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Video of the Moment #1754: Dutch Uncles

 
By on Monday, 2nd March 2015 at 6:00 pm
 

When Duncan Wallis, frontman for Dutch Uncles, throws shapes in one of their music videos and indeed, during live performances, it often seems like he’s a man possessed, or even possibly being controlled by strings from above.

In the Marple band’s newest video for ‘Decided Knowledge’, Duncan is turned into a live action puppet, as he sings and frolics his way across the Welsh seaside town of Llandudno. What’s even more remarkable? The attention to detail to the puppet ‘Muncan’, with his eyebrows, earring and even dance moves eerily matching those of Wallis’ own. Watch it below.

The song appears on the band’s album released last week, ‘O Shudder’, now available on Memphis Industries. For past coverage of Dutch Uncles on TGTF, go here.

[youtube]http://www.youtube.com/watch?v=KESiOVOufm4[/youtube]

 

Video of the Moment #1703: Dutch Uncles

 
By on Friday, 12th December 2014 at 6:00 pm
 

Marple math rockers Dutch Uncles will be releasing their third album for Memphis Industries, ‘O Shudder’, on the 23rd of February 2015, and this is the first taster from the new LP. ‘In n Out’ continues the fivesome’s Mancunian grip on atypical time signatures and staccatoed vocals that just scream for throwing shapes. Watch the video below.

[youtube]https://www.youtube.com/watch?v=HzRf43nAWE8[/youtube]

 

Top Albums of 2013: Editor’s Picks

 
By on Monday, 16th December 2013 at 11:00 am
 

It’s amazing how quickly a year can speed by, and 2013 has been not been an exception. While there is no doubt that the biggest, loudest and most annoying press campaign to promote an album this year was the one related to Arcade Fire’s ‘Reflektor’, it won’t appear on my list of top albums. Nope, not a chance. Like all things in life, musical tastes change over time, and judging from the LPs released this year, mine definitely have.

I haven’t decided why the pop and dance worlds not haven’t been able to produce a good amount of excellent albums (notice I said albums, not singles), but I suspect that deep down, it has to do with heart. That said, I wonder if it’s symptomatic of the industry, but I’ve been having a hard time finding albums that I want to listen to in full, over and over again. So here are my top five albums of 2013 that I think everyone should own. Or at least listen to all the way through at least once to make your own judgment about them.

Static Jacks In Blue cover1. The Static Jacks – ‘In Blue’ (Old Friends) – The best albums are those that can span the entire spectrum of emotions for when you need it. The Static Jacks came of age on their second album, writing songs that can act like an old friend who is there to laugh with you or give you a knowing hug when you need a good cry. Not to mention, despite being still pretty young guys (at least they’re legal now, which they weren’t when I first saw them in 2010), they know how to write a memorable pop melody, which, judging from a lot of the rubbish on the charts these days, is a real talent.

It’s all here. You want fun? ‘I’ll Come Back’ and ‘Wallflowers’ are clear standouts, and to be honest, I’ve had such an up and down year, I needed something to cheer me up. ‘People Don’t Forget’ is probably the closest you’re going to get to the best pop song of the year. And lyrically, title track ‘In Blue’ hits in the spot: it’s an emotionally-charged piece of pop, “you try to run from all your problems / it just makes you stumble harder / realise I’m just sorry, and I know you’re still lonely”. Just perfect. Read my review here.

[youtube]http://www.youtube.com/watch?v=M1Fv0MyGvx8[/youtube]

Dutch Uncles Out of Touch in the Wild cover2. Dutch Uncles – ‘Out of Touch in the Wild’ (Memphis Industries) – Oddly, they’re the only ones from their town of Marple from the class of 2010 (the others being Delphic and Egyptian Hip Hop) still standing tall these days. Or maybe this is not odd at all. Breaking boundaries is what Dutch Uncles is all about, having recently put on a series of shows with a string ensemble, in addition to their atypical time signatures that have become their signature, and the uniqueness has paid off.

From the frenetic pace of xylophone in ‘Fester’, the feeling that you’re floating in space when you’ve got ‘Bellio’ in your headphones or my personal favourite, the smooth string –tinged jam of ‘Flexxin’ that caught Pitchfork’s ears, this is an album you’ll want to listen to over and over again, because you’ll discover something new and exciting each time. Oh, and while I’ve got your attention, you might as well get their debut ‘Cadenza’ too: different, but also wonderful. Read my review of ‘Out of Touch in the Wild’ here.

[youtube]http://www.youtube.com/watch?v=dHXxKitLdrU[/youtube]

Fenech-Soler Rituals cover3. Fenech-Soler – ‘Rituals’ (B-Unique) – I’ve listened to a lot of dance albums this year, trying to find The One (figuring it’d be easier than finding the right man) and mostly, I found disappointment. Fenech-Soler’s follow-up to their 2010 debut as worth the wait, with massive singles ‘All I Want’, ‘Magnetic’ and ‘Last Forever’, as well as the beauteous ‘Maiyu’.

It also contains quite possibly this year’s best floor filler in ‘In Our Blood’, an uplifting song about an ending relationship. It might be winter right now, but this album will keep your blood pumping all through to the next season of summer festivals. Read the album review here.

[youtube]http://www.youtube.com/watch?v=gXFK1CQPnto[/youtube]

Fiction The Big Other cover4. Fiction – ‘The Big Other’ – ‘Effortless’ is the best word I can think of to describe London band Fiction’s debut album released in March. This LP feels like classic New Wave, yet does one better by being not at all heavy-handed: it’s got a lightness that will have ‘80s children feel nostalgic, with ‘Parting Gesture’ and ‘See Me Walk’ feeling like they would have been at home in a John Hughes film.

Regardless of how old you are, young and old should be able relate to (and love) this album because as evidenced in ‘Big Things’ and ‘Museum’, it’s just damn good: rhythmic, melodic, interesting. Read my review of ‘The Big Other’ here.

[youtube]http://www.youtube.com/watch?v=ySBYXerX8jc[/youtube]

Arctic Monkeys AM cover sm5. Arctic Monkeys – ‘AM’ (Domino) – Not sure how much they should owe their placement to producer and friend Josh Homme, who basically helped reinvent them into a darker, harder version from the one that I’ll admit used to annoy the hell out of me on ‘I Bet You Look Good on the Dancefloor’.

For me, it’s less about Alex Turner’s vocals, sounding almost rap-like on some of the harder tracks. No, it’s the attitude throughout this album, from the bluesy guitars on ‘Do You Wanna Know?’ and ‘R U Mine’, to the Richard Hawley-esque ‘No. 1 Party Anthem’ and ‘Mad Sounds’. Mark my words, latest single ‘One for the Road’ will be a minimalist rock classic.

[youtube]http://www.youtube.com/watch?v=qN7gSMPQFss[/youtube]

After the cut: discussion on albums that disappointed.

Continue reading Top Albums of 2013: Editor’s Picks

 

Kendal Calling 2013: Day 2 Roundup

 
By on Friday, 6th September 2013 at 2:00 pm
 

Is it just me or was Kendal Calling 2013‘s Saturday on the main stage “Lad’s day”? The Twang, The D.O.T., even Ash seemed to bring the inner Manc out in everybody. At least Dutch Uncles were there to bring a bit of thinking man’s rock to the party. Is it just me or do Dutch Uncles get better with every viewing? Duncan Wallis (shown below) is a frontman perfectly at ease with himself, proudly showing off his pristine, angular moves, particularly on ‘Flexxin’’, where the famous moves from the video are reproduced even more lucidly onstage. The band display a limber structure within which they explore their compositions, with a confidence only a group who have toured together for countless months can display. And they seem to have avoided becoming bored with each other or their songs, as have the audience.

Dutch Uncles Kendal Calling 2013

The D.O.T. came widely anticipated. A joint venture between Mike Skinner, ex of The Streets, and Rob Harvey, ex of Leeds rockers The Music, promises to bring some urban smarts to indie music, to replace guitars with electronics, but still within a knowing framework that appeals to both indie kids and hip-hop heads. In reality, it all falls a bit flat. Certainly there’s nothing here to compete with the intensity of the previous night’s Public Enemy onslaught, but conversely it would be more exciting with a bit of live instrumentation. Harvey strums a guitar every now and again, but they fail to excite the crowd at all; Skinner’s deadpan sneering doesn’t help, an attitude which apparently carries through to his DJ set later in the evening. There are occasional glimpses of the urban tenderness of The Streets, but glimpses is all they are. There’s potential here, but they need to have a bit of a rethink on how to engage anyone other than diehard fans of both The Music and The Streets at the same time. How many of those can there be?

The most surprising thing about The Twang is that they’re actually still going, given a steady decline in album sales over the past decade, let alone how they’ve managed to bag a decent main stage slot at a big festival. Well, the answer’s in the laddism. They appear to have two singers, plenty of guitars and energy, and some singalong bits – who am I to argue that what they actually need is class and talent?

Tim Wheeler (pictured at top) from Ash is lacking in neither class or talent – it takes class to maintain a brand for 20 years, whilst keeping people interested and even devoted to its music; it takes talent to continue to wield a Gibson Flying V with the sort of aplomb which would make a 12-year-old boy say, “that’s cool”. Both of which are achieved within a few bars of Ash’s set commencing. Moreover, they command the rain: it pours down at the first note of their set, and would continue for 12 hours. Clearly God is a fan. Nobody has really taken Ash’s place: as survivors of the tail end of Britpop, their offer is clearly still relevant today, and not just by way of nostalgia. Their songs are evocative of teenage yearning, of big guitars, and simple, overriding emotions still capable of commanding a big festival stage. Carry on, sir.

Sweet Baboo Kendal Calling 2013

Sweet Baboo’s delicate, witty, poignant Welsh ditties bring us back to the Calling Out tent. Such assertively sweet music from such an unassuming chap is quite the contrast. By the time the set climaxes, the horn section is parping as if Steve Cropper were in the crowd, taking notes. Which, in a spiritual way, he was. To be followed swiftly by Sons and Lovers (shown below), who tread that fine line between cliche and true excellence. In the cold light of day, their Mumford-esque sound is their downfall: inevitable thumping floor toms, incessant quiet-loud-quiet-loud arrangements, and hopelessly romantic themes do them no favours, but on this day in history, Sons and Lovers provide set worthy of headliners. Such are the complex vagaries of live music.

Sons and Lovers Kendal Calling 2013

London Grammar remain to be assessed another day – their autumn tour should set the record straight as to whether they are simply xx wannabes, or whether they have something truly original to offer. Now… it hardly needs stating that there’s more to music festivals than stroking one’s chin at bands. So Saturday night was as good a time as any to relinquish any thought of sobriety, any notion of “reviewing”, and simply have a bit of a party. A date had been made for 10 pm to watch a delightful bunch of ladies called the Hooping Harlots perform a spectacular LED hula-hoop display, with the added bonus that they let any old punter (e.g., me) practice their dubious hula skills with some of their less precious hoops. Even though I can keep it up indefinitely (that’s what she said!) I can’t do anything more exciting than that; the talented Harlots, however, can do the lot – spinning around the wrist, neck, and unbelievably, the shoulder, and swapping between them all with a fluid ease that defies description. Add to that the LED light show within the hoops, and it’s a spectacle guaranteed to scramble already delicate festival minds.

The whole thing took place at the well-named Tipple Taxi, a London cab converted into a bijou drinking den, one of many micro-venues scattered around the site, making an evening stumble around the place into a voyage of one exciting discovery after another – from the Chai Wallah’s tent rising from the horizontal for a bit of a boogie finale, to the lucky dip of sounds that is Riot Jazz. The climax of any good Saturday night at Kendal has to be the Glow Dance Tent, however.

Which is where it should, and does, become a little hazy. There are photographs – oh, what photographs. The essence of the sublime confusion of a properly executed night in the company of dance music is expressed therein. Please take a look. Musically, Krafty Kutz expressed their unsurpassed UK hip hop beats and flow, assisted by A Skillz. Needless to say there was dubstep bass all over the house, the constant battle between vocal lines, sub bass, and 8-bit melodies proving too much to bear for some. Check out the Dirtyphonics remix of Pounding for more information, and to experience the enormous bass which sets the level for a Krafty Kutz experience. The level reaches even higher with the introduction of the mentalist blend of wound-up beats, vocals, and samples that comprises ‘Happiness’. Spotify it out.

Suffice to say by the time Maribou State took over at 2 AM, the tent was in great need of a bit of glitchy, soulful techno to rest weary limbs. But even then, the subtle electronica coalesced into an irresistible hole of bouncing heads and knowing looks as the next hour passed in a haze of exhaustion. We were to stagger, spent and silent, to a wreck of flooded, ransacked tents… but that’s a story for another day.

 

Video of the Moment #1310: Dutch Uncles

 
By on Tuesday, 3rd September 2013 at 6:00 pm
 

Dutch Uncles‘s latest video for ‘Nometo’ is a 21st century ‘Sledgehammer’. In this visual directed by DR.ME, frontman Duncan Wallis put in a lot of strange situations, such as walking directly on a keyboard, sitting on a chair in a Roman building…in outer space and having his head opened with things such as hot air balloons spilling out. Yes, it’s as strange as it sounds. Watch it below.

Also below, under the video embed, are their winter tour dates. We’ve been promised an expanded live show with strings, and Outfit will be along as support. Tickets go on sale this Friday the 6th of September at 9 AM.

[youtube]http://www.youtube.com/watch?v=KfE38XzsVQc[/youtube]

Saturday 30th November 2013 – Leeds Belgrave Music Hall
Monday 2nd December 2013 – Brighton Komedia
Tuesday 3rd December 2013- Leicester Academy @ Queens Hall
Thursday 5th December 2013 – London Islington Assembly Hall
Friday 6th December 2013 – Manchester Academy 2

 

Interviews: Dutch Uncles and Public Service Broadcasting chat at Tramlines 2013

 
By on Friday, 26th July 2013 at 11:00 am
 

I like a festival that actively seeks to film interviews, performances and sessions with the wealth of talent they have appearing at their event. Earlier this week we posted bands’ thoughts on this year’s Tramlines in Sheffield, as well as some live stage performances. This morning we have some exclusive chats filmed by the festival.

First on tap are Dutch Uncles‘ Duncan Wallis and Andy Proudfoot chatting about their year so far – including their support slot with American rock band behemoth Paramore – and what it’s like for the Marple band to come to play in Sheffield.

[youtube]http://www.youtube.com/watch?v=kdKr1TjX4O4[/youtube]

Following that, we have Wilgoose and Wrigglesworth of Public Service Broadcasting being interviewed by the Guardian’s New Band Up North columnist Emily Brinnand, ahead of their appearance at the Harley.

[youtube]http://www.youtube.com/watch?v=xFVBTDOpALU[/youtube]

 
 
 

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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