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Interview: Daniel Hopewell of The Crookes (Part 1)

By on Tuesday, 13th October 2015 at 11:00 am

While our globetrotting editor Mary was on her recent working holiday in the UK, I had the opportunity for a trans-Atlantic Skype interview with guitarist and lyricist Daniel Hopewell (pictured at far left in the header photo above) from Sheffield indie pop quartet the Crookes. The Crookes have been featured here at TGTF in the past, most recently for their new single ‘I Wanna Waste My Time On You’.  The song marks a bit of a change in direction for the band, and we were curious to find out a little more about what’s behind the new, more expansive Crookes sound.

My last encounter with the Crookes had been in the summer of 2014, when they toured America in support of their third album ‘Soapbox’. Hopewell and I began our Skype chat from there, then made a segue into recent developments with the band and how those have shaped their fourth album ‘Lucky Ones’, which is due for release early next year.

So, the last time you and I met was in Phoenix, I think, last summer.
It was, in the desert, and it was boiling hot, I remember that. I had a really good night there. We ended up going out to these really sort of small bars where everyone was really baffled by the fact that we were there. I enjoyed that, because you know, when you’re in like, New York, and there’s loads of English people, no one bats an eyelid, but then when you turn up somewhere like that, in these kind of…it was kind of like a bar you’d see on ‘True Detective’, that kind of place, and they were just really sort of confused by it.

Yeah, I can see how you guys are maybe sort of a novelty around here.
(laughing) Novelty is the word, yeah. They kept buying us drinks, these sort of tough biker guys kept buying us drinks, it was really nice.

Since the last time I talked with you, the Crookes have undergone a couple of changes?
Yeah, yeah, Russell [Bates, the Crookes’ former drummer] left to get a sort of proper job.

And your new drummer’s name is Adam Crofts. How did you find him?
Surname is Crofts, yeah, but everyone just calls him Croftsy. He played in a band that has supported us a few times, and he came to a lot of our gigs when he wasn’t playing, and we kind of got to know him through that. We thought it would be good to have someone who we knew was an actual fan of the band. I never really watch support bands, because I kind of want to concentrate on what I’m doing, but Tom [Dakin, Crookes’ guitarist] knew him and said he was a fantastic drummer, and he’s also a really nice guy. So he was kind of the first choice, and yeah, he quit his band and we poached him.

Aside from the drumming, what does he bring to the table for the Crookes? Has he affected the way you play in any way?
Yeah, I guess he changes things quite subtly. It’s probably not something that you’d notice unless you were in the band. He’s incredibly tight, [and] it’s down to him a lot to keep things steady, you know, sort of lay the foundation for what we’re playing. He does that really well, it’s been really easy with him.

You’ve also started a new record label, Anywhere Records.
We have, yeah. We’d done three records and a mini-record on Fierce Panda (2010’s ‘Dreaming of Another Day’), and we kind of got to the point where we could sort of do this ourselves. We always liked having control over everything, and Fierce Panda were good for that, but now it’s just down to us, you know? We’re just a very independent band, so it seemed like the logical thing to do, and it was a bit of an adventure as well, so we’re going to give it a go. We’ve got a really good team of people in place who are helping us, so it’s all going well.

And this new album will be your fourth, so it’s not like it’s your first rodeo.
(laughing) Exactly. First rodeo, that’s lovely. But yeah, we know what we’re doing by now. We’ve been going at it for a while and we’re fairly prolific, so we’re lucky to be on our fourth. A lot of bands would be doing it for this long, slaving on a second album, so we’re quite happy.

It’s already album number four, that’s a little hard to believe. You guys do work pretty quickly.
Yeah, we all just do this, it’s our only job, we just write constantly. It’s more something like we have to do, you know? I think that was the thing, Russell never wrote songs, so he never had that feeling of dependency on being able to voice things, whereas the rest of us, we all kind of need to write songs or play guitar, or whatever and songs happen because we have to do it rather than thinking “oh yeah, I want to do that.”

Do you feel like Adam is more on the same page with you in that way?
Yeah, Adam’s an amazing pianist, plays guitar, writes his own songs as well. He didn’t join us until after we’d written this album, but having a fourth person, he obviously chips in with things. I think it will just make the whole process even better.

So it will be interesting to hear what might happen on album number five, then.
Yeah. (laughing) I mean, we’re always going to need a drummer, but it’s nice to have someone who can just play piano really well in case we decide we want to stick some pianos on a track or something.

I hadn’t thought of the Crookes as having a piano in the group, but your new single ‘I Wanna Waste My Time On You’ is a little more instrumentally expansive than what we’ve heard you do in the past.
Yeah. And I think that’s probably relatively limited compared to the full album. We’re quite lucky, the studio we recorded at in Leeds is owned by a guy called Nick [Baines], or Peanut, from the Kaiser Chiefs, if you know that band. He’s their pianist or keyboardist. He had so many synths there that we could just use, so synths are sort of all over the album. (Baines opened the studio earlier this year with Andy Hawkins and the Crookes’ producer Matt Peel.  You can read more about it, courtesy of Impolitikal, right here.

It’s quite different, I think, to what people might be expecting from us, in terms of sound. We got a brass band in for one song, and we had a duet and things like that. We just thought we’d try and do things a bit differently this time, a bit more experimentally. And obviously we didn’t have a drummer, so we had to start with electronic drums and drum machines. Once you start using drum machines to set the foundation of a song, then you want to put synths with it, and we listened to a lot of the Postal Service, a lot of New Order, so it sounds a lot more like that kind of stuff, and probably less guitar heavy. There are two or three songs that I don’t even think have guitars on them.

With the new album not featuring guitars as heavily, where does that leave you and Tom in the live performances? Does it change what you’ll be doing at all?
There are still plenty of guitars [in the live setup]. We’ll have to work out exactly how we’re going to do our live shows. Whether that be simulating synth sounds with pedals or somebody actually playing it, I’m not sure yet. It’s going to be exciting to work out, though!

Check back with us tomorrow for part 2 of my interview with Daniel Hopewell, where we talked more about the writing process for the Crookes’ new album. ‘Lucky Ones’ is due for release on the 29th of January 2016 via Anywhere Records in the UK and via Modern Outsider in America. You can have a look back at our past coverage of the Crookes by clicking here.


Album Review: Editors – In Dream

By on Friday, 2nd October 2015 at 1:00 pm

Editors In DreamAfter the 2013 departure of guitarist Chris Urbanowicz, Editors doubled down with a new lineup and created the heavily rock-oriented album ‘The Weight of Your Love’ in an attempt to prove the resilience of their sound. Two years later, new band members Justin Lockey and Elliott Williams have settled firmly into their positions alongside founders Tom Smith, Russell Leetch and Ed Lay, and their presence seems to have inspired a broader collaborative effort for the band’s fifth LP and first self-produced album ‘In Dream’.

In addition to the more expansive sound afforded by a five-piece set up, Editors have brought in a pair of notable contributors from outside. Iranian photographer Rahi Rezvani was tasked with designing the visual schematics for the album, including all accompanying photography and video representations. His work centers around the dichotomy of light vs. dark and has been prominent throughout the album’s promotional process, as featured in the videos for already released singles ‘No Harm’, ‘Marching Orders’ and ‘Life is a Fear’.

Rezvani’s crisply graphic black and white visuals are a perfect illustration of the clean, sharply contrasting electronic sounds that dominate ‘In Dream’. Further emphasising that dramatic contrast, Editors have recruited Slowdive singer Rachel Goswell to contribute guest vocals on three tracks. ‘Ocean of Night’ builds to a dramatically layered climax with Goswell’s delicate whisper soaring above the dynamic swell of keyboards and percussion. Her warm, ethereal vocal tone floats effortlessly beside the trademark shadowy baritone of frontman Tom Smith to soften the harsh rhythm of vocal duet ‘The Law’ as she croons its hypnotic chorus “don’t let it get heavy / you are the law / why won’t you come get me? / you are the law”. Smith’s own falsetto is remarkably effective in the atmospheric ballad ‘At All Cost’, where Goswell’s ghostly vocals blend seamlessly into a graceful and deftly executed instrumental arrangement.

Aside from the previously unveiled singles, which are naturally the strongest tracks on ‘In Dream’, the serpentine track ‘Forgiveness’ is the album’s main standout, with its darkly beguiling melodic lines and Smith’s sneering vocal delivery in its title line, “forgiveness makes fools of all of us”. ‘Salvation’ is similarly dark and brooding, its string arrangement underscoring both the portentous anticipation of its verses and the striking declaration of the chorus.

‘All the Kings’ indulges Smith’s darkest lyrical tendencies, but its sharp, concise vocal phrases cut through the angular synth string arrangement and its chorus can best be described as anthemic as he chants “loneliness forever / holding back a river / all the kings are coming / marching to the sound from your ribcage”. Smith’s strained falsetto nearly obscures his some of his best lyrics in the heavy dance beat of ‘Our Love’, but its repeated plea “don’t stop believing” fairly begs for the ecstasy of a live audience. Closing track ‘Marching Orders’ is also sure to be a live favourite, with pounding keyboards and an echoing chorus that plays almost like an extended encore at the end of the album.

Smith’s menacing vocals and his stark, often bleak lyrics work surprisingly well overall in the predominantly synthesised instrumental context of ‘In Dream’, much more so in fact than they did on Editors’ previous album ‘The Weight of Your Love’. The instrumental arrangements here are expansive without losing focus, allowing their foundational rhythms a bit more room to move, their melodies a bit more freedom to breathe. In their aim to create an album that was “both pop and experimental”, Editors have found a nice balance between dark and light by displaying the extremes of the spectrum.


Editors’ fifth album ‘In Dream’ is due for release on Friday the 2nd of October on PIAS. The band will follow the album release with a run of live dates in the UK and Ireland starting on the 9th of October. Our full archive of Editors coverage can be found here.


Album Review: Hurts – Surrender

By on Friday, 2nd October 2015 at 12:00 pm

Hurts Surrender album cover“If this is love, why does it hurt so bad?”

When Hurts’ debut album ‘Happiness’ was released in 2010, it debuted at #4 on the UK albums chart. But in this post-Mac DeMarco lo-fi, slacker rock / post-Tame Impala psychedelic time in indie, are the music-buying public keen for a new album from Theo Hutchcraft and Adam Anderson? Or maybe the better question to ask is if the same fans who bought their first two albums will like this new one?

They’ve certainly ticked off all the right boxes when it comes to personnel: in addition to working with long-time collaborator Swedish producer Jonas Quant, the Manchester duo enlisted heavy hitters Stuart Price (Madonna, The Killers) and Ariel Rechtshaid (Haim, We Are Scientists, Vampire Weekend) to lend their assistance in shaping ‘Surrender’. The result is a highly textured effort, having enough variety in pace and instrumentation to keep listeners on their toes and interest up. The album begins on an uplifting enough note: the title track soars with gospel singers vocalising against epic sounding synths and beats that have become Hurts’ trademark.

While the broody darkness Hutchcraft and Anderson so carefully cultivated for ‘Happiness’ (and again tapped into on 2013’s ‘Exile’ for songs like ‘The Road’) is evident if you’re paying close attention Hutchcraft’s vocals, the feeling of the first half of the album rhythmically is an upbeat one that may mask what’s lying underneath to the casual listener. On one hand, in a satisfying way, none of the songs early on in the tracklist of ‘Surrender’ ever register too low on the heartbeat monitor, making it wholly reasonable competition to the just-released second album from Disclosure, ‘Caracal’. On the other hand, an important question to ask is what exactly have they risked in these by going further into even more mainstream pop territory?

Aye, there are minor key synth progressions on ‘Nothing Will Be Bigger Than Us’ and Hutchcraft does an admirable job in making his voice soar during the breakdown, but the relentless beats sound so massive, there is no questioning their importance over anything else on this track. Another early reveal, ‘Lights’, sounds like the love child of Daft Punk slowed down and disco funk; the ‘Kaleidoscope’ “that keeps me spinning” appears to have been cut from the same cloth. ‘Perfect Timing’ takes the ’80s cliches of a saxophone solo and programmed drum beats but is clearly designed for the dance floor as well. If you’re a fan of the desperate love anthems as played out on their earlier single hits ‘Wonderful Life’ or ‘Sunday’, I can sense your concern amid these dance floor bangers.

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The aptly named ‘Slow’ is a languid, sultry jam, oozing from beat to beat, with moments of Hutchcraft’s voice rising up in almost a shout – “I just want to love you, I just want to hold you close / what you’re doing here is murder, when you whip your body close“ – while pulling back to a softer timbre on the verses. It seems like the second half of ‘Surrender’ is a compromise, especially if you spring for the deluxe edition with three bonus tracks that include ‘Weight of the World’, with its industrial grinding sound like the most previous Hurts-esque effort of the new material. At the end of the album, ‘Wings’ is swiftly followed by ‘Wish’, both exhibiting the grandeur of the Hurts we first came to know 5 years ago. ‘Wings’, the non-dance standout of the album, spins a tale of fallen angels and the safety of a lover – “there’s a hole in my parachute as big as my heart / and the gravity is pulling me down / will you catch me when I fall? / wrap your wings around my body” – and it’s beautiful imagery.

If you do spring for the deluxe edition, your album will end with ‘Policewoman’, which from the outset seems like a strange title to close out an album on. It starts with organ notes, making is sound almost hymnal, and as the song progresses, it seems to be describing a woman with responsibility for keeping the mean streets clear of crime and hoodlums (“when I hear those sirens coming / my iron maiden’s running / to serve and protect my loving”). But it’s got to be more than that, to be about a higher power, something bigger, much as I think is the purpose of ‘Surrender’ as it ends with ominous clanking and what sounds like the words “from the pain” repeated. While they’ve evolved towards a dancier direction on the first half of this album, the second half reminds us that this is just one chapter of the ongoing story of Hurts. From their newest album, you just get the sense that there is so much more that they are destined for.


‘Surrender’, the third album from Manchester dark electropop duo Hurts, is out next Friday, the 9th of October, on Sony and will be available in regular and deluxe versions. The band have three live dates in the UK scheduled in February. For past coverage of Hurts on TGTF, including my review of the excellent first taster from the new album, ‘Some Kind of Heaven’, go here.


Album Review: New Order – Music Complete

By on Thursday, 1st October 2015 at 1:00 pm

Words by Nick Roseblade

New Order Music Complete coverWhenever you hear that a classic band is reforming without certain members, you immediately fear the worst. When the Manic Street Preachers decided to carry on without the missing Richey Edwards, it worked at first, but as the albums got progressively worse, you questioned their reasoning. Why not just rebrand yourself ‘MSP’? We all know what it stands for, you can still play the old songs, but then a line has been drawn in the sand, we know you aren’t the same band.

After the death of Ian Curtis, the remaining members of Joy Division went away, then came back as a new group, christened New Order. During their best years, New Order redefined the pop landscape and released a slew of classic singles until they called it a day in 2007. Now they have returned with a new album, ‘Music Complete’, but like the Manic Street Preachers before them, they’re missing a key member. Luckily original bassist Peter Hook hasn’t done a Richey Edwards, but sadly after falling out with frontman Bernard Sumner, he’s no longer with the group.

Lead single ‘Restless’ kicks the album off: classic New Order synths and keyboards fill your speakers, and it appears to be business as usual. That is until Sumner starts singing, “I want a nice car, a girlfriend / who’s as pretty as a star / I want respect / as much, as much as I can get”. It’s hardly ‘Temptation’ or ‘True Faith’, is it? But you put it down to first song jitters and with an open mind you continue to the next track ‘Singularity’. Sadly, it’s more of the same. Uninspiring music and sixth form lyrics, “and all I wanna do / is make the right impression / the instrument of truth / a soldier with no weapon”.

The album continues in this vein. With each new track, you hope it’ll get better, but deep down you know it never will. The next three tracks – ‘Plastic’, ‘Tutti Frutti’ and ‘People on the High Line’ – feature Elly ‘La Roux’ Jackson. ‘Plastic’ sounds like a reworking of Donna Summer’s ‘I Feel Love’, but where you’d expect Jackson to come in, Sumner does and she is relegated to mundane backing vocals. ‘Tutti Frutti’ sounds like a Yello album track in the 1990s, complete with faux-computerised vocals. ‘People on the High Line’ proves to be the most fun track of the first half of the album: ‘90s Italian keyboards mix with a jaunty beat that sounds like music would have been played on a high-street fashion show in a local shopping centre in the decade.

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‘Stray Dog’ features Iggy Pop on vocal duties; this is an atmospheric slow burning narrative piece. It’s reminiscent of the 1999 track ‘Pop’ recorded with Death in Vegas, but this New Order tune never quite reaches the levels of darkness or brooding that ‘Aisha’ does. The next selection of songs follow on from the pattern that ‘Restless’ started and blur into banality. ‘Superheated’ closes the album with an uplifting number, but like ‘Music Complete’, it feels empty and half-hearted.

There are three main problems with ‘Music Complete’. Firstly, it isn’t 1998 anymore. Due to Sumner’s song writing style, it all sounds very dated, musically speaking, and it’s hard to work out if these are in fact new songs or just old demos that Hook didn’t like and now he’s not around, Sumner has complete control to do what he wants with them. Retro-sounding synths and drum beats? They pepper the album. I like nostalgia as much as the next person, but I also like bands to progress, especially after such a long break. Secondly, the lyrics aren’t that great. While it can be said that Sumner and Hook were never classic lyricists, on ‘Music Complete’ it seems like the words have been treated as an afterthought.

And thirdly, Peter Hook’s driving and diversive bass-playing is missing. While Tom Chapman does a pretty good impression of Hooky, you know immediately it’s not the real thing. In the past, Hook’s bass would stalk you through the album, before he delivered that killer blow by note, but now the spirit of his bass playing is only there in spirit. I’ve spoken to a lot of people about this album, and old and new fans appear to like it. It sounds like their ‘90s dance stuff. If that floats your boat, get involved. Personally, I’d rather sail away.

New Order should rebrand themselves ‘NO’, that way we’d all know where we stand.


‘Music Complete’, the first new album from Manchester electronic legends New Order in 10 years, is out now on Mute Ltd. They’ll be on tour in the UK in November.


Album Review: Broken Hands – Turbulence

By on Thursday, 1st October 2015 at 12:00 pm

Broken Hands Turbulence coverI can’t say I’ve ever seen a band quite like Canterbury, Kent band Broken Hands live. On a Wednesday afternoon at SXSW 2014, I went upstairs to the Rooftop on Sixth to see the then-Radio 1 BBC Introducing-anointed group play and was surprised to see large swathes of silver foil, similar in kind and volume to the stuff you find on satellites and spaceships (I should know, my dad worked for NASA), billowing in a wind I’d yet to have experienced in Austin. The overall effect was one I haven’t forgotten.

Space rock has been a genre since ’70s Pink Floyd, but you’ve never seen Dave Gilmour playing in front of a stage setup like this. I had to wonder if this was just gimmickry for the sake of the live show, especially playing in front of their first American audiences, and perhaps for a single or two. However, just looking at the title of the group’s debut album for SO Recordings, ‘Turbulence’, shows without a doubt that not only space but travel and the motion of flight have influenced their songwriting. For good measure, there are mechanical whirrs and sci-fi sound effects peppered throughout this rock record to add to the out of this world ambience.

My guess is if you’re reading this and you know anything about Broken Hands, it’s probably their uncompromising wall of sound that drew you to them, a sound akin to early Muse, long before they lost the plot. Actually, while we’re on the subject of Matt Bellamy’s band, I can draw comparisons to the Teignmouth tenor to the strong pipes of lead vocalist Dale Norton, whose presence is really important to stand up against the heavy instrumentation. LP and live highlight ‘Meteor’ is a hard-rocking, hard-driving number with killer guitar riffs. Risking your life by hanging off a piece of metal hurtling through space has never sounded so good.

‘747’ has whiffs of Muse as well, the number ominously and slowly burning towards its booming conclusion starting at 3 and a half minutes in. Title track ‘Turbulence’ has incredible build-ups, Norton asking aloud in an emphatic shout, “can you feel me?” Yes, actually, we can. And you feel good. Another album highlight, ‘Four’, is a tight little number not even clocking in at 2 and a half minutes, Thomas David Ford’s bass riff dirty like the darkest hell and deeply satisfying to a hard rock fan. Only slightly slower, ‘Should I’ and its droning guitars lull you into a false sense of calm until the bass – and Ford – shows everyone who’s boss. Like Ben Thatcher’s playing in Royal Blood? I don’t just think, I know you will think this is some good stuff. (It also helps that the album was produced by Tom Dalgety, who was also at the helm of Royal Blood’s blistering debut LP of last year.) Single ‘Who Sent You’, unveiled recently ahead of its release on the 2nd of October, 1 week prior to the album, is mesmerising lyrically while laying into you musically.

Rather than fill the album with one punishing track after another (which I suppose wouldn’t have been bad, it just may have come out sounding too samey), Broken Hands have done well to mix things up, if only to show off their versatility and their potential future musical direction. Title-wise, you’d think ‘Impact’ would be the logical musical brother to ‘Meteor’, but you couldn’t be more wrong. In its magnificence, ‘Impact’ surprises, particularly Norton’s sweeping voice in the role of balladeer. Less effective is ‘Collide’, a mellow prog tune that stays pretty much in one place.

All taken together, ‘Turbulence’ is an assertive debut album from a rock band worth keeping your eye on. Watch this space.


The debut album from Canterbury’s Broken Hands, ‘Turbulence’, will be released on Friday the 9th of October on SO Recordings. The band will be on tour in late October into early November. All past coverage of Broken Hands on TGTF can be found this way.


Single Review: Boy & Bear – Walk the Wire

By on Wednesday, 30th September 2015 at 12:00 pm

Words by Steven Loftin

Chances are Australian band Boy & Bear have escaped your radar, but their 2013 hit ‘Southern Sun’ hasn’t. It’s one of those tracks that to hear the name you would immediately take no recollection to hearing, but then you hear the chorus and it rushes back. That is what we have here with this leading single for the Australian band’s upcoming album ‘Limit of Love’, out at the end of October. ’Walk the Wire’ is a track so catchy and filled with melody, you’d be hard pressed to escape it even after half a listen.

We find the band at a new creative stage that has opened them into a new realm of possibilities. Boy & Bear comprises frontman/guitarist David Hosking, with Killian Gavin on backing vocals and guitar, Timothy Hart on drums, David Symes on bass and Jonathan Hart on everything else. Instead of having Hosking taking the reins, the band now write collaboratively. They’ve also teamed up with production extraordinaire Ethan Johns, who has most famously worked with Kings of Leon and Ryan Adams amongst others. This new creative outlet, coupled with Johns’ ear for sonic gold, can only mean big things for this band who are often overlooked outside of Australia and America.

‘Walk the Wire’ is as calming as it is inviting: there’s not a spot of pretentiousness. Everything has been calculated to give you the best listen possible, so it may be considered by some to be playing it safe. But then again, don’t we need the occasional easy listen?

There is no doubt that this band can write seriously good songs that have all the best features of great pop songs, whilst sticking true to the more conventional aspects of alternative music, such as heartfelt lyrics that strike true to even the toughest of hearts. Synthesisers are also utilised to really exaggerate what is already a satisfying chorus.

Ending with the words “’cause you’re dancing on the wire”, there hasn’t been a truer statement. If you aren’t at least tapping your feet, you’ll definitely be dancing on this wire. An honourable mention also goes to the promotional video they released for this new single. Featuring maniacal CGI versions of the band and green screen extras with some of the finest senses of humour known to man, it’s the perfect companion to this track, with the band showing they don’t take themselves too seriously.


Boy & Bear’s single ‘Walk the Wire’ single is out now on Nettwork Records. The band’s third album ‘Limit of Love’ drops the 30th of October.

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There Goes The Fear is where we tell you about the latest tours, gigs, and music we love and think you should too.

We love music that has its heart on its sleeve, tells a story, swims around our head all day or makes us dance like idiots.

The blog is edited by Mary Chang, who is based in Washington DC. She is joined by writers in the UK and America. It was started up by Phil Singer in Bristol, UK.

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