By Mary Chang
on Tuesday, 2nd September 2014 at 6:00 pm
It’s the day after Labor Day here in America and all the kids are back in school, which means autumn is basically here. So it’s extra good timing for Bear in Heaven to release the promo for their song ‘Autumn’, off their fourth album ‘Time is Over One Day’ out now. The visuals are like stepping into a blurry, trippy RPG. Watch the video below.
Prog-rock quartet Syd Arthur, who melted my face off earlier this year at SXSW 2014, have announced a full headline tour of the UK, starting in just under 3 weeks’ time. The band’s new single ‘Autograph’, from their recent album ‘Sound Mirror’, will be released on the 6th of October through Harvest Records. You can watch the video for the album’s first single ‘Garden of Time’ below the tour date listing.
Wednesday 17th September 2014 – Bristol Louisiana
Thursday 18th September 2014 – Birmingham Sunflower Lounge
Saturday 20th September 2014 – Kendal Brewery Arts Centre
Sunday 21st September 2014 – Glasgow Broadcast
Tuesday 23rd September 2014 – Leicester Cookie Jar
Wednesday 24th September 2014 – Hull Adelphi
Thursday 25th September 2014 – Newcastle Cluny
Friday 26th September 2014 – Sheffield Leadmill
Saturday 27th September 2014 – Folkestone Quarterhouse
Monday 29th September 2014 – Brighton Komedia
Tuesday 30th September 2014 – Southampton Joiners
Wednesday 1st October 2014 – London Dingwalls
Thursday 2nd 1st October 2014 – Manchester Band on the Wall
By Mary Chang
on Monday, 1st September 2014 at 6:00 pm
Broken Bells, the rock duo comprised of James Mercer and Dangermouse, released their second album ‘After the Disco’ back in February. Both their self-titled debut and this latest LP have allusions to space travel and otherworldly pursuits, so it makes sense that their latest promo for ‘After the Disco’ track ‘Control’ would have old film clips of space, crop circles and UFOs. Interestingly, that pink dodecahedron thingy on the cover of ‘Broken Bells’ also makes several appearances. Even more randomly, clips of Mercer and Burton play are included, as are computer-rendered images of the two as an ‘unknown organic compound’. Huh? (I’m also wondering if the surviving members of Joy Division will sue for the usage of what seems to be the rippling waves of the ‘Unknown Pleasures’ album…) Watch the video below.
By Mary Chang
on Monday, 1st September 2014 at 12:00 pm
Arguably, it has only been in less than the last 20 years that the dynamic hard rock duo (with minimal or no electronic intervention live, mind) has emerged not only as a potential but an entirely viable business proposition. Naturally, given the success of the now-defunct White Stripes and the currently riding high Black Keys, the media are quick – not to mention lazy – to compare Royal Blood to both. However, as easy as it would be to compare Ben and Mike to Dan and Patrick, there is one major difference.
Bass guitar vs. guitar.
You’re talking to a bass player, so there is no contest here for me. However, for the rest of you reading this who don’t share the joy and wonderment of playing bass, I will spend the rest of this review convincing you why Royal Blood’s self-titled album out this week is a major step forward for rock music in the 21st century and why you need this album. For starters, if you’re the kind of person who easily gets impatient and hates albums that seem to drag on forever, this one is predictably short. Mike Kerr (vocals / bass guitar) and Ben Thatcher (drums) aren’t the kind of guys to beat around the bush. For that reason alone, it’s a good “starter” album for those who don’t buy albums or haven’t bought an album in its entirety for a long time (*cough* pirates *cough*).
If you’ve been following the Royal Blood story for a while, three of the best tracks – ‘Out of the Black’, ‘Little Monster’ and ‘Come On Over’ – will be familiar to you from their appearance on previously released EP ‘Out of the Black’. The title track of the EP will probably be best remembered by this summer’s festivalgoers for Thatcher’s machine gun-style beats that usher in the song; they partner up remarkably well to the vitriolic, man scorned lyrics: “so don’t breathe when I talk / because you haven’t been spoken to / I got a gun for a mouth and a bullet with your name on it / but a trigger for a heart beating blood from an empty pocket”. Contrast this later to ‘You Can Be So Cruel’, which is also filled with angst but in a self-harming, lonely manner, while recent single ‘Figure It Out’ wades into the muddy waters of relationship-based confusion.
A lot of people avoid hard rock albums on the sole basis that they think it’ll be cacophonous chaos, as if it’s impossible for hard rock to be melodic. Kerr manages to conjure amazing things from his bass guitar as well as be an entirely commanding frontman with his voice. Throughout the album, Kerr puts his voice through its paces and comes out as a winner. On ‘Come On Over’ and ‘Little Monster’, he is the convincing bad boy ready to melt the rock girl’s heart. (Yes, there were quite a few gals at their DC show fawning over both him and Thatcher. I had to open and close my eyes a few times, wondering, am I really at a hard rock show?)
The punishing yet melodic bass guitar playing from Kerr also deserves proper credit. When I first started playing bass, my mother asked me how bass differed from guitar; my response was, “you know how drumming doesn’t have notes? Bass is like playing drums; you’re playing rhythm, but with melody.” That explanation doesn’t really hold water when you’re describing Kerr’s skill on the axe. On ‘Come On Over’, if your ears can’t discern the lower register of his bass, you’d swear it was someone like Slash ripping it on his Les Paul. The authoritative bass riff on ‘Loose Change’ doesn’t beg for your attention, it requires it as you get sucked into the groove of the song.
Interestingly, one of the standouts of the album is ‘Careless’. In the lyrics, Kerr plays around with the nuances of ‘careless’ vs. ‘care less’ and during the verses and bridge, the bass takes a quieter backseat (for Royal Blood, anyway), letting the powerful chorus speak for itself. As the album closes, you can’t help but sense that Royal Blood’s road to becoming as big (or bigger?) than Led Zeppelin seems assured. Thatcher’s thudding drums, as about as gentle as a pneumatic drill, is paired with the sexy bass line of ‘Better Strangers’ and Kerr’s pained yet mesmerising wailing. In a word, awesome. Resistance is futile, my friends.
Royal Blood‘s self-titled album is out now on Warner Brothers. If you’re quick, you can catch Kerr and Thatcher playing live for Steve Lamacq on the 29th of August in the BBC 6music kitchen (I’m being serious) here.
Independent record label and promoter Communion Music has just announced the line up for the second part of its biannual New Faces tour, which will take place this November. The bill includes elusive solo artist FYFE, South London singer/songwriter Kimberly Anne, Oxford pop quartet Pixel Fix (pictured above), and Nottingham five-piece Amber Run, whose track ‘Pilot’ is featured in the video below.
Tickets for the following dates are available now through the usual outlets, but if you’d like a little bonus, grab your tickets from MusicGlue via Communion’s Web site. Each ticket purchased that way will come with a free EP download containing a sample track from each artist.
Monday 3rd November 2014 – Brighton Green Door Store
Tuesday 4th November 2014 – Bristol Louisiana
Wednesday 5th November 2014 – London St. Stephens Church
Friday 7th November 2014 – Oxford Art Bar
Saturday 8th November 2014 – Manchester Soup Kitchen
Sunday 9th November 2014 – Nottingham Bodega
Monday 10th November 2014 – Leeds Holy Trinity Church
By Mary Chang
on Sunday, 31st August 2014 at 10:00 am
Zola Jesus now has unveiled the promo video for single ‘Dangerous Days’, the first from upcoming album ‘Taiga’, scheduled for a 7 October release. I was wondering where the title of the LP (the word for a snowy forest) was going to come into things, but that was before I laid eyes on this promo. Although the environs where the video was filmed look pretty cold, Nikita Danilova’s vocals seem warm on this tune. Watch the promo below.
Catch Danilova on tour in the UK in October and November 2014.