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By Mary Chang
on Monday, 7th April 2014 at 4:00 pm
Last week we posted this awesome cover of a Kanye West song by London’s Glass Animals while they were recently in Sydney, Australia, performing for triplej radio. Unfortunately, like all things in life, not all covers are created equal.
Bruce Springsteen has taken to doing covers at his live shows as of late and well, he is the Boss, and he can do what he wants, yeah? He was in Dallas this past weekend to perform at the March Madness Fest in Dallas, Texas, and he caught everyone off guard by doing this reinterpretation of Van Halen’s ‘Jump’. Say what you want about Eddie Van Halen and David Lee Roth, but I think you’ll agree the original is the way to go after feeling the discomfort of this cover. I suppose he felt that since it was a basketball-themed event, he had to come up with a cover that was peripherally related to the sport? Cringe. Watch it below.
By Mary Chang
on Monday, 7th April 2014 at 11:00 am
I’d been waiting to see a Fenech-Soler headline show for quite a long time. Years, actually. (I’ll be honest, it drove me nuts that Martin had seen and experienced them in Newcastle in 2011 and I still hadn’t.) So when I found out they were finally releasing music officially and playing some shows here in America – and even better, the show in Brooklyn was on a Saturday, and therefore entirely possible for a working stiff as myself – there was no other decision but to go up to New York for it.
Further, I decided what better way to welcome the guys to our country than to have a chat with them and find out firsthand from them how things have blown up for them since the release of their hugely popular self-titled debut album in 2010. Backstage at the Glasslands Gallery in South Williamsburg where they’d be playing their first headline show ever here in the States, brothers Ben (lead vocals) and Ross (guitar) Duffy sat down with me for an intimate conversation about coming out to America and getting to finally release material here, their experience with social media and connecting with their fans, the ‘difficult second album syndrome’, playing at the Winter 2014 Olympics in Sochi and so much more. If you’re wondering what those loud thuds in the middle of the interview, that would be drummer Andrew Lindsay soundchecking his kit directly below us onstage.
I sincerely thank both Ben and Ross for being so candid and taking the time out of their preparation for the Glasslands show to talk with me on Saturday afternoon. If you haven’t noticed, I don’t tend to post photos of myself when I meet bands, but they were just some of the loveliest people ever, I couldn’t not post that photo at top of us! Thanks also to Meghan and Ian for facilitating this interview. Stay tuned for the review of the Brooklyn show to follow shortly here on TGTF.
By Mary Chang
on Monday, 7th April 2014 at 10:00 am
Having just finished a short stint as support for You Me at Six, Cheltenham’s Young Kato will be heading out on a UK tour later this month and will also be playing several festivals, including Portsmouth Springtide Festival (19 April), Liverpool Sound City (3 May), Live at Leeds (3 May), and all three legs of Dot to Dot Festival in Manchester, Bristol and Nottingham on the 23rd, 24th and 25th of May, respectively.
Ahead of all that travelling and performing, the band are giving away a multi-coloured, high energy track called ‘Ignite’ for free in exchange for your email address. Input your details below to take advantage of this offer.
By Mary Chang
on Friday, 4th April 2014 at 6:00 pm
Bluesy band from Bath The Family Rain have a brand new video out for ‘Don’t Waste Your Time’, which figures on the band’s debut ‘Under the Volcano’ (Read Ben’s thoughts on the album here.) Sleazy and sinister, let this song soundtrack the start of your weekend. Watch it below.
By Mary Chang
on Friday, 4th April 2014 at 4:00 pm
Even if you hate Kanye West, I think you’re going to be pleasantly surprised by this. Glass Animals are down under at the moment, and they decided to rearrange and redo Kanye’s ‘Love Lockdown’ when asked by national Aussie radio station triplej to play a cover for their Like a Version ongoing cover series.
White boy got groove. Watch it below.
Jordan Gatesmith is an unlikely frontman – all gangly limbs and sharp features, mostly hidden by a mop of floppy blonde hair. He keeps banter to a minimum, letting the songs take precedence over personality in his band’s short, sharp, 45-minute set. The Cluny is half-full, a fact that the band seem nonplussed about, casually working out set lists on the stage floor way past their start time. They’re in no hurry, because between their two albums (2012’s ‘America Give Up’, and now the one-week-old ‘World Of Joy’), they’ve no more than a single hour of recorded music to their name. Even if they played every track of both albums (they won’t – of which more later), they’d be tucked up in the Travelodge with a cup of cocoa before the witching hour.
Howler are exactly what one could wish for from a U.S. garage band. Casual onstage, unconcerned with niceties, they knock out one deafening energy bolt after another. In case anyone was concerned that Howler might have overnight turned into a lounge band, the first few seconds of the performance assuage such doubts: ‘Drip’ is fast, furious, ramshackle. ‘Yacht Boys’, Gatesmith’s blunderbuss critique of the boat shoe-wearing American upper middle class, complete with spiked guitar work and roared vocal refrains, is perfectly suited to live delivery. However, subtlety is in inverse proportion to energy levels tonight – more down tempo pieces like ‘Don’t Wanna’ (“you don’t have to be a punk / date girls / listen to the Smiths if you don’t want to”) are given the same whirlwind treatment – introspection is dropped in favour of immediacy.
Also missing in action is the psychedelic tinge that infuses parts of the new album, most notably the title track. Notably penned by guitarist Ian Nygaard rather than Gatesmith, it hints at a potential brave new world where high-speed observational punk-rock coexists and even combines with spaced-out psychedelia. A Howler 2.1 that investigated these possibilities would add another dimension to the band’s sound. However, tonight it is the drum insanity of Rory MacMurdo is the powerhouse that drives Howler. The rest of the band are urged to play faster and louder by MacMurdo’s kit, transforming the whole into greater than the sum of its parts. There are moments when one can see through the artifice: a quartet of teenagers rehearsing in a parent’s garage, striving to stand out from the Graham’s number of other similarly housebound aspirants. But it’s their genuinely melodic, meaningful songs, paired with a delivery with just the right mixture of careless virtuosity and attitude, which confirm Howler’s membership of the big league.
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