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In the Post #159: Everything Everything preview fourth album ‘A Fever Dream’ with teaser ‘Can’t Do’

By on Thursday, 15th June 2017 at 12:00 pm

Everything Everything have been hinting at new material for quite a while now. The anticipation that has been building has clearly worked. A series of four live shows – a paltry number for a band with a profile like theirs – starting next week in England are all sold out. Heck, even Fenech-Soler were asking me 2 months ago if I had access and had heard their new album yet. (For the record, I haven’t.) They finally let the cat out of the bag Tuesday night with Annie Mac on BBC Radio 1, revealing a new single as the Hottest Record in the World. While ‘Can’t Do’ doesn’t wow as much as previous album previews ‘Cough Cough’ and ‘Distant Past’, but it fits comfortably as part of the next chapter to the Everything Everything saga. We don’t know a lot about their next album besides its title and that it’s been produced by James Ford (Arctic Monkeys, Foals, Depeche Mode).

On their last LP released in 2015, frontman and falsetto enthusiast Jonathan Higgs said it was representative of the politics and the times. ‘Get to Heaven’ was indeed jarring and challenging, yet it proved satisfying if given enough attention. Higgs’ comments on their newest material suggest a different, more hedonistic intention, which makes sense, given the frenetic pace of their new single. In the press release for it, Higgs says, ‘’Can’t Do’ is about trying to bend to the world and fit into it. Nobody is normal, nobody knows what normal is. ‘I can’t do the thing you want’ – we don’t care we just want you to dance.”

The music video sees possessed zombies in the underworld doing just that, in an Everything Everything-flavoured Thriller style video. Some of the zombies are wearing masks, matching the band’s own in their new profile photo on Facebook. Is it a commentary on the false faces public figures and indeed, even sometimes we ourselves put on? Is putting on a mask a sign of bravery, of stiff upper lip, of keeping on keeping on because we must? Or is it a disguise to hide cowardice, plain and simple?

Certainly more simplistic and less in your face than their other memorable, now classic singles – ‘Photoshop Handsome’, ‘Kemosabe’, ‘Regret’ – ‘Can’t Do’ still maintains the group’s never-wavering originality. In particular, while listening to it, its unsettling rhythm makes you feel like you’re suffering from a persistent tremor that won’t go away. Will the new album have scathing observations of the world as we know it? Or have Everything Everything given up on their philosophical rants? We’ll have to wait until August to see what the rest of ‘A Fever Dream’ has in store.


‘Can’t Do’ is out now. ‘A Fever Dream’, the fourth studio album from the Manchester-derived Everything Everything, will be out on the 18th of August on RCA Records. To read our pretty hefty archive of Everything Everything articles here on TGTF, start here.


In the Post #158: Ghostpoet returns with politically-charged single ‘Immigrant Boogie’

By on Monday, 24th April 2017 at 12:00 pm

In just 6 weeks, the next UK general election will take place and in the footsteps of Brexit last summer, the outcome of the vote will no doubt have unprecedented consequences on the country and the rest of the world. The return of Obaro Ejimiwe, better known under his stage name Ghostpoet, and his own unique viewpoint is fortuitous, and not a moment too soon. Late last week, he unveiled a stream of ‘Immigrant Boogie’, his first new material since 2015’s Mercury Prize-nominated ‘Shedding Skin’. Here’s Ejimiwe’s own description of the song:

It’s a first person account of a difficult journey across borders, partly intended to ask those who have questioned the arrival of refugees in recent times what they would do in the same situation. The song is written in two halves – the first hopeful for a brighter future, while the second sees hope snatched away by forces beyond the control of the storyteller. There is an important story to be told there, but I wrote the song in a way that aims to capture a broader human truth: that while we are all working for a better life for ourselves, we have to accept that we are not in control of the outcome.

There’s no escaping the haunting notes of the lead guitar line, or the distorted synths lending a feeling a disorientations. The overall musical effect is a sinister one, meant to mirror the desperate mindset of fleeing refugees. Ejimiwe intones, “I was dreaming of a better life / with two kids and my loving wife / I can’t swim, the water’s in my lungs / and there it ends, a life that’s just begun”, in a vocal style more like Gil Scott Heron’s spoken word than that of a traditional singer/songwriter.

As the song progresses, the sense of desperation increases, a repeated note sounding like an oncoming locomotive as the song heads for a cacophonous end. The single is also notable for its vocal guest star Charlie Steen, lead singer of South London punks and SXSW 2017 alums Shame. As the first taster of what we’re told have been Ghostpoet’s recording sessions over the last few months in London Town, the potential for his next album to be politically cutting seem quite bright.


New single from Ghostpoet ‘Immigrant Boogie’ is out now on PIAS. To read all of our past writing on Ghostpoet here on TGTF, go here.


In the Post #157: lead single from Ryan Adams’ upcoming new album inquires, ‘Do You Still Love Me?’

By on Monday, 12th December 2016 at 12:00 pm

American singer/songwriter Ryan Adams has a reputation among fellow musicians for being an underrated talent. I’ve talked to a fair few artists myself who claim his music as an influence, or at least a favourite for casual listening. On the flip side of that coin, Adams has earned a bit of a reputation among fans for being a bit moody, publicly bristling at comparisons to Canadian rock star Bryan Adams and mocking punters who snap photos with smartphones during his live shows.

Adams’ most recent album release was similarly irreverent, at least on the surface. His full-length cover of Taylor Swift’s LP ‘1989’ reinterpreted Swift’s songs in something approaching the style of Bruce Springsteen’s ‘Nebraska’. Completely stripped of the original album’s flashy pop accoutrements, the cover version came across as a bit maudlin after news of Adams’ divorce from singer Mandy Moore. Adams himself discussed the album as both an exercise in musicianship and a form of emotional therapy, and in the context of his entire body of work, it seems almost tangential.

As for Adams’ forthcoming new album, its first single ‘Do You Still Love Me?’ is more in the vein of his scorching self-titled album from 2014. ‘Ryan Adams’ was anxiously energetic, seething with hot guitar licks and heavy lyrics. ‘Do You Still Love Me?’ is perhaps a bit lacking in the lyric department, but its chorus echoes with longing (“what can I say? / I didn’t want it to change”) and its sharp rock ’n’ roll edge is undeniable. Longtime fans might yearn for Adams’ forlorn alt-country past, but listeners like myself who came round late in the game will answer the song’s title query with a most emphatic “yes”.


Now on tour in Australia and Asia, Adams and his newly formed backing band performed the new album in full during a secret show at Sydney’s Factory Theatre this time last week. You can have a listen to the official audio for lead single ‘Do You Love Me?’ just below. Ryan Adams’ new LP ‘Prisoner’ is due for release on the 17th of February 2017, via PaxAm/Blue Note/Capitol. TGTF’s previous coverage of Ryan Adams is back this way.


In the Post #156: Manchester’s Elbow make a spectacular return with ‘Magnificent (She Says)’, from upcoming studio album ‘Little Fictions’

By on Friday, 9th December 2016 at 12:00 pm

Manchester alt-rock legends Elbow have returned to the music scene in spectacular fashion with an aptly-titled new single ‘Magnificent (She Says)’. The highly-anticipated new track is our first glimpse of Elbow’s forthcoming seventh studio album ‘Little Fictions’, which is due for release in the early part of 2017.

“This is where the bottle lands,” sings frontman Guy Garvey, laying the groundwork for a lyrical stream of consciousness “where a tiny pair of hands finds a sea-worn piece of glass and sets it as a sapphire in her mind.” Garvey’s freely associated lyrical phrases evoke the gauzy image of a young girl standing on a beach, while his bandmates re-create the swell and expanse of the ocean with a dazzling array of grand musical gestures.

As is often the case, Elbow’s orchestration is rich and vivid, with a bit of a retro feel. Warm, round guitar tones and bright keyboards contrast sharply with the angular drama of the full string section. The rhythm section is notably prominent, keeping a steady and urgent pulse under the breadth of sophisticated harmonies and shifting tone colors.

Talking about the rhythm section inevitably brings us round to the elephant in the room, namely the departure of Elbow’s drummer Richard Jupp earlier this year. Jupp’s deft touch and dynamic sensitivity on the kit arguably helped to define the band’s sound, and the remaining four members (Garvey, guitarist Mark Potter, keyboardist and producer Craig Potter and bass player Pete Turner) haven’t publicly spoken about how they’re dealing with his absence. But they seem to have stood up to the challenge, at least in the context of studio recording, and their customarily strong rhythmic component is certainly felt here.

‘Magnificent (She Says)’ is by turns cordially familiar and crisply refreshing, in classic Elbow fashion. Its lyrics are graceful and poetic, and perfectly paired with the elegant orchestral setting. Despite the rather unwieldy song title, the broad declaration in its eponymous refrain, “It’s all gonna be magnificent, she says / It’s all gonna be magnificent”, might well be seen as an optimistic portent to the remainder of ‘Little Fictions’.


‘Magnificent (She Says)’ is the first single from Elbow’s seventh LP ‘Little Fictions’. The album is due for release on the 3rd of February 2017 via Polydor/Concord. TGTF’s previous coverage of Elbow is right back here.


In the Post #156: the xx return with ‘I See You’ album taster ‘On Hold’

By on Tuesday, 22nd November 2016 at 12:00 pm

the xx first burst on the scene nearly a decade ago as dream pop misfits. Touring as support for their Beggars Group peers Friendly Fires, it was hard to see that superstardom loomed on the horizon for this unconventional band with complementary male and female lead vocals. Yet the music from their 2009 self-titled and Mercury Prize-winning debut album released on Young Turks proved irresistible to tv sync producers and the media alike, their songs appearing on promos for NBC’s coverage of the 2010 Winter Olympics in Vancouver and the BBC’s coverage of the 2010 general election. Soon, they were selling out venues with no trouble at all, and their was on everyone’s lips.

Their sophomore album, 2012’s ‘Coexist’, garnered top marks from nearly every music review outlet across the board. Then there was a strange and unexplained silence. I’d argue that their mention in spring 2014 that they were working on album #3 was simply dangling a carrot and doing no-one any favours; to me, you’ve got new music or you don’t, don’t play with the emotions of your devoted fans. In summer 2015, their beats master Jamie Smith who is professionally known as Jamie xx released his debut album ‘In Colour’. In a surprise move, exemplary single ‘Loud Places’ and ‘SeeSaw’ from the album featured the vocals of his xx bandmate Romy Madley-Croft, who with other xx member Oliver Sim were seen posing in a photo on Instagram with Smith. Were the xx on their way back to us?

So, xx fans, you’ll be pleased to know that their third album ‘I See You’ will be released on the 13th of January 2017 on Young Turks. The week of the election, I really wasn’t in the right mindset to listen and to appropriately deliberate on the their new song to preview their new LP. A week and a half after its unveiling, I’m ready now, and I can’t help but be discoursed by what I hear. In a weird instance of art imitating life, it seems that in music that assimilation, instead of celebrating differences and pushing boundaries, is the chosen route to success.

‘On Hold’ is not about a phone conversation but a relationship that was put on the back burner, with the principals sadly finding out that love can’t thrive in a vacuum. Neglect, as some of us have learned firsthand, often strikes a bond of love stone cold dead. The best part of the song are Madley-Croft and Sim’s trademark gently competing vocals, but the painful rhymes built into this song (“when or where did we go cold / I thought I had you on hold”) are cringeworthy. The beats of Jamie xx, while fun, dance floor worthy and I guess a nice segue on from ‘In Colour’, fill up what always was welcome negative space on past xx efforts. I view this as a major misstep. The most important graphic artists of modern times weren’t afraid of negative space. They were viewed as revolutionaries because they didn’t follow everyone else. And sometimes – and especially in these volatile times – the world needs artists confident enough to go against the grain. I don’t hear anything in here that makes me go “wow!” or “that’s amazing!”

The band were the musical guests on this weekend’s Saturday Night Live; NME noted how awkward the group looked onstage at 30 Rock in their goth cowboy attire. Not exactly . Maybe their misfit personalities that we fell in love in the beginning will become more prominent on the rest of ‘I See You’? Here’s to hoping…


Stay tuned for the xx’s third album ‘I See You’, which is due for release on the 13th of January 2017. An audio stream version of ‘On Hold’, the lyrics noted in the comments in ‘screaming’ capital letters, is available below. For much more of TGTF’s coverage of the xx, use this link.


In the Post #155 / Essay: Tom Chaplin previews his debut solo album with ‘Hardened Heart’

By on Thursday, 25th August 2016 at 12:00 pm

Following the announcement in autumn 2013 that Keane were splitting up, fans had a bit of a reprieve. Frontman Tom Chaplin, known for his singing and charismatic presence onstage and not for his own songwriting, revealed his desire to release his own solo album. After the release of ‘The Best of Keane’ in November of that year, the months and years passed. Except for a one-off cover of Stornoway’s ‘Fuel Up’ with Chaplin on vocals and bandmate and primary Keane songwriter Tim Rice-Oxley on piano in April 2015, we heard nothing. I had begun to think that this Tom Chaplin solo album was nothing but a faraway dream that would never be realised. Then in the middle of July, Tom Chaplin registered an Instagram account and started posting photos. A lot of them. As Chaplin had always been someone relatively reticent on social media, this new development meant something big was obviously afoot.

One of the first true tastes of his forthcoming debut solo album ‘The Wave’ due out mid-October is a clear indicator of the pain Chaplin suffered during the years of superstardom with Keane and after. Read this feature by Neil McCormick from the Telegraph this month, and you will be astonished by Chaplin’s honesty with his recent battles with drug use and anxiety, which he – and all of us fans for that matter – thought he’d kicked a decade ago, following treatment at The Priory in London. As a longtime appreciator of Keane, it hurts me deeply that someone I’ve looked up to, with the most precious of musical gifts – his amazing voice and his showmanship – has lived such a hidden, troubled existence. Chaplin admits that in recent years, his family had all but given up on him, his wife saying at one point, “I want to tell you that I love you because I don’t know whether I will get a chance to again.”

A quick examination of the lyrics of ‘Hardened Heart’ reveals Chaplin’s tortured soul, one grappling with depression, part and parcel of the fallout of a life ravaged by addiction. This song is written from the inside of depression looking out. When you’re depressed, the outside world seems like a strange, almost cartoony place. Everyone around is getting on with their lives, but you can’t. You’re stuck in one place. “It’s such a beautiful world”, yet you don’t see it. All that’s in front of you is filtered through grey shaded glasses, darkness. It’s a tough place and even as concerned as they are, it’s hard to explain to those on the outside.

His pronouncement that “all the people that love me / they never know if I’m up, down or round”, mirroring the Jekyll and Hyde characters described in Barry Hyde’s ‘Monster Again’ on his own debut solo album ‘Malody’ (“Who am I tonight? What am I tomorrow?”). But arguably the worst part of this form of mental illness is realising you could be close to losing everything, but feeling helpless, unable to do anything to lift yourself out of the mire. As noted in the start of the chorus, it’s part of a vicious cycle: “hurting everyone I know / bringing everybody down so low / stuck along a road of sadness with nowhere to go”. Another sinister slice of depression is apathy, coupled with the overwhelming desire to reach a place of emotional normalcy. “Oh, I know that my hardened heart is beating still / I drove it to the point of madness just to feel”, sings Chaplin expansively. Though it sounds counterintuitive, finally going from numb to feeling is important towards the transformation, on the road to recovery.

The promo video for ‘Hardened Heart’ was filmed in the Peak District, starting with Tom Chaplin’s silhouette framed by the first few snatches of daylight at dawn. The visuals effectively parallel the shifting moods contained in the track, as the misty clouds lift over the water and rolling hills. Even with the sunshine, the landscape is rough with brush and bracken. Yet Chaplin finds a dirt path, walking down it with not just a renewed faith, but with gusto as the chorus turns to uplifting, with expressive strings and driving drumbeats: “here’s hoping that the signs are real / and tomorrow with a spring in my heel / somewhere on the road of sadness lies a better deal”. After years of leaning on the artistry of bandmate Rice-Oxley, media pundits have understandably wondered if Chaplin had the talent of penning a pop hit of his own. The answer is a resounding yes. And that voice? It’s never been better.

It takes strength to return from the brink, to come back better than ever, to fight for another day. Tom Chaplin is living proof of this. This song is his way to remind others who feel lower than low that even if you don’t feel it yourself, you matter. You matter to the people who love you. Above all, you are worthy of this life. The title ‘Hardened Heart’ speaks of not only of what depression does to our most important emotional organ, but also how the heart can survive and rise above after battling mental illness.


Tom Chaplin’s debut solo album ‘The Wave’ will be released on the 14th of October on Island Records. To read TGTF’s back catalogue of posts on his old band Keane, follow this link. To read about depression and addiction from a doctor’s perspective of Olympic swimmer Michael Phelps, go here. The Priory have also gotten in touch with us about their mental health services. They encourage anyone reading this article to learn more about addiction and anxiety disorders on their official Web site.

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There Goes The Fear is where we tell you about the latest music, gigs, and tours 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 no-one's watching.

TGTF is edited by Mary Chang, who is based in Washington, DC. She is joined by writers in England, America and Ireland. It began as a UK music blog by Phil Singer in 2005.

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