We'll be at SXSW the week of 10/03/14, so if it's more quiet than usual here, that's why! Check out our Twitter
for updates from Austin.
SXSW 2014 preview coverage
| SXSW 2013 | Sound City 2013 | Great Escape 2013
Don't forget to like There Goes the Fear on Facebook
and follow us on Twitter
! ~TGTF HQ x
By Mary Chang
on Friday, 24th January 2014 at 6:00 pm
I’m ridiculously excited about the release of Maximo Park‘s fifth album ‘Too Much Information’ out on the 3rd of February. Paul Smith has been making the rounds on 6music, appearing on Radcliffe/Maconie and Lammo’s Roundtable to talk up the new album (guh, Geordie accent). And now here is the lyric video for ‘Lydia, The Ink Will Never Dry’, which is less dance than ‘Brain Cells’ but is more upbeat and more Maximo (if that’s possible?) than ‘Leave This Island’. If there was any question what ‘ink’ they were referring to, it should be immediately apparent in this video. (Imagine my disappointment when this writer assumed they meant writing letters!)
London’s electro dance producer/singer Example has yet another track for us in advance of his next album due out in June. The original version of ‘Kids Again’ was finally revealed on BBC Radio 1. In an unusual move, Example had allowed several remixes of the song to be played on air ahead of the original, but now we have the proper version. Full of tasty dance beats and throbbing synth licks, ‘Kids Again’ comes to us in original, Dimension, Zed Bias, or MOTi flavours. (For your convenience, we’ve embedded the original version of the song at the bottom of this post, but if you visit Example’s Soundcloud, you’ll get to hear all of them.) Each of the remixes has a very distinct sound. At this point, the Dimension version has edged forward for me with its vaguely 80s opening.
Riding the wave of previous single ‘All the Wrong Places’ top 20 charting, this song will likely garner Mr. Gleave another chart topper. The buzz on this tune is good and it has an appealing topic, “I don’t wanna do whatever they tell me / I wanna feel oh so young today / so let’s behave like kids again”. After all, who doesn’t want to feel like a kid again?
Hinting that the new album will feature no rapping at all, ‘Kids Again’ shows his vocal chops much like on the last album. I will admit to liking ‘All the Wrong Places’ a tad better, but I am excited by this single as well. I am very enthusiastic about the upcoming next album.
The single for ‘Kids Again’ itself will be released on the 16th of March on Epic Records and follows on from September 2013’s ‘All the Wrong Places’. Example’s yet unnamed fifth album is due out in June.
By Mary Chang
on Thursday, 23rd January 2014 at 6:00 pm
American folk singer Nathaniel Rateliff just released his second album ‘Falling Faster Than You Can Run’ this past Monday, and here’s a brand new promo from him. The video is simple in its story of life passing you by, but more importantly, it’s backed by the superb track ‘Still Trying’. Watch it below.
Scottish duo Honeyblood finished recording their debut album in November of last year at Tarquin Studios, the Connecticut home studio of American producer Peter Katis. Katis is probably best known for his long-standing relationship with The National, but he has also co-produced and engineered several other Scottish bands, including Frightened Rabbit, The Twilight Sad, and We Were Promised Jetpacks. This puts Honeyblood’s Stina Tweeddale (vocals, guitar) and Shona McViccar (drums) in good company as relative newcomers, and the release of their first album will be hotly anticipated heading into their SXSW 2014 appearance.
Honeyblood’s first single ‘Bud’ was produced by London producer Rory Attwell (Palma Violets, Veronica Falls) and released in October 2013 on FatCat Records. Despite the jaunty rhythms and uptempo beat, the band says on their Tumblr, “It’s a song about when everything goes to shit, fuck it.” Its lyrics are a bit dark, but the darkness is mitigated by the delicate natural imagery, as in the first verse: “My problems seem to stem / From the little seeds I plant / … When I finally say I’m never going back / They begin to flower.” The accompanying video (watch it below) was shot at Great Brampton House outside Hereford, where the pretty, natural setting seems to fit perfectly with the duo’s candy-coated vocal harmonies and organic, lo-fi instrumental sound.
The single’s B-side ‘Kissing on You’ is more aggressively punk, with harsher vocals and a pounding four-to-the-floor chorus. There is no subtlety in the lyrics here, no florid metaphor, just a direct statement of desire straight through to the end of the song, which insistently and somewhat awkwardly repeats, “I can’t think of anything better to do / Than spend my day kissing on you”, almost like a toddler throwing a temper tantrum.
Honeyblood’s twee grunge pop has drawn fully warranted comparisons to California groups Best Coast and Haim, not only for the female lead vocals, but for the laid-back vibe, fuzzy garage band tone and mildly rebellious lyrics. Honeyblood spent most of 2013 spreading their sunny pop sound through the Glasgow music scene, but Tweeddale and McViccar aren’t new to playing big shows and festivals, having played in the support slot for Palma Violets, Sleigh Bells and Deap Vally. Last summer, they played at Tramlines and The Great Escape as well as T in the Park in their native Scotland. After their appearance at SXSW, the duo are anticipating a UK tour in support of their expected album release this spring.
By Mary Chang
on Wednesday, 22nd January 2014 at 6:00 pm
Minneapolis indie rockers Howler have released a brand spanking new video for ‘Don’t Wanna’, the first taster from their upcoming album. Out the 24th of March, ‘World of Joy’ will be out on the 24th of March on Rough Trade. Not straying too much from their 2012 debut LP ‘America Give Up’, ‘Don’t Wanna’ should hit the spot for long-time Howler fans. Watch the video below.
London dance pop quartet CYMBALS are set to release their third album ‘The Age of Fracture’ next week, ahead of a short list of winter tour dates and an appearance at SXSW this spring. The album is at once centrifugal (“center-fleeing”) and centripetal (“center-seeking”) in nature, with visceral rhythms and pulsating bass providing the foundation for its cerebral lyrics and slick, sophisticated production by Dreamtrak (Oli Horton).
The album title is borrowed from a 2011 book by Princeton scholar Daniel T. Rodgers called ‘Age of Fracture’, which deals with the fragmentation of twentieth-century intellectualism and the increasingly uncertain concept of a collective societal identity. Singer and guitarist Jack Cleverly wrote in the press release for the album, “It hit me that I often feel paralysed by the feeling that everything is ‘too complicated’, and that many people I know feel that paralysis. I realised that this way of thinking can be traced through these songs.” Cleverly addresses that paralysis directly in ‘The 5%’, singing, “time can be erased / you’re stupid if you try to stay in place”. The track defies the overriding idea of deconstruction by merging directly to the following subordinate track, ‘The Fracture of Age’.
The interpretation of such weighty subject matter is demanding for an album that is intended for club play, but despite the oppressive academic influence, Cleverly says the band strove for a lighter musical approach. “With this album I really wanted to get away from that and make music that makes people want to dance and feel joy. Neil’s kick drum is the most important thing we have to say as a band. Is this all ‘fun’? Yes, of course, but at the same time, not just that.”
‘The Natural World’, released as a single back in January 2013, plays more into that effortless pop feeling. Its nimble rhythms and light texture highlight the catchy chorus, “I don’t know enough about you / to be kind, to be kind to you / don’t you even think about me / just forget what you did, you see”. The accompanying video features the interpretation of French dancer Jaime Flor, with whom Cleverly became acquainted while growing up in Paris.
The sensual French influence is felt throughout the album, with lyrics en français on opening track ‘Winter ‘98’ and penultimate track ‘The End’. ‘Winter ‘98’ is a glacial synth-driven track which slowly expands into a crisp dance beat, immediately defining this album’s cleaner, brighter sound, as compared to CYMBALS’ previous LP’s ‘Sideways, Sometimes’ (2012) and ‘Unlearn’ (2011).
Standout track ‘This City’ returns somewhat to that earlier sound, depending more on guitars and organic percussion as it ponders “the whole ‘serious earnest-singer-songwriter thing’” that Cleverly has deliberately tried to avoid on ‘The Age of Fracture’. His boredom with the idea has, ironically, inspired some of the best lyrics on the album, including the opening hook, “ink-covered fingers, you’ve been hiding at your desk too long / hand over mouth, brandy in your tea / the afternoon’s all emptiness, the morning possibility.”
In what could have been the album’s final track, ‘The End’, CYMBALS come back around to the disco feel. Despite the purposefully detached lyric, “I don’t know the first thing about you / I don’t really know you that way / I just get this feeling from dancing / I don’t care about the display”, the track is followed by an plaintive instrumental plea entitled ‘Call Me.’
‘The Age of Fracture’ is, both lyrically and musically, centered around contradiction and fragmentation, but it manages to hold together as a cohesive and thought-provoking unit. The physical sensuality of the dance element is balanced by the “elegance and love in the language” of the vocal lines. (Have a listen below to the carnal pièce de résistance ‘Like An Animal’ for that lyrical gem.)
‘The Age of Fracture’, CYMBALS’ new album on Tough Love Records, will be out next Monday, the 27th of January. They have a short English/Irish tour lined up for February; all the details are here. The band will also be showcasing this year’s SXSW.