday, the 3rd of November. We’ll contact the winners by email. Good luck! Please note: this contest is open to UK residents only who can get him/herself to Manchester for the show, and under 14s must be accompanied by an adult (this gig’s policy, and TGTF won’t be held responsible if you’re turned away at the door for being underage and not meeting this requirement). All duplicate entries will be discarded.
To read all past content on the New Jersey band on TGTF, head this way.
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