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(SXSW 2019 flavoured!) Live Gig Video: Mansionair unveil sultry performance video for ‘We Could Leave’

 
By on Tuesday, 19th February 2019 at 4:00 pm
 

Sydney’s Mansionair released a new video last week on Valentine’s Day. Latest single ‘We Could Leave’ follows in the heady footsteps of the many sexy, sultry songs we’ve heard so far from the soulful Aussies. In this tune, Jack Froggatt chooses to focus on that paralysing feeling when mesmerised and frozen by his attraction to a gorgeous creature at a party. His thoughts of escaping with his lady love “grace the night ligh0ts” are halted by his inability to act, or to even speak. The lyrics seem to suggest the object of his affection doesn’t want to reciprocate, so he’s stuck waiting for something, seemingly anything, to bring him out of his trance. As terrible as this sounds, it’s completely relatable, something that Mansionair excels at in all their music. Watch the performance video for single ‘We Could Leave’ below; the single is out now on Glassnote Records. To read more on the Aussie trio on TGTF before their scheduled appearance at SXSW 2019 next month in Austin, follow this link.

 

(SXSW 2019 flavoured!) Bands to Watch #414: Glass Caves

 
By on Thursday, 14th February 2019 at 12:00 pm
 

Part of the metropolitan area of Wakefield, West Yorkshire, Pontefract is a town that has been around for a long time. I mean, a really long time: try AD 1086 or thereabouts. The town’s name comes from the Latin for ‘broken bridge’. The band from Pontefract I introduce you to today are sure to want to build bridges with their American cousins instead while they’re in Austin for SXSW next month. Glass Caves began humbly, initially trying their luck with street busking to see if they could make enough money to survive post-uni. As money came in slowly but steadily from interested passersby drawn in by their catchy pop-tinged rock, then came the requests for CDs. For a band without a label, the only option was to burn the CDs themselves in the middle of the night and at their own expense. Earlier material like the title track of their 2014 debut album, ‘Alive’, bears favourable comparison to stadium rockers Catfish and the Bottlemen.

Other unsigned bands have relied on social media and various music platforms to spread the word on their music, but this was not the route Glass Caves wanted to take. The Yorkshire group made the decision to do things more organically, pounding the pavement, developing relationships with music fans and independent music venue staff through precious face time and not through the less personable approaches through a computer or mobile phone screen. It’s paid off: what unsigned band do you know of who’s headlined a Club NME show at London Koko? As of late, their sound has evolved to become more keyboard-driven, sounding more like fellow Northerners Blossoms. Have a watch and listen to ‘Bad Liar’ below and see what you think. Quite a few bands from Britain have used their SXSW shout as a springboard to bigger things. With Glass Caves, just you wait.

 

(SXSW 2019 flavoured!) Live Gig Video: Joshua Burnside shares acoustic version of ‘Desert Wine’, set to short video clips from his phone

 
By on Wednesday, 13th February 2019 at 4:00 pm
 

I wasn’t sure where to put this video on TGTF, as it doesn’t fit neatly into any of our normal feature type. Since we often put acoustic live versions in the Live Gig Video section, I’ve decided to stick this here. Now that I’ve got your attention, I’ll tell you more about the video. We all have photos and videos that we’ve taken randomly and saved on our phones, right? But how many of us actually do anything useful – or creative – with them? Northern Irish singer/songwriter Joshua Burnside had been collecting video clips, taking the advice to do so from his friend and fellow artist Emily McIlwaine.

To celebrate the recent release of a new album, he has set one of the album tracks to a collection of his video clips. ‘Wear Bluebells in Your Hat If You’re Goin’ That Way’, available now from Quiet Arch Records, is a 2019 updated version of the 2017 Northern Irish Music Prize winner’s 2013 EP ‘If You’re Going That Way’, which had only five tracks. The ‘Wear Bluebells…’ version now is 10 tracks strong, including an acoustic single version of the previously released studio version of ‘Desert Wine’. Watch and listen to the new version of the song below. Joshua Burnside is scheduled to perform next month at SXSW 2019; to date, his only official appearance on the official SXSW schedule is on Friday night, 15 March, at the Victorian Room at the Driskill. All of our coverage on TGTF on Burnside can be accessed through here.

 

(SXSW 2019 flavoured!) Bands to Watch #413: Elder Island

 
By on Tuesday, 12th February 2019 at 12:00 pm
 

When I first started blogging 10 years ago, bands with the word ‘bear’ in their name was a thing. Now it seems that the buzz word is ‘island’. (See my review last week of Low Island’s ‘In Person’.) The word ‘island’ conjures up individuality, but at the expense of isolation. Elder Island, named after a real place in Canada, are an electronic-driven trio who prove that isolation used as a means for indie bands to carefully create their art can be successful. The like-minded friends who were all studying art in Bristol have been steadily moving forward with their experimental music side gig over the last 6 years. 2019 is set to be Elder Island’s year, their time in the limelight, and congratulations are in order, and not just for their all-important shout to SXSW 2019. Last Friday, they self-released their debut album ‘The Omnitone Collection’.

They showed early promise on ‘Golden’, appearing on their 2016 ‘Seeds in Sand’ EP. You can understand the track’s origin, used as a transitional, loose point in our set where we could just let go a little”, as you get caught up in its beguiling vibrations. Katy Sargent’s vocals, stretched and echoey, act more like another electronic part layered on top of synthesisers. From the new LP, the first taster revealed to the wild was the rhythmically-mesmerising ‘Don’t Lose’. On it, their ability to pen a catchy tune is written all over it, and Sargent’s vocals have less effects put on it than on the EP, which make them more human. The accompanying promo video is a playful visual of how deft they are in transforming what could be techie electronic elements into parts totally accessible once incorporated into a pop song. Electronics aren’t just for nerds who that love them. These days, those who can use them in tandem with good songwriting are in good position indeed.

 

(SXSW 2019 flavoured!) Bands to Watch #412: Breathe Panel

 
By on Thursday, 7th February 2019 at 12:00 pm
 

I’ve admitted publicly more than a few times here on TGTF that shoegazer slacker rock isn’t my cup of tea. I can appreciate that some find it the music and disaffected vocals great to chill out to, while other gear heads actually like the mechanics behind creating that oozy woozy, lazy sound. I don’t know why it’s taken me so many years to come to this conclusion: As an East Coast American with a Type A, neurotic, impatient personality, the sounds of guitar notes that aren’t played quite that precisely are probably what set me off. I think I could be making major strides here, as when I was going through the bands who were given a shout to SXSW 2019, I actually liked a band from this subgenre of rock! Ladies and gents, I bring you Breathe Panel.

The band use Brighton as their home base, so while their signing to local legendary FatCat Records isn’t entirely unexpected, it is worth applauding since there are so many fledgling artists there. Taking their location into account – being never too far from the soothing sounds of the lapping waves and evocative days and nights by the beach – their choice of swirling guitars and vocals oh so diaphanous that you couldn’t stick a pin in them make total sense. So do their noted influences of American bands Real Estate and Deerhunter, as well as their choice of producer for their debut album, MJ of Hookworms. On said album released last summer, they do their genre contemporaries proud, balancing upbeat, more agile numbers (‘On My Way’, ‘Sunrise / Sunshine’) with slower-moving ones (‘Hue’, ‘Red Wine Glass’). In that way, they’ve proven the name of their band is appropriate: panels are known to be solid and reliable, while ‘breathe’ describes the dreamy nature of their music well. Under the mood lighting found in many venues in Austin come nightfall, there’s sure to be those mesmerised by them.

 

(SXSW 2019 flavoured!) Live Gig Video: The Ninth Wave share short film for single ‘Half Pure’

 
By on Tuesday, 5th February 2019 at 4:00 pm
 

Post-punks The Ninth Wave is part of a small but strong contingent of Scottish bands scheduled to showcase next month at SXSW 2019. Last May, I previewed their band ahead of their appearances at the 2019 editions of Live at Leeds and The Great Escape. As they’ve gone on, they have steadily building up a catalogue of short films designed to go beyond the conventional promo video and provide an appropriate visual counterpart to their music. The latest installment in the film series is the video for single ‘Half Pure’, which is now available from Distiller Records. Their synth-driven rock sound, as performed live, is joined here with their interpretation of a runway show, albeit one that’s gory and subversive, described in the press release as “incorporating elements of classic ’90s anti-fur campaigns and Alexander McQueen’s iconic runways. The concept is inspired by deploration of the consumerist, superficial nature of modern society and how overwhelming it can be to live in a “plastic World War III.”” Check it out below. For more on The Ninth Wave here on TGTF, follow this link.

 
 
 

About Us

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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