With it getting really hot out, I should probably be listening to something gentle or something that makes me feel like I’m drinking a Whisky Sour on the beach somewhere. I’m not that kind of person really so I’m obviously going to write about someone who makes beautifully dark and twisted music. The best kind.
Bristol is home of some excellent bands 2:54 grew up there, Candy Darling, Spectres and Oh,The Guilt to name a few. I’ve named ones I’m a huge fan of, and to add to that list is Many Monika. Within the first minute of listening to Many Monika I thought of one band-Sparks. Sparks were a band that were a massive part of my childhood, so to hear someone sound just a little like them is always going to win me over. Despite how it comes across, I’m not completely fickle or easily swayed. Too stubborn, but I always listen. Even if I’m looking the other way. Anyway, we move on.
As I’m somewhat hit and miss with how I describe music, here are Sean’s words on what Many Monika is about: “I play music influenced by Velvet Underground and Placebo but there’s a slight twist in that I’m actually a guy but I make the music as a woman and it actually sounds a lot like a woman too.” When Sean hits those high notes over this divine lo-fi sound, it just sounds like a clash of everything I love. Part of me thinks that this is what Kate Bush would sound like if she made a Garage Rock record.
The songs are heavy, dark and they make you feel as if you’re strutting around alleyways when you really shouldn’t. You’re Too Humble reminds me so much of Sally Can’t Dance and I’m Waiting For The Man by Velvet Underground. It’s got this feel of classy smuttiness throughout, and let’s be honest-some of the best songs ever written have that feel. It feels like a Marquis De Sade tale, and that’s perfectly fine by me. The core of all things I love are partially twisted and a bit strange, and I think Many Monika sum this up brilliantly. Casting gender aside, I’m in awe of the high notes. Man, woman and all in between- I’m in awe of how high they are and it isn’t done in an overbearing way. It’s so so cool, and I’m again annoyed I have no musical talent.
There’s this underlying attitude in the songs that make you feel as if you’re walking down the street with Holly Woodlawn on one side of you, and Lou Reed on the other circa 1972 on a hot summer day in New York City. You’re anywhere but where you are when you listen to Many Monika, and that’s all part of the charm. Many Monika are really unlike anything else I’ve heard in a long time. There’s something so appealing about their music that just keeps you hooked. Bristol is evidently home of some fantastic musicians, and Many Monika are up there with them. These are the kinds of songs some lost kid stuck in a dead-end town needs to hear, as a push towards getting out. You can, and will get out. Hell..if I can- anyone can! Pick some songs, pack a bag and get out.
Many Monika’s music is a journey through the things were are a bit too timid to go near, but the music gives you courage and before you know it- you’re right there.
Many Monika will be playing at the Trinity Garden Party this Sunday at 3:45pm. Sean also has his own night (called DIVE) at Crofters Rights, the next one being 30th May.
Everyone needs that one song they play when they just need a few minutes to themselves, to just shut everything off for a little while. I’ve got a bunch of songs that I do this to, and it’s never ending. Does that say something about me? Probably. Who cares. Anyway. In a few weeks Kristin is releasing her debut record as Kristin Kontrol. You’ve heard X-Communicate and Show Me, right? If you haven’t, go listen to them. Again. And again. Even if you have, just listen to them. X-Communicate has this insane feel to it that would make ANYBODY move. You can unleash some serious dance moves to it, don’t hold back. Same with Show Me.
(Don’t) Wannabe has this perfect moment of bliss almost immediately in the song, which carries on throughout. It just feels like a huge euphoric moment and I think that’s what makes it’s one of best songs I’ve heard all year. I’ve not heard the record yet, but I’m pretty sure it’s one of the best and I’m not being biased (I could be, but it’s alright.) X-Communicate is easily my favourite song of the year, but there is something about (Don’t) Wannabe that shows exactly why I love Kristin as a songwriter, not just as singer/musician. I fully stand by my statement from years ago when I said she’s the Patti Smith of my generation. What do I mean by that? Well, if you read her lyrics, they fall as gentle poetry that just soothes the soul and makes everything alright- exactly like Patti. Her newest single is a body of vulnerability that anyone can relate to. It is so easy to relate to her music irrespective of how she makes it, she’s just got this rare way with words. It doesn’t come around too often but when it does, you really connect with it. Kristin Kontrol sounds like the name of a superhero, and with songs like this- it’s fair to assume she probably is.
I love (Don’t) Wannabe because it’s got the strength of a power ballad mixed with the sadness of Say Hello, Wave Goodbye by Soft Cell. It is just a gorgeous song and the courage and honesty in the lyrics and in Kristin’s voice just makes it nothing short of powerful yet heartbreaking. Let it break your heart, gently. It’s alright. The truthfulness in this song will seep into you, and once it gets there nothing else will feel, or sound the same.
I remember first hearing Keep On Your Mean Side 13 years ago- I instantly knew I had found a home in this loud, manic and powerful sound. I knew that I had found a band that for as long as they made music, they would be always with me. They would be the soundtrack to good and bad moments. Moments that I’ll never forget and moments I partially wish I could. By no means am I tough, but when I listen to The Kills I always feel braver than I am. And just like Nick Cave, they talk about love and all that comes with it in a way that I can fully identify with. I cannot get my head around songs that are full of wanting to be with someone all the time, the sunshine and rainbows- I want the darker side- the mean side. It’s more honest. I’m surprised I’ve never delved into the lyrics of The Kills. It’s something I’ve always wanted to do, there are times where it could have been the right moment but I missed out because I got in the way of my own doing so. So here I am. Saturday 23rd April at 4:10pm with nothing better to do than sit and listen to the sounds of my all-time favourite duo. The band that keep me sane. I’m going to try narrow this down to 10 lines that mean the most to me, but please be assured that there are more than 10. I’m doing this blind but the last two I mention are solid. They’ve always been there.
“If I’m so evil, why are you satisfied?” (Rodeo Town) – This is one of the lines where it’s not what is sung, but how it is sung. I love how tired Alison’s voice sounds. As if someone is at the end of arguing with someone that possibly can’t pull away from. It’s one of my favourite songs by The Kills, and definitely my favourite off No Wow. We all think we’re beyond bad at times, and it leads us to question those around us. I’ve always felt fine with questioning everything and everyone- I mean for the most part it is done in the comfort in my mind, but you know. Rodeo Town always reminds me of a road trip gone a bit askew- but hey, where’s the pleasure in things not being slightly chaotic?
“Send your love in a rampage, give her everything you’ve got. And when you come to hate her, show her more than just a spark.” (Heart Is A Beating Drum) Maybe I should have just quoted the whole song here, every line is just perfect and one of the strongest moments on Blood Pressures. I’ve got so much sentimental value attached to this record, and I know I’ve got to let it go when the new one comes out. I’ll be fine just doing so. I adore the lyrics to this because it just sums up the fury of love, lust and god knows what else we subject ourselves to. I toyed with using, “And you feel like you’ve been here so many times before. It’s not the door you’re using but the way you’re walking through it” for me that’s a golden life motto to keep with you, it’s like being told to just get on. Easier said than done for most, but this song was a crutch for a long time and it was that line that played a massive part. However, the line I did choose to use is the one that is full of something quite wonderfully sinister. Show the person why you can no longer stand them, it’s totally fine. Sometimes you just have to be quite furious with the emotions you send on to another person. Don’t hold back.
“Lipstick letters and souvenirs, make a mockery of your fears.” (Hook And Line) One of my favourites off Midnight Boom is Hook And Line. I love how the verses are quite gentle then the hook of, “With your hook and line, I still blow away” comes right on in like a madman and smacks you right in the face. I’ve been thinking about this song a lot recently, and I had it on repeat at the gym the other evening when I was struggling to stay motivated. The line I’ve chosen again, is one I love how it sung and the idea of ripping apart what fills us with fear is always appealing. I always wish they made a video to this song, I reckon it would have been something else. There’s a lot of wild imagery in the song that could have been brought to life in such a captivating way. I love that before this song on the record, you’ve got Last Day Of Magic. That song alone I could write about but the things I’d write are too personal. “My little tornado, my little hurricano.” I could, but I won’t.
“Superstition is, your modern eye. With original skin, and original lie.” (Superstition) I’ve watched many live performances of this song online, and it’s one that makes you firmly believe that Jamie and Alison are truly out of this world with the music they make. I love the burning rage in the guitar that goes along with Alison’s scream/groan towards the end of the song. It’s a perfect noise and when you’ve seen it live (online or physically) it stays with you. They both seem possessed and you feel like you’re intruding on something you shouldn’t be. That’s what I love about them. They’ve got this bond that you can only dream of having. If you ever experience it, don’t fuck it up. I remember hearing this song for the first time and just being in awe of the noise I was hearing. I think that’s part of the attraction with Keep On Your Mean Side. It’s a proper noisy record and it just stays with you, you always go back to it.
“What a mess a little time makes to us when time and place collide.” (Satellite) I was going to go with “I loved her too long, don’t love her too” but right now, I’m siding with the first line mentioned. I love this song to pieces. I love the slight reggae feel to the guitar, I love the video and how it makes you want to hit the road, I love the lyrics. I adore the lyrics to this song so much and it’s pretty hard to describe why, but they speak for themselves don’t they? They’re great lyrics that I think anyone can relate to if they dig a little deeper than usual. When time and place do collide, it does have the potential to leave something disastrous in the mind, and that’s what I love about that line. It exposes how chaotic things can be- in mind and body. I’d happily go off on a tangent about this song, but I probably wouldn’t be able to reel myself back in. It just does something to you when you hear it. I love that they both sing it, and Jamie makes the guitar sound like a lightning bolt going right through you.
“These are the days we’ll never forget, when the dawn dawns on you.” (Pots And Pans) I was going to go with something from The Last Goodbye but I realised it was too much to take on in one little paragraph. If you don’t know why, just read the lyrics. They are heart breaking, and they automatically make you feel like you’ve had your heart torn out. It’s a brutally honest song, and I really couldn’t do it justice by writing about it. Pots And Pans closes Blood Pressures and it’s the most perfect ending. It feels like a hymn, some kind of ethereal experience that is saved for last. It all comes together as Alison sings the line I picked out. It repeats over and over, like a holy mantra to get you through. It’s to keep you going until the next record, until next time. At first I wasn’t sure about how I felt towards this song. At times I felt it was too slow or something stupid, but I ended up playing it on repeat when I got to the end of the record. Maybe it was my brain saying, “it’s not over, it can’t be-play it again.” I go back to this song a lot, for whatever reason. It makes you feel alright with not having much to offer someone or something, and I think that’s something most can relate to.
“Elevator straight into my skull. The escalator rises as it falls. I swear our jet is crashing in my mind, you can hold on but I wouldn’t waste your time.” (Black Balloon) The whole song. The whole damn song. From start to finish is just beautiful, sad and honest. I love the line, “Let the weather have its way with you” but I had to go with the opening verse because it’s one of the saddest and most truthful lyrics I’ve ever heard. For me it’s on a par with the genius of I Know It’s Over by The Smiths. It’s got that brutal honesty that gets you right in the gut, and I can’t think of a time where Black Balloon has not been relevant. The sadness in “You can hold on but I wouldn’t waste your time” is so overpowering, you don’t know what to do with yourself when you hear it. The whole song is just a beautiful description of knowing something is done but whoever else is involved is probably oblivious to it. Sometimes you’re oblivious to it, and this song lets you know what’s up.
“No longing for the moonlight, no longing for the sun. No longer will I curse the bad I’ve done.” (Future Starts Slow) I think it’s pretty obvious how much I am in love with Blood Pressures, but Future Starts Slow was as if someone was coming full speed at you with this thumping drum sound and machine gun guitar- it charges at you, and when the vocals kick in that’s it. It calms down in places then picks right back up. It’s such a great way to start the record off, and the line I’ve picked is possibly my favourite lyric by The Kills. Ever. Have I already said that? If I have, then I’ve changed my mind. If I haven’t, then all is okay. It’s the no longer cursing all the bad- for me that’s just a brilliant way of accepting everything and carrying on. This song makes you feel tough and as if you can do anything. But let’s be honest, you can do anything because when you stick on your favourite song- anything is possible. I told a little lie when I said I had 2 solid favourites- I’ve got 3, and this is one of them.
“Baby says for all I’ve forsaken make something of all the noise, and the mess you’re making. And all the time’s it’s taken.” (Baby Says) Last one off Blood Pressures. For me, this song carries a wealth of imagery that is free for the listener to conjure up. Baby can be a person you’ve met. Baby can be an image or thought in your mind, but Baby makes you feel alright with what you’ve done so long as you make something out of it. It’s one of the most powerful songs on the record, and one of the songs I wish I had written. Any time I write something, this is one of the songs I have in mind. It’s got this innocence to it that isn’t found so often. Baby Says is a strong sense of reassurance, and I’m forever grateful to The Kills that this song exists. It means a hell of a lot, and if I ever met them I’d probably try rustle this out of myself to let them know.
“Jailers in my mind are all dead. I love you so much, never forget.” (Goodnight Bad Morning) Around 2010/2011 I was having issues with sleeping and being a functioning adult. I’d go to bed at 3 and be awake at 7. I was able to disguise being stuck in a rut quite well, but that’s all in the past now along with other things. It has that Lou Reed greatness to it. This song would be what I would play when I was trying to fall asleep. It’s gentle and it’s pure. It’s apt and aimed- but that’s not up for discussion. It’s such a beautiful song that once you hear it, it stays with you. Again, it’s a perfect song to close a record with. It makes you feel at the end, that you’ve drifted off somewhere. Maybe to sleep, maybe to a place in your mind where nothing else gets to you. It’s one of the most beautiful songs I’ve ever heard, and I do compare a lot of things to how this song makes me feel and think. It’s got a lot of nostalgic and sentimental value. I did have a slight blip where I couldn’t listen to the song- but I realised I was being a daft swine, and got a grip. When I listen to it now, for the most part all I see in my head is the way Jamie and Alison look at each other when they perform this. The song is like the sun coming up when all has been weird before- like you can start over. And sometimes, that’s all you can do. It’s all you should do.
It’s now 5:30pm, and all I can now think about are the songs I typically did not mention. Good job the new record is out soon.
About two weeks or so ago Willis Earl Beal wrote something so important regarding music writers and how certain publications rating systems and the like are fucked, how they force feed readers to like what they like and expect them to hate them when they turn their back on them. What I’ve noticed is too many music writers are passionate about hating a band rather than praising one they love. It made me think about review records and if there’s really any point. I don’t review something in the hopes someone agrees with me, I do it because I hope someone goes and buys the record regardless of what I write. I could never ever write about a band or singer I didn’t like. I’ve been told by some place I was going to write for- they told me they never gave full marks for a review so I wasn’t allowed to praise something I loved too much. I pride myself on having better morals than being a semi-decent writer. Needless to say, I didn’t write for them. Which is probably why I’ll never make a living out of this. You accept it after nearly 10 years. So, with all of this said I’m going to write about why Pop.1280 have yet again released another mind-bending and mind-blowing record. I know of one other person who digs this band as much as I do(my uncle.)
Pop.1280 make music that is hard to stomach at times. When I first heard them I had this feeling that they would become something of an obsession. I loved how loud and frightening their sound was- and still is. Decades ago, kids used Punk to piss off their folks. I sincerely hope some kid is out there blasting out these guys to piss theirs off, and their neighbours. The thing that I love the most about Pop.1280 is that with every release, they get a little more terrifying. This is the kind of music you play when you want to scare someone shitless. Personally, I’d be tempted to use their music to try use it in a more romantic setting. Their music sounds like falling in love anyway- tormenting and chaotic. Have I been doing it wrong? No. My mind and god knows what else is wired differently. Paradise sounds like a nightmare, probably, to those who’ve never delved into this murky world that Pop.1280 have been building for years. It’s a world that makes you shudder, ache and think. Paradise just reinforces my love for them and if anything, has got me pretty excited for their London show in a few weeks.
9 songs in 39 minutes. 9 songs that are set to fry your brain, make your eyes go funny and make you question your surroundings. Something I’ve admired for some time about Pop.1280 is their ability to make you feel as if you’re trapped. Trapped in the hell of your own mind, in the midst of others- anywhere. They create this atmosphere that makes you feel as if you’re the last person left on Earth and everyone else has disappeared. It’s creepy. Really fucking creepy, and it isn’t for people who dream of sunshine and rainbows. I don’t know what kind of person latches onto a band like this. I have, and I guess you can draw up your own conclusion about it. I initially started writing about this record last week, but I stopped myself from writing because I realised quite quickly that this isn’t a record you casually listen to. I’ve taken it in. Or maybe this record has taken me in, chewed me up and spat me out. Do what you want, Pop.1280. This sinister feel to the record (and like their previous ones) has got me ready to see them live in a few weeks. I’ve never seen them before, and I’m really hoping it sounds equally terrifying live.
Phantom Freighter is the second track on the record, and in some ways it sounds like someone losing their mind. In general, Pop.1280 seem to capture the sound of madness really well. Phantom Freighter is a tension-filled track that makes your heart beat quicker than it probably should. It keeps you on edge, and I think that’s pretty much a solid for Pop.1280’s music overall.
Paradise will make you delve into some dark and lonesome emotions, and that’s perfectly fine. You shouldn’t always feel comfortable or secure when listening to music. Nobody should want predictable. For me, the fact that a band like Pop.1280 exist and can still make people feel a little uneasy like The Birthday Party did gives me hope. Not sure what kind of hope, mind. I’m pretty sure Paradise justifies why Pop.1280 are one of the best bands on Sacred Bones (pretty much all bands/musicians on that label are great) but it also shows why they are one of the best bands around. They’ve still got that raw and unpredictable sound that was on The Horror and Imps Of Perversion, and I think it is something that they will always be able to really put into their sound.
Sometimes you don’t need the news or a horror film to scare you shitless- just listen to Pop.1280 if you want some kind of kick.
Every single time I find a band I love and discover they are from Italy, every part of me wishes I was fluent in Italian (I’m half Italian and it is shameful I can’t speak it that well) and packed up my stuff and moved there. I’m pretty sure the way of life is less rushed and annoying than that here in London. My main gripe is other people on public transport. I value my personal space a lot. I love hugs and things, but I really don’t want your smelly armpit or vile coffee breath on me at 7am, you know? 7am or anytime- just back off a bit. Which is probably why I blast Fugazi or Flesh Rag really loudly in my ears on the way to work so I can drown out my surroundings. This is all kept inside, then I get to work and I’m calm. Rage and longing to live some place else aside, I’m going to write about No Deal- a band from Italy.
No Deal are a proper Rock & Roll band with elements of Punk and Garage Rock. For anyone who thinks music in Italy is watered down nonsense, you might want to take back your words. There are SO many great bands from Italy, and it’s enough to make you question all that you listen to. No Deal are no exception. With the handful of songs I’ve heard, I’m confident that they are one of the most exciting bands in the country.
No Deal make music that’s made for live shows- the drums are furious. From watching a couple of live clips (they don’t have soundcloud etc) it is fair to say that their live shows is where you need to be. Right in the middle of it with all kinds of bodily fluids falling off you-even if they aren’t yours. Who cares! No Deal will make you want to launch your body into walls whilst clinging onto someone in the crowd as your sweat falls onto them, and vice versa. It’s nasty stuff to some, but for others- it is the ideal live setting. There is nothing more boring than seeing people stand still and rigid at a live show, especially when you can see the band putting their all into it. The videos I’ve seen of No Deal show how a crowd should be at a show. They aren’t afraid to move themselves in a questionable fashion. Who cares who sees!
Their songs are unruly, chaotic and fast. There’s no time for thinking about your next move when you listen to these guys, all you can do is throw your body about and take the music in. No Deal tap into the part of you that lays dormant around others, but when you’re around like-minded people who like this kind of music, then it comes out. Surround yourself around people like this and let No Deal take you wherever you want to go.
Today I hobbled down to my favourite record store. I say hobbled because I can’t walk like I normally do as I’ve apparently damaged the discs in my neck which is causing a nice bout of pain in my back. Migraines I can handle, but this? This is starting to piss me off. But it’s fine, it means I can justify buying records a week before pay day. It’s important to always treat yourself. I didn’t know what I was in the mood for, but I knew that as soon as I saw it-I would grab it with both hands. Wait patiently until 5pm so I could go home and play it loud.
I was flicking through some 7″ releases and all of a sudden I saw one that said it was for fans of the Dead Boys and The Stooges. One copy, in my hands- my lucky day. Poison Boys are a pretty new band who sound like a proper smutty 70s Rock & Roll band. They’ve got elements of glam (New York Dolls- Johnny Thunders esque riffs galore) and snotty Punk like Dead Boys. Their debut EP came out a couple of weeks ago, and it consists of 3 songs that were clearly made to be played loudly at a boring house party just to get a reaction out of someone. They’re the kind of songs you play when you’re at a party and you play them in the hopes of the person who takes your fancy/makes you a bit giddy inside will take a hint because you’re a bit of a social misfit. It’s alright. It’s something I would probably do but fully aware it wouldn’t work. So what if they don’t notice? At least you got to hear some great music.
I know it’s boring for me to keep saying but Poison Boys are the kind of band I’d want to sound like. They’re fearless, not afraid to be a little perverse with their words and make you feel like you’ve gone back in time. There’s no other band around that sound quite like them, and the fact that they have taken pieces of bands I love and made something like this on a 3 track release is pretty damn great. I’ve had it on repeat for the past hour or so, and I think I’ve pretty much learnt the words. They need to play a show in the UK. Even if it was in the depths of Grimsby I would find a way to be there, front row so I can flail my limbs about without acknowledging that body shouldn’t be doing it. Who cares about physical pain when music sounds this fucking excellent.
Poison Boys have this glorious and infectious sound that is so so raw- and I know people use that term so often without understanding why they’re using it. Do you remember hearing someone like Iggy Pop or Nick Cave for the first time? Maybe you heard TV Eye or something by The Birthday Party. Maybe it left this uneasy feeling inside of you but you knew you had to keep listening over and over. You knew you had to stick with it because it would turn out to be something really really phenomenal? That’s what you get….that’s what I get from Poison Boys. There’s a sense of danger but not to the point where yo fear what you’re hearing. They lure you in so wonderfully. Where the hell have they been all my life?! In some songs they remind me of The Damned. There’s the brutal energy that is in each song, like a kick in the gut. You want the blood, sweat, violence and tears. You know, sometimes I hear a band and think that Lester Bangs would have loved them- I’m pretty sure Lester would love these guys. For those who are cynics and claim Punk is dead- quiet. It’s a state of mind, a way of doing things- Poison Boys are doing it right. Take note.
If you’re lucky enough to live in the States, go see them when they come to your city. If they ever make it to the UK, I’ll see you there.
Last February I finally got to interview a band I had been wanting to talk to for quite some time. A band that hold a wealth of importance to me. Besides, any band that references the Melvins in their name is bound to be great, right? I’ve written about 2:54 many times. There is something about their music that just makes me want to write about it. When I listen to their music, I notice things I hadn’t previously done or certain emotions come out. They’ve always struck me as a band you listen to in the dead of night, through headphones whilst the world sleeps. If any band or singer can give you that, then you’ve found something to treasure for life. In an ideal world, I would have typed this interview straight away. I didn’t. I lost my dictaphone, moved house, and thought it was lost forever until I found it in a box under my bed whilst looking for something else. Sometimes I am a world class tool.
I started off by asking Colette and Hannah how their music should be listened to. As I mentioned above, I set the scene for myself- but is that how they want their fans to take in their music? What are the perfect surroundings to listen to their music, or just music in general?
Colette: “All my favourite music I listen to on the move. Train journeys, in the tour van. That’s what you want from a band or record you love, you want it to be transported. And I like that feeling of motion as you listen to it.”
This led onto my fixation of finding bands that are ideal to listen to at night (maybe that’s why I love going to gigs) and I asked them, what it is like to play during the day at festivals like SXSW (who put them on at 2:54 in the afternoon.)
Colette: “It is one of those things that absolutely changes the atmosphere. You can see people more and you definitely do feel more exposed. You can feel more self-conscious than you would normally but then those kind of challenges are exciting even if they are scary. It’s what being in a band is all about, it toughens you up a bit. And at festivals, not everyone is there to see you so there’s that dynamic as well.”
The first time I saw 2:54 live was at the Union Chapel, and I saw them again at St Pancras Old Church. St Pancras was more intimate and was just after The Other I came out, and I’m pretty sure they did most of the record. They came onto the stage with Tender Shoots playing out of the PA and it was so captivating as it echoed through. It felt like something was calling out to us. I’ve seen a few gigs in churches, and it is something I do enjoy. It feels sacred yet strange. What changes when you play in a church? I’m not religious, but the respectful side of me wouldn’t start yelling a string of swear words in there. Obviously 2:54 haven’t got the mouth of a sailor on stage, but you still have to be a like cautious I suppose.
Colette: “We were playing on the graves, which I found a little unnerving (St Pancras.) At the Union Chapel we had a sound monitor that we couldn’t go above.”
Hannah: “And you can’t have too much reverb! In churches, you can’t play too loud as the building can start to crumble.”
I’ve been to a fair amount of gigs in this country at various venues. I sometimes think I’ve worked out which venue is my favourite, but then I go to a gig at a new venue and I fall in love with it. I think it might be impossible for me to pick one place as my favourite venue. Is there any way a band could pick their favourite place to play? What does a venue need in order for a band to feel that they have just set foot into their favourite venue? Some may regard the sound, so may think of certain shows they have played there that gives it sentimental value. When a band based in London are asked this question, you automatically think “Bet they say Brixton Academy!” Fortunately this time, this wasn’t the case.
Colette: “For me, the Brudenell Club in Leeds. It has all my favourite kind of elements. It definitely has that social club vibe that we grew up on. It has that faded glamour, the layout and it’s so warm and welcoming.”
I guess that’s the North all over!
When I listen to a band I always seem to make a beeline for the lyrics first. Some people connect with a sound more than words (and there are some that I feel this way about also) but for the most part- it’s the lyrics. I did my dissertation at university about Punk and Poetry and it seems that sparked it all off again. Words are powerful, and when you find a band or singer that can make your mind expand on all that you see, feel and think- that’s when you know you’ve found something. I remember hearing Orion from The Other I and immediately thinking about when I first heard Siouxsie And The Banshees for the first time. It was dark, otherworldly and magical. I’ve always felt that 2:54’s lyrics are exceptionally sacred. You have to listen very closely to pick up on golden lines that will stay in your head for an age. Easy Undercover once summed up how crap I was being to someone once (more than once) and Blindfold helped me get out of a job that was making me ill. You make these connections and use it as armour. Their first record came out when I was living at home, and I used to take long walks listening to it. The darkness of the songs fit perfectly as I walked through quiet streets cloaked with fog. It fit the songs perfectly, and it killed time. So of course, I had to ask them what their favourite songs/lyrics were to The Other I.
Colette: “Blindfold and Glory Days. It was really cathartic writing Blindfold. And I love that it has a dance melody, a pop melody almost. And the lyrics are full of loads of questions, and anxiety really. I like that all of my favourite songs from the 60s have that- that melancholy.”
Prior to the tour last February, 2:54 did an interview with Rookie magazine (http://www.rookiemag.com/2015/01/theme-song-254/) and there’s a part towards the end of the interview where Colette mentions Horses by Patti Smith (she also mentions her and Hannah’s love for At The Drive-In and The Distillers which is bloody great!) Horses is probably THE most important record of all time, but that’s just my opinion. When I first heard it, I knew I had found something and someone who was going to change my life. I have my records on a few shelves in my room, and Horses is the first one I see every day. It’s a knowing nod on how to get on through life. Horses was the record that spurred on my love for music and poetry. There are moments on Horses that define greatness. Greatness that no other could compare to, greatness that will never happen again. I watched her play the record in full last November and I have never felt that way during and after a show before. It did something, something that stuck with me- much like hearing Horses for the first time. I don’t know many people who hold this amount of love for Patti, and I had to fit it in somehow after reading the Rookie interview. I asked Colette if how Patti writes is an influence.
Colette: “The poetry and the Punk elements- there’s a fearlessness about it that gets me every time. Such a strong sense of self that is completely seductive. I just find her the whole package, and when you first find out about her- it always seems to be at the right time. I first found out about her when I was supposed to be revising for my exams, and my friend had mentioned Horses to me and I just sat there. I was struck by it.”
I think anyone who has listened to Patti, or to Horses can really understand where Colette is coming from. When you listen to Patti you are in awe of what you’re hearing, and it just stays with you. Her live shows are out of this world- and whatever she sets out to do and to make the people feel, she does it. Live shows are a huge thing for me. I love going to gigs and there is nothing better than making sure I am at work well before 9am so I can bring on a panic attack whilst trying to buy tickets. This was shown in all its glory 2 weeks ago when trying to buy tickets to see The Kills. I failed. We don’t talk about it because it makes me and my friend sad. Next time, right? After the anxious feelings pass when you’ve bought tickets, the day slowly comes around where you get to see the band in question. I always want to know what bands want fans to take from their shows- do they want them to go start a band, if anything? Whenever I’ve seen 2:54 I’ve always left wishing I could drum like Alex or play the guitar like Hannah. Anyone I’ve dragged to see them has always said the same thing. There are a handful of bands that I’ve seen that always make me wish I was musically talented, 2:54 are one of them.
Hannah: “We want people to hopefully connect to the performance. We very much do feel like a tight gang on stage and we like being able to share that.”
Colette: “Growing up when we went to gigs, we always wanted to emulate that unifying feeling. I hope for connection, any potential connection is what I hope for.”
As generic as it is to ask- I asked the band who their influences were (not just settling for music based influences.) When I listen to them I can pick up on sounds from bands I love such as Garbage, Sleep and elements of Fugazi. Colette’s voice is gentle but tough when needs to be (like Shirley Manson) Alex’s drumming always takes me back to hearing Fugazi for the first time and the heaviness in Hannah’s guitar playing reminds me of Sleep and Rowland S Howard, but who influences them?
Colette: “I think it is the need to get something out of you – a release.” I think this one line sums up 2:54. The urgency in their songs- the words, the music. It all comes alive when you see them on stage and what better influence to have than that. The need to pull something out of you, and cast it into the unknown. It’s powerful, terrifying and inspiring. You don’t always need a list of bands, singers or writers to be cited as an influence- sometimes it is just the urgency to get it out there and I think that’s the most powerful influence anything can have over us.
I chose to end the interview with a question that, if I was asked would probably cause a mental block but is fine to ask others (especially if they are musicians.)
With a knowing nod, after asking what the favourite line from any song is, Colette answered with the always fitting and forever apt “Jesus died for somebodies sins but not mine.”
*At the end of the interview we shared what the first records we bought were. Colette’s was Pearl Jam which led on to a discussion about the Now compilations. There was one that had Enigma (the monk song!) and Enya. Those were the days. And if you must know, the first one I bought was Always & Forever by Eternal. From Woolworths. On cassette.
France. Home of two people I love- Serge Gainsbourg and Eric Cantona. I should say Zidane being a Juventus fan, but I can’t forgive him for headbutting Marco Materazzi. You’re an adult, not a kid in a playground. Anyway, as I’ve written about Druggy Pizza before it is fair to say that they are also a fine product of France. Their sound is destined to mess with your head, and if you don’t feel slightly nauseous and unsteady after listening to them, then you’ve done it wrong.
Their split record with Peace And Love Barbershop Muhammad Ali came out towards the end of last year, and both bands made a lot of noise on the record. It is one of the finest splits to have happened in the long time, and it can only be played loud. Obnoxiously loud, in fact. I delved deep into the world of Druggy Pizza when I wrote about them recently, and I’m happy to write about them again with the focus on the video to Like Pigs In A Slot. The video to this incredible piece of noise will have you fearing sleep and being aware of the grim reaper following you as he casts a dark shadow over you. The video is equally as rowdy as the song. The song totally messes with your head, that’s for sure. But when you sit down and watch the video- you feel uncomfortable and unsure of what to do. For me, that’s how music should be. I’ve said it many times before that I hate it when music feels too safe. I want something that teeters on the edge of madness, and Druggy Pizza do exactly that.
If you don’t feel tormented and troubled after watching the video, then I don’t know if there is any hope for you. It’s a great mind-fuck and it’s a harmless evil. The video makes you question going outside and plagues you with concern about looking over your shoulder. It is perfectly unsettling, and for some this is probably a massive turn-off but I take comfort that out there, someone must feel the same as me when listening to music like this. It isn’t for those who want something conventional or something gentle. Don’t get me wrong, gentle is fine and all- but sometimes you want something that dangles you over the edge grasping on a hint of sanity. It’s brilliant and reinforces my love for Druggy Pizza.
You can listen to more of Druggy Pizza here, and you can also buy their split record with Peace And Love Barbershop Muhammad Ali: https://druggypizza.bandcamp.com/
Prior to the show on Monday, the only solo show Thomas Cohen had done was his slot at the Village Underground last month as part of the PIAS Nights. His set was short but enough to make you believe that his debut solo record will not only blow our minds but it will also expand them. The hypnotic sounds and his magnetising voice make for an ideal combination for those who don’t mind going down the escape route from time to time. How did his first headline show work out? Pretty damn well. If you’ve ever been to the Moth Club you’ll probably have spent a lot of time gazing at the glittered and gold ceiling. The PA (a playlist chosen by Thomas) blasts out In The Navy, Dancing Queen and Freedom (George Michael.) The perfect songs to set your Monday night around.
Before his set he joined the support band (Blueprint Blue- which consist of Melissa and Hew from S.C.U.M) on stage for an exceptional cover of Beast Of Burden by the Rolling Stones. Lyrically it is one of my favourite songs by the Rolling Stones and it’s one of the first ones I remember hearing. My dad used to play Brown Sugar by the Rolling Stones- I don’t have many memories of him but I’m always able to connect music to most things. Blueprint Blue and Thomas did an exceptional version of this song, and I was left convinced that THEY had written it. It didn’t feel like a cover. Thomas moved on stage like a young Mick Jagger but with more attitude. He oozed a wealth of infectious confidence that left you wishing you could dance and sing like this. The way he was singing “Am I rough enough?” and moving his body in a demanding and charming manner made you really think that the song was written by him. He made it is own, and that’s what anyone should do when covering a song.
Thomas took to the stage in a gorgeous floral print suit. I normally don’t care for what a musician wears, but on Monday night I made an exception because I really don’t get how anyone could not be in awe of such a stunning outfit. His set consisted of songs from his debut record, Bloom Forever which is out in May. By no means did it feel strange for Thomas to play his first headline show on Townes Van Zandt’s birthday, he has stated in recent interviews that he is someone he has listened to whilst making the record and taken some inspiration from. Much like Townes he gets to the core of a feeling, takes you with him and doesn’t let you do. I think for most Country Home is the song that really hits the audience. The vulnerability of love and life, and all that happens in between and after is captured perfectly in this song. It is hard to listen to, especially when you know what it is about- but Thomas does it in such a beautiful way, the sadness doesn’t hit you as hard as you would expect.
On stage and on record, Thomas makes you listen. On stage you cannot help but look at him in awe of how captivating he is. When he was in S.C.U.M, I remember seeing them play the Sugarmill in Stoke. There was no more than 20 of us there. It was an eerie show and it reinforced my love for the band. The music was otherworldly, and on his own Thomas manages to still have that about him. There is something about him and his music that just draws you in. The music delicate and the fragility in the songs is one of the many things that keep you hooked. His gentle hand gestures as he sings make you feel calm, as if he’s reassuring you that all is okay. Everything can and will be alright. The last song they play (forgive me, I’ve forgotten the name!) is possibly their loudest number in the set and as Thomas lets go as he plays his guitar, you just know that this is something truly, truly special.
After seeing both his live shows, it is fair to say that Bloom Forever is going to be a record to treasure, to love and to possibly use as a guide. His eloquent and thoughtful way with words makes you see things in a way you may never have done before. This poignant record is to be adored whilst listening on your own in your room, and to be celebrated at his live shows.
Bloom Forever is released on 6th May via Stolen Recordings, and you can pre-order a copy here: https://stolenrecordings.officialstore.co.uk/Shop/PhysicalDetails?pid=SRD_PH_55
When you have next to no information about a band you immediately like and feel the need to write about, you sort of make your own assumptions about them based on what you’re hearing. But to be honest with you, I don’t want to know the ins and outs. I don’t want to know favourite colours, snacks and names of their pets. That’s no use to me. Too little is better than too much if you want your mind to work. I think mine works….
Soda Boys are a relatively new band from St Louis. They sound like a REAL Punk band. By that I mean they sound like Richard Hell mixed with the Sex Pistols and the snottiness of the Dead Boys. Their obnoxious yet playful sound is addictive, and you can’t but help smack repeat at the end of every listen. Soda Boys sound like they were around in the late 70s- not 2016! I don’t know how they’ve done it, but they nailed that pure and rowdy Punk sound. They sound like they’ve just stepped out of CBGBs and right into the belly of New York City. Is this what’s happening in St Louis right now?!
I could be wrong here, but I think their first release (and possibly only) came out in July last year. The songs are short, full of solid Punk guitar riffs and drums born out of fury. Their songs are made to be heard live, and these are the kinds of bands that make me glad I’m not deaf. Although the levels I listen to music through headphones, I probably will be if I’m not careful. I’ve always had a slight disregard for myself, it makes the day less of a chore at times. Soda Boys songs are barely 2 minutes long, and I know some may have an issue with that. There’s always someone who wants more-but you can’t have it. The songs may be short but if they lasted any longer it would take the fun out of them. We don’t always need 7 minute symphonies. Sometimes you just need a slice of rebellion that fits in under the 2 minute mark. Soda Boys have got me head over heels for their perfect Punk style.
Their songs touch on fizzy drinks, junk food and girls. Their songs make you want to pick up a brick and smash some windows. Or maybe a baseball bats and really go to town on some fancy car- whatever you want to do! Their songs eptomise youthful crushes, being bored and general hanging around. The lust for someone whilst knowing you’ve done wrong (Doghouse) to wanting someone to be yours (Soda Girl) shows that Punk was and is romantic. It’s just not the conventional type, but who wants typical/conventional anyway? That’s boring.
It’s pretty clear I know nothing about Soda Boys, but what I do know is this- they are a middle finger to those who say Punk is dead. Punk is a state of mind, a way of life I guess. I think Soda Boys are keeping the ethos of it alive and well. There will never be another Stiv or Joey, but what they gave is in bands like Soda Boys.
Beat In My Bones. 