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In 2009, Patrick Stump, Pete Wentz and the other two Joe Trohman and Andy Hurley of Fall Out Boy went on an indefinite hiatus. A (very literal) solo project by Stump, which looked and sounded awful, was short-lived, and Wentz’s solo efforts…well, never really materialised as anything, did they? Now this week of the 4th of February 2013, every ‘90s kid will be posting a Facebook status or Tweet (myself included) about how the teenage version of themselves, presumably wearing thick eyeliner, has been awakened by this new song.
‘My Songs Know What You Did in the Dark (Light Em Up)’, the band’s new release, features Def Jam rapper 2 Chainz and his posse doing away with all of Fall Out Boy’s back catalogue and an assortment of vinyl. Why, you ask? Well, their new album is called ‘Save Rock And Roll’, and I believe they are saying through their video that it’s time to do away with the old and bring in the new.
As for their new angle, it’s getting slated virally, but I’ll stick my neck out and say I like it. It’s edgy, and it’s not drenched in synth as some writers are purveying. But it most definitely shows the signposts of a Fall Out Boy re-branding. Less of the emo anthems, like ‘Take Me to Your Grave’, and a more ‘Folie a Deux’ kind of sound.
Emo fangirls, beware: you may not enjoy this.
Everyone else? Just enjoy the fact they’re back.
Fall Out Boy’s new album ‘Save Rock And Roll’ will be out on the 6th of May.
By Mary Chang
on Wednesday, 23rd January 2013 at 12:00 pm
Words by guest reviewer Achal Dillon, Managing Director of Killing Moon Ltd.
I’ve always had a bit of a thing for Bring Me the Horizon (not in that way). Since the metalcore/hardcore/whateversolongasitissuffixedbythewordcore busted out of Sheffield at some point in the mid-noughties, bearing tattoos, wonderfully-articulate side partings and all the rest of it, fans of the genre around the world were delighted to applaud these guys all the way to the Kerrang Awards. Then again, some people didn’t like them so much; such is the inherent elitism that exists within a scene that ironically is supposedly regarded as more of a forward-thinking movement in terms of freedom of expression. The sonic energy and rather-striking image of the band had apparently proved too much for some people to digest and ultimately accept.
Since then, three LPs and a bunch of other releases under their belt-later, the opinionated have remained ever so opinionated. Yet this is a band that may as well have perseverance inked to their person along with a million other tattoos; vocalist Oliver Sykes in particular has been singled out for his very-much “fuck you” attitude to the amount of outright naysayers that had been accumulated alongside an intimidatingly-ever growing fanbase on the long path to the highly anticipated new album, entitled Sempiternal, which also represents the band’s major label debut; the departure of long-term guitarist Jona Weinhofen; and the introduction of keys/programmer Jordan Fish, formerly of Worship (for whom Killing Moon had released a single in 2011. Hopefully you’re getting the connection here).
The first single to surface from said-new album is ‘Shadow Moses’, which dropped on a relatively-unsuspecting world at the start of the year, on a rather-unexpected play during the daytime on BBC Radio 1 in January 2013. How can I begin to describe the utter joy I experienced upon hearing this beatdown-laden, wall of sound-lacquered, chuggy rhythm guitar-led bold slice of heavy rock? Other than saying outright that it made me have a joygasm?
Possibly the most refreshing aspect about Bring Me the Horizon, and indeed embodied within the powerful soundbites entrenched in ‘Shadow Moses’, is that rather than adapting to an ever-changing popular musical landscape, is that they prefer to remain honest. They are honest in terms of the way they choose to look, the songs they choose to write, and the way they choose to present them to the world at large. That kind of respect isn’t easily given; it is earned through the hard graft of taking the proverbial punches alongside the praises. “Can you tell by the look in our eyes/We’re going nowhere” sing the band gang-vocal style throughout the track. Sorry guys, but I think you’re wrong. I think you’re very much going somewhere. Just keep doing your thing.
Bring Me the Horizon’s fourth album ‘Sempiternal’ will be out on the 29th of April on Epitaph, and the band will begin their next UK tour on the same day (all the details here).
Having chosen the name Stornoway, after the Scottish seaport town as explained by singer Brian Briggs in this 2011 interview with us, this band seems to have been destined to write music with some kind of nautical theme. Their new album’s title, ‘Tales From Terra Firma’, implies the ocean by mention of its opposite (indeed, the album’s cover art features frothy waves).
But its first single, ‘Knock Me on the Head’, has a very definite maritime sound. A majestic instrumental introduction, with a pentatonic tinge suggestive of Oriental seas, blends seamlessly into the mellow guitar pop that Stornoway have become known for. While the intro has very little musical or thematic relation to the body of the song, it does provide a hook for the listener’s ear, drawing attention to Brian Briggs’ lilting voice and cerebral lyrics.
The song’s chorus is certainly catchy enough to hold its own; I found myself singing along with it after only one casual listen. The lyrical melodies and sweet vocal harmonies, along with Stornoway’s unique instrumental arrangements, will be pleasantly familiar to fans eagerly awaiting the band’s sophomore effort. But if the exotic orchestral sound of the intro is to be taken as an indication, Stornoway have bravely ventured into some new musical ground, and possibly new musical seas as well.
‘Tales From Terra Firma’, the follow-up to Stornoway’s 2010 ‘Beachcomber’s Windowsill’, will be out on the 11th of March on 4AD. Catch the band on their UK tour, starting in early March.
They were voted the NME’s Best Performance at Glasto 2010 with their doom pop, they recorded with Kylie, and by bloody god, they are back with a bang.
Manchester’s Hurts burst onto the scene back in 2010 with their debut album, ‘Happiness’. Partners in crime Theo Hutchcraft and Adam Anderson have been dormant for almost 2 years now, but on the 14th December 2012, they returned with a new song, ‘The Road’. It starts off with Theo quietly, almost with a whisper, muttering, “darling, what’s your name and can you hear me / tell me why you’re out so late alone/ the diamonds sparkle in your face / I hold you, the gravel glistens black and red below.
And then, kerblam! It hits you right in the face, Hurts have done a dubstep. Dear god.
What’s even more bizarre is that I kind of like it. But that may just be my attraction, to things that are epic and full of grandeur. There’s an explosion of sound and a catastrophe of bass. Ok, it does have a strange reminiscence of Muse‘s ‘Unsustainable’ and their insane dubstep robot.
But forget all that. The new track is huge.
Hurts are back.
March can’t come any sooner.
Hurts’ second album ‘Exile’ will be released on the 11th of March on Sony and will be available in standard and deluxe formats.
Scottish art-rockers Frightened Rabbit are back with single ‘The Woodpile’, coming across all bombast and desolation. The song’s theme is that of outsiders sticking together, finally making that unique loner connection over a pile of burning logs. Damnably radio-friendly, certainly fitting the established Rabbit mould (that floor tom gets a lot of use), it couldn’t be more distinctively Scottish if it had a bagpipe intro. The spiritual successor to Runrig.
There’s also an intriguing and technically excellent single-take video, set in a place not unlike New York, whose scene-of-crime mystery builds to a fine crescendo, only to be let down by the final denouement’s unlikely outcome. [spoiler alert] A bit of life advice – before calling 999, make sure to check the casualty’s pulse first.
A sign of good things to come from forthcoming album ‘Pedestrian Verse’, out next year, along with an accompanying tour. Don’t forget your matches.
‘The Woodpile’ will feature on Frightened Rabbit’s new album ‘Pedestrian Verse’, out in February on Atlantic (their popularity has allowed them to outgrow their Fat Cat breeches). Watch the video below.
By Mary Chang
on Thursday, 30th August 2012 at 3:00 pm
The love affair I have with Oxford “ambitionless office disco” trio Trophy Wife is probably the strangest one I’ve had in my career as a music blogger. Although I’ve written about them numerous times since their first single ‘Microlite’ was released in autumn 2010, I’ve never had the pleasure to see them live, so it’s like I’m grasping every little nibble I can from this side of the Atlantic to feed my addiction. Hopefully though, this sad state of affairs will change soon, as they revealed earlier this month that their debut album’s release is on the horizon, and have been releasing video clip teasers, one a week, on their Tumblr, in a sort of collage format that will reveal what I am presuming is the cover art for the album.
Today marks the release of an acoustic version of ‘Hold On’ (with the subtitle ‘Summer Leaks In’ on YouTube) by singer Jody Prewett. Oh my word. The latest piece of their new album to be revealed was filmed in near darkness with Prewett singing along to spare chords on his guitar, lit from the back from what seems to be the surface of the moon. This doesn’t sound like the unique dance sound that Trophy Wife have cultivated in the last 2 years, as was shown in their October 2011 EP ‘Bruxism’, as well as the three video clips revealed prior to this (‘In This Heavy Sun, the Colours Will Run’, ‘Your Presence I Want, Your Absence I Fear’, ‘In This Cold Paradigm…’), it shows a softer, introspective, and certainly more haunting side to the Oxford band. It’s absolutely beautiful and although its restraint was somewhat unexpected to me, I don’t question it for a moment, because I sensed their talent from the moment I first heard ‘Microlite’.
This album, a long time in the making and surely feeling like a long time for us fans to be waiting, will surely be worth the wait, judging from the four clips I’ve heard so far. And for sure, Trophy Wife’s debut album is my most anticipated release all year. That is, unless they decide to keep me waiting until 2013 like Everything Everything and Delphic…
Be sure to keep your eyes and ears on Trophy Wife’s Tumblr for more video teasers in the coming weeks. I do encourage you to view the clips released for ‘In This Heavy Sun, the Colours Will Run’, ‘Your Presence I Want, Your Absence I Fear’ and ‘In This Cold Paradigm…’ after you’ve viewed the below video for ‘Summer Leaks In’, because you will see and feel the radical difference in sound. It will allow you to come to a better appreciation of Trophy Wife, that they’re not just doing what everyone is doing and putting an urban dance beat on things because that’s what popular and sells.
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