By Mary Chang on Thursday, 28th February 2013 at 4:19 pm
Ahead of their appearances at this year’s SXSW, Australian dance band Gold Fields have released this live video of themselves performing ‘Happy Boy’, a song off their debut album ‘Black Sun’ out now. The title says ‘Live at Sing Sing’, but somehow I don’t think they mean the prison… We are also including below a performance of ‘Treehouse’ from the same live session.
Gold Fields will be appearing at SXSW 2013 at Maggie’s May’s Rooftop on Saturday 16 March at 10 PM; other appearances are TBA. For more Australian band tips, check out the suggestions from AU Review Head Photographer Johnny Au here.
By Mary Chang on Wednesday, 27th February 2013 at 6:00 pm
‘Folkelectronica’ artist James Yuill has released a new video for ‘Turn Yourself Around’, the first single from Yuill’s forthcoming album ‘These Spirits’ out on the 25th of March. Give into the groove and watch the video below.
Yuill will be headlining a show at London Corsica Studios on the 16th of May; tickets are on sale Friday 1 March at 9 AM and cost £10 plus booking fees.
When you’re profiling the true core of British indie at the moment, the group who stand at the pinnacle of such a glorious age for alternative music in this country are Foals. No matter what way you look at it, Yannis Philippakis’ group of meat-pulverizing, would-be hair models have produced two of the seminal indie records of the past 5 years.
‘Antidotes’ strode onto the scene showcasing a band that had already obviously spent considerable time and effort hammering down their unique sound. Singles like ‘Mathletics’, ‘Cassius’ and ‘Balloons’ were so complex in their structure, yet were dripping with the kind of hook laden brilliance we have now after three records come to expect from Foals. Then with ‘Total Life Forever’, the band took their sound to new levels, with hints of Radiohead creeping into the sound on lead track, the hauntingly beautiful ‘Spanish Sahara’.
Now the band’s third record isn’t one that sees the five-piece branching out into pastures anew. Instead, ‘Holy Fire’ is exactly what I wanted from Foals; a progression of their already formidable math rock prowess, alongside some massive riffs and spellbindingly beautiful song writing. A couple of months back, Foals released what was to be the first single for their new record, ‘Inhaler’. The raw mix of grungy guitars and the Rage Against the Machine-esque roars from Yannis creates a proper belter of a pop tune. The squealing roars of guitars seem to be an undertone of this new record, with an almost prog-ish direction on songs like ‘Late Night’ (CCTV-styled footage of the band playing the song below) are a sign of a band maturing beyond their humbled math rock beginnings.
Once the underspoken, discreet indie boys swinging a club at meat on string, now they’ve come full circle and are crossing genres galore. While ‘Antidotes’ and some of their earlier work may have been criticised as being a bit one-dimensional or middle of the road indie rock, the same cannot be said of Philippakis, Jack Bevan, Jimmy Smith, Walter Gervers and Edwin Congreave now. While ‘Inhaler’ gives a rockier intro to the album, ‘My Number’ is a testament to the bands ability to write groovy dance tunes with a different kind of depth. The kind of track that would go down a storm on BBC 6 Music, at Propaganda or on the Radio 1 A-list, Philippakis’ cries about his independence are strewn throughout the song.
Throughout the record though, it’s obvious that the band have found a sound that works for them on all levels, whether it’s the more understated ‘Bad Habit’, or livewire tracks like ‘Providence’ that throws in a few surprise trumpet sections. Overall, it’s difficult to be critical of this record, for the fact that Foals have in just under an hour confidently moved out of their comfort zone, while keeping hold of their mass appeal and hook driven math rock. It’s a struggle to see how this band can’t just continue to grow and go places. Headline slots await, it seems.
‘Holy Fire’, the third album from Oxford band Foals, is out now on Transgressive Records.
By Mary Chang on Tuesday, 26th February 2013 at 6:00 pm
If you lost a parent, you’re probably always wondering if that parent can see what you’re doing here on Earth in their absence. Here is the new video for the Script‘s ‘If You See Me Now’, paying homage to singer Danny O’Donoghue and guitarist Mark Sheehan’s late parents. The song is a tear-jerky highlight off the band’s third album, ‘#3′ (read my review here).
Tipped for greatness by the Radio 1’s new music head honcho Huw Stephens and producers of the ‘Music for Cars’ EP available next Monday, the 4th of March, The 1975 have released the official video for ‘Chocolate’.
Starting with some lovely undulating guitars in almost the style of Bombay Bicycle Club on ‘Shuffle’, the song moves on to the quick-fire lyrics of Matthew Healy telling us the rather clichéd chat-up line, that “her hair smells like chocolate”. The jerky-riffs continue throughout to create a brilliant little pop song that’s almost impossible to shake out of your head. And why would you want to? The song has such an uplifting quality.
The video almost fits perfectly to the song as Healy repeats how they’re “dressed in black / head to toe”, as the entire band clad in black leather cruise around in, yes, a video shot entirely in black and white.
By Mary Chang on Monday, 25th February 2013 at 6:00 pm
Today marks the release date of Keaton Henson‘s second full length album ‘Birthdays’, along with single ‘Lying to You’. He is currently in the middle of a ‘museum tour’, with remaining dates at Oxford History of Science Museum (28 February and 1 March) and Brighton Booth of Natural History (7 and 8 March) but sorry, all dates are sold out. Watch the video for the intense ‘Lying to You’, directed by Autumn De Wilde, below.