Okay. I remember rave reviewing “Sam’s Town” in 2006, and being highly ecstatic at just conceiving the sounds, and influences behind their all-career important second album, and being even more thrilled that they’d cracked it. It’s hard to believe that it really is the same Nevada band two years down the line.
I must say that “Day and Age” was regarded by myself as looking to be one of the musical highlights of the year, for the end of 2008, and not only does it: shock, appall and utterly upset me to say it, but it truly is a poor attempt at keeping their indie rock ‘n’roll Americana dream alive.
And I wonder, is the reasoning behind it complacency? Or Arrogance? Who knows, but what is fact, is that it’s an absolute shame and disgrace to themselves, and I can’t help but feel sympathy and sorrow for them. The days were great when they were the Princes of Indie, and every Brit adopted them into their hearts as one of their own, they were our band, our saviours. But let’s focus on the tense there, that was then and this is now, and perhaps we should just pawn them back off to America. Harsh? Maybe…
Tracks such as “Joy Ride” and “I Can’t Stay” sound as if they belong to the Lion King OST, so Elton John may as well have sat down and put his feet up. “Day and Age” is as dull as dull gets, for saying that these were the masters that once opened up a whole world of twinkling lights, and provided us with the indie delights of “Bones” and “Somebody Told Me”. Just how did they lose their magic?
To hear this third installment in contrast to “Hot Fuss” and “Sam’s Town” is unbelievable, and absolutely soul-destroying for dedicated fans and that includes myself. I tried and tried, and tried to get into it but there was no give. I’ve only just got comfortable with listening to “Human”, but let’s not forget the whole controversy that the song’s lyrics sparked as well. The whole thing as a package just seems half-hearted. You can’t even call it background music.
Let’s also not forget that Razorlight and The Killers arrived on the scene at the same time, and have since released albums at coincidentally similar times, they both released superb first and second records, seeing Razorlight storm on with the third “Slipway Fires”, but what happened to Mr. Flowers? The only thing the album does for you is make your mind boggle as to what happened to this once epic four piece.
I’ll grant that perhaps they’re aspiring to be newer Bob Dylans, continuing to tell stories within the songs, but they’ve been there and done that, and they have proven they can do it right, i.e. “Jenny Was a Friend of Mine”, but at least make some music to accompany it, which is what they’ve failed to do in this case. It also comes across that whatever their intentions, or desired effect was, is just lost in translation.
Having seen The Killers at V’07, just before they set off to make album 3, their show-stopping performance held so many promises and expectations as to what they were capable of next as they were banging out the hits, that at a glance, “Day and Age” makes them unrecognizable. I mean, “Spaceman”? Come on…!? It’s just not a patch on the early stuff.
Oh well…there’s always Razorlight, but Mr. Flowers et. al better redeem themselves 4th time round, and until then we need some serious reassurance that there are greater things ahead.
Monday 8 December 2008
KIWI LOVIN'
26 year old Pip Brown, AKA: Ladyhawke is BIG, and radical. If you haven’t heard of her by now, you soon will; exploding onto the scene just like her music. Just thinking of her whole concept, the sound, the dress, and the feel just makes me giddy. Brilliance is here!
Dubbed as a take on “Peaches”, and ironically also friends with her, take this on board along with a bit of Goldfrapp glamour, and the fresh sound of the YYY’s and you’re there. Her newly released self-titled album is 62 minutes of funk, and is so rock ‘n’ roll that even Noel Fielding may be quaking in his platinum platforms.
Undoubtedly being played in NME hot houses everywhere, she IS one of the cool kids, apparent both in sound and look. Full of spunk and freshness, Miss Ladyhawke even plays all instruments, especially noted on the rather synthed up, and exquisite “Back of the Van”. Here, her influences of Stevie Nicks also come to life, as the echoes of such former female rockstars are reminisced during the verses. And with musical family roots, it seems she was always destined to be superb, and that she sure is.
This album IS a must-buy, and not just for the fashionable look on your shelf, but for the dancing, the innovative sounds as heard on the likes of “Love don’t Live Here” and “Paris is Burning”, and the addictive factor. Even I’ve reached 219 plays according to the good old last.fm scrobbler.
Now residing in London, it’s awesome that we’ve got a claim on her, it’s almost as if an ET set down and unleashed this array of infectious and mighty rock’n’roll upon us, totally indoctrinating us all, just as her recent single “My Delirium” portrays. This song in particular, is an example of her stimulating and catchy cascades of music, which will wash all over you, and I’m not the only one to say so. Critics have suggested listening to her re-mixes just to keep it all alive, as they too keep putting her on replay.
So, she’s electro-pop, yes, electro-punk, yes, new-rave, yes and indie; all rolled into one glorious package. Reaching many genres and across many mediums, it appears that she may just be the new Queen of Rock we’ve been looking for, and as we reach the end of the year, it also looks as though it’ll be an intense and vastly promising 2009 for Pip Brown.
Dubbed as a take on “Peaches”, and ironically also friends with her, take this on board along with a bit of Goldfrapp glamour, and the fresh sound of the YYY’s and you’re there. Her newly released self-titled album is 62 minutes of funk, and is so rock ‘n’ roll that even Noel Fielding may be quaking in his platinum platforms.
Undoubtedly being played in NME hot houses everywhere, she IS one of the cool kids, apparent both in sound and look. Full of spunk and freshness, Miss Ladyhawke even plays all instruments, especially noted on the rather synthed up, and exquisite “Back of the Van”. Here, her influences of Stevie Nicks also come to life, as the echoes of such former female rockstars are reminisced during the verses. And with musical family roots, it seems she was always destined to be superb, and that she sure is.
This album IS a must-buy, and not just for the fashionable look on your shelf, but for the dancing, the innovative sounds as heard on the likes of “Love don’t Live Here” and “Paris is Burning”, and the addictive factor. Even I’ve reached 219 plays according to the good old last.fm scrobbler.
Now residing in London, it’s awesome that we’ve got a claim on her, it’s almost as if an ET set down and unleashed this array of infectious and mighty rock’n’roll upon us, totally indoctrinating us all, just as her recent single “My Delirium” portrays. This song in particular, is an example of her stimulating and catchy cascades of music, which will wash all over you, and I’m not the only one to say so. Critics have suggested listening to her re-mixes just to keep it all alive, as they too keep putting her on replay.
So, she’s electro-pop, yes, electro-punk, yes, new-rave, yes and indie; all rolled into one glorious package. Reaching many genres and across many mediums, it appears that she may just be the new Queen of Rock we’ve been looking for, and as we reach the end of the year, it also looks as though it’ll be an intense and vastly promising 2009 for Pip Brown.
Sunday 14 September 2008
It's the Sex!
There’s no doubt about it, Kings of Leon’s new amorous download single: “Sex on Fire” is the hottest thing to hit the musical airwaves of late. The band are huge in themselves, coming a long way since their major breakthrough in 2003, they’re now one of the biggest headliners you could wish to have on any festival line-up, and there’s no stopping them. Continuously touring and finding time to produce their fabulous fourth album: “Only by the Night” later this month, the world is definitely their oyster.
This super, sexy single is more than just about lust. It’s about more than sex; it’s actually about love as you will completely fall for this hit. In all honesty, according to last.fm, I’ve listened to :Sex on Fire” more than 60 times in one week, more or less looped and I’m still lusting to hear it again, more so than the first time. So it’s tried and tested than you can’t tire of it. From the screaming vocals of Caleb to the rhythmic heartbeat of the drums, and to the yearning guitars, it certainly gets right into your system. It is stylish, it is sexy and puts you in the mood for some serious flirting (if not just with the music), reminding you of the typical scenario of boy-meets-girl at a gig, with this little stunner playing in the background of course. This song makes you want to go out there and find this feeling; astonishing.
“Sex on Fire” is already highly popular, frequently appearing on MTV, Kerrang, and is a regular on Zane Lowe’s Radio One Show backed by his own rave reviews, and you just know it’s going to be played across all the major venues and clubs, and as for being played live, it’ll be HUGE what with those riffs! We really ought to take the time out to applaud KOL’s captivating genius on this one. It’s commanding, entrancing and beautiful and all of the elements and structure of the song are synched superbly, from “All the commotion” down to the simple, yet impressionistic “Your sex is on fire!” you can’t help but repeatedly listen to this 3.23 minutes of pure sex. The song is also reminiscent from the sexual undertones of the bass to the lyrics, of Joy Division’s “Transmission”: “make love to the beat of the song” which you envisage as you dance away. The lyrics are as passionate as the music, from the blunt, bold statement of the chorus to the alluring and tuneful “Yoooooooooouuuuuu!” belted from Followill, communicating directly with the listener and gaining their full attention.
The Followill clan have created yet another wonderful array of music and meaning to add to the collection of theirs, ready to leaving you craving more…music that is, not sex!
This super, sexy single is more than just about lust. It’s about more than sex; it’s actually about love as you will completely fall for this hit. In all honesty, according to last.fm, I’ve listened to :Sex on Fire” more than 60 times in one week, more or less looped and I’m still lusting to hear it again, more so than the first time. So it’s tried and tested than you can’t tire of it. From the screaming vocals of Caleb to the rhythmic heartbeat of the drums, and to the yearning guitars, it certainly gets right into your system. It is stylish, it is sexy and puts you in the mood for some serious flirting (if not just with the music), reminding you of the typical scenario of boy-meets-girl at a gig, with this little stunner playing in the background of course. This song makes you want to go out there and find this feeling; astonishing.
“Sex on Fire” is already highly popular, frequently appearing on MTV, Kerrang, and is a regular on Zane Lowe’s Radio One Show backed by his own rave reviews, and you just know it’s going to be played across all the major venues and clubs, and as for being played live, it’ll be HUGE what with those riffs! We really ought to take the time out to applaud KOL’s captivating genius on this one. It’s commanding, entrancing and beautiful and all of the elements and structure of the song are synched superbly, from “All the commotion” down to the simple, yet impressionistic “Your sex is on fire!” you can’t help but repeatedly listen to this 3.23 minutes of pure sex. The song is also reminiscent from the sexual undertones of the bass to the lyrics, of Joy Division’s “Transmission”: “make love to the beat of the song” which you envisage as you dance away. The lyrics are as passionate as the music, from the blunt, bold statement of the chorus to the alluring and tuneful “Yoooooooooouuuuuu!” belted from Followill, communicating directly with the listener and gaining their full attention.
The Followill clan have created yet another wonderful array of music and meaning to add to the collection of theirs, ready to leaving you craving more…music that is, not sex!
Friday 5 September 2008
Set for HOLLYWOOD Stardom
So, I was lent this 4-track demo CD of a local band called “Hollywood Tease” who I’d already heard of, but was slightly worried at the prospect of them being just another whiney Stoke band. But, taking it in good faith, I gave ‘em a whirl and was genuinely and pleasantly surprised.
Over the past two years, all of a sudden came this whole new cultural way of life, by means of “Emo”, which has certainly affected and somewhat tainted and tarnished the music industry, seeing everyone cashing in on it (Lord knows why), but luckily, “Hollywood Tease” aren’t following the herd. Our faith can be restored at last! This is a band with local talent giving us local hope.
The CD cover to their mini-EP resembles QOTSA’s “Songs for the Deaf” album artwork but this is no insight into the music, compared to Queens, they’re more clean and polished, but this is no bad thing. HT are quite glam rock; definitely in terms of their get-up, I think I’d go as far to say they’re our very own (Potteries) Darkness. The band very much adopts the good old rock way of life; believing in the sanctity of sex; drugs and rock ‘n’roll (of course!). Their ethos highlights possible inspirations such as KISS and G ‘n’R, also coming across in their music. It’s imperative nowadays for every band to have a MySpace site to establish themselves, and even their profile states that they’re all for: “SOCO, JD, glam metal, sex, porn, sleeping all day and partying all night”. Another great thing about this band is that they’re neither overly arrogant nor ambitious, they have just the right balance and are truly dedicated to their Stoke fan base, playing frequently in the area and have already repeatedly headlined at The Sugarmill. Hot stuff.
Their self-titled demo really is produced to the highest of standards and beyond, for the expectations of a local act. But that’s part of the shine to this five-some; they’re actually professional, aspiring to be bigger things; middle finger to the world of rock. They take it seriously, and it shows in the finished article.
From the first thirty seconds of “Sweet Dreams”, I was reminded of the band “Hundred Reasons” due to the well orchestrated guitar riffs, to the pronounced and powerful vocals. Then, you get this grittier, yet also melodic guitar playing to match the strength of singer Ashe, and thank God they’re not emo screamers for a change sounding like feedback. They’re refreshing and spunky.
Another wonderful thing about this 4 song sampler is that it has the head-nodding, feet tapping factor to it, which is only to be amplified when performing live shows. What with its raunchy bass, guitar clenching sounds and reeling drum pounds, and not forgetting the lyrics, they can’t help but be catchy whilst still having those balls of rock! However, the third track, “Dirty Days” featuring a similar intro to the classic “Wanted Dead or Alive” by Bon Jovi, is more of a rock ballad which is backed up by some well composed solos to help you envisage these guys up on the big stadiums of rock, with cannons, fireworks and the most almighty of light displays.
Any of these handful of songs would be fitting for a soundtrack such as Terminator 2, sitting next to “You Could be Mine” by Guns ‘n’ Roses, or as background music in some American biker bar, just to reinforce their edge. Screaming “I’ve got a trick up my sleeeeeeeeeeeeeeeve!” is to be believed. They sure have whatever that trick is, and it continues to set them apart from any regular Joe/ run-of-the-mill local band.
These fella’s are superb. Fact. They demand publicity and BIG stages, they’d fit the bill at Download perfectly. I have no doubt that these guys could go on to make some serious dollars, with some more big gigs and a lucky break here and there, they could land themselves a great record deal, seeing them “teasing” us to shows from the major cities all the way to the US and back.
Over the past two years, all of a sudden came this whole new cultural way of life, by means of “Emo”, which has certainly affected and somewhat tainted and tarnished the music industry, seeing everyone cashing in on it (Lord knows why), but luckily, “Hollywood Tease” aren’t following the herd. Our faith can be restored at last! This is a band with local talent giving us local hope.
The CD cover to their mini-EP resembles QOTSA’s “Songs for the Deaf” album artwork but this is no insight into the music, compared to Queens, they’re more clean and polished, but this is no bad thing. HT are quite glam rock; definitely in terms of their get-up, I think I’d go as far to say they’re our very own (Potteries) Darkness. The band very much adopts the good old rock way of life; believing in the sanctity of sex; drugs and rock ‘n’roll (of course!). Their ethos highlights possible inspirations such as KISS and G ‘n’R, also coming across in their music. It’s imperative nowadays for every band to have a MySpace site to establish themselves, and even their profile states that they’re all for: “SOCO, JD, glam metal, sex, porn, sleeping all day and partying all night”. Another great thing about this band is that they’re neither overly arrogant nor ambitious, they have just the right balance and are truly dedicated to their Stoke fan base, playing frequently in the area and have already repeatedly headlined at The Sugarmill. Hot stuff.
Their self-titled demo really is produced to the highest of standards and beyond, for the expectations of a local act. But that’s part of the shine to this five-some; they’re actually professional, aspiring to be bigger things; middle finger to the world of rock. They take it seriously, and it shows in the finished article.
From the first thirty seconds of “Sweet Dreams”, I was reminded of the band “Hundred Reasons” due to the well orchestrated guitar riffs, to the pronounced and powerful vocals. Then, you get this grittier, yet also melodic guitar playing to match the strength of singer Ashe, and thank God they’re not emo screamers for a change sounding like feedback. They’re refreshing and spunky.
Another wonderful thing about this 4 song sampler is that it has the head-nodding, feet tapping factor to it, which is only to be amplified when performing live shows. What with its raunchy bass, guitar clenching sounds and reeling drum pounds, and not forgetting the lyrics, they can’t help but be catchy whilst still having those balls of rock! However, the third track, “Dirty Days” featuring a similar intro to the classic “Wanted Dead or Alive” by Bon Jovi, is more of a rock ballad which is backed up by some well composed solos to help you envisage these guys up on the big stadiums of rock, with cannons, fireworks and the most almighty of light displays.
Any of these handful of songs would be fitting for a soundtrack such as Terminator 2, sitting next to “You Could be Mine” by Guns ‘n’ Roses, or as background music in some American biker bar, just to reinforce their edge. Screaming “I’ve got a trick up my sleeeeeeeeeeeeeeeve!” is to be believed. They sure have whatever that trick is, and it continues to set them apart from any regular Joe/ run-of-the-mill local band.
These fella’s are superb. Fact. They demand publicity and BIG stages, they’d fit the bill at Download perfectly. I have no doubt that these guys could go on to make some serious dollars, with some more big gigs and a lucky break here and there, they could land themselves a great record deal, seeing them “teasing” us to shows from the major cities all the way to the US and back.
Sunday 20 July 2008
24 Hour Party People - Wish I'd Had an Invite!
Only over the past 12 months have I become acquainted with the romantic image of the legends that were Joy Division; falling in love with the music, the film “Control” and their story. Of course I took a keen interest in all connections surrounding the band, of which Tony Wilson fell into that category; the main man behind it all.
I have to say, I’m glad I found this. Tony Wilson simply has to be one of my biggest inspirations. Journalist, music lover and embracer, finding music to simply be a way of life, and achieving his dream of opening his own music venue, the infamous “Haçienda”, I’m already singing off the same hymn sheet. I almost feel cheated that I wasn’t around for such inspiring, influential and invigorating times in music. Scrap that. I am cheated. So much so I feel sick with envy. But Tony Wilson was there building the dream, living the dream, as noted in this very book: 24 Hour Party People.
From reading this prestigious and captivating read, it leaves one question: “If he was still around what truly great things would he be up to now?” Wilson, truly changed the face of music and is in fact THE face of music, as illustrated by these fine words of his tale. Now the book is very blunt, very real, very “Manc” and I almost lost count of the times I saw “C*nt” printed before my eyes, but it’s no off-putter; it’s part of the Wilson charm. This book is all about the music and keeping it real, both of which go hand in hand. After all, that’s what it’s all about, isn’t it? The very beauty and essence of music is in its authenticity and truth.
The general message relayed in the book is that of: “Thank f*uck for the North” (to mimic the style of the text). These days of the late 70’s and early 80’s were THE DAYS of music; a new dawn, a new generation; new birth and hope of music for years to come and it was all going down in Manchester. Why can’t it be like that now; why have we lost such electrifying and innovative ways within our music scene? Not that I’m suggesting that there’s need for, or ever should be another Tony Wilson, because there never ever will be. But one thing is for sure; he wouldn’t stand for all this emo rubbish. Wilson was a voice of the music, and the fans, speaking out and forever leaving an imprint on music’s colourful and impacting history, and it’s his phenomenon that brought life to the city, producing projects such as The Hacienda, and nights of live music entertainment for the starved “kids” of Manchester.
Joy Division, New Order and The Happy Mondays live on because of him. Yes, the bands are fantastic, but it was the man with a vision, the man with a belief, who is the true genius behind such bands. That man being Tony Wilson. He wanted to put his beloved Manchester on the map and boy did he succeed, more so than he could have ever imagined, The Hacienda, knocked down and replaced by apartments still keeps the nightclub’s name in honour of him. The true patriot only continues to remain in our memories and the music from the drumbeats down to the synth of “Blue Monday”.
Even though “Control” was later released than the book, co-written by Debbie Curtis and Wilson; it’s the perfect back drop to 24 Hour Party People (despite its own film). Like me, you can completely fall in love with it all; the scene, the epic story, the music.
With absolute disregard for all the Stephen Kings and Tolkeins out there, no-one and I mean no-one, could write such a compelling, humorous, entertaining, picturesque, romantic, edgy, traumatic and astounding tale. Not enough words, (evidently) can do it justice, and it’s from the man himself, the man of dreams.
I guarantee you’ll be digging your copy of “Unknown Pleasures” out before you even turn the last page of this stunning account of his epic journey. Purely stunning.
I have to say, I’m glad I found this. Tony Wilson simply has to be one of my biggest inspirations. Journalist, music lover and embracer, finding music to simply be a way of life, and achieving his dream of opening his own music venue, the infamous “Haçienda”, I’m already singing off the same hymn sheet. I almost feel cheated that I wasn’t around for such inspiring, influential and invigorating times in music. Scrap that. I am cheated. So much so I feel sick with envy. But Tony Wilson was there building the dream, living the dream, as noted in this very book: 24 Hour Party People.
From reading this prestigious and captivating read, it leaves one question: “If he was still around what truly great things would he be up to now?” Wilson, truly changed the face of music and is in fact THE face of music, as illustrated by these fine words of his tale. Now the book is very blunt, very real, very “Manc” and I almost lost count of the times I saw “C*nt” printed before my eyes, but it’s no off-putter; it’s part of the Wilson charm. This book is all about the music and keeping it real, both of which go hand in hand. After all, that’s what it’s all about, isn’t it? The very beauty and essence of music is in its authenticity and truth.
The general message relayed in the book is that of: “Thank f*uck for the North” (to mimic the style of the text). These days of the late 70’s and early 80’s were THE DAYS of music; a new dawn, a new generation; new birth and hope of music for years to come and it was all going down in Manchester. Why can’t it be like that now; why have we lost such electrifying and innovative ways within our music scene? Not that I’m suggesting that there’s need for, or ever should be another Tony Wilson, because there never ever will be. But one thing is for sure; he wouldn’t stand for all this emo rubbish. Wilson was a voice of the music, and the fans, speaking out and forever leaving an imprint on music’s colourful and impacting history, and it’s his phenomenon that brought life to the city, producing projects such as The Hacienda, and nights of live music entertainment for the starved “kids” of Manchester.
Joy Division, New Order and The Happy Mondays live on because of him. Yes, the bands are fantastic, but it was the man with a vision, the man with a belief, who is the true genius behind such bands. That man being Tony Wilson. He wanted to put his beloved Manchester on the map and boy did he succeed, more so than he could have ever imagined, The Hacienda, knocked down and replaced by apartments still keeps the nightclub’s name in honour of him. The true patriot only continues to remain in our memories and the music from the drumbeats down to the synth of “Blue Monday”.
Even though “Control” was later released than the book, co-written by Debbie Curtis and Wilson; it’s the perfect back drop to 24 Hour Party People (despite its own film). Like me, you can completely fall in love with it all; the scene, the epic story, the music.
With absolute disregard for all the Stephen Kings and Tolkeins out there, no-one and I mean no-one, could write such a compelling, humorous, entertaining, picturesque, romantic, edgy, traumatic and astounding tale. Not enough words, (evidently) can do it justice, and it’s from the man himself, the man of dreams.
I guarantee you’ll be digging your copy of “Unknown Pleasures” out before you even turn the last page of this stunning account of his epic journey. Purely stunning.
Thursday 26 June 2008
And End Has a Start - A Year On...
25th June 2007, possibly one of the most British and most innovative, transfixing and astounding albums of the 21st century hit the shelves. Yes, it was “An End Has a Start” by Midlands group, Editors. Their follow-up to debut album “The Back Room”, the second release is often regarded as making or breaking a band’s career, but there were no worries here.
The past year has been a true journey, for me and the band alike. The Band have now conquered the US and a good majority of Europe, topped the album chart and the top 40 chart, as well as seeing lead vocalist Tom Smith become a father to Rudy Brae, with long-term radio one presenter girlfriend, Edith Bowman; phenomenal. In comparison, the past 12 months for myself has seen me fall victim to temptation, love, loss, and the perils of a taste for the night life and city lights. You could say that innocent part of me has slipped away, much like “And End Has a Start”; with death, and passing being an integral part of the album’s focus and surrounding.
When it came out last summer, many criticized this theme of death as being too foreboding, and having smothering overtones within the music, but as with any piece of art, it’s always down to interpretation. From the first time I pressed play, I found “An End Has a Start” to not be depressing and centering on mortality, but in fact, I found it to be a true celebration of life, hearing life in the beat of the songs, and the charisma coming through Smith’s wistful words. Looking back now, it is quite ironic. The concept of death/life came to be after a personal loss of the band, and that end, saw a new start with the band progressing professionally and within their family lives.
For me, this record has been there through the romances, the break ups, making love, heartaches, the low times, the fights, and the day-to-day stress and confusion, that life holds. The album remains pristine, and never tarnished and represents life in its pure essence; what they successfully capture. “Look up, through the trees to feel as small as you can”, and other lyrics, “Can I start this again?” are all lyrical concepts that we can all relate to, making the band and their material so accessible and so genuine. For a long time, I think “An Has a Start” will remain a very exclusive and individual record for me, reminding me of summers, love and making me feel alive, amplified by Chris Urbanowicz’s unbelievable and breath-taking riffs.
I remember seeing them for the first time in 3 years last May, hearing previews of “The Racing Rats” and “Escape the Nest”, and being spell-bound, having it on CD only made it worse, being able to hear that power again and again for my own entertainment, and these tracks still remain as fresh as on that tour. This album, as well as the band as a whole, remains cutting edge, compelling and outstanding. I truly love it. With the risk of sounding cheesy, this band is a real favourite of mine and I owe a lot to them for the making of this album. Since its release, I’ve literally listened to it every day and I can guarantee it’ll remain a frequently played album within my music collection. 10, 20, 30 Years from now, it’ll mean just as much to me as it did then and now; still sounding utterly epic and remarkable. If you haven’t managed to even get a glimpse of “And End Has a Start” over the past 12 months, where have you been? Do it. Now!
The past year has been a true journey, for me and the band alike. The Band have now conquered the US and a good majority of Europe, topped the album chart and the top 40 chart, as well as seeing lead vocalist Tom Smith become a father to Rudy Brae, with long-term radio one presenter girlfriend, Edith Bowman; phenomenal. In comparison, the past 12 months for myself has seen me fall victim to temptation, love, loss, and the perils of a taste for the night life and city lights. You could say that innocent part of me has slipped away, much like “And End Has a Start”; with death, and passing being an integral part of the album’s focus and surrounding.
When it came out last summer, many criticized this theme of death as being too foreboding, and having smothering overtones within the music, but as with any piece of art, it’s always down to interpretation. From the first time I pressed play, I found “An End Has a Start” to not be depressing and centering on mortality, but in fact, I found it to be a true celebration of life, hearing life in the beat of the songs, and the charisma coming through Smith’s wistful words. Looking back now, it is quite ironic. The concept of death/life came to be after a personal loss of the band, and that end, saw a new start with the band progressing professionally and within their family lives.
For me, this record has been there through the romances, the break ups, making love, heartaches, the low times, the fights, and the day-to-day stress and confusion, that life holds. The album remains pristine, and never tarnished and represents life in its pure essence; what they successfully capture. “Look up, through the trees to feel as small as you can”, and other lyrics, “Can I start this again?” are all lyrical concepts that we can all relate to, making the band and their material so accessible and so genuine. For a long time, I think “An Has a Start” will remain a very exclusive and individual record for me, reminding me of summers, love and making me feel alive, amplified by Chris Urbanowicz’s unbelievable and breath-taking riffs.
I remember seeing them for the first time in 3 years last May, hearing previews of “The Racing Rats” and “Escape the Nest”, and being spell-bound, having it on CD only made it worse, being able to hear that power again and again for my own entertainment, and these tracks still remain as fresh as on that tour. This album, as well as the band as a whole, remains cutting edge, compelling and outstanding. I truly love it. With the risk of sounding cheesy, this band is a real favourite of mine and I owe a lot to them for the making of this album. Since its release, I’ve literally listened to it every day and I can guarantee it’ll remain a frequently played album within my music collection. 10, 20, 30 Years from now, it’ll mean just as much to me as it did then and now; still sounding utterly epic and remarkable. If you haven’t managed to even get a glimpse of “And End Has a Start” over the past 12 months, where have you been? Do it. Now!
Wednesday 25 June 2008
DOWNLOAD '08
The world-famous “Download” Festival was back for its fifth year at Donnington. Carrying on its intense reputation of it’s previous sister festival: “Monsters of Rock”, Download ’08 looked to pull out all the stops to make it memorable and fucking insane.
Knowing a fair bit about the festival, since following its growth from starting in 2003, and with its major commercialism associated with Kerrang!, yet not making it to Donnington until this year, I was eagerly anticipating the whole package, though only even going for the opening Friday. I’m relieved to say it didn’t disappoint.
Having prepared for the day with a Tesco supreme breakfast, and a battalion supply of drinks; mainly vodka, it was time to hit the road. Expecting never-ending queues on the motorway, it was plain sailing all the way at excessive speeds to the tune of S.O.A.D’s BYOB, or in our case; Bring Your Own Jägermeister. Nearly reaching the site, we tuned into Download.fm; slightly strange, even when pissed. Bonkers presenters (who had also obviously had a tipple) talking about shenanigans in tents and making bizarre animal noises in between belting out Disturbed tracks, got us geared up for the days festivities.
Despite an extortionate £15 to park the damn car, the Download destruction began. Having waited for an hour to enter the site and being fairly merry, and despite it being grey and grim, a whole world of wonder opened up. Stalls selling: staffs, posters, flags, shirts and the slightly more unusual vodka jellies, bongs and “safe” and “legal” drugs, amongst a variety of other goods, and numerous cuisine stalls and drink tents (Jäger!), stood alongside skateboard demonstrations, Guitar Hero challenges and a whole lot more within this rock community.
From experiencing other festivals such as V, in comparison, Download certainly outdoes them. It has a superb setting in the middle of rolling fields (which when you go past any field after this event, you can only think of the memories), and yes it may be more orientated around a specific music genre, but the whole festival is so well focused and organized that it has to be applauded.
Unfortunately missing Seether for wandering around the site in awe, things just continued to get better and better. From what seemed like an inevitably rainy and miserable day, as soon as Disturbed stepped on the stage, not only was there a sonic explosion, but an explosion of sun beamed down onto the crowd. Not good for those in the pit perhaps, but the whole thing was fucking glorious. “Liberate”, “Prayer”, and playing tracks from their latest album: “Indestructable” it was immense, but on a personal level, seeing Dave Draiman and co. perform “Down With the Sickness” was my Download highlight, as it was for pretty much everyone else. It was possibly a good thing that Kid Rock was a no-show (as he’d been admitted to Nottingham Hospital), as disappointed fans were treated to extra long sets from Chicago’s Disturbed and Judas Priest.
Up next, Motorhead. Legendary. Well…in context that that you can say you’ve seen Lemmy, but I think we could have all benefited from subtitles when he was talking to the audience, but hey it’s Lemmy, he was probably more in the festival spirits (quite literally) than anyone else. It was a bit of a samey set, but, needless to say and yes I’ll be damned for saying it; “Ace of Spades” was downright awesome.
Didn’t’ stick around for Judas Priest (heard them from afar); they seemed to lacking serious amounts of energy which was essential to get the masses ready for the night’s headliners: Kiss. So, it was off to the Gibson stage, which I had kept popping back to throughout the day, and apart from those you were desperate to see on the main stage, this is where it was at. Showcasing some very promising talent, there was more life in this tent than over on the other side of the filed at times, exciting stuff.
And then, it was time. Time to “Rock n Roll all Night” with Kiss! Again, not a mega fan, but there certainly were legions of dedicated fans of all ages who had waited a lifetime for this moment, to add up to an ultimately brilliant atmosphere. It has to be said that these guys really are the professionals of all rock mayhem. As a matter of fact, as I stood there with my fellow music comrades, it led me to think no-one does a rock show like the Americans. Think Metallica and their Summer Sanitarium, think Linkin Park, Guns ‘n’ Roses, Kiss is right up there with them if not pissing all over them and it’s marvellous to watch. Their set must have cost an absolute fortune (but I hadn’t forgotten that £15 car parking ticket-and the rest!), what with: pyrotechnics, fireworks and casting Paul Stanley out into the crowd on a harness, to play on his own podium of rock in the middle of the audience. It was insane! And oh yes, Gene Simmons, (THE) legend, sure did outdo seeing Lemmy earlier on in the day. They played a near-enough 2 hour long massive set; after all they did say “We’ll play for as long as we can” and they can only be saluted for their efforts, and was to their own and to their fan’s advantage. Everyone embraced the moment, and though not playing “Crazy Nights” which I had secretly waited for all day, seeing a performance of “Rock n Roll All Night” was as spectacular as the array of lights and fireworks which created a complete bonanza; awesome, awesome, awesome.
So…first Download. First taste of meaty rock in a field of the weird and wonderful. I’ll be at Donnington next Summer (but hopefully having less grief getting of the darn car park!).
Knowing a fair bit about the festival, since following its growth from starting in 2003, and with its major commercialism associated with Kerrang!, yet not making it to Donnington until this year, I was eagerly anticipating the whole package, though only even going for the opening Friday. I’m relieved to say it didn’t disappoint.
Having prepared for the day with a Tesco supreme breakfast, and a battalion supply of drinks; mainly vodka, it was time to hit the road. Expecting never-ending queues on the motorway, it was plain sailing all the way at excessive speeds to the tune of S.O.A.D’s BYOB, or in our case; Bring Your Own Jägermeister. Nearly reaching the site, we tuned into Download.fm; slightly strange, even when pissed. Bonkers presenters (who had also obviously had a tipple) talking about shenanigans in tents and making bizarre animal noises in between belting out Disturbed tracks, got us geared up for the days festivities.
Despite an extortionate £15 to park the damn car, the Download destruction began. Having waited for an hour to enter the site and being fairly merry, and despite it being grey and grim, a whole world of wonder opened up. Stalls selling: staffs, posters, flags, shirts and the slightly more unusual vodka jellies, bongs and “safe” and “legal” drugs, amongst a variety of other goods, and numerous cuisine stalls and drink tents (Jäger!), stood alongside skateboard demonstrations, Guitar Hero challenges and a whole lot more within this rock community.
From experiencing other festivals such as V, in comparison, Download certainly outdoes them. It has a superb setting in the middle of rolling fields (which when you go past any field after this event, you can only think of the memories), and yes it may be more orientated around a specific music genre, but the whole festival is so well focused and organized that it has to be applauded.
Unfortunately missing Seether for wandering around the site in awe, things just continued to get better and better. From what seemed like an inevitably rainy and miserable day, as soon as Disturbed stepped on the stage, not only was there a sonic explosion, but an explosion of sun beamed down onto the crowd. Not good for those in the pit perhaps, but the whole thing was fucking glorious. “Liberate”, “Prayer”, and playing tracks from their latest album: “Indestructable” it was immense, but on a personal level, seeing Dave Draiman and co. perform “Down With the Sickness” was my Download highlight, as it was for pretty much everyone else. It was possibly a good thing that Kid Rock was a no-show (as he’d been admitted to Nottingham Hospital), as disappointed fans were treated to extra long sets from Chicago’s Disturbed and Judas Priest.
Up next, Motorhead. Legendary. Well…in context that that you can say you’ve seen Lemmy, but I think we could have all benefited from subtitles when he was talking to the audience, but hey it’s Lemmy, he was probably more in the festival spirits (quite literally) than anyone else. It was a bit of a samey set, but, needless to say and yes I’ll be damned for saying it; “Ace of Spades” was downright awesome.
Didn’t’ stick around for Judas Priest (heard them from afar); they seemed to lacking serious amounts of energy which was essential to get the masses ready for the night’s headliners: Kiss. So, it was off to the Gibson stage, which I had kept popping back to throughout the day, and apart from those you were desperate to see on the main stage, this is where it was at. Showcasing some very promising talent, there was more life in this tent than over on the other side of the filed at times, exciting stuff.
And then, it was time. Time to “Rock n Roll all Night” with Kiss! Again, not a mega fan, but there certainly were legions of dedicated fans of all ages who had waited a lifetime for this moment, to add up to an ultimately brilliant atmosphere. It has to be said that these guys really are the professionals of all rock mayhem. As a matter of fact, as I stood there with my fellow music comrades, it led me to think no-one does a rock show like the Americans. Think Metallica and their Summer Sanitarium, think Linkin Park, Guns ‘n’ Roses, Kiss is right up there with them if not pissing all over them and it’s marvellous to watch. Their set must have cost an absolute fortune (but I hadn’t forgotten that £15 car parking ticket-and the rest!), what with: pyrotechnics, fireworks and casting Paul Stanley out into the crowd on a harness, to play on his own podium of rock in the middle of the audience. It was insane! And oh yes, Gene Simmons, (THE) legend, sure did outdo seeing Lemmy earlier on in the day. They played a near-enough 2 hour long massive set; after all they did say “We’ll play for as long as we can” and they can only be saluted for their efforts, and was to their own and to their fan’s advantage. Everyone embraced the moment, and though not playing “Crazy Nights” which I had secretly waited for all day, seeing a performance of “Rock n Roll All Night” was as spectacular as the array of lights and fireworks which created a complete bonanza; awesome, awesome, awesome.
So…first Download. First taste of meaty rock in a field of the weird and wonderful. I’ll be at Donnington next Summer (but hopefully having less grief getting of the darn car park!).
Tuesday 27 May 2008
The Boxer Rebellion. Liverpool Barfly. 20th January 2008
So it’s been quiet on the Rebellion front for a while…
Having released their 8 track album sampler in January 2006, as follow up to “Exits”, two years on the fella’s are still here. Continuing their mission to grip you with their stunning presence and sound, rather than joining thousands of others who become victims of short-lived commercialism, TBR are more concerned with finding the right kind of record deals, and a good home/foundation for the second record.
Most importantly, this mini tour seeing stops at: London, Glasgow and of course Liverpool, is a beacon of light that the fight and the music has never been more alive; an important message for dedicated fans.
Being somewhat an underground band based in London, unfortunately most of The Rebellion’s gigs take place in that area; leaving places such as The Midlands deprived of seeing what potential and promise this epic quartet holds.
From a personal point of view, tonight’s performance was a journey of sonic sounds and emotion; having not been to one of their gigs in almost three years, since they last played at Stoke Sugarmill, having got a slot on the Jim Beam Tour in March 2005.
Having closely followed the band since the beginning and since the last time I had the privilege of seeing them, I must have dreamt of this moment a thousand times; envisaging their development, their aura and the beautiful sound waves. I was practically on the edge of my seat for the entire of the hour and a half coach trip there. A part of me was also scared. Scared that I’d forgotten what made this band so special and unique to me, only surviving on video footage and other fan’s photos from London and European dates, posted on their message board up until tonight. But all was not forgotten.
Despite it being a dark, murky and wet Liverpool, it did set the scene quite compellingly and romantically. The Barfly, tucked away in a corner of Liverpool was cunning in letting impatient fans wait outside just a little bit longer than promised, building up a huge, buzzing atmosphere. 20, Maybe 30 of us outside stood talking of them, their website, the “wicked like” debut album Exits, and the orientation of the band, (though one guy mistook Todd for Nathan when telling his mate about the band, I managed to refrain however from correcting him. Having no cigarette smoke to blow into the Mersey night air, I felt I would look too much of a fool and not rock ‘n’ roll enough to go over and elaborate on the details), I saved my excitement for inside. It was like a first date after all this time, yearning to see them, butterflies in the stomach…
The Barfly is a small and intimate venue, perfect for The Rebellion; they’re not destined for the Stadiums of the world, as their music has an embracing effect of hitting out at you at a personal level, something which would be lost if leaping to mega stardom. A nice amount of people were also in tonight which created an ambience to compliment their music.
Then here it was…after three years. A completely haunting and fascinating set and my God was it good! Big drum poundings from Piers, melodic guitars, and singer Nathan Nicholson’s caressing of sounds and the microphone was superb! Hitting off with (vinyl only) recently released single “Evacuate”, which sounds fucking massive on record alone; those rip-roaring riffs from Todd Howe just made the whole night.
Old gems from Exits were unleashed as well as surprising the audience with their old B-side “These Walls are Thin” and they charmingly dedicated “Soviets” to the fans in the house.
And that’s what it’s all about. You know they’re past proving their devotion and commitment, tonight proved that regardless of everything else, they’re in it for the fans. They have great juxtaposition of being graceful, yet enforcing in sound, drawing you in with their wistful, stomping, alternative rock, but to be honest you can never put you’re finger on just what their magical quality is. And that’s part of the mystery, the performance, The Rebellion. However, maybe it was just me, but it was a short set, approximately 40 minutes, not enough to satisfy my craving of 3 years!
Definitely check this band out. Even if their music isn’t your cup of tea, you HAVE to see this band purely for their aura. Their talent, ambition and sound are utterly unbelievable. That alone will leave you jaw dropped, despite the astounding fact that not enough fuss is made of them.
Their journey and history is intriguing enough, never mind their material, and tonight’s short set in some respects didn’t do them justice of showing how talented they are. We wanted more TBR. Before us tonight stood a true band that’s faced it all, and truth and defiance lies within their musical vendetta. So, being truly amazing and seeing them affirm their promise and delights in store with album two, there was only one last thing to remember…Don’t leave it three years until I get my next Boxer fix!
Having released their 8 track album sampler in January 2006, as follow up to “Exits”, two years on the fella’s are still here. Continuing their mission to grip you with their stunning presence and sound, rather than joining thousands of others who become victims of short-lived commercialism, TBR are more concerned with finding the right kind of record deals, and a good home/foundation for the second record.
Most importantly, this mini tour seeing stops at: London, Glasgow and of course Liverpool, is a beacon of light that the fight and the music has never been more alive; an important message for dedicated fans.
Being somewhat an underground band based in London, unfortunately most of The Rebellion’s gigs take place in that area; leaving places such as The Midlands deprived of seeing what potential and promise this epic quartet holds.
From a personal point of view, tonight’s performance was a journey of sonic sounds and emotion; having not been to one of their gigs in almost three years, since they last played at Stoke Sugarmill, having got a slot on the Jim Beam Tour in March 2005.
Having closely followed the band since the beginning and since the last time I had the privilege of seeing them, I must have dreamt of this moment a thousand times; envisaging their development, their aura and the beautiful sound waves. I was practically on the edge of my seat for the entire of the hour and a half coach trip there. A part of me was also scared. Scared that I’d forgotten what made this band so special and unique to me, only surviving on video footage and other fan’s photos from London and European dates, posted on their message board up until tonight. But all was not forgotten.
Despite it being a dark, murky and wet Liverpool, it did set the scene quite compellingly and romantically. The Barfly, tucked away in a corner of Liverpool was cunning in letting impatient fans wait outside just a little bit longer than promised, building up a huge, buzzing atmosphere. 20, Maybe 30 of us outside stood talking of them, their website, the “wicked like” debut album Exits, and the orientation of the band, (though one guy mistook Todd for Nathan when telling his mate about the band, I managed to refrain however from correcting him. Having no cigarette smoke to blow into the Mersey night air, I felt I would look too much of a fool and not rock ‘n’ roll enough to go over and elaborate on the details), I saved my excitement for inside. It was like a first date after all this time, yearning to see them, butterflies in the stomach…
The Barfly is a small and intimate venue, perfect for The Rebellion; they’re not destined for the Stadiums of the world, as their music has an embracing effect of hitting out at you at a personal level, something which would be lost if leaping to mega stardom. A nice amount of people were also in tonight which created an ambience to compliment their music.
Then here it was…after three years. A completely haunting and fascinating set and my God was it good! Big drum poundings from Piers, melodic guitars, and singer Nathan Nicholson’s caressing of sounds and the microphone was superb! Hitting off with (vinyl only) recently released single “Evacuate”, which sounds fucking massive on record alone; those rip-roaring riffs from Todd Howe just made the whole night.
Old gems from Exits were unleashed as well as surprising the audience with their old B-side “These Walls are Thin” and they charmingly dedicated “Soviets” to the fans in the house.
And that’s what it’s all about. You know they’re past proving their devotion and commitment, tonight proved that regardless of everything else, they’re in it for the fans. They have great juxtaposition of being graceful, yet enforcing in sound, drawing you in with their wistful, stomping, alternative rock, but to be honest you can never put you’re finger on just what their magical quality is. And that’s part of the mystery, the performance, The Rebellion. However, maybe it was just me, but it was a short set, approximately 40 minutes, not enough to satisfy my craving of 3 years!
Definitely check this band out. Even if their music isn’t your cup of tea, you HAVE to see this band purely for their aura. Their talent, ambition and sound are utterly unbelievable. That alone will leave you jaw dropped, despite the astounding fact that not enough fuss is made of them.
Their journey and history is intriguing enough, never mind their material, and tonight’s short set in some respects didn’t do them justice of showing how talented they are. We wanted more TBR. Before us tonight stood a true band that’s faced it all, and truth and defiance lies within their musical vendetta. So, being truly amazing and seeing them affirm their promise and delights in store with album two, there was only one last thing to remember…Don’t leave it three years until I get my next Boxer fix!
Friday 11 April 2008
The Boxer Rebellion Main Music Article
(The Main Article featuring in Skint Magazine's debut - 2007)
ROUND TWO: FIGHTING BACK WITH THEIR NEW ALBUM!
The Boxer Rebellion talk: tours, Editors, recording, labels, how to cut it in the music industry and Paris!
Two and a half years since The Boxer Rebellion’s debut album “Exits” and getting dropped by their label, the mighty foursome are back and ready to unveil their finest ever melodic rock. There really is no doubt about it; this compelling and breath-taking band is back on top form and ready to take on the world with their stellar music, and powerful, dreamy lyrics to electrify your senses. Back, and still playing for the love and passion of it – the pure rock ‘n’ roll dream, it’s about time that we salute these comeback heroes.
Forming in 2001, after inspiring Australian guitarist Todd Howe and talented American singer Nathan Nicholson collaborated to form acoustic duo: “Benson”, they soon attracted interest from exception drummer Piers Hewitt, and his creative friend Adam Harrison, who joined to become the bassist. Thus The Rebellion was born and based in London.
After funding and producing their very own 5 track, self-titled EP in 2003, they went on to bigger things; winning a competition on playlouder.com as “The Most Promising Act” after beating off nearly 500 artists. They shone at Glastonbury Music Festival in the same year, when playing at the New Bands Tent. Little did they know, Adam McGee (responsible for Oasis) and his Poptone label was out in force and soon signed them up; to which they had numbers 61 and 57 hit singles and embarked upon dazzling tours, supporting the likes of musical geniuses such as Lenny Kravitz. The guys soon got stuck in at the studio; writing, rehearsing and doing what made them tick; building on their epic, radiant sound. Yet a series, of events lay in store for The Rebellion that would make their music career not as easy going as they’d hoped.
Nathan, was struck down by a life-threatening stomach growth, leaving him out of band action and all band concerns up in the air as the rest of the band grew deeply concerned for his health. Nonetheless, he fortunately recovered and the band want on to release the beautiful “Exits”, seeing them tour all over Europe and as far as Japan with The Walkmen. However, fate was about to intercept their rocketing success once more, when they were dropped from “Mercury”.
It seemed as though everything was against them. They had the decision to pack it in or play on for the love of it and their adoring fans.
I spoke to a very upbeat Todd Howe who proclaimed “We’re back!” and he told me of their compelling journey on the road of set backs and success, and what the future holds for The Rebellion.
SE: So Todd, how’s it all going?
TH: It’s all going really well. We’re all really happy with everything. We’re all a little bit more certain of what we want and where we’re going. We’ve made some really hard decisions after we got dropped the first time. We all sat down and said “are we gonna do it again?” and we said “well yeah. Let’s just see where we can go from here.” I think we were really relieved more than anything when we were dropped ‘cause it wasn’t really the best situation that we were in. We were pretty much victims of circumstance. We got past the stage of being rejected a couple of months after getting dropped by Mercury. Ever since then and particularly since we started writing the album it’s all been really positive.
It’s easy to get the perception of “Oh God, we’ll never hear from them anymore” and “it must all be pretty bad” but that’s definitely not the case. We’ve got a really goof album that we’ve finished, and we’re actually a lot more positive than we ever were with the first album.
We ended up writing some songs at the start of 2006. We wrote (the unbelievably moving) “Misplaced” July/August 2005 – that was the first song that we wrote after we got dropped but then we wrote some songs at the end of 2005/early 2006, and thought “ah shit, we’ve got some really good stuff here.” So we just kept it going and then we got rid of our manager and got a new manager…who is absolutely doing a great job. It’s so refreshing to have someone who’s so really on it at the right level.
SE: So is there any big difference in image and sound of the second album compared to “Exits”
TH: Sonically, it’s still us. Guitars and vocals are blatantly still us. Song-wise the songs are just a lot stronger than “Exits”. It’s a completely different album. I can’t compare this to the first record, and I don’t think I’d want anyone else to compare it, mainly because it’s been so long between the two releases. It is a really good record, I’m really proud of it that’s for sure. Like the first record, there’s songs that I’ll listen to more than any others. There’s some songs that I’m really loving on the new album.
SE: You’ve put more into this album- what with time and money, so it must be much more fulfilling…?
TH: With “Exits” we just basically blew all the money, because we thought – as pretty much every band does – thinking “Oh yeah, this is gonna be really good, we’ve got a big label behind us, they’re gonna push it.” Then reality sets in and you haven’t got any money, but this one’s been a real struggle, just financially more than anything, but it’s definitely a lot more fulfilling. This record cost half as much as the first one and sounds twice as good. There’s something to take from that as well.
SE: You’ll be touring to promote the new album?
TH: We’ve got some UK tour dates (now lined up for January)…we’re really looking forward to getting back in there and getting into it.
SE: Will you be coming back to Stoke Sugarmill?
TH: Stoke Sugarmill has got to be a regular on any tour that we do. We’ve always had good gigs at Stoke Sugarmill. I mean the last (headline) gig we did was supporting Editors (10th September 2004). It was the first time we’d seen them; “Editors” play. They were called Snowfield before. I saw them do their soundcheck and I was like “Oh my God, they’re gonna be huge!”
SE: So you’re playing with Editors soon on the 10th (October at Brixton)?
TH: Yeah, and we’ve confirmed some Editors European dates between 28th October – 11th November…we are really good friends, but you just gotta face up to the fact that they’re absolutely huge.
SE: It’s a shame you’re not supporting Editors on any other UK tour dates…
TH: There ate bands with a much better opportunity and position to be on that tour. We wouldn’t want to blow an opportunity too early when we’re in a position to benefit from the tour. You’ve got a limited number of chances on support tours and you’ve gotta pick the right ones.
SE: Well you’ve got a strong, dedicated fan base behind you…
TH: It’s got bigger since we’ve been dropped which is weird; particularly in London. I mean the amount of people who come to our shows in London, do pretty much because they’re the only ones who can afford to…we’ve still got a huge fan base which is great. I think, hopefully, our fan base is gonna grow quite a lot now that we’ve got a new record hotting up. The most important thing for us this year is to make sure we get a really good home for the band and the record. We’ve got some really good opportunities as well. It’s just a matter of making sure we get that happening as soon as possible – before the end of this year, so next year we don’t have any trouble.
SE: I hear that you’re moving to Paris, is that going to affect the band?
TH: No, not at all. I’m actually going to get the train back as and when I need to. It’s good timing actually because I’ll be on tout pretty much the first half of next year, or quite a bit of next year, so it’s not really going to matter where I am. The good thing is, I get my hometown gig on the 11th (of November- when touring with Editors). I’m really looking forward to it. I’ve just been in London too long.
SE: It’s been two years. Where would you like (TBR) to be, or what do you want to have achieved in two years time, i.e. where do you see yourselves in two years time?
TH: I think this record for us- our expectations are a lot different…’cause we’ve had to do it completely independently. Personally, I’d like this record to get us to the point where we can do a third and do a third album properly. I would think this time in two years we’d be well on the way to finishing our third record, and being in a position where it can really be pushed properly, and have a really solid fan base; and just be able to make a living from it – where we can do it and dedicate ourselves to doing the next record 100%, whereas this one’s taken so long because of how strapped for cash we’ve been. So we’ve had to record this album and write this album between people working and earning money. It hasn’t solidly been two years worth of writing and recording. It’s been sort of here and there. We’ve been writing and then back into the studio and that sort of thing, but we’ve spent 40 days recording, so it didn’t take that long in the whole scheme of things, it’s just spread out over a long period of time. In two years, I’d definitely would love to be really cracking on and have made a name for ourselves to a point, not obviously be huge, but atleast solidify where it should be; or where we think we should be in the whole scheme of things – to be able to do a third album and be pushing it.
SE: Is being a musician and playing music something you’ve always wanted to do?
TH: Definitely
SE: Many of our student readers are in bands. From your own experiences do you have any advice for them on knock backs, making it in the industry etc?
TH: Truly believe in what you’re doing and keep doing it, because eventually, something will happen.
SE: What’s next for TBR?
TH: We’re releasing a single in November on a label called “Another Music = Another Kitchen”. The label is run by a couple of guys who work for a big record label. One is a press officer, and one is a radio plugger, and they run their own little label purely for single releases. They also run a club night at London Proud Galleries (where TBR played on July 26 2007), and it’s one of the biggest uni club nights in London every Thursday. They’re big fans of the boxers – they’re very well respected guys. We wanted to release something indie first on limited edition vinyl and download only. We’re releasing a single for more label interest in the album. We’ll probably release another single after that and then the album. Our manager has co-funded the recording and we’re all really excited. Our manager is trying to sort something out for a single release for Australia; hopefully getting something ready for the big day in January…as well as a showcase in Vancouver in December.
The Boxer Rebellion define what a band is all about. They take the rough times with the smooth, yet they never fail to remain ultimately remarkable; touching your heart from the bass line to the drum beat, and from the echoing guitars to the harmonious lullabies of Nathan’s voice. You can lose yourself very easily in this band as they capture you by their defiant approach, drive to play and luscious sound which surrounds and smothers the listener. Two and a half years!? It’s been too long. They never lost faith and haven’t lost their touch. 2008 looks highly promising for The Boxer Rebellion as they’re set to announce their UK tour dates very shortly. And as for the rest of the bands out there, put ‘em up ‘cause the boxer guys are back in town.
ROUND TWO: FIGHTING BACK WITH THEIR NEW ALBUM!
The Boxer Rebellion talk: tours, Editors, recording, labels, how to cut it in the music industry and Paris!
Two and a half years since The Boxer Rebellion’s debut album “Exits” and getting dropped by their label, the mighty foursome are back and ready to unveil their finest ever melodic rock. There really is no doubt about it; this compelling and breath-taking band is back on top form and ready to take on the world with their stellar music, and powerful, dreamy lyrics to electrify your senses. Back, and still playing for the love and passion of it – the pure rock ‘n’ roll dream, it’s about time that we salute these comeback heroes.
Forming in 2001, after inspiring Australian guitarist Todd Howe and talented American singer Nathan Nicholson collaborated to form acoustic duo: “Benson”, they soon attracted interest from exception drummer Piers Hewitt, and his creative friend Adam Harrison, who joined to become the bassist. Thus The Rebellion was born and based in London.
After funding and producing their very own 5 track, self-titled EP in 2003, they went on to bigger things; winning a competition on playlouder.com as “The Most Promising Act” after beating off nearly 500 artists. They shone at Glastonbury Music Festival in the same year, when playing at the New Bands Tent. Little did they know, Adam McGee (responsible for Oasis) and his Poptone label was out in force and soon signed them up; to which they had numbers 61 and 57 hit singles and embarked upon dazzling tours, supporting the likes of musical geniuses such as Lenny Kravitz. The guys soon got stuck in at the studio; writing, rehearsing and doing what made them tick; building on their epic, radiant sound. Yet a series, of events lay in store for The Rebellion that would make their music career not as easy going as they’d hoped.
Nathan, was struck down by a life-threatening stomach growth, leaving him out of band action and all band concerns up in the air as the rest of the band grew deeply concerned for his health. Nonetheless, he fortunately recovered and the band want on to release the beautiful “Exits”, seeing them tour all over Europe and as far as Japan with The Walkmen. However, fate was about to intercept their rocketing success once more, when they were dropped from “Mercury”.
It seemed as though everything was against them. They had the decision to pack it in or play on for the love of it and their adoring fans.
I spoke to a very upbeat Todd Howe who proclaimed “We’re back!” and he told me of their compelling journey on the road of set backs and success, and what the future holds for The Rebellion.
SE: So Todd, how’s it all going?
TH: It’s all going really well. We’re all really happy with everything. We’re all a little bit more certain of what we want and where we’re going. We’ve made some really hard decisions after we got dropped the first time. We all sat down and said “are we gonna do it again?” and we said “well yeah. Let’s just see where we can go from here.” I think we were really relieved more than anything when we were dropped ‘cause it wasn’t really the best situation that we were in. We were pretty much victims of circumstance. We got past the stage of being rejected a couple of months after getting dropped by Mercury. Ever since then and particularly since we started writing the album it’s all been really positive.
It’s easy to get the perception of “Oh God, we’ll never hear from them anymore” and “it must all be pretty bad” but that’s definitely not the case. We’ve got a really goof album that we’ve finished, and we’re actually a lot more positive than we ever were with the first album.
We ended up writing some songs at the start of 2006. We wrote (the unbelievably moving) “Misplaced” July/August 2005 – that was the first song that we wrote after we got dropped but then we wrote some songs at the end of 2005/early 2006, and thought “ah shit, we’ve got some really good stuff here.” So we just kept it going and then we got rid of our manager and got a new manager…who is absolutely doing a great job. It’s so refreshing to have someone who’s so really on it at the right level.
SE: So is there any big difference in image and sound of the second album compared to “Exits”
TH: Sonically, it’s still us. Guitars and vocals are blatantly still us. Song-wise the songs are just a lot stronger than “Exits”. It’s a completely different album. I can’t compare this to the first record, and I don’t think I’d want anyone else to compare it, mainly because it’s been so long between the two releases. It is a really good record, I’m really proud of it that’s for sure. Like the first record, there’s songs that I’ll listen to more than any others. There’s some songs that I’m really loving on the new album.
SE: You’ve put more into this album- what with time and money, so it must be much more fulfilling…?
TH: With “Exits” we just basically blew all the money, because we thought – as pretty much every band does – thinking “Oh yeah, this is gonna be really good, we’ve got a big label behind us, they’re gonna push it.” Then reality sets in and you haven’t got any money, but this one’s been a real struggle, just financially more than anything, but it’s definitely a lot more fulfilling. This record cost half as much as the first one and sounds twice as good. There’s something to take from that as well.
SE: You’ll be touring to promote the new album?
TH: We’ve got some UK tour dates (now lined up for January)…we’re really looking forward to getting back in there and getting into it.
SE: Will you be coming back to Stoke Sugarmill?
TH: Stoke Sugarmill has got to be a regular on any tour that we do. We’ve always had good gigs at Stoke Sugarmill. I mean the last (headline) gig we did was supporting Editors (10th September 2004). It was the first time we’d seen them; “Editors” play. They were called Snowfield before. I saw them do their soundcheck and I was like “Oh my God, they’re gonna be huge!”
SE: So you’re playing with Editors soon on the 10th (October at Brixton)?
TH: Yeah, and we’ve confirmed some Editors European dates between 28th October – 11th November…we are really good friends, but you just gotta face up to the fact that they’re absolutely huge.
SE: It’s a shame you’re not supporting Editors on any other UK tour dates…
TH: There ate bands with a much better opportunity and position to be on that tour. We wouldn’t want to blow an opportunity too early when we’re in a position to benefit from the tour. You’ve got a limited number of chances on support tours and you’ve gotta pick the right ones.
SE: Well you’ve got a strong, dedicated fan base behind you…
TH: It’s got bigger since we’ve been dropped which is weird; particularly in London. I mean the amount of people who come to our shows in London, do pretty much because they’re the only ones who can afford to…we’ve still got a huge fan base which is great. I think, hopefully, our fan base is gonna grow quite a lot now that we’ve got a new record hotting up. The most important thing for us this year is to make sure we get a really good home for the band and the record. We’ve got some really good opportunities as well. It’s just a matter of making sure we get that happening as soon as possible – before the end of this year, so next year we don’t have any trouble.
SE: I hear that you’re moving to Paris, is that going to affect the band?
TH: No, not at all. I’m actually going to get the train back as and when I need to. It’s good timing actually because I’ll be on tout pretty much the first half of next year, or quite a bit of next year, so it’s not really going to matter where I am. The good thing is, I get my hometown gig on the 11th (of November- when touring with Editors). I’m really looking forward to it. I’ve just been in London too long.
SE: It’s been two years. Where would you like (TBR) to be, or what do you want to have achieved in two years time, i.e. where do you see yourselves in two years time?
TH: I think this record for us- our expectations are a lot different…’cause we’ve had to do it completely independently. Personally, I’d like this record to get us to the point where we can do a third and do a third album properly. I would think this time in two years we’d be well on the way to finishing our third record, and being in a position where it can really be pushed properly, and have a really solid fan base; and just be able to make a living from it – where we can do it and dedicate ourselves to doing the next record 100%, whereas this one’s taken so long because of how strapped for cash we’ve been. So we’ve had to record this album and write this album between people working and earning money. It hasn’t solidly been two years worth of writing and recording. It’s been sort of here and there. We’ve been writing and then back into the studio and that sort of thing, but we’ve spent 40 days recording, so it didn’t take that long in the whole scheme of things, it’s just spread out over a long period of time. In two years, I’d definitely would love to be really cracking on and have made a name for ourselves to a point, not obviously be huge, but atleast solidify where it should be; or where we think we should be in the whole scheme of things – to be able to do a third album and be pushing it.
SE: Is being a musician and playing music something you’ve always wanted to do?
TH: Definitely
SE: Many of our student readers are in bands. From your own experiences do you have any advice for them on knock backs, making it in the industry etc?
TH: Truly believe in what you’re doing and keep doing it, because eventually, something will happen.
SE: What’s next for TBR?
TH: We’re releasing a single in November on a label called “Another Music = Another Kitchen”. The label is run by a couple of guys who work for a big record label. One is a press officer, and one is a radio plugger, and they run their own little label purely for single releases. They also run a club night at London Proud Galleries (where TBR played on July 26 2007), and it’s one of the biggest uni club nights in London every Thursday. They’re big fans of the boxers – they’re very well respected guys. We wanted to release something indie first on limited edition vinyl and download only. We’re releasing a single for more label interest in the album. We’ll probably release another single after that and then the album. Our manager has co-funded the recording and we’re all really excited. Our manager is trying to sort something out for a single release for Australia; hopefully getting something ready for the big day in January…as well as a showcase in Vancouver in December.
The Boxer Rebellion define what a band is all about. They take the rough times with the smooth, yet they never fail to remain ultimately remarkable; touching your heart from the bass line to the drum beat, and from the echoing guitars to the harmonious lullabies of Nathan’s voice. You can lose yourself very easily in this band as they capture you by their defiant approach, drive to play and luscious sound which surrounds and smothers the listener. Two and a half years!? It’s been too long. They never lost faith and haven’t lost their touch. 2008 looks highly promising for The Boxer Rebellion as they’re set to announce their UK tour dates very shortly. And as for the rest of the bands out there, put ‘em up ‘cause the boxer guys are back in town.
EDITORS: Live at Manchester Apollo 14th October 2007
(Left: Article, as appearing in Skint Magazine, 2007)My, oh my, what a night to remember! Having closely followed Editors over 2007 as a fan and as a reviewer, it’s been fantastic to see their progression and “well established” status.
As their last UK tour of 2007, a wave of awe and admiration from the fans engulfed the Midlands four-piece, as they played as if their lives depended on it, before embarking on their European Tour with The Boxer Rebellion (TBR).
Seeing Editors first play at Stoke Sugarmill on 10th September 2004 as support for TBR, they’ve undoubtedly come a long way. Also, seeing them three times in 2007, they’ve grown phenomenally, reeling in more and more crowds every single time.
People queued frantically outside for t’editors eagerly anticipating their appearance, and talked of their mind-blowing slot at this year’s V Festival.
Making a dramatic entrance on stage to the tremendously loud-sounding and catchy “And End Has A Start”, fans were immediately bowled over. The charming vocalist Tom Smith, was just so polite, complimenting the crowd with “You look lovely!”, as the rest of the members stood back in glee at the crowd reaction. The guys really did then kick into it.
Screaming “Hey! Hey!” at the life-bursting stages of their indie hits, it injected a whole new feel into their set. Having the world at their feet, they relished up the fan’s appreciation, with Tom going mad! Besides reaching out to the crowd with their music, he brought the group closer to the fans with him running crazily across the stage, circling the piano, standing on it and even spanking it! Well, their music certainly is sexual. Guitarist Chris Urbanowicz was also getting into “it”, thrusting his guitar and making mad love to the audience with their music; he received a mad array of cheers and applauds. Urbanowicz is undeniably an amazing guitarist, delivering those well crafted and well known crazy riffs.
Surprising crowds with a much more heavy side to their music collection, new B-Side “Banging Heads” was practically orgasmic, yet heavy, haunting and superb as Tom screamed: “Why do you keep a lock on the door?” It was definitely evident that this tour accomplished their second album achievement and celebrated the way in which it has been received; also seen by bassist Russell Leetch and drummer Ed Lay who played pure perfection with permanent grins on their faces.
The angelic and epic “Smokers Outside The Hospital Doors” led to a choir of fans singing “We’ve all been changed…; enough to move you to tears. This was contrasted to the bombastic “Fingers in the Factories” and “Munich” which led to a standing ovation upstairs, and ultimately rocked the house leaving us wanting more.
So go on! Go and see this sleek and professional foursome and let them blow you away. With Editors representing where it’s at for The Midlands their act will never go stale. Biased? Maybe. Brilliant? Understatement.
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