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.
A few years ago I wrote about Autumns. I wrote about how much I loved them and how Christian is the Northern Ireland equivalent of Alex Zhang Huntai (Dirty Beaches/Last Lizard.) I think I mentioned how brilliant it is to have one person make a load of noise with such urgency and passion. A few years have passed, and now I get to write about Christian’s new EP, Das Nichts.
Christian is currently in America where in the next few weeks, he will be playing his first set of live shows out there. I couldn’t be more proud of him. He makes the kind of music I wish I could, the TV static sound and the distorted vocals aren’t to everyone’s taste but for me it’s exactly what I look for in music. I sincerely hope the American audiences fall in love with him and hear what I hear. I’ll post the dates towards the end, but for now- Das Nichts.
Das Nichts is the kind of record you play late at night when you should probably be asleep. My sleep pattern at the moment is semi-questionable but I can still function. I think life would be easier/better if we all took more naps. Anyway. With this EP Christian has definitely delved into the Electronic side of music more. For some they associate this with really bad 80s music, to an extent they could be right but what they don’t seem to acknowledge is the darker side. Das Nichts sounds like Suicide meets My Bloody Valentine with the fury of Rowland S Howard. The songs are going to torment your mind and you won’t want to sit down with a cup of tea whilst listening to this. With one listen, I loved it but I feel because it is the kind of record that puts you on edge, I feel that’s what makes it Christian’s best work to date. When I hear music like this I always seem to want to know what goes on in the head of the person making it. But recently I’ve started thinking what goes on in my brain and how it would sound if I translated it to music. It would sound a bit like this record. Maybe slightly more tame as I’m annoyingly shy. I try to get better at it, but what can you do. Das Nichts is a remarkable EP that is made for night time/very early morning listening when the world is asleep.
This EP is intensely dark and would sound perfect in some Danish Thriller that messed with your mind. If this is how Christian’s debut record is going to sound, then we are most definitely in for a treat. It’s the right kind of loud, the right level of noise and creepy. I can only imagine how brilliant this is going to sound live. The first track on the EP, Motel Lover is 19 minutes and 45 seconds long. It’s a solid way to start the EP and I think it straight away indicates to the listener where the EP is going. It’s going somewhere no one and nothing else can take you. You feel like you’re on a motorbike at 2am heading deep into the unknown. The night air sends chills over you and the dark mist keeps you on edge. It’s beautifully terrifying and is under 20 minutes of straight up noise. The static guitar sound mixed with the repetitive kick drum keeps your attention locked. There are swift changes in the song here and there but it’s the torment of the kick drum that remains your focus throughout. When it comes to an end, you find yourself looking around to check who was there and who took you to wherever this song may have taken you to.
I really can’t praise Christian enough for what he’s done with Das Nichts. It’s a captivating listen that will scare you a little but you won’t want to turn it off. Something about this EP will make you feel a little uneasy and unsure of what is around you- it will heighten all you feel as you listen to it, and that for me is what makes this the best thing he has done to date. The suspense in the EP makes you feel like it is the soundtrack to something. I’m 100% sure that Christian could easily create a soundtrack for some dark and unsettling Thriller film going by this EP. He would be perfect for it. Das Nichts isn’t a kick in the gut kind of listen, it is more like someone messing with your head in a way you didn’t know was possible. This kind of exposure of the mind is what makes this one of the best things I’ve heard this year. Sure there’s still many months to go, but this is truly something else.
As mentioned previously, here are his US dates for this month:
3/09 New York @ Nothing Changes + (with Nite Fields)
3/12 Lafayette @ The Spot + (with Nite Fields)
3/13 Indianapolis @ State Street Pub + (with Nite Fields)
3/20 San Francisco @ Rickshaw Stop * (with Lust For Youth)
3/21 Frenso @ Dynamite Vinyl + (with Nite Fields)
3/23 Long Beach @ 4th Street Vine – (with Gold Class)
3/24 San Diego @ The Whistle Stop
3/26 Los Angeles @ Non Plus Ultra # (with SEXTILE)
Christian will also be drumming for Nite Fields on all of their dates.
This week a band I love and a singer I love unleashed some new music. The Kills and Kate Jackson. If bad things come in threes, then maybe good things do too. The third is Kristin Kontrol. I’ll get it out the way-Kristin is Dee Dee from Dum Dum Girls. Still the same person, don’t let rip pointless comparisons or longing for something new from Dum Dum Girls. Go with this, it’s brilliant. Trust me.
There have been times where bands or singers have gone in a different direction from what we know, and sometimes it ends up being terrible. Of course this is all down to person taste. When I read that Kristin was doing this, no part of me doubted how great it was going to be. I felt like all DDG records told something important at the time they were released, and although a new DDG record would be great- why not go some place different? I don’t like it when a band makes the same record over and over. I don’t like rigid routines or order. It’s bullshit. This is why Kristin has totally blown our minds with lead single, X-Communicate. I’ve already read the poorly researched reviews on it. It seems like it has come from “music journalists” who can’t get their heads around something different. Free your mind, chump!
X-Communicate makes me feel like I am in several places at once. I could be in a dodgy Berlin nightclub. I could be in some basement bar in New York. I could be in 2016. I could be in 1986 (the year I was born.) I could be anywhere. This is part futuristic, part something from years ago that wasn’t exposed as much as it could be. I feel like if Depeche Mode had a female vocalist circa Enjoy The Silence era- this is what they may have sounded like. As you listen to X-Communicate you become instantly familiar with Kristin’s delicate voice and something I’ve always adored about her voice is the way her pronunciation is so clear. The clarity is what makes you pay close attention to the lyrics. I’ve been vocal about my love for her way with words, and X-Communicate has a gorgeous depth to the lyrics. What I love about 90s dance music was how upbeat the music was yet the lyrics were heartbreaking. I’m getting that same kind of feel from this song, and it’s just so so good. If I was a DJ I’d be playing this at the start and end of the night. And about 50 times in between.
Going by this song, I think it is evident that the record will not sound like this song constantly. There are so many standout moments in this song- from the production to the end solo of the song. All these elements and more just make it into such a wonderful song. The lyrics are so so good. Some of them take me back a few times and certain people cross over in my mind. These fleeting moments are just fine, but the line “I am so tired of this life” gets me right in the gut. I don’t care who you are, you’ve been able to relate to that line more times than you wish. The sadness of that line mixed with the sound of the song goes back to my nod to 90s dance above.
I have no idea how the record is going to sound but what I do know is that it will be great. There’s no denying just how talented Kristin is. I wish I had the words to fully describe this song and how brilliant it is, but I’ve had it on repeat since I got home from work over and hour and a half ago. As someone with a shit attention span- I think that sums up how bloody great this song is. I remember the day I first heard Dum Dum Girls and that feeling has hit me again as I listen to X-Communicate. When you know, you truly know.
If like me, you’re a sentimental fool who finds it hard to let go of bands that end up splitting up then you’re probably dubious of what happens to the band members. Radio silence is deafening especially when you’re left knowing that the band members are great and a world without them making music is just utterly pointless. The Long Blondes were my ultimate band when I was at uni. I adapted to a new life easier than I would have if it wasn’t for them, I got over having my heart metaphorically broken, I played their 2 records religiously. I made trips to the North of England with Someone To Drive You Home on a loop. I’d meet my mum in Yorkshire playing the songs. In my ears, on my mind. The words firmly etched upon my heart. The band split, but I clung onto what the band meant to me. Heaven Help The New Girl to Guilt- the words just always seemed relevant. Time passes, and you grow up as best as you can.
I am so so happy to FINALLY write about Kate Jackson’s new song Metropolis. I listened to it at lunchtime at work today and all I’ve done since is, seemingly, wait to get home so I can rant about how marvelous this song is. The song features Bernard Butler. Jackson and Butler. My generation’s Morrissey and Marr. Bernard is probably one of the best guitarists this country has ever produced. Him and Brett had me lusting after Suede. Him and McAlmont made the greatest “F-You” of all time. I learnt the words to Yes immediately aged 9 years old- I should have been trying to get my head around mental arithmetic in school. I didn’t care for numbers then, and I don’t care for them now. Give me lyrics. Give me the lyrics that will make me feel less alone. Give me the lyrics that say what I’ve yet to have the guts to say. Give me words in all their power, pain and passion. Give me the lyrics of Kate Jackson and the astounding riffs of Bernard Butler.
Everything about Metropolis sums up what I missed about hearing Kate Jackson’s voice. She’s still got the captivating and delicate tone. Her clear pronunciation of words makes you feel as if you’re about to be taken some place higher than you’ve been before. For me this is a massive contender for song of the year. It’s the best song I’ve heard so far, and I’m pretty sure I’ll have it on repeat still come November as I turn 30 wondering what the hell I’ve done- in general. For me, there’s one line in the song that is just so heartbreakingly honest and a line I can relate to. A line I can associate with any place I have ever lived. “This city pulls me to pieces.” My God. A line so simple but so powerful. You don’t need to make something pretentious in order for it to be relatable and vital. I’ve made my own impressions of the song, I’ve made my own meaning up. It’ll be different to the next person, and that’s what I love about this song and music in general. The line starts to ring through in the last verse, then carries on. The more you hear it, coupled with Bernard’s guitar, makes it one of the most glorious and stunning moments in music of the year.
As my favourite lyric from the song echoes in my head, I start thinking about the things I wish to and wish not to associate the song with. The sheer beauty and honesty in this song can transport you to the places you thought you were afraid of, but when you get there it really isn’t so bad. I’ve said it many times, but there are just some bands/singers that make me just want to write about music constantly. This song is easily one of them.
I remember an old interview of The Long Blondes and Kate mentioning her fondness of service stations. I think I annoy anyone I’m in a car with because I ALWAYS want to stop at service stations. They are fascinating places, and I don’t get tired of watching people pass through. The Long Blondes, and now Kate remind me of just going somewhere. The title of Kate’s debut record is British Road Movies and I can sense just by the title and Metropolis that this is going to be a record that you drive to (in my case, sit in the passenger seat or get the train) and stop off at service stations making up stories in your head about the people you see. Watching the couples fight because they’ve got lost, eyeing up people trying to work out what they want from Greggs, people napping in their cars. I’m possibly reading too much into it but it’s alright.
It’s been announced that Kate Jackson (and The Wrong Moves) will be playing The Great Escape Festival (19th May)this year and a free show at Rough Trade on 20th May which is the release date of the debut record. Having Kate back and making music is like putting on your favourite piece of clothing and feeling like you can take on the world. Not many things in the world are perfect. Everybody has their own idea of perfection, for me perfection is when a singer you adore comes back after years and puts a single out on an otherwise dull Monday afternoon.
British Road Movies is released 20th May via Hoo Ha Records.
I have two main loves- music and pizza. I can’t make music, but I can make pizza. Come round, and I’ll make you one. Or maybe two so you can have it for lunch the next day. I guess in a way Garage Rock might not be deemed as a “proper” genre of music, and even though labeling music is bullshit- I’m allowing myself to contradict myself for the god knows how many time just to talk about a certain kind of noise that I absolutely love. There’s correlation between Punk and Garage Rock, well for me there is. And that’s probably why I love both a hell of a lot. My record collection doesn’t hold much weight compared to some but my most prized possession is my copy of The Gruesomes’ first record. Nobody will ever understand how much me owning that record means. The Gruesomes are Canadian-not Italian, and this is about Italian Garage Rock bands. Turns out there’s a wealth of them and for the past few nights, it’s what I’ve been listening to. I’ve dragged myself through today on 3 hours sleep. If I’m falling into a pattern I had 5/6 years ago, then so be it. I’ll use my time wisely finding music to write about. If I was going to take the easy route I’d probably mention a few songs and make life easy for myself. I don’t know how to make life easy and if there isn’t a wave of chaos about to hit me, I won’t know what to do. This is unplanned, for my own benefit- the result of having an internet connection. I’ll educate myself, and maybe you’ll find something you like. If not, then at least I got this out of my system. ANDIAMO!
To start off, I’m going with my favourite and one of the hardest bands to find ANYTHING out about. This song is 50 years old. It probably sounded perfect back then, and it sounds perfect 50 years on. It’s got a typical Garage Rock sound going on. What I love about a lot of Garage Rock songs is how they seem to be about pining for someone who is a bit of a dickhead. We’ve all been there, it’s completely fine. Songs like this are the ones that get you through it. Cupidation reminds me slightly of I Never Loved Her by The Gruesomes- I think it’s all in the vocals and that alone makes it one of my favourites.
See what I mean? Italians know how to do to this. The Rippers have a sound that’s off the wall and unlike anything else. I Wanna Put A Tiger In Your Tank is hopefully a euphemism for something- if it isn’t, I’ll be pretty sad about that because it’s a pretty great euphemism. Imagine using that line on someone. Hey if it works, then go for it. The Rippers have a brilliant style that comes across in how they look and how they sound. Sometimes bands get it twisted and pay more attention to how they look rather than how they sound, and that can be a sure waste of talent. Thankfully The Rippers didn’t fall victim to that.
I found out about The Hangee V last year when in Camden looking through some old records. I was on my lunch break, and I felt the need to buy some music. I was sifting through the records, and the cover of one of The HangeeV’s records caught my eye. I loved their menacing look, and how they looked like a bunch of undertakers who would probably dig a grave for you-even if you were still alive. They’re easily one of my favourite bands, and I love the mystery about them. They say you shouldn’t judge a book by its cover, that’s fine and all- but buy records based on the artwork, chances are it will be just fine.
I got a little sidetracked finding these bands, and quite possibly have ended up with more recent bands than not. That’s alright-if anything it just shows how great the music scene is in Italy. The Mighties are from Perugia. I remember visiting there when I was about 12 years old and just falling in love. I’ve been to only a handful of places that felt like “home” to me, and Perugia was one of them. It’s a beautiful city, and is home to one of Italy’s finest bands. I’m not sure how well known The Mighties are but they sound like a band who have taken on board what bands before them have done and made their own scene, on their own terms.
Gli Sciacalli may have been around in the 90s but they captured that typical 60s Garage Rock sound like no other. This is a song I would definitely place in my favourites of all time-regardless of genre. It sounds slightly like the Beach Boys mixed with some Mersey Beat. It’s the perfect Garage Rock sound, and Mai is a song I really can’t get enough of. Much like The Bumpers who have a few decades on this band, they still capture that raw Garage Rock sound.
There are many many more bands I could mention, and I’m probably a tool for missing some out. Maybe I’ll do a part 2 some day. Special mention needs to go to Go!Zilla who are one of the best new(ish) bands around and will get a deserving piece written about them soon. I think condensing it down to 5 for now was a semi-wise move. I could have kept going, but maybe on another trip to buy records I’ll find something else to write about. I know I should have mentioned The Kartoons. Next time. Next time.
Beat In My Bones. 