For editor Mary's coverage of SXSW 2013, go here.
For TGTF team coverage of Liverpool Sound City 2013, go here.
For TGTF team coverage of the Great Escape 2013, go here.
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By Mary Chang
on Thursday, 16th May 2013 at 6:00 pm
What happens when you stick the National in a small white room with their instruments and leave them alone? Presumably you get a scene like this video for ‘Sea of Love’. Watch the video below. Oh wait. I’ve just read that it’s playing homage to another video that the band found inspiring. How…unimaginative.
The band will release their next album ‘Trouble Will Find Me’ this summer.
By Mary Chang
on Thursday, 16th May 2013 at 3:00 pm
Third day at Sound City 2013, and I was flagging. Martin made the perfect suggestion that we should check out the Korean bands day showcase, where there would also be free food and booze on offer. Besides, I’d not been to the Kazimier Gardens yet, which both him and John had waxed philosophical on their home brew and laid-back atmosphere. Afternoon sorted then. I didn’t photograph any of the bands, as we had Martin with us there, so check out his review of day 3 for those. What I mostly recall was that the atmosphere was loud, fun and just what you needed on a sunny Saturday afternoon. (This is where I should probably point out that while some of the evenings were chilly, not a drop of rain fell the entire weekend. So take that, Brighton!) After being plied with sufficient food and drink – and running into Delphic of all people in the barbecue line! – it was then off to see the next band.
Common Tongues are a folk pop band from Brighton. Folk pop may seem such a cliche these days but I can assure you that they are worth seeing for the beautiful harmonies alone. I mean, why wouldn’t you want to see a band who describes themselves on Facebook with the following: “Common Tongues are a Brighton based 5 piece that combine the belly fruit of Bob Dylan and The Beach Boys to tell compelling stories of their lives and loves. The band bring real gravitas to the folk scene with expansive instrumentation, cinematic arrangement and luscious 5-part harmony.” I’m always up for a bit of musical belly fruit. They just released an EP, ‘Tether and Twine’, which I’ve purchased to bring home with me to America, but if you fancy watching the band perform all the songs from the release, you can do so here. They will also be appearing at the Alternative Escape in Brighton on Thursday afternoon, so they are a band not to be missed.
There’s just not enough bands named with adjectives, I say. This is where the next band comes in. I returned to the Brink Saturday afternoon, as it was May the 4th Be With You Day and they were offering up a C3 PO Boy sandwich (a joke probably lost on most Brits but I totally got it, having had many a po’ boy in my time and having once visited New Orleans). Redolent, a very young band from Edinburgh, is one I came across in my Sound City preview research, on the strength of their guitar playing in the many acoustic videos they’ve put on their YouTube account. I don’t think their songwriting craft is fully formed yet, but on the basis of how good they are on their instruments, I can see them being the Two Door Cinema Club of Edinburgh soon enough. Just you watch.
Now is the time that I can reveal my shining stardom moment of the weekend. Shining stardom moment not in a “oh my god, I’ve met *insert band name here* and I can die happy now” way. No, as in “wow, I’ve made it!” While I speaking to the band members of Redolent after their set, I was approached soon after by Sid and Esme of the Oreohs, the young Halifax band who Martin had nothing but compliments for from the Thursday. “Are you Mary Chang? Do you run There Goes the Fear?” I was incredulous. And to be honest, pretty nervous and taken aback at having been identified. I am sure I was blushing. Sid explained that they had toured as support for the Crookes previously and she’d read my review of the Crookes’ ‘Bear’s Blood’ single and thought it was “absolutely amazing”. When you put your heart and soul into something, it is always heartwarming to hear that what you do is appreciated by someone else. It is also lovely to be reminded of good friends; even if you are hundreds of miles away from them, they will always be in your heart. I was absolutely beaming from this interaction.
I whinged initially at the lack of true dance bands at this year’s Sound City, so the salve of Dublin’s Last Days of 1984 at the Garage was more than welcome. Ever since Daft Punk made that pronouncement that they thought dance music was going in the wrong direction while they’d been away, I’ve been analysing and overanalysing what they perceive as going wrong in this genre. Charismatic frontman? Check. Mad beats? Check. Beautiful sonicscapes? Check. It’s a shame that more punters were out here earlier to catch them, but I thought they sounded fantastic, their music easily filling the cavernous Garage.
I won’t speak about Willy Moon in my review, as Martin photographed him. I tried to be a trooper and squeeze my way into the crowded floor where he was playing at the East Village Arts Club but it was just too hot and claustrophobic, so I had to leave to catch my breath. And sit down with a cider. Smile.
It just wouldn’t be Sound City for me if I didn’t see the Hummingbirds. The six man band are known for their incredibly melodic, skiffle-esque, early Beatles sound and it’s easy to see why they are fast favourites with locals young and old. I met them last year, after a considerable amount of time had passed since I had done a Bands to Watch on them. I’m a Liverpool FC supporter, and though my support for the club has been wavering with all this recent Suarez nonsense, it was with much appreciation that lead singer Jay Davies came out with a bright red club scarf around his neck with the word “Justice” emblazoned on it, laying it across an amp on the front of the stage, right in front of the band so everyone could see. Any true footy fan will never forget Hillsborough and especially for Liverpool fans, while that dreadful day will always stir up bad memories, it is also a reminder of the strength and solidarity of the city and its people coming together to demand justice for those whose lives were lost.
Maybe that is why ‘Back in Liverpool’ brings tears to my eyes when I hear it, and why I had that reaction Saturday night watching them play it. The song itself is about a man who’s wanting to have a serious conversation with a woman he was involved with, but he can’t do it until she returns to town because she’s left and gone away (to Cambridge, if you were wondering…I guess she went to uni?). In this overly social media-ed world, the fact that he’s not texting or WhatsApp-ing her is refreshing. “It’s not about me or you, or the things we used to do, like watching movies in the dark. All the places that we’d meet, all the scuffles under sheets that makes it hard to be apart. There’s things I’d like to say to you, when you’re back in Liverpool.” That is just about the most perfect chorus you could ever write, and I never could have predicted I would hear the song again later on that night.
The band will be releasing a new single ‘Emma’ in July, but that didn’t stop them from doing a raucous cover of ‘Day Tripper’ to pay homage to the Fabs. Check ‘em out if you haven’t already, you won’t be disappointed.
If you have been keeping up with the TGTF story since 2010, you will recall that Delphic‘s debut ‘Acolyte’ was my favourite album of 2010. Fast forward 3 years and they’ve released the follow-up, a r&b infused one called ‘Collections’, that neither John or I particularly liked. While I entirely understand the need to broaden your horizons and the desire not to stay in the same place musically, it was clearly evident at the Manchester quartet’s appearance Saturday night at the Arts Academy – now augmented live by a touring bass player, with singer James Cook now playing guitar instead – that the set suffered from the lack of cohesion between the two albums, and this was apparent to the punters as well. I’d seen Delphic several times in 2010 and every time I saw them I’d be surrounded by people who were singing along to the songs, and this just didn’t happen in Liverpool. I found myself not enjoying being pressed up against seriously pissed people down the front ended up extricating myself from the barrier to join John further back.
Starting with newer single ‘Baiya’ was a wise choice, as it is the song of theirs that’s gotten most airplay recently, but other tracks like ‘Freedom Found’ and ‘Atlas’ lumbered uncomfortably alongside the sheer pop goodness of ‘Doubt’ and the admirable ravey qualities of ‘Red Lights’. The pacing just wasn’t right; as soon as you thought the momentum was building in the set, a newer song would come into the mix and throw things off again. I don’t know if it was because they honestly had other bands to see or other places to go, but people would come into the venue for a couple songs, and then make a beeline to the door to leave. We stayed through the whole set, hoping for a build-up at the end, which didn’t come. Seeing them live confirmed to me my biggest worry for them, that in reinventing their sound, they managed to lose a good chunk of their fanbase who was into their electropop / rock sound they began with. Unfortunately, their new material is just not for me at all.
When we stumbled into the delegates bar at the Epstein Theatre at the end of the night to have a few celebratory brews that TGTF had come through the other side of Sound City, a local orchestra was playing in the main area and they ended their set with a splendid rendition of ‘You’ll Never Walk Alone’. John and Martin, knowing my team affiliation, both smiled and said, “it’s your song!” Grin. The orchestra was followed by Splintered Ukes, a 12-piece ukulele band. You really haven’t lived until you’ve heard a ukulele version of Radiohead‘s ‘Creep’. Haha. And they paid respect to fellow Liverpudlians the Hummingbirds by covering ‘Back in Liverpool’. What a fitting ending to our Liverpool Sound City. God and funds willing, we’ll see you all next year.
Header photo by TGTF Head Photographer Martin Sharman
Saturday’s frivolities at Sound City 2013 began at the naturally striking Kazimier Gardens, where the Korean day showcase was taking place. You can hear about and see great photos of the bands from Martin, but for one, the food and atmosphere was exactly what you wanted at around three in the afternoon, when your football team has just been mercilessly relegated from the Championship (yes, I’m bitter). That being that the booze was gently flowing, the sun was beating down on the exposed venue and everyone was in good cheer. Imagine the start of The Lord of the Rings: The Fellowship of the Ring and Bilbo’s party, then make everyone grow by a foot and a half, and presto, you’ve got how the Kazimier Gardens looked. And no, Gandalf wasn’t there.
Fantasy whimsy aside, the first band of the day for me were Marmozets, a post-hardcore act who’ve been hotly tipped by Kerrang!, Front and everyone in between, so it was to no surprise that they’d proved a big draw at Liverpool’s O2 Academy. Their youthful vitality was a stark contrast to some of the dusty indie on show this weekend, and as frontwoman Becca Macintyre bounded and roared her way across the stage the wholesome, yet raw riffage on show from her conspiring band members brought a new level of chaos to proceedings. Their youthful charm came across articulately and the largely partisan crowd who were their primarily for headliners Enter Shikari had definitely found a new favourite band. Expect more than noise from this fivesome in the future. (9/10)
How else do you follow up a youthful post-hardcore act in a sweaty O2 Academy? With a Taiwanese rap-reggae outfit of course, called Matzka. Matzka drive a bulldozer of funky fresh sound through the language barrier, immediately encapsulating the aboriginal charm that their music draws from. The largely oriental audience sing along to every verse and chorus whilst those who unfortunately aren’t able to understand cheerily bop along to the more user-friendly call and repeat choruses.
The band strums on through a short set in The Attic, which has me (probably on my own on this one) thinking about tropical holidays and that film with Adam Sandler in where the girl keeps forgetting who he is. Its good honest. I think it’s called 50 First Dates! That’s the one and it’s set on a beautiful island which is where Matzka take you.
You’ve got a cocktail in one hand, and Matzka are playing in front of you as you leisurely recline on a deck chair with the midday sun beating down on you. Even in the middle of Liverpool that feeling was what I was awash with, and it most definitely was not the cider noodling with my brain… I think. (8/10)
From an almost samba weirdness to just plain weirdness was the move to see Delphic at the Arts Academy. The UK three-piece (pictured at top) opened with single ‘Baiya’ from their latest album ‘Collections’ and proceeded to dart from between their debut effort and their 2013 release in a set which felt a bit scatty if not laboured.
Even the seemingly safe bet of ‘Doubt’ falls flat in the Arts Academy; however, merit could be found as the set drew to a conclusion with a suitable buzz created by frontman James Cook as the set ended. (6/10)
Last week, Birmingham-based rockers Editors released their new single, ‘A Ton of Love’, just over a year after announcing guitarist Chris Urbanowicz’s split from the band. Judging from the sound of this first single, Urbanowicz’s departure has cemented Editors’ digression from fundamentally guitar-based indie rock. New band members Justin Lockey and Elliott Williams have not only filled the gap left by Urbanowicz, but have allowed Editors to expand the dimensions of their sound. While the obvious U2 similarity can’t be ignored—this track hinges on an anthemic chorus of “Desire”—it’s a flattering comparison for Editors, and one that is certain to inspire some discussion among fans and casual listeners alike.
The entire song consists of a series of tersely poignant phrases only vaguely linked together by the irresistibly singable chorus, ‘Taken by force / Twisted fate / Well, what weighs more / down on your plate? / A Ton of Love / A Ton of Hate…’. While not exactly unique, the lyrics are full of emotional angst, especially in combination with Tom Smith’s sultry vocal delivery. His singing is bolstered by an intense bass groove and a stinging guitar line. If the song lacks in lyrical interest, it makes up for that in music that lifts the heart and moves the hips. It could prove to be an immense favorite on Editors’ summer festival run (dates here– http://www.editorsofficial.com/tour/ )
Editors’ new album, ‘The Weight of Your Love’, will be released on 1 July via Play It Again Sam. ‘A Ton of Love’ is available now via iTunes.
By Mary Chang
on Wednesday, 15th May 2013 at 6:00 pm
Little Boots has just released her second album, ‘Nocturnes’, and here is a video for ‘Broken Record’, a cut from the album. It’s kind of reminiscent of Donna Summer or disco era Debbie Harry, yes? Watch it below.
By Mary Chang
on Wednesday, 15th May 2013 at 1:00 pm
Sound City 2013, day 2, began with me waking up to the strains of a Reverend and the Makers‘ YouTube playlist blaring out of John’s iPad. Mission accomplished from the previous night, I’d say. We headed into the convention portion of the festival and my first stop was a radio pluggers’ panel with heavyweights of the radio industry, including 6music’s Chris Hawkins, Radio2′s Janice Long, and 6music producer Julie Cullen. As a regular BBC Radio music listener, it was really interesting to hear the presenters and producers’ takes on why radio is still so strong in Britain.
Janice Long said, “people love the intimacy of radio…[the fact that] they’re being offered something”, and I agree. Getting to know your presenters, I find, is especially important on whether or not I trust or would listen to that person’s recommendations. While by no means do I enjoy every single band that Lammo has trotted out on his New Favourite Band weekly feature, or in the same respect Huw Stephens on his specialist show, there are so many bands I never would have of heard of if either hadn’t played them on their shows. It was also heartening to hear that the panelists all welcome hearing demos from bands, just asking that the CDRs be labelled clearly and properly with the band name and song title, or even better, be provided a Soundcloud downloadable link that can be shared and spread between colleagues, should the song take their fancy and they want to actually play it on radio. I also had a chat with Chris Hawkins and that feature on TGTF is forthcoming soon.
After having some food and drink at a very cool, nonalcoholic cafe called the Brink, it was time to split up again, and then I was off to see Vasco da Gama, named after the Portuguese explorer who circumnavigated around the tip of Africa, not to be confused with the strange typo on the programme of Vasco da Gamma, as if they had some Greek relations. They play a wonky, punky, art rock kind of style that is not all unlike their fellow DIY Liverpudlians Hot Club de Paris, who’ve gone quiet. Vasco benefitted from the delay of the start of Taiwanese band Echo, who were having trouble with their soundcheck just across the way at the Garage. Watch a bit of their performance below.
The singer of Taiwan’s Echo certainly wins, hands down, the longest note held during this year’s Sound City. Check out the video below. When you’re an unknown band to the city you’re in, you’ve got to really bring it, and Echo’s singer jumped onto the barrier and into the sparse crowd and just let loose this amazing scream. Even if you don’t understand Chinese, there is no denying that the band sound great instrumentally and have a good command of melody, as you will see in the video. Now if they could just record one song in English language…
Funnily enough, next John and I ended up at the same place, with John not even knowing I was in the same room. In a true example of regional representation, a selection of Norwich bands appeared at Sound Food and Drink, a cafe that oddly did not vacate its tables and move them in time for the evening’s performances. Bad form. Or maybe they just wanted to discourage people from cramming themselves in there. The premise of Wooden Arms was promising: a band made of mostly classical string instrument-playing members, singing in multi-part harmony. Unfortunately, live they translated to something far more boring than I would have guessed.
So I was off again and to the east to the East Village Arts Club, where the bouncer inconveniently directed me to the wrong place for Manchester’s NO CEREMONY///. Like fellow Mancunians WU LYF, NO CEREMONY/// have tried to maintain a mysterious vibe about themselves, with overly dark, goth-y videos that show no hint of what the band actually look like. So I just assumed the band must be two blokes with oodles of synthesisers. Not exactly. The band live is fronted by a bass-toting woman and while there are two men with synths in front of them, one of them does play guitar. As I did suspect, there isn’t a
It was a bit of a hike from where I was to the Black-E, with 3 nights being curated by local Liverpool-centric football, music and culture Web site the Anfield Wrap and featuring only Merseyside-based bands. But being an Liverpool FC fan, I knew I just had to be there at some point in the weekend. I was not disappointed with the Thespians, with a lead singer that looks eerily like Carl Barat. The band even wear black leather jackets and sound at times very Libertines-esque, including abruptly ending some of their songs in that sort of punky, ‘up yours’ kind of way. They explained that their album had already been put out in Japan and all physical copies had been snapped by the record-buying public over there. If that is truly the case, then we should all probably get on this bandwagon now before it turns into a steamroller.
Then it was back west and into the centre of the clubbing life for the Chapman Family at Leaf Cafe. I have a couple friends who are massive fans of theirs, so colour me curious, I wanted to see what all the fuss was about. They can be depressing topic-wise, but the sheer power of their live performance, not to mention the incredible magnetism of their frontman Kingsley Chapman, make their live set a sight to behold. A hipster couple who quickly took their places right in front of the stage threw their band tote bags under the stage and proceeded to mosh (is that the right word?) to every Chapman Family song, arms and legs flailing in every which way. At some point I was sure one of them would slip and fall but it didn’t happen, they were just so excited to be there.
And then it was back to Wolstenholme Square, where I thought I had arrived just in time for Marple’s Dutch Uncles. Cripes. I am very careful about making sure I don’t have clashes in schedule, so I am positive they must have moved up the Duncles’ set by an hour because when I arrived, Unknown Mortal Orchestra was setting up. To say I was upset by the turn of events, especially after loving the new album ‘Out of Touch in the Wild’, is putting it mildly. I was on the verge of tears. But, when in Liverpool, you carry on. I didn’t feel like running to another venue, so I just hung tight at the Arts Academy for the one major band I definitely wanted to see there, Dutch Uncles’ mates Everything Everything.
When you’re thousands of miles away from home, I don’t care who you are, it is an important and touching moment when a band you have supported and followed for a long time acknowledges your presence. Everything Everything’s bassist Jeremy Pritchard, who has always been extremely kind and nice to me every time I have had the pleasure to meet him, only waved to me down in the pit, but it truly meant the world to me. Prior to this, I had only seen them live once, and in an acoustic setting for a charity show 2 days after my birthday in 2011, so I was raring to go to see them play with their full setup. While I still think new album ‘Arc’ is not as strong as ‘Man Alive’, there were plenty of punters willing to disagree with me at the Arts Academy. I thought it was quite strange that they didn’t play ‘MY KZ, UR BF’, but perhaps they are trying to wean themselves away from their past? Possibly. With singles like ‘Kemosabe’ and ‘Cough Cough’, they can afford to do that.
The TGTF crew ended up, rather accidentally, together at Screenadelica at the end of the night, and you can read John’s descriptions of Arcane Roots and Future of the Left in his day 2 roundup. While we were waiting between sets, Duologue, who I recognised from seeing them in a beer garden at this year’s SXSW, bounded out from backstage at the Arts Academy and into Screendelica, the venue directly in the back of it. This Twitter exchange ensued. And yes, Tim, I will touch your face the next time I’m in your proximity!