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Live Gig Video: Biffy Clyro dodge fireworks performing ‘Flammable’ from ‘Ellipsis’ LP

 
By on Wednesday, 25th January 2017 at 4:00 pm
 

I’m beginning to think that Scottish pop-rockers Biffy Clyro don’t actually own any shirts. In the last promo video of theirs we posted here on TGTF, for ‘Re-arrange’ before the new year, Simon Neil had no qualms about showing the top half of his tattooed body. For their latest video for ‘Flammable’, the Glaswegian trio are again sans clothing from the waist up, though you could argue begin shirtless actually has a purpose in this context. Playing the song in a metal box frame of a stage while fireworks are shooting out from the stage, you wouldn’t want any of them to have to stop, drop and roll in the middle of the performance, would you? Didn’t think so. Watch the fiery (no pun intended) promo for the pop/rock masterpiece ‘Flammable’ below. Read Steven’s review of ‘Ellipsis’ through this link; the rest of TGTF’s coverage of Biffy Clyro can be accessed here.

[youtube]https://www.youtube.com/watch?v=8r-WbSan6D0[/youtube]

 

Video of the Moment #2234: Biffy Clyro

 
By on Friday, 2nd December 2016 at 6:00 pm
 

Hard-working Scottish rockers Biffy Clyro are well known for going shirtless at their high octane shows. I mean, you wouldn’t want them to catch a cold, would you? Naturally, many of their (female) fans are fans of them going sans shirts at gigs, so they can admire all their many tattoos. Right?

Their latest music video may not be sweaty at all, but those world-famous tattoos are given an unusual close-up. Quieter and less confrontational (or even poppy) than what we’re used to from Simon Neil and co., ‘Re-arrange’, from their summer 2016 album ‘Ellipsis’, is a sweeter, softer side to the threesome we see far too little of. The lyrical message, too, is really rather appropriate for this holiday season as well. Watch it below. For more on Biffy Clyro on TGTF, go here.

[youtube]https://www.youtube.com/watch?v=_DTmvMsEbE4[/youtube]

 

Reading 2016: Sunday Roundup

 
By on Tuesday, 6th September 2016 at 2:00 pm
 

As so we came to the final day of Reading Festival 2016. Where those who couldn’t quite cut it have left, and those that remain are ready to see the festival out as they started; with no inhibitions and a fantastic soundtrack.

Activities on the main stage Saturday gave a preview as to the heavy-fest that Sunday would be. Bar A$AP Rocky and The Vaccines, the lineup for the day could also have been found at the heavier British festival staple that is Download. The weather decided it didn’t feel like baring it’s sunnier disposition and instead graced us with its greyer, cloudier and wetter side. As pointed out yesterday though, this is where the British thrive, and thrive they did.

Albany, New York pop punkers State Champs opened up the main stage, bringing a brief respite from the dismal weather at Reading with their take on summer anthem genre. For a Sunday morning, the crowd were particularly excitable and offered back a sincere response. Following on from this spot of sunshine were The Virginmarys, a definite band to watch in the UK rock scene, with their brutal vocals, hard-hitting guitar lines and a savageness reminiscent of early punk. Though the crowd may have mildly dispersed post-State Champs, this didn’t stop the band from Macclesfield from delivering a completely brutal set worthy of a much higher billing.

Mancunians Spring King who have had quite the quick ascent to fame, which you can read about in our interview with drummer and singer Tarek Musa back here at LeeFest 2016 in late July, gave a performance to a completely packed out tent. Though the sudden downpour may have instigated this mass collective, the band made sure to capitalise upon it. The set brought fun and tunes in equal measure, with both band and fans having a Another band who had to deal with what the weather dealt them were Coheed and Cambria who were faultless, giving a ferocious performance all the while being on the main stage and open to the elements.

As the rain continued to slowly drizzled over the Reading festival site, the crowds gave up hiding from it, revelling in the weather. Back on the Radio 1/NME Stage, Deaf Havana used their set wisely as a promotional opportunity, announcing the name and release date of their upcoming album. Appearing on stage with only a white sheet across the back of the stage, as the set went on the words “All These Countless Nights” were painted in black, followed by “21.1.17”. The set was a special moment, secured it as one for the band’s history.

What was The Pit for the past 2 days had now reverted back to its original name The Lock Up for the final day. Beach Slang, the American punk band who are bringing back the old school ethos to the genre, completely dominated the tent. Their set was summed up well in the immortal words of frontman James Alex: “We are Beach Slang, and we’re here to punch you right in the heart!” The Lock Up stage continued with its earnest punk environment with Modern Baseball. Having released their third album ‘Holy Ghost’ back in May, they’re finally on our UK shores, giving their diehard fanbase a run-through of these new offerings. Even though A$AP Rocky was ruling the main stage and causing a surge in crowd flow, The Lock Up was still over capacity for the American four-piece. The excited audience simply did not stop moving until the final chord finished, and the speed at which crowd surfers ran from the security to pit and back into the throng was astounding. Another standout set from this year’s festival.

The evening was an anticipated delight from co-headliners Fall Out Boy and Biffy Clyro. As eight pm swung around, the skies were still cloudy but the atmosphere was as electric as ever. A sea of Fall Out Boy merchandise seen around the festival over the course of the weekend was a concrete measurement in exactly how big a draw band were, and for good reason. A show that featured non-stop fireworks, pyrotechnics, choreographed fire dancers and visuals, Fall Out Boy knew they had a massive opportunity, and they ran with it. Running through a majority set that consisted of songs from the last two albums plus a few golden treats, especially finale ‘Saturday’ from 2003’s ‘Take This to Your Grave’, Fall Out Boy certainly ensured that the ravenous crowd were delivered the set they yearned for.

Finally, it was time for the final headliners of the entire weekend at Richfield Avenue. Biffy Clyro were given the honour and duty of closing out this year’s edition, giving everything they had and fully delivering. With a stage show that reflected the precision and grandeur we’ve come to expect from the Scottish trio, it was a set that will surely be remembered in the festival’s history. From opener ‘Wolves of Winter’ to closer ‘Stinging Bell’ that featured a fireworks display, they somehow managed to dwarf the explosive affair that Fall Out Boy had previously.

Using a popular Scottish battle cry, halfway through the set singer Simon Neil roared out, “Mon The Reading!”, whipping the crowd into a frenzy. Biffy Clyro’s ascension through the ranks of musicdom has been made by leaps and strides, and this was the largest of them yet. A perfectly executed set that ran through a majority of newer material – plus the appearance of ’57’, a cut from 2002’s ‘Blackened Sky’ as a pleasant treat – the trio seized the moment and are now reaping the rewards. As the Reading crowd finally dispersed ar the end the festival for another year, the only question on everyone’s mind was, “how are they going to top this next year?” We’ll find out in 2017.

 

Biffy Clyro / November and December 2016 UK Tour

 
By on Tuesday, 30th August 2016 at 9:00 am
 

Hard-rocking yet pop-leaning Scottish band Biffy Clyro have announced their plans to embark on an arena tour of the UK this winter. They’ll be popping by most major cities in Britain from the end of November into the middle of December 2016. Tickets go on sale this Friday, the 2nd of September, at 9 AM. Back in July, the band released their seventh album ‘Ellipsis’, which shot straight to #1 on the UK albums chart, as well as those in Germany, Switzerland and Ireland. To read Steven’s thoughts on the experimental record, go here. It’s available now from 14th Floor Records. To read more of TGTF’s coverage of Biffy Clyro (because after what happened to me in their mosh pit at Roskilde, I won’t!), come right this way.

Tuesday 29th November 2016 – Glasgow SSE Hydro
Wednesday 30th November 2016 – Aberdeen GE Oil & Gas Arena
Friday 2nd December 2016 – Newcastle Metro Radio Arena
Saturday 3rd December 2016 – Manchester Arena
Sunday 4th December 2016 – Leeds First Direct Arena
Tuesday 6th December 2016 – Cardiff Motorpoint Arena
Wednesday 7th December 2016 – Birmingham Barclaycard Arena
Thursday 8th December 2016 – London O2

 

Album Review: Biffy Clyro – Ellipsis

 
By on Monday, 22nd August 2016 at 12:00 pm
 

Biffy Clyro Ellipsis coverScottish rock giants Biffy Clyro appeared as if they could do no wrong. Ever since the release of 2007’s ‘Puzzle’, they just kept on climbing up and into the stratosphere, where they sat perched on a throne made of solid rock gems. With such escalating expectations, it was inevitable there was going to be a slight slip. And ‘Ellipsis’, produced by Rich Costey, is just that.

Being the sixth release over a career that has seen their sound turn from jagged, raw and ferocious to mammoth, orchestrated and hard hitting, where they would go next was always a question hanging in the air. They have certainly decided that the future doesn’t involve regressing back to their earlier years and the grandiose sound that is now synonymous with the name Biffy Clyro is certainly here to stay.

[youtube]https://www.youtube.com/watch?v=bpJvP4b5fX8[/youtube]

Opening with ‘Wolves of Winter’, they show they certainly don’t mess around with the epic soundscapes. However, there is a certain lightheartedness once this all falls away and the instrumentation takes on an almost playful stance, especially pre-chorus. ‘Friends and Enemies’ continues this trend, though with much greater aplomb, but it’s on ‘Animal Style’ where the savage beasts return in full form. The pre-chorus of “why do you waste your time with me, I’m an animal, can you realise, my head’s a fucking carnival” is where Simon Neil’s songwriting is at its most raw and striking. This trend continues through to the chorus that is as large as the words he forcefully puts upon us to mark his territory.

[youtube]https://www.youtube.com/watch?v=YAsda7veaxo[/youtube]

“I am explosive and volatile, I’m on the turn”, Neil sings during the opening verse in later cut ‘Howl’, and nothing has ever been truer of this band. Though things certainly are feeling mildly stagnant in places, the experimentation doesn’t go unnoticed. It’s good to see them trying out new sounds in the hope that something helps lead to a higher level. But an album should have a flow or an air, and ‘Ellipsis’ just doesn’t.

Perhaps far more noticeable than the lyrics is how the complete and utter divergence from the record’s flow is obvious. A far cry from the introductory three tracks, ‘Re-arrange’, with an electronic beat and a glittering picked guitar line is the merging of two differing worlds that both leave a different taste, be it good or bad, in your mouth. This is a recurring feature of the album, with the Biffy sound alternating and experimenting with different flavours that the majority of the time just don’t work, Yet when they do work, the result is glorious. Case in point to the former, ‘Small Wishes’ is another strange pause on the album. It takes on a folk feel, but with a complete disdain for any kind of rhythm. It follows ‘On a Bang’, another ferocious and dark track that screams all that makes Biffy Clyro, making for a huge disconnect.

‘Medicine’ has a similar feel to ‘Machines’ from the aforementioned ‘Puzzle’. More of a carry-on from there musically, lyrically it’s definitely happier, which is saying something, considering this is a song about heartbreak. Biffy barraging us again, we then get into ‘Flammable’, another of the album’s stronger moments. A wonderfully melodic turn into the more modern day Biffy Clyro, it’s a perfect agglomeration of their sounds. Finale ‘People’ continues the acoustic stopgap trend that appears throughout, with piano and guitar marrying to create a beautiful sound that echoes Neil’s words of human relationships and the complexity that they can form. It’s the most emotive moment on the record, and it’s beautiful. It’s just a shame that we had to follow the chaotic flow of ‘Ellipsis’ to get here.

‘Ellipsis’ is certainly an experimental Biffy Clyro record, which, as mentioned previously, is definitely a good thing for the Scottish band. It’s a stepping stone to what could be a much stronger follow-up. Their arrangements can be orchestrated beautifully and filled with grandeur, but they can easily go into a completely savage and beastly realm, something Biffy have near perfected now. Some of these cuts could quite easily have been placed upon a separate collection or used as b-sides in the band’s search for the next step. But the mere fact they’ve chosen to use all of them on a fully-fledged studio album means they feel they can either do no wrong or they want to shake things up a bit. Either way, whatever follows ‘Ellipsis’ will certainly be interesting.

6/10

‘Ellipsis’ is out now via 14th Floor Records. Catch up on all the Biffy Clyro coverage (we have a huge back catalogue of the stuff) on TGTF here.

 

Video of the Moment #2156: Biffy Clyro

 
By on Monday, 8th August 2016 at 6:00 pm
 

Scottish rockers Biffy Clyro released their latest album, their seventh called ‘Ellipsis’, in July. They’ve just released their video for album cut ‘Howl’, set in what looks like a garden variety music club, found deserted late at night. But as we all know, looks can be deceiving. There’s a lot of weird goings-on in this promo but it’s so mesmerising, try as you might to look away, you can’t look away. Watch the video for ‘Howl’ below. To read more of TGTF’s coverage on Biffy Clyro, go here.

[youtube]https://www.youtube.com/watch?v=ag_r4TFf7HQ[/youtube]

 
 
 

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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.

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