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By Mary Chang
on Tuesday, 8th July 2014 at 12:00 pm
It’s been some time since we’ve heard from Melbourne folk rockers Husky. It’s been 2 years since their fab debut ‘Forever So’ on Seattle’s famed Sub Pop Records; I worry when it’s been some time since I’ve heard from a band, I always assume the worst (band break-up). So it was with some relief that hearing just last week that the Aussie group, comprised of frontman/songwriter Husky Gawenda, cousin Gideon Preiss and Evan Tweedie, have returned to us, revealing a taster from their so far untitled sophomore album.
‘I’m Not Coming Back’ is the lead single from the second outing. Despite its rather negative sounding title, tempo-wise it’s an upbeat song (handclaps at the ready, anyone?) and not anything I expected from its name. The guitar work is masterful, as are the harmonies that made fans fall in love with them on previous ‘Forever So’ tracks such as ‘The Woods’. As for its meaning, I assumed, most probably incorrectly, that the song was about a man with who split town with fury after being jilted by his lover. Maybe that exists as a subtext, but the tune is more of a farewell letter that feels scathing to the whole place: “my hometown has cursed me lately / I’m not coming back!”
However, in the bridge, there seems to be some doubt in his mind, as if his conscience is answering him: “I woke with fright, with the moon outside / Sleep won’t come (You don’t really need it) / You just can’t tell (You never can, son) / I hope I’ll breath. (Hope so too)”. Maybe, then, this running away is not just from his hometown but from the ties that bind us to our old ways, and the fear we have in ourselves when we leave the things that have become familiar. Rich is its lyrical content while also being spellbinding in the richness of its instrumentation and harmonies, if this single is anything to go by, the second LP from Husky will be a good’un indeed.
‘I’m Not Coming Back’, the first single from Husky‘s yet to be named second album, is out now on Sub Pop.
By Mary Chang
on Wednesday, 25th June 2014 at 12:00 pm
Several days ago, the 2012 Mercury Prize-winning alt-J unleashed the first single from their hotly anticipated sophomore album ‘This is All Yours’. Since winning the Mercury gong, the band has downgraded from a quartet to a trio: bassist Gwil Sainsbury announced in January he was leaving the group for personal reasons and from all signs, his departure was amicable. alt-J have since decided to soldier on as a three-piece and though they are one man down, the first taste of their follow-up shows no indication of any growing pains (losing pains?) caused by Sainsbury’s departure. Actually, ‘Hunger of the Pine’ might be their most accessible song to date.
As described by the band themselves in this piece by NPR’s Bob Boilen, the song’s intent is to recreate, sonically, the physical hurt and pain of missing someone (‘pining’) and the song has nothing to do with coniferous trees at all. Unfortunately, what’s been getting too much attention is the trio’s use of a Miley Cyrus sample from her song ‘4 X 4’. I think that’s truly unfortunate. Cyrus’ actual lyric of “I’m a female rebel” doesn’t add anything to the song’s meaning itself, and I actually think it’s jarring to the haiku-like exquisiteness of singer Joe Newman’s own words (“Sleeplessly embracing / Yawn yearns into me / Plenty more tears in the sea”) lost in an enticing sea of reined in electronic beats that encircle the listener.
As has been pointed out by several music fans, if no-one had pointed out the vocal sample was from Miss Cyrus, we’d probably never have known, and maybe the song would have been better for it if we’d been in the dark. As it is, the addition makes the song more of a novelty and detracts from the otherwise beautiful, otherworldly quality of ‘Hunger of the Pine’. Also of note, it appears Newman has either toned down or they’ve somehow managed to lessen the nasal sharpness of their frontman’s voice, which was the major stumbling block to me liking alt-J in the first place.
All in all, ‘Hunger of the Pine’ confirms the anticipation for ‘This is All Yours’ is well-deserved.
Listen to ‘Hunger of the Pine’, alt-J’s latest song, in this Video of the Moment feature. (The band have since pulled the stream of the single from their Soundcloud account.) ‘This is All Yours’, the group’s second album, will be out on the 22nd of September on Infectious Music.
Previous coverage of the band – when they were still a foursome – can be found here.
By Mary Chang
on Thursday, 19th June 2014 at 12:00 pm
Sivu’s next single, ‘Miracle (Human Error)’, got its premiere radio play Tuesday night on Zane Lowe’s Radio 1 evening programme. The promo video for the song continues his excellent track record of pairing his thought-provoking lyrics with a compelling story told unconventionally in front of our very eyes. From the very start of the video directed by Georgia Hudson, as we’re confronted with the words, “Are you afraid of death? Because I am too.”, you can’t help but be mesmerised. The single also represents a less alternative, more conventional singer/songwriter style of writing for Sivu, which I think I could pay off for him in garnering a whole new group of fans.
The song itself is made up of pretty dark subject matter. Is it about existentialism? I sense this is the case, at least partially. The expansive chorus of “Because it’s time to collide / This human error’s what were made for / But now were dead inside / We’re ones and zeros of a half lived life” shows Sivu seeming to equate human beings to machines made up of binary code, of discrete yeses and nos, “dead inside” as if our lives have already been chosen for us, “half lived” because we don’t have control over it. Part of this too my guess is pointing towards society’s reliance on technology and how social media and the internet have made us desensitised, emotionless.
But this isn’t the whole story. If you close your eyes and listen to what else and how he’s singing, the vocal delivery is not sad. It’s uplifting, in a sweeping way, and it feels to me like a love song that he’s cleverly hidden amongst truly philosophical issues. If you return to the start of the song and verse 1, he sings of what wonderful things human beings are, with the potential to go on and do great things: “Are we a miracle / Tell me glory / As we’re bound and born / To rule beautiful places”. Yet in the video, we’re presented with images of lonely people in late night situations: drinking alone, lying in bed alone, looking at themselves in a mirror alone. Not so wonderful, eh?
Then Sivu goes on, “We carved a future for ourselves / In our lowest of lonelys”: he is pointing to people who were cognisant of putting themselves in these situations. Further, the lyrics “But still we break like a toy /Without a parachute on / I’m a cog with a glitch so worn / No man can fix / No man can fix” illustrate human frailty beautifully. In contrast to the chorus, he’s acknowledging we aren’t made of steel, we aren’t machines. And that is an inherent quality of being human, just as is “to err is human”, which is what I’m imagining he was getting at with the “(Human Error)” part of the song title: we are human and have the ability to make choices. Some lead to better things and some hurt us, but us having the choice is critical.
Going back to what is at the song’s heart, a love story, the repeated request of “I need a miracle, a miracle” and the most dramatic of all these lyrics, “Are you afraid of death / ‘cause I am too / ‘cause they’ll be no more me / And they’ll be no more you”, are nothing short of enchantingly haunting. Morrissey was right: another important quality of being human is the need to be loved. The beauty of ‘Miracle (Human Error)’ is in recognising we all need to feel love, along with the fact that no one of us is perfect. Yet as humans, we have the power to change, but it has to come from within. Loneliness is not a terminal condition, as long as you’re willing to open your heart, to chance it.
‘Miracle (Human Error)’, Sivu’s forthcoming single, is out on the 28th of July on Atlantic. Sivu has confirmed appearances scheduled at Tramlines, Beacons Festival, Reading and Leeds and Bestival, amongst others. For a full listing of his summer appearances, visit his official Web site. My previous coverage of Sivu is right this way.
Fun fact: The lead single from each of Cheryl Cole’s albums has gone straight to #1 in the Official UK Singles Chart.
The former Girls Aloud singer stormed the chart with her debut solo single ‘Fight For This Love’ in 2009, from her ‘3 Words’ album. This was followed by ‘Promise This’ in 2010 (from ‘Messy Little Raindrops’) and ‘Call My Name’ in 2012 (from ‘A Million Lights’).
Cole, who is returning as an X Factor judge for the show’s 11th series, revealed that she would also be making a return to music, with a new album scheduled for a winter release. This comes as no surprise considering the television music competition will be dominating our screens for approximately 5 months, providing Cheryl Cole the perfect opportunity to market her new material.
On the 2nd of June, the lead single from her currently nameless album premiered on radio stations across the UK. Titled ‘Crazy Stupid Love’, the track features English rapper Tinie Tempah and was penned and produced by Wayne Wilkins, who previously worked on Cheryl’s previous hits, ‘Fight For This Love’, ‘The Flood’ and ‘Promise This’). With all these elements combined, surely this must be one of the best pop tracks of the year?
‘Crazy Stupid Love’ is about falling head over heels in love with someone, but fans aren’t going to fall head over heels in love with this song instantly. During the first couple of listens, the track sounds more like a leaked demo rather than the final release, as it seems to build but never really climaxes.
Nevertheless, this is a track that benefits from being overplayed, which is bound to happen considering the amount of television chat shows Cheryl is expected to appear on and the inevitable overplaying on radio stations. Once you familiarise yourself with the track, it’s actually quite enjoyable, mostly because of the saxophone instrumental.
The saxophone MIDI has dominated the charts recently, having featured in the likes of high-flying tracks such as Jason Derulo’s ‘Talk Dirty’ and Ariana Grande’s ‘Problem’. Hoping to ride on that success, ‘Crazy Stupid Love’ features a surprisingly catchy, post-chorus saxophone instrumental. It might not make you want to dance as much as the Calvin Harris-produced ‘Call My Name’ did, but it will get stuck in your head.
As for the lyrics, they aren’t particularly memorable. Cheryl’s verses are full of the typical clichés that we have come to expect from pop tracks, and the chorus would have been a redeeming factor if it wasn’t for the line, “It’s like a roller coaster, but I’m only going up”, which doesn’t really make much sense, if you ask me. Thankfully, Tinie Tempah’s verse contains his typical short, catchy lines, saving the lyrics from being a total shambles.
With her very loyal fan base and numerous public appearances, Cheryl shouldn’t struggle to achieve a high chart position. However, due to the mixed reception the song has received, ‘Crazy Stupid Love’ is not a guaranteed #1, unlike her previous lead singles. Nevertheless, it’s a definite grower that would benefit from a good remix.
Cheryl Cole’s new single ‘Crazy Stupid Love’ is released on the 20th of July, with her next album to follow in the last quarter of 2014.
By Mary Chang
on Thursday, 8th May 2014 at 12:00 pm
The more time I spend in the North, the more I come to fully embrace the Northerner’s way of living. After this extended interview with Boy Jumps Ship of Newcastle at Liverpool Sound City last week, it was impressed on me further on the Northern musician’s commitment to honesty, hard work and no compromise. This is also true of Morecambe band the Heartbreaks, whose musical evolution we’ve been eyeing and keeping close tabs on here at TGTF Towers since the release of the epic-sounding ‘¡No Pasarán!’ last autumn.
‘Absolved’ is their next single coming out in a few weeks, following on from single ‘Hey, Hey Lover’ that dropped in February. The man himself Steve Lamacq famously announced on his 6music programme 3 months ago when the group were live in session with him at Western House that if the new song did not make it onto the channel’s playlist, he’d resign from the BBC. Them’s fighting words, Lammo! While ‘Absolved’ also exhibits quite a bit of bombast in sound that was first witnessed in the big reveal of ‘¡No Pasarán!’, the lyrics and the promo video that was released to the wild Tuesday night are even more impressive.
When you queue up the video, out of a blinding white light comes four nattily-dressed figures that the band themselves quite self-deprecatingly note as “The four best dancers at St. Bernadette’s (with the worst reputations)”. (North West wit, that is.) Like the Beatles in 1963, they sure clean up nice. Dressed with red bowties and silver foil blazers, the gold lame suit-wearing Elvis would have certainly have approved of their ostentatious outfits. The Heartbreaks take full advantage of the’60s r&b groove stompathon they’ve concocted for ‘Absolved’ with what I am sure was a carefully choreographed dance move sequence replete with arm and hand flourishes not seen since the Temptations and the Four Tops. In a way, though, I find the video may detract from the actual meaning of the song, which was able to delve further into after the band kindly sent the full lyrics to me while I’ve been on holiday in Sheffield.
Not surprisingly for a band who prides themselves on being a pop group, ‘Absolved’ is a love song on the surface; however, true to form when it comes to those witty Lancastrians, there is a deeper undercurrent: depression. From the word go, Matthew Whitehouse’s singing of drummer Joe Kondras’ lyrics manages to distill how loneliness feels when you’re emotionally disconnected to a depressed partner: “I feel winter / in the apparent warmth of your embrace / and desperation / lingers around this empty space”. As the song goes on to the pre-chorus, Whitehouse sings of understanding feeling blue and suicidal because he’s felt it before himself (“you’re not the only one who’s ever felt this way / you live like you’re waiting to die”) and there is a feeling of helplessness because he fully understands what she is going through, having been there at the lowest of lows before. But at the same time he recognises he cannot change her mind: when someone is clinically depressed and has not sought out professional help, it’s near impossible to convince them of anything positive. You can say it’s a nice day when the sun’s shining outside, but all that person sees is darkness.
He wishes that things were different, or at least were back to a happier time, asking, “why don’t you give living a try?” But deep down, he’s aware his efforts are for nowt. It’s interesting how in this song, Kondras’ concerns are squarely on his partner, how he’s dealing with his own guilt in not being able to help her and how her pain affects him badly. ‘Absolved’ is in direct contrast to the Crookes’ ‘When You’re Fragile’ (from April 2014’s ‘Soapbox’), another song in which both people in a relationship have bonded over depression, but writer Daniel Hopewell strangely and somewhat callously revels in his partner’s sorrow (“if it don’t hurt, it ain’t worthwhile / I love you most when you’re fragile”) with no interest in really helping the situation.
The crux, then, of writer Kondras’ use of the word ‘Absolved’ as the title and in the song is a less literal translation of the Biblical washing away of one’s sins and instead of him wanting to wash himself of himself of this situation where he cannot help here and he has also failed her as a friend and lover, as best explained in the chorus:
Absolved I am,
From the guilt of all the feelings,
That you don’t understand,
“Absolved” I cry,
From the guilt of all the feelings,
That hit me when I catch your eye.
Incredibly catchy? Yes. Emotionally charged? Yes. Massive in sound? Yes. All in all, a brilliant single and quite possibly the best song to be released in 2014. No wonder Lammo was willing to put his job on the line for this song.
‘Absolved’, the Heartbreaks’ forthcoming single, is due out on the 26th of May. Second album ‘We May Yet Stand a Chance’ follows a week later, on the 2nd of June.
The Black Keys come out the blocks slowly in new single ‘Fever’ – building from a rumbling bass roll step by step, adding an instrument every four seconds – before a honky-tonk synth is introduced, underscoring the hook laden choral verses. It’s classic Black Keys from the beginning, as a bluesy, country, grunge-y mix of trademark Americana.
The Black Keys are to America, in my opinion, what Elbow are to the UK and with their new record ‘Turn Blue’, I feel they are having their ‘build a rocket boys!’ after the success of their ‘The Seldom Seen Kid’ – the incredibly successful and incessantly catchy ‘El Camino’, chocked to the steering wheel with tunes. What I’m saying is, it was always going to be a struggle for duo, Dan Auerbach and Patrick Carney to replicate the aural beauty of ‘El Camino’ – but what they have done is come out with a palate-pleasing single.
Complete with a trippy as balls stream that will have your eyes turning like screws in the back of your head.
They’re always going to be popular now with tunes from their last album, so arguably this record was a bit of a free hit for the Ohio duo. It’s still along the same lines that were drawn on ‘El Camino’ and have flown through their seven album long career, but ‘Fever’ has nowhere near the funk appeal that ‘Lonely Boy’ and ‘Gold on the Ceiling’ had.
Much like the accompanying video it has a whirling sense of psychedelia, which sees it trip and spin out at random junctures, in a sort of Flaming Lips-ish style.
It’s a nice taste of things to come, but it’s nothing I’m particularly wracking my brains to get out of my head.
‘Turn Blue’, the next album from the Black Keys, will drop on the 12th of May on Nonesuch Records. Stream ‘Fever’ below.