Wednesday, 13 February 2008

Single Reviews - May 07

Words - Suzy Sims
Previously published on Native.tv http://www.native.tv in May 2007
(c) Niche News & Publishing Ltd


Adjágas - Lihkolaš
Ever Records, 14th May 2007

Curious. Plinky plonk folk - this wasn't intended for Eurovision was it? We hope not, as Norway doesn't really have a habit of picking highly successful songs (says someone from the home of Scooch, Gemini and the other losers). This is a real oddity from the Sami group, who were apparently set to open Glastonbury's Pyramid Stage in 2005 before flooding put an end to most of that. If you like European folk, chilled acoustic and a feeling of calm washing over you, then listen to this. Just over halfway it mutates into a waving piano with mournful strings. I have absolutely no idea what they're saying though, as jeg snakker ikke norsk (just that one line. Three weeks of Linguaphone, and that's all I got).

The second track 'Mun Ja Mun' reminds me of those chanting monks which were big for some reason in the mid 90s; this one bumps and shuffles along. Coffee house music.

Adjágas

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Josh Pyke - Middle Of The Hill
Joy League Records, 23rd April / 7th May 2007

Tense and dampened strums on this acoustic, indie rock song. Josh Pyke is an Aussie, although confusingly we seem to remember him being included in a recent 'British Invasion of SXSW' CD in Clash. Middle Of The Hill has a bit of a storytelling trip down memory lane set to grooving guitars with a slightly downbeat air about it. In some places it sounds like a less complex The Shins, and matures into a song which is charmingly rustic, perhaps like the house he mentions. ‘I don't pay enough attention to the good things when I got ‘em’. Learn from Josh and listen to this CD. Sweet and short. We like it.

Josh Pyke

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Let's Wrestle - Song For ABBA Tribute Record
Marquis Cha Cha , 14th May 2007

Possibly the best song title we've heard in a long while. Understated indie pop. The vocals are ever so slightly Eddie Argos. It sounds a little like it's detuning during the chorus which we particularly enjoy.

'Can you get that knife right out my back now please... And if the Book of Love says Right On, I say Fuck Off'. Such polite boys.

It's full of homemade charm and the guitar is reminiscent of early Pulp (perhaps 'Freaks' etc) The other songs on here are 'Quazar Blues', which has some terrifying roars and a silent break, because silent breaks are cool. 'I Want To Be In Husker Du' is led with a grooving bassline, drunkenly sliding around.

My sister called them a poor man's Art Brut, but I actually prefer them.

Let's Wrestle

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The Maccabees - Precious Time
Polydor, 7th May 2007

'Precious Time' starts with hyperactive charm. I love its different sections, from the clicking ‘Let’s take our precious time about it’ singalong to the softer verses, to the crowdrocking bits where the moshpit is dictated by the heavy guitars and overexcited drums.

It's a great song from The Maccabees and was enjoyed by everyone in the office, which is generally unusual. ‘Time can mean so much, are you still mine?' Sweet, and much more subtle than that Mark Ronson.

The Maccabees

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The Scare - Bats! Bats! Bats
Dance To The Radio, 7th May 2007

Or 'Punk Punk Punk’ as their MySpace description goes. The Scare are originally all the way from Brisbane and are now noisily invading our fair shores courtesy of Dance To The Radio’s ‘Listen to The Silence’ releases, which involve bands not from Leeds. Reading my notes for 'Bats! Bats! Bats!', I seem to have written ‘Dark. Thunderous. Class. Yell!’

In places it’s vaguely Pink Grease, that raw punky sound. Nice and sweaty and we can see it being part of the seriously cool music underground. B-side ‘Sister (What’s Good For You)’ is a synth-led nailbiter with tearing guitars, and it’s damn good. Scenesters, keep an eye for their mayhem at the Great Escape Festival shortly after the single release.

The Scare

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The Stills - Destroyer
Drowned In Sound Recordings, 14th May 2007

'Destroyer' is the first track to be released from The Stills album 'Without Feathers', their first for four years. It's punchy and smooth with colourful brass adding some spice to the indie rock proceedings.

We like this muchos. It jogs along with purpose and surprisingly upbeat anger ('I will destroy you...') We wouldn't like to be on the receiving end of their seething wrath. Good tune though.

'Only when you're dead I'll make you mine'? We're sure there's laws against that sort of thing, sonny.

The Stills

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Tiny Dancers - Hannah We Know
EMI, 28th May 2007

'Hannah We Know', the second release from Tiny Dancers, comes galloping along, all long legs and broad smile. Thigh-slapping and foot-tapping, it's a cheerful one which builds and builds until you find yourself running gaily alongside with a similar beam on your face. We think this is impossible to dislike.

Tiny Dancers

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Willy Mason - We Can Be Strong
Virgin Records, 14th May 2007

Willy Mason 'We Can Be Strong' is a charming, mostly acoustic, bluesy downbeat piece which stalks across the grass and sits in the corner with arms crossed, feet on the table, refusing to make eye contact.

Willy Mason has a surprisingly booming and wise voice which instantly takes control of the situation. That female voice you hear is KT Tunstall, by the way. Willy plays guitar, piano and sings, possibly not all at once, though he does strike us as being particularly talented.

Willy Mason

Sunday, 10 February 2008

Cold War Kids - Band Of The Week

Words - Suzy Sims
Previously published on Native.tv http://www.native.tv in 2007
(c) Niche News & Publishing Ltd


COLD WAR KIDS

Band Members: Matt Aveiro, Matt Maust, Jonnie Russell, Nathan Willett

From sunny California in the US of A come Cold War Kids. Hotly tipped for this year, they play powerful and artistic indie rock which has pricked up the ears of people over here and t'other side of the Pond. Their live shows are noted for being hectic, their name comes from a poem Maust wrote while in Eastern Europe once, and they support Norwich City after an appearance on 'Soccer AM'. But don't let that put you off them.

INFLUENCES
Bob Dylan, the Velvet Underground, Billie Holiday, according to their MySpace

THEY SAY
"Inspiration behind music…. Thinking about peoples everyday battles in life; trying to scoop up some of that and shape it in a way that can flip their ideas and or your own"
- Nathan Willett interview, Culture Bully, Oct 06

WE SAY
Bouncy blues indie rock and mad stage shows have made the Kids hot property. Recently released 'Robbers and Cowards' is regarded as an imaginative debut about dubious characters set to cool stompy music

SAMPLE LYRICS
"All mixed up in the wash / hot water bleeding our colors / now hang me up to dry / you wrung me out too too too many times" ('Hang Me Up To Dry')

SIGNED
V2 over here and Downtown Recordings in the States

DOWNLOAD
V2 has kindly put out a 'Winter 07' sampler of tracks from their roster. Click here to download Cold War Kids 'Passing The Hat' for free, along with Duke Special's 'Portrait' (previous Band of the Week) and other bits and bobs from The Rakes, Soulsavers and Little Man Tate.There are also a handful of MP3s on their website for your listening pleasure.

LINKS
Website
MySpace

Album Reviews - May 07

help she can't swim,Words - Suzy Sims
First published on Native.tv http://www.native.tv in May 2007
(c) Niche News & Publishing Ltd


Help She Can't Swim - The Death Of Nightlife
Antidote Records, 7th May 2007

After months and months of annoying delays, Help She Can't Swim's second album 'The Death Of Nightlife' is finally on shelves.

‘Pass The Hat Around’ gently buzzes its way in with feedback and smooth vocals. HSCS almost sound laid back for the first minute before turning all their instruments to 11 and crashing along. ‘Can we just enjoy this please’ plead Tim Denney and Leesey Frances. Urgent keyboards mark ‘Idle Chatter’. ‘Strangle you with the telephone cord / just cos you’re making me feel bored’. It’s the sort of music you should dance around in your pants to, which we know Miss Leesey would approve of.

‘Kite Eating Tree’ has the same quirky keyboard tones and brooding guitar. The keys are almost soothing but played in a mildly horror-inducing way. Last single ‘Hospital Drama’ is one of the key tracks on the album. It's powerful and complex with dark lyrics giving us a window into the personal subject matter.

‘Apes and Pigs At The Vulture Coliseum’. "And you feel different now and you feel happy now." Tom manages to sound bored and angry within a short space of time, while Leesey's voice stays calm, but in an ominous way.

‘I Think The Record’s Stopped’ has a catchy guitar riff. ‘Midnight Garden’ thrashes around in some pain then cruises glacially before being brought back to life with some howling. ‘All The Stars’ ends in an cacophony of pretty much every instrument within reach, while ‘Dragged Under A Wave’ is a stop-start kind of song which is particularly enjoyable.

‘Never the Right Time For Us’ is a slight departure from the norm. It’s still fast-paced but more mellow and the perfect track to end on. It’s all frenetic, cool and angsty art punk with plenty of anger, once kept in and now seeping out at a rate of knots. Worth the wait.

Help She Can't Swim

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Josh Pyke - Memories & Dust
Ivy League Records , 21st May 2007

"Sometimes I know I become all that’s weak in a man," begins Josh Pyke on ‘Lines On Palms’, one sentence guaranteed to make all women screech ‘yeeeeah!’ while their menfolk are nodding their heads along and drinking beer. "But I keep trying and I won’t quit and that must be worth something more…"

Pyke is usually described as an 'Australian troubadour'. It’s all very warm, singer-songwriter, but don't let that description throw you. There’s something full about this – it’s not a wimpy One Man And His Guitar, there’s more orchestration, resulting in strumming, singalong, echoing majesty. There’s swearing and plenty of confidence and powerful music, not weedy strums. Must be a result of all those stubbies. It stands out of the singer/songwriter field like Uluru glowing in the dusk (bad Australia comparisons over with, we promise).

We did enjoy ‘Middle Of The Hill’ when it came out. ‘Mannequins’ has some smooth slide guitar ascending and some quirky chord changes which keep it lively and stop it sounding too commercial.

There’s always something fulfilling yet slightly downbeat about acoustic guitars. Some people find it incredibly miserable but I really like it. ‘Someone Else’s Town’ makes nice use of gently weeping strings to give a dreamy air. "There’s not time to fuck around for too long."‘Private Education’ contains the line "Forgive me for what I’ve done, and forgive me for what I might do" may just become my new motto for my coat-of-arms (or MySpace headline, which is the same thing nowadays). ‘Buttons’ is one of the high points for me, as it carries and swells, led along by a gently steering bass.

"It’s funny how you can miss someone even when they’re sitting next to you." Nice humour there in the up-and-down ‘Beg Your Pardon’. ‘Vibrations In The Air’ is a mournful, looking-into-the-disappointing-past sort of song. ‘Regret is like a filter that colours all of your endeavours’.
I think there’s a banjo at the start of ‘Monkey With A Drum’, which is usually an offence punishable with a lightning strike of loud electro, but this one doesn’t sound too bad. Pyke displays a surprisingly deep and rich voice on this song.

A lot of the tracks sounds similar, which isn’t a bad thing but which makes our usual track-by-track reviews redundant (it sounds a bit like this one, which in turn sounded like this one…) but it’s not individuality and completely different sounds you need here. Memories & Dust’s main purpose is to create some sort of atmosphere, not to be randomly crazy in style, and it does this well. It's warm, soothing, satisfying. Imagine sitting round your evening campfire on a sandy Gold Coast beach. There’s a few people playing volleyball, or drinking beer, or picking jellyfish out their sandals, but they’re all watching this guy who’s sat concentrating on his guitar.

It’s a nice, mature sounding, well-rounded album, which is surprisingly short, lasting just over 38 minutes. The lyrics are beautifully written, very thoughtful and it's a pleasure to listen to. And for anyone whose Australian musical education starts at Kylie and ends at Jason, there’s a name here who I think will have much longer-lasting respect.

Josh Pyke

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Maps - We Can Create
Mute, 11th May 2007

'We Can Create' is the debut album from atmospheric music wizard Maps. It fizzes into action with overdramatic synths on ‘So Low, So High’. Chapman's voice is soft and understated, covered in fuzz and whispering quietly in the background. He’s not the focus of the song, rather the instrumentation is. This song is beautiful, sweeping the listener along as it soars majestically into the clouds.

‘You Don’t Know Her Name’ starts with a trapped mouse trying to fight its way out a keyboard before the dancey beat kicks in. By 'dancey', I mean it's more chilled than some sort of TECHNO TECHNO TECHNO thing and there are organs and teasing buzzes.

Glorious beeps and fizzes dance across the background. ‘Elouise’, which we believe was recently given away free on iTunes, comes honking in with soft bass and smashey percussion. Single ‘It Will Find You’ is so intense it almost leaves you drained at the end. ‘Take what you choose / to leave behind you / love what you use / and it will find you.’ It finishes with a catherine wheel crackling away to nothingness.

‘Glory Verse’ seems a bit of a downer, on a par with early Coldplay in the misery/thought-provoking stakes, but with far nicer instruments. ‘Liquid Sugar’ sort of swells in and out with a shining drone and tinkles. ‘To The Sky’ is another buzzing on a razor edge but this time also features soothing guitar and ‘Back & Forth’ is a highlight.

‘Lost My Soul’ isn’t as intense as some of the others, it’s a bit of a wind down track. ‘Don’t Fear’ sounds a bit of a hark back to ‘It Will Find You’ but slightly simplified, just voice and keys for almost the first minute. After a while it explodes and becomes far more multilayered with feelings of happiness, want, sadness and peace.

‘When You Leave’ is another 6 minute epic. ‘When you leave / I ain’t coming / what you have / comes to nothing’ he sings below the electronic clouds.

Judging from the credits and thanks, plenty of this was made with help from Maps’ friends in Iceland, home to much experimental music. The artwork also features peaceful fibre-optic orbs designed to set your mind into calm.

This is a beautiful album. It’s a stunning work of meticulously-crafted art with understated power. You wouldn't believe it was made in someone's bedroom, would you...

To visit Maps website click here

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Wheat - Everyday I Said A Prayer For Kathy And Made A One Inch Square
Ever Records - 21st May 2007

"Scott (Levesque) and I started Wheat as an art project, and the second we let other people's opinions slip in is when it started to come apart. We needed to walk away from the whole thing. The things we loved, the art of what we did, the control of what we were about seemed to be slipping, so we had to jump," says Brendan Harney. After various legal wrangles and a brief hiatus caused by their unhappiness at the remixing of 'Per Second, Per Second, Per Second... Every Second', Wheat has returned.

But is it any good? To be honest, I had to listen to it in two sittings because I found it dull.

Opening track 'Closeness' is angsty with urgent guitar punctuated by thrashing cymbals. It's soft, rocky and slightly questioning. The vocals are brought to the forefront rather than being drowned out by the music. 'Little White Dove' is mellower but slightly uninteresting; some hand claps are brought in to liven things up.

'More = More' has spacey percussion and a gently bouncing synth before the over-familiar, tired guitars pound in. This one plods slightly, but i rescued by the good 'I Had Angels Watching Me'. 'Saint In Law' is peaceful with fluting synths, and is the sort of soothing tune you'd get in a garden centre or one of those spiritual shops where you go to buy your incense/semi-precious stones and that malarkey. The music is simple and gentle, though the vocals do sit slightly clumsily on the top. The end takes on dancing overtones and it sounds like it could be echoing through your bathroom.

'What You Got' sounds nothing like the similarly named Little Man Tate track. Instead it's half a minute of the same two notes, which can be peaceful or pestering, depending on your viewpoint. It's quite percussion-y, which has the effect of putting you in a trance. 'To, As In Addressing The Grave' has an unsettling name and warm yet uncomfortable tones surrounding it. The long notes sound almost religious. 'Round In The Corners' is another slightly down, organic-natured track. 'An Exhausted Fixer' is pretty hard going to begin with, and sounds too repetitive. 'Courting Ed Templeton' (do they mean the skateboarder?) is one of the nicest tracks, with soft-sounding electronic and acoustic tones.

I just couldn't get into this album. It's not to my taste. I found it a bit too mellow, with overbearing percussion and the lick of melancholy made it sound slightly dreary, though in places it sounds almost experimental and improvised, and I found it slightly dull and uninspiring.

Wheat

Album Reviews - May 07

Words - Suzy Sims
Previously published on Native.tv http://www.native.tv in May 2007
(c) Niche News & Publishing Ltd


Abdominal - Escape From The Pigeon Hole
Antidote Records, 28th May 2007

The cover shows Mr (or rather MC) Abdominal, aka Andy Bernstein, in front of a wall showing painted pigeons flying above his head. What, didn’t trust real birds there? Well-known for his collaborations with DJ Fase and his appearances on DJ Format's releases, this is Abdominal's first solo record, although it does feature production credits from a number of his friends. "My goal is to show a more complete picture of who I am," he says.

‘I’m not breathing today,’ begins ‘Breathe Later’. It’s got quite a funky beat to it. This is cool Canadian rap which seems calmer and more stylish than the commercial hiphop/rap which is forever being churned out by their southern neighbours. ‘T-Ode’ is a tribute to Toronto and left me musing how rap is the modern poetry as he weaves detailed descriptions of the place he’s from. ‘Pedal Pusher’, the story of his previous job as a courier, is fun and makes you want to dance, with scratching and uplifting beats.

‘Open Relationship’ is another with smooth beats, retro funk twangs and echoing synths vibrating like puddles when a T Rex is stomping nearby. It’s also got an interesting story of a non-exclusive relationship, which makes it fascinating to listen to. I'm not generally one for lyrics, but the songs here are so detailed and interesting you can't help but pay attention.

‘Radio Friendly’ is fresh and chirpy, gambolling along. Incidentally the title is a slight piece of sarcasm, as approximately 70% of the words are ‘fuck.’ Try playing that on Radio 2 and see how far you get. It’s amusing, though I’m generally not a big fan of swearing for swearing’s sake.
‘Heaven’s Demon’ has a bassline which leaps all over the place like an over-excited salmon before zipping in all directions and finishing with an intoned ‘Demon’. ‘Big Track’ has a phat groove guiding it along gently as Abdominal lays into McDonald’s work and ingredients. We suggest he might be a secret Burger King employee.

‘Sex With Her’ is the x-rated ‘talking about sex with girls’ track, where he literally explains his exact technique in bed. No wonder it’s subtitled ‘Skip This One Mom’, I’d have skipped it as well if I wasn’t meant to be reviewing it. 3pm on Sunday is not really the time for porn for the ears. ‘Walk Left/Stand Right’ has a plaintive acoustic strum all the way through which reminds me slightly of Buena Vista Social Club's ‘Chan Chan’ and contains a rant against things which seem all too familiar, such as friends repeating your jokes and taking the credit. The brass in ‘Girl Shit’ is a nice smooth touch. ‘Countdown’ also has a downbeat, dusky echo to it, accompanied by strangulated feline sounds.

My one complaint is that albums these days are generally half an hour or so long. This one is 15 tracks and lasts some 55 minutes, which I found a bit hard going. Abdominal might look more like Zinedine Zidane than 50 Cent, but he definitely has a lot of class and style, and this crisp and neat debut is a proud start.

"And in the silence… a butterfly flutters its wings."

Abdominal on MySpace

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Beverley Knight - Music City Soul
Parlophone, 7th May 2007

'Music City Soul' is Beverley Knight's fifth studio album. Now with an MBE under her belt - or rather, in a box on her mantelpiece - this was recorded in the Music City of Nashville, hence the name.

Hear Beverley sing her heart and soul out. She's got a cracking voice. The production is all a bit too polished for my liking; a bit too perfect, such as the opening to ‘Every Time You See Me Smile’. ‘Aint That A Lot Of Love’ comes swaggering with intent, like she’s going to kick you out the way with her wedge heels and dance atop your mute body. There’s no denying she has a spectacular voice. ‘After You’ is a bit softer on the old ears, ‘Nothing is real, nothing is sure, nothing is forever’. She’s grown up.

‘No Man’s Land’ is honeyed, thoughtful, slightly wistful, and it brings across some of the warmth shown in the video. This song swells amazingly and has fantastic elements of blues to it while retaining a classic style. ‘The Queen Of Starting Over’ has a charming retro feel about it, and in fact reminds me slightly of Joss Stone (Sorry).

This album is soft, smooth, stylish and good. It wouldn’t be out of place on a film soundtrack. ‘Black Butta’ is an excitable and rockier tune.

‘Saviour’ is a gentle song with stylish backing vocals. ‘Time Is On My Side’ is a sweeping, soulful cover of the timeless Stones song, and it sounds fantastic. ‘Why Me, Why You, Why Now’ is another class tune. ‘Tell Me I’m Wrong’ is a beautiful simple tune. ‘Rock Steady’ has a bit of a funky jazz feel to it. The bonus tracks are ‘Uptight’ and ‘Back To You’. the first being uplifting and sunny rather than 'Uptight'. It's soul and gospel which you can imagine bopping along out of time to.

It’s the sort of album you get your girly mates round to gossip to, put it on in the background as you sip wine and wear slippers and brush each other’s hair or whatever. I’m a little concerned Beverley’s going to go down the route of many established singers – ie a fantastic special voice, but dullish backing tracks.

'Music City Soul' is feelgood and feel-nice with warm, summery and peaceful tones. A good solid album, and although it doesn't seem to have that special spark, it’s still entertaining and top quality.

To visit Beverley Knight's website click here

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Fountains Of Wayne - Traffic And Weather
Virgin Records, 7th May 2007

Fountains Of Wayne? Now where have we heard of them before? That's right, 'Stacy's Mom' is on SingStar and so we've heard it repeatedly every drunken Saturday night for some time. She's got it going on...

For those of you who are still unaware of the band, or who have not been subject to my karaoke at 2am, you need to know this band does not take itself too seriously. The band name comes from a lawn ornament store in Wayne, New Jersey. They're fun, they're colourful, they're powerpop. That pretty much describes the Fountains.

'Traffic And Weather' is overflowing with fun pop hooks. Single ‘Someone To Love’ is the chirpy opener - you can view the video to this at the bottom of the page to give you a flavour of what FoW are about. ’92 Subaru' is full of bouncy energy, while ‘Yolanda Hayes’ is more laidback, though the guitar still has some urgency to it. ‘Oooh we belong together / like traffic and weather’. Though some Carry On… fans instantly think ‘Like strawberries and cream. Or ham and eggs’.

So thuds along ‘Traffic And Weather’. I think this is a bit too happy and flippant for older fans, but those who like your Busted/McFly types will lap this up. ‘Fire In The Canyon’ is a bit ‘Littlest Hobo’ with bluesy and country licks. The album is all very nice and cheery, with tales of waiting for luggage – ‘they may never get home again’ (‘Michael And Heather At The Baggage Claim’) while 'This Better Be Good’ is almost a modern power ballad and sounds very Queen-ish. ‘Strapped For Cash’ is seductive and jazzy, while ‘I-95’ is soft and round in a gentle way. Powerpop at its finest.

‘The Hotel Majestic’ is full of acid vibes and cheer and country tones come in again at the end for ‘Seatbacks and Traytables’, making for a mix of styles I hadn't expected from this group.

Amusing lyrics and sunny sounds make this intelligent pop mixed with throwaway rock. I have to admit that to me, nothing seems to stand out as truly different or super-fantastisch, but 'Traffic And Weather' is quality powerpop/rock which leaves you smiling.

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Groove Armada - Soundboy Rock
Columbia, 7th May 2007

We have nothing but praise for whoever is responsible for the cartoon world lovingly recreated in miniature on Groove Armada's 'Soundboy Rock' album sleeve. Parties, nudity, policemen, red phone boxes, croquet – we were looking for Wally, but have yet to spot him. It’s a smashing little animation which you can’t help being caught up in, like a child lost in the tiny details for hours.

'Soundboy Rock' starts well with gloriously uplifting house, fresh and funky beats. It opens with the delicious ‘Hasta Luego Mr. Fab’ before kicking straight into possible dance classic ‘Get Down’. It’s energetic, lively and full of attitude. No disrespect to the rest of the album, but 'Get Down' is far and way the best track.

‘The Things That We Could Share’ doesn’t have such a pounding beat but still has elements of acid jazz funk and hand claps. ‘Save My Soul’ has a much calmer vibe passing through like a golden thread on the jittery beads of synth, every so often interrupted by dramatic echoing pulses.‘What’s Your Version?’ comes tiptoeing through and launches into a languid sway accompanied by smooth rum vocals. ‘Paris’ is a percussion and piano based song which shimmers high in the air. ‘I gave you my love and you took it…’ It’s downbeat and sophisticated.

‘Love Sweet Sound’ takes us back to electro, with a definite 80s feel. It’s quite angular and plasticky, with a winding-down charm. ‘The Girls Say’ is full of urban bass. ‘Lightsonic’ takes us back to the dreamy synths which are such a key feature of this album before cracking open the vocoders and passing them round. There's enough for everyone.

The title track is a tune of swaggering reggae, an unexpected sound but most welcome. The design team certainly enjoyed grooving along to this one - that's right, I saw you guys. ‘Drop That Thing’ is disjointed with frenetic electronic darkness. ‘Song 4 Mutya’ is a proper 80s fuzz throwback with attitude and sexy vocals from the ex-Sugababe. This a catchy song and one of the high points.

‘From The Rooftops’ gently floats along, while ‘See What You Get’ provides a bit of a wake up, although I personally think it plods along too repetitively but not really going anywhere. ‘What’s Your Version (Reprise)’ finishes off, again quite a gentle song. Sadly the album doesn’t keep up the crazy energy throughout, but it's still pretty good nevertheless.

I wouldn’t say ‘Soundboy Rock’ was the best album name – rock what now? It's a bit of a tease as much of the album is along chilled lines. For people who still don’t believe Groove Armada can top lazy swimmer ‘At The River’, well with 'Get Down' they sure can. Who wants to chill when you can have a fantastic party?

Groove Armada

Interview - Help She Can't Swim

I enjoyed this interview, Leesey seemed really sweet.

Words - Suzy Sims
First published on Native.tv http://www.native.tv
(c) Niche News & Publishing Ltd


LEESEY FRANCES - HELP SHE CAN'T SWIM

HELP SHE CAN'T SWIM
Tom Denney - vocals, guitar
Leesey Frances - vocals, keys
Tim Palmer - bass
Lewis Baker - drums

Warning – Tedious Link Ahead.

We have a member of staff in our London office called Mr Hughes. Hello, Mr Hughes. Mr Hughes has a brother, also called Mr Hughes. This second Mr Hughes was the engineer/knob twiddler/tea maker during the recording of Help She Can’t Swim’s new album ‘The Death Of Nightlife’. Mr Hughes (the first one) phoned me up and told me about it literally one minute before I phoned Leesey Frances. Small world, innit.

And with that near-fascinating revelation out the way, here’s the interview. Leesey sings and plays keys in Help She Can’t Swim, alongside Tom Denney (vocals and guitar), Tim Palmer (bass) and Lewis Baker (drums). She’s lounging about in her pyjamas when we call her at lunchtime. I apologise because I don’t usually do phone interviews and there’s a strong possibility I’ll forget my questions, but Leesey says that’s fine because she’s probably ‘going to be quite useless at answering them.’

“I’m having a nice relaxing day. My girlfriend’s coming down later.” It's a warm day, and I say don't tell me you have a sunny garden as well. "Yeah I have. But I haven’t even been out in it because I’m not dressed yet and that would be wrong!” We’ve got a car park, I don’t really want to sunbathe in that. “Yeah I can see things against it. People possibly running you over, you know, things like that.”

Help She Can’t Swim’s last single was ‘Hospital Drama’, which was out at the end of March. Leesey starts telling me about it, then decides to put me through to Tom Denney because he wrote the lyrics.

“That’s probably I think the most personal song that I’ve done. My dad and my grandmother both had cancer, they were both sort of in and out of hospital, on lots of medication. It’s all about the feelings of that,” says Tom.

“I just find it kind of really annoying when people think it’s actually about going to a party and getting drunk. I was reading that and it was like ‘oh my God you’ve completely missed the second verse’. If the song was about anything else I probably wouldn’t mind,” he says with an embarrassed giggle. “It’s like oh my God, you’ve completely misread that.”

Now Tom sounds slightly surprised – Leesey’s vanished. I briefly thought she’d given up on the interview and had unkindly passed me off onto her bandmate, but she was just making a quick toilet stop. “Tag team interviewing!” says Tom as he hands the phone back.

I thought you’d legged it up the road or something. “Oh no. I was also looking for tobacco. I was looking through my dad’s room because I’ve run out. And so I was going to steal some, because I’m a bad daughter. I have no moral fibre.” Did you find some? “Yeah I did so it’s fine, I don’t have to panic.” That’s all right. You’re a bad daughter, but you’re going to be slightly less stressed.

I ask about the promo video for ‘Hospital Drama’, which you can view here should you not have seen it already. “Oh God yeah,” says Leesey. I can almost hear her rolling her eyes down the phone. Whose idea was that?

“Not ours! We basically got sent through a load of treatments, most of them were beyond hideous. Basically we were like ‘We don’t want any dress up doctors and nurses.’ We didn’t want to kind of trivialise it in that kind of way. And this is why Tommy’s a bit pissed off about how it was.

"We got there and they were like ‘Yeah Tom you’ve got to do some acting’ and he was just like ‘What…’ This was probably made worse by the fact that Tommy’s dad’s an actor and therefore we knew that when they saw it they would probably be pissing themselves. Us three, because we just had to be dressed up stupid, we were like ‘Ha ha ha!’ but then ‘Oh God poor Tommy!’ So yeah, it’s fine, but it was a bit like, I dunno. I don’t know if it was the best move for us! But it’s all right. Dressing up like the Horrors.”

Got some good outfits out of it. “Good times, eh. I think I probably look the worst out of everyone. Because I’ve got red hair it kind of accentuated the disgusting face paint I had on, do you know what I mean. Most people had brown hair and it made them look a bit ghostly and that’s fine. They also backcombed my hair to absolute fuck and I was like ‘Oh my God, what have you done to me?’ I was just like, I want to wash my hair and make it feel less disgusting. But it’s fine. The stealing of the soul wasn’t really our idea.”

This year Help She Can’t Swim are playing The Great Escape in Brighton and Dot To Dot in Nottingham. “We’re doing one called Emmaboda in Sweden which we’re really excited about but I think that’s the one we’re playing where we’re quite annoyed because Xiu Xiu’s playing but on another day so it’s a bit like [v high pitched noise like when you stand on a cat’s tail]. But we’re really excited about that, ‘cause we’ve never been to Sweden.”

Are there any bands you’re looking forward to at Dot To Dot and Great Escape? “Erm… I’m completely useless because I never know who’s playing.” She shouts over to Tom and asks him. “Dot To Dot: The Thermals, Bearsuit, Architecture in Helsinki, that’ll be nice. At the Great Escape we’ll be able to see My Device. That’ll be really funny because Tommy’s known them for years.” You going to heckle? “Yeah it’ll be funny. Oh, Damn Arms might be playing apparently. We like them.”

It’s a good line up this year. “Yeah I don’t remember there being anyone very exciting last year. It’s really annoying because we don’t know who we’re playing with still.” I tell Leesey the schedule went up online the other day, in fact I was looking at it earlier. She relays the information to Tom, who goes to have a look. (They’re playing the same stage as Rubik, Radar and Johnossi). All I can remember offhand is that Art Brut are playing on the Thursday. Or maybe it’s the Friday…

“I saw Jasper [Future, in charge of Art Brut’s ‘Stage Craft’ according to TheirSpace] a few weeks ago because I went to see Bis. I hadn’t seen him for ages but he was really hungover so I don’t think he even went to the gig in the end, he just went to the pub bless him. But I haven’t seen them play for aaaages.”

She’s known Art Brut for years. Rock star mingling, you see. “I used to go out with them when I was 17, to The Villa in Bournemouth. I’m from Holbury which is like this tiny village nearish Southampton. Jasper went to college with me and Eddie [Argos] used to come in all the time. We used to go the The Villa and have wild nights! Good times!”

The band met at Southampton while they were all studying. Leesey’s still there. “Because I’m completely brassic!” I ask where her favourite place in the city is. “My house. My bed. I used to go out in Southampton, I don’t really anymore. I used to go to Goblets and Nexus about 5, 10 years ago, I used to go to Rhino’s when Hammy was DJing…” Good old Hammy. “Yeah, Hammy’s amazing.”

What was the last CD you bought? There’s a very long ‘ummm…’ “I haven’t actually got any records for ages. I’m gonna go in my room and have a look because I’m sure there will be something.” She apologises for being “really shit” at remembering anything. I tell her that’s fine and she’s welcome to make it up.

“I buy books more to be honest. The last book I got was called ‘Cass and the Stone Butch’ and I also got this really funny teen novel called ‘Guitar Girl’. I write a 'zine called ‘Vaginas In Turmoil’ and it’s basically like a pisstake on annuals like old ‘Judy’ and ‘My Guy'. It’s all about kind of queer culture and youth and just pisstaking ‘How much in turmoil are you - you need to get this man out of your life!’ kind of thing.

"I write it with my friend Paffy and basically we both review a different teen fiction novel in each copy. Last time he did a Point Horror book (“Brilliant!” I say, and she agrees with “Awesome!”). I did ‘Forever’ by Judy Blume and talked about how it was the most amazing book ever because it made me feel fine when I was like 10 about masturbating.” She starts laughing.

“So I got this book the other day and it was really, really funny, it’s quite heartfelt and stuff. At the end the woman who wrote it is like ‘I was inspired to write this book by all these bands’ and then she listed all these bands that I really like so it was like ‘Aww!’ So that was quite good. But records, records…”

She starts singing ‘Everywhere in my room is a complete shithole…’ “Oh I’ve been listening to The Primitives a lot recently, that’s been exciting.”

I confess that we were sent the Eurovision CD just the day before. “Oh my God. That’s no good at all!” she says. “What were they thinking?!” Leesey gives up looking through her records and shouts to Tom asking what she’s bought recently. “I’m fucking useless aren’t I, I’m really sorry. I can give you a list of things I’ve been listening to recently? My Favourite, who are amazing, I’ve been listening to a lot of Carter again, like reliving my youth. Oh, actually the Mika Miko record, which is fucking awesome. I’ve been listening to Camera Obscura, fuelling my twee-pop sensibilities.

“It’s quite good because lots of my friends make me mixtapes for going on tour.” That’s really nice of them. “Yes, they’re nice presents aren’t they so I always make them for my friends and then they always make them back. It’s really nice and it means I can take my Walkman on tour and listen to lots of stuff that you can only get on vinyl.” That’s the problem I find with vinyl, you always end up having to buy the song three times or you can’t play it anywhere else.

“It’s really annoying. My sister got me an MP3 player for Christmas which is amazing apart from the fact I am completely stuck in the 90s and I was like (sad voice) ‘All my favourite things are on record and I’m not going to be able to put them on it.’ And that’s you know, quite upsetting! My computer’s quite old, like I can’t even connect on it so I have to use my girlfriend’s.”

Does she like the same kind of music as you? “Kind of, but I end up having lots of hardcore stuff on there, like I have Floorpunch. I’m more obsessed with playing Solitaire on it!” she says and laughs very loudly. She prefers the normal version, unlike me who sets it to Vegas and loses a lot of money in a short space of time.

“Also she lent me her GameBoy so I’ve become really obsessed with PacMan Columns!” It gives Leesey something to do while waiting around for soundchecks. “I’m such a loser! I can’t believe I’m telling you all this…”You need something to do though, you can’t just sit there. “That’s true, it’s so boring. That’s why I take so many books on tour, because I don’t just want to sit there and stare into space and go ‘Wow. That’s an amazing drum sound, well done…’ It’s like mehhhh yaaaaawn…”

Help She Can’t Swim have a lengthy tour planned throughout May to promote ‘The Death Of Nightlife’, which was actually recorded last January and is only just about to see the light of day. “We had to get new people to work with us, so it’s getting them kind of all their stuff together, us having to relearn the songs with one less person in the band, shit like that, and yeah it’s kind of been a long process but I’m just looking forward to playing shows when people actually know what the songs are. Because I always find it a bit depressing when you go and see bands and you don’t know any of their new songs. So yeah, I’m quite excited about that.”

You’ll be doing Southampton as well, a bit of a nice homecoming show. “Yeah, it’s always nice to play in Southampton because mummy comes and she dances. It’s really funny. I see her out the corner of my eye and just start pissing myself!”

She can drive you there and back and buy you a drink as well. “Exactly. It’s a few days before one of my best friends is getting married. It’s a bit shit really because we’re on tour when she’s having her hen night, but she’s gonna come and have another on the day of my gig, then two days later she’s getting married and I’ll be a bridesmaid. I’ve somehow got to get myself from Brighton back home for the wedding the next day so I’m currently in kind of qualms over what to do... I might have to get a lift from someone.”

She gets a nice dress though. “It sounds a bit gross out - it’s kind of pale gold, but it’s really pretty, it’s like a long skirt and a basque so it’s really nice.” It won’t clash with your hair or anything. “No. I’ll have to dye my hair again, someone told me my hair had faded from ginger to canary yellow yesterday which I was quite upset about. It’s really annoying because my hair is actually ginger but because I had it black for so many years I had to like bleach it out, and now it’s kind of growing out so it’s just like meeeeehh, waiting, waiting! But I might get some dye this weekend, that’ll be exciting.”

Shall we talk a bit about your album, The Death Of Nightlife? Finally out in a couple of weeks, as we said. Hurray for that. “Yeah, totally.” What track do you like best on there? “Oh Jesus… ermmm… I like ‘I Think The Record’s Stopped’, and I like ‘Just Be Social’ and I like ‘Pass The Hat Around’. I don’t know, it’s strange, you know there’s always the worry when things are put back like that you’ll go off it. But I listened to it for the first time in months and months the other day, and I was like ‘wow I really like all the songs still’. So that’s really cool. We’re all really happy with it from start to end.

“I think the difference between this album and the first album is that we’ve been writing with each other longer and we actually knew this one was going to come out so we made it the best we could. Whereas the first one was ‘bang, bang, done’ kind of thing. You just do what feels right, you write songs and if they feel good, they feel like they’re working well we keep them.”
It sounds good, I was listening to it earlier. “Oh, I’m glad that you like it.” You could jump around a lot to it. “That’s good, my thing is always if you like a record you dance around your room in your knickers to it.” I would do that in the office, but it’s open plan. I might embarrass myself. “Yeah, not so good!” She laughs loudly.

The artwork was done by Leesey’s friend Kate Moross. The track numbers on the back are displayed as dominoes, which is a good touch. “Yeah, I really like that as well. She’s one of my friends. I’ve known her for a while. We were going to do the artwork ourselves but we changed all the artwork because it was put back so long and we wanted to get someone new. I didn’t really want to work with someone that we didn’t know. I’ve known Kate for ages and she was really up for doing it and I think it looks amazing.

"I’m really excited about the vinyl, it’s got a drawing of a deer’s head but the head comes up twice on either side like a mirror image. It looks really amazing." It’ll be good to see it on the shelves. “I’m excited about the copies coming through the post. Yaaaaa! I just like holding them, not like CDs where you’re like ‘whatever’. Vinyl, you can hold it and it feels nice and looks better.” And it’s so much bigger as well. “All my favourite records are on vinyl. Apart from the ones I haven’t been able to find..."

It’s very warm in the room where I'm phoning from, nice and summery. I ask Leesey when she last went on holiday. Sadly not for a very long time. “Upsetting really. I might have to get on that. I’d quite like to go somewhere nice. I’d like to go to Berlin and actually have some time to do nice stuff.”

You don’t get much time for sightseeing and stuff when you’re on tour, do you. “Oh not at all, it’s like here’s a venue, that’s it. Here’s a hotel, and that’s it. It’s like we always want to have a look round. It was nice in Paris the other day and we had a bit of time to walk around and it was bloody boiling. But yeah it was mental, it was proper hot and there wasn’t really any air circulating, and because I’m ginger it doesn’t really bode well with my skin, it just starts hurting and then –“ Red. Lots of red. “Yeah. Nice! Good times. But yeah, I have all that shit to come in the next couple of months. Something to look forward to!”

Leesey decides with all this travel talk she wants to book a holiday. “That’s my new thing. I might go somewhere fancy. Have you been away?” I went to Newquay last summer with a few friends to the crummiest caravan park ever. There were drunk people falling over everywhere and I got scared.

“That’s amazing. I’d love to go on a caravan holiday. I think I’m going with some friends to Thorpe Park soon, which’ll be really funny. And then maybe we’ll go and stay in a caravan somewhere. That’ll be fun.

"And also because I live in the (New) Forest I think some of my friends are coming down from London in the summer, they’re all like city people so I’m going to make them come and stay at my house.” And camp in your garden. “Totally! I’ll make them go walking and they’ll be really scared about the horses walking in the road. It’ll be really funny. I live opposite a cow field and a farm track, so we are pretty desolate. I’m sure they’ll cope."

And with that I leave pyjama-clad Leesey to laze around a bit longer in the sun...

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Help She Can't Swim's album The Death Of Nightlife is released through Fantastic Plastic Records on May 7th. The band will tour extensively in May - check their MySpace for dates and locations

Help She Can't Swim
MySpace

Friday, 1 February 2008

Interview - Black Rebel Motorcycle Club

The hotel I was meant to be meeting Robert and Peter at was changed at short notice. I had no idea where I was going and went into panic mode (where you jump off at a Tube stop, surface, run in four directions at once, get back on the Tube, and repeat until your mobile signal allows you to call the PR for help). One of the comments I got from a BRMC fan was that it was a 'cute' interview - perhaps not the adjective I'd been looking for, but ah well. The PR commented that bands always seemed to be awake and cheerful when I left them, whereas as many journos left them bored stiff. Cute.

Words - Suzy Sims
Previously published on Native.tv http://www.native.tv in April 2007
(c) Niche News & Publishing Ltd


PETER AND ROBERT - BLACK REBEL MOTORCYCLE CLUB

BLACK REBEL MOTORCYCLE CLUB - Peter Hayes - guitar/vocals, Robert Levon Been - bass/vocals/keys, Nick Jago - drums

Uh oh, I’m ten minutes late. There was a gas leak at the original hotel so BRMC have been shifted halfway across London to a different one, information which came as I was about to board the train with no access to a new map. It looks very classy here. There are chandeliers, foreign businessmen chatting away in various corners of the lobby and smiling staff holding doors open. I’m in skinny jeans, scuffed trainers and an unattractive yellow vest. I think I’m in danger of being given a mop and told to clean the floor.

Black Rebel Motorcycle Club are Peter Hayes (guitar, vocals), Robert Levon Been (bass, vocals, keyboards) and Nick Jago (drums). If you’ve somehow never heard of them before, the band name is taken from Marlon Brando’s gang in ‘The Wild One’. Hayes and Been hail from California while Jago is from Devon. They've been playing their heavy, bluesy rock since 1998 and you're likely to have caught them at one of the major summer festivals. Jago left the band briefly to fight various addictions and rejoined towards the end of recording for 'Howl' (2005). They're now doing the rounds to promote new album 'Baby 81'.

“So which one of you started a gas leak so you could be moved to a better hotel?” I ask. Peter grins and says it’s the first time they’ve been forcibly removed from a hotel when it’s not their fault. We’re Jago-less on this interview day. Peter and Robert are dressed entirely in black – well they could have neon underwear for all I know, but that probably wouldn’t quite fit their image.

Wild-haired Peter is leaning back casually on one of the sofas, while Robert is wearing a hoodie under his leather jacket and is curled up on a chair, occasionally resting his head on his knees. They look sleepy and I get the feeling they aren’t entirely keen on interviews, but they also giggle frequently, showing they aren’t completely bored. Peter is entertaining himself by doodling on a question card.

“Here we go… Things That Annoy The Shit Out Of You,” reads Peter. Thanks to the BRMC forum for inspiring this one. “Little coloured cards,” he teases. No, no! “It’s a word, and the word is ‘virtually.’ It annoys the shit out of me.”

“Oh yeah, ‘virtually’, I remember you talking about that…” says Robert. I’ll try to avoid using it, I promise. Peter starts giggling, and I decide to throw it in every now and then to wind him up. Robert asks what he has against it.

“I can’t remember. ‘Virtual reality is virtually OK.’ No it’s not. It’s not anywhere near reality. It’s not anywhere near anything virtually. The context of when people usually use virtually, it doesn’t make sense to me.”

“It really annoys him apparently,” says Robert through a smile. He goes quiet while he thinks what gets his goat. “Well, there’s so many, how do I choose?” I heard you had to get up at eight this morning. That must be quite high up on the list. “Gas leaks, yeah.” He goes very quiet.

“I don’t like the little popcorns that don’t pop,” says Peter, looking at me intently. “Those are kind of annoying, aren’t they? You know, the ones that are halfway popped but they still leave a bit of the kernel.”

“Sometimes clothes actually drive me crazy,” says Robert. “Everyone’s going to think I’m some kind of nudist or something. Sometimes it’s like my skin starts crawling from the clothes I’m wearing and I have an anxiety attack.” The perils of tight jeans. “I don’t need to strip down or nothing it’s just like… has that ever happened to you or is that just me?”

“Only when I’ve been high,” offers Peter and lets out a chuckle.

“Maybe I just need to virtually cut down on all the drugs I’ve been taking,” says Robert. Oh, he used a bad word. “That might help.”

BRMC have been on the road for ages already this year, firstly supporting The Killers and now with their own headlining shows looming up ahead.

“Ages ago? What, like year 2000 you mean?” says Robert. Not quite that long ago. “It wasn’t too long ago, about a month and a half ago. It started with The Killers thing ‘cause we’d just finished the record and but then our release date got pushed back a little bit, so we had some time and they asked us last minute. That was a strange beginning, but it was also one of the best ways to start because we didn’t get to play for any of our fans. All their shows were sold out before we even showed up and that was partially the idea, just to play to new people. You don’t get that chance too often.

“It was also hard. It reminded me of when the band first started in San Francisco and we were playing for like 12 barflies sitting around and you’re trying to win them over with everything you can, but it’s just not happening and then you go nuts. But then all those things came back and it’s about just ignoring them actually and focusing on people on stage and the music, and if they come around then all the better.

“I really needed that. You start getting a little lazy ‘cause you think ‘oh this show sucked because the people were just like…’ You know, you only judge it on them and that’s not the way it should be, and it taught me that and I was just really grateful.

“Then we did two or three headlining shows near the end of that and it was overwhelming, we got to play to our fans again and it was like ‘this is the best thing in the world’. It made us appreciate it a lot more. So a weird experience turned into a good story.”

There are plenty of UK and US shows coming up. “We got two more weeks here doing a couple of things,” says Peter. “Then six to nine weeks in the US, then a couple of days off, and then back over here, a couple of days off then back over there… Couple of days off then off somewhere else…” You want more days off, I say.

“If you add all those days off though, it makes like a whole week nearly,” says Robert.

“We’re getting more days off than regular folk,” says Peter. Damn you pop stars, I say. Peter laughs and agrees. “When you look at the reality of it you know, the majority of people get what a week of vacation? And they have to fight for it all year round for that one week. So."

Have you got any exciting onstage antics planned for your live shows?

“No,” says Peter. Okay. He starts chuckling away again. I tell them to get some fireworks or something. “That’s for after the show.”

“Oh yeah,” remembers Robert. “There are fireworks. Our crew guy has been on this for a while. He brings the fireworks and we always light one off, at least one after each show before we leave. The cops are gonna be chasing us out of town. It’s a tradition.”

He picks up the next question card. “How do you relax, Peter?”

“How do you relax?” Peter shoots back, from his comfy position on the sofa.

“By avoiding questions!” Robert goes quiet for a while as he thinks. So, apart from taking all your clothes off when they irritate you, Robert...

“Yeah, it’s pretty good, it’s hard to top that,” he says. “I like to see movies or just watch a DVD. I don’t know if I zone out as much as most people do. But I can get lost in another story and kind of forget about my own. I like that.”

Seen any good films recently? “I actually saw one I really liked until the end. I just saw Sunshine the Danny Boyle film the other night and it was like a cross between Alien and 2001 until the end and then it just became dreadful. It’s so beautifully shot, then it just becomes like a slasher movie towards the end. Those are the ones that steals relaxing. It’s just like a cheap way to end any movie. That’s my movie review for the day as well. That can be another card next time.”

I ask Peter how he relaxes. “I like to drive I guess. I just get in the car and drive to the middle of nowhere.” You can’t do that here, you’ll get stuck in traffic for three hours. “Yeah, once you get out of town. I don’t mind the traffic as long as I know I’m leaving it.” He laughs. His shoes are resting on top of the spotless table and occasionally he rubs his feet up and down the surface.

BRMC have a few festivals lined up for the summer - firstly the Camden Crawl, then Oxegen, T In The Park, and a few abroad – Germany, Sweden, France. Do you go for the whole weekend or do you just play then go on somewhere else?

“We usually play and go,” admits Peter. You should stick around, get a tent. “Er, yeah, I don’t know, maybe. That’s not usually the way it goes.”

Do you go to many festivals as music goers rather than ones to play? “When I was in high school, it wasn’t really about the music. It was just about taking as much LSD as possible,” says Peter.

He looks at me and starts guffawing. I’m not sure festivals are so much about the drugs any more. “Yeah? That’s what’s wrong with people these days. Not enough LSD!” That’ll be it.

“I went to Reading the first time I ever came to England,” says Robert. “That was right after we recorded our first record before it came out. I was just kind of screwing around, went to Brighton, and then travelled around a bit and found myself at Reading. It was the year that I think Pulp headlined, Oasis and Primal Scream headlined, and the Primal Scream show was the most incredible thing.

“The coolest thing was that we went in the big tent. That was a bit fun because the energy’s kind of contained, unlike the main stage, and I was just imagining playing ‘Spread Your Love’ right there at the end of the night and it was like the biggest daydream I could possibly have. I usually don’t let myself like have those little dream kind of things, ‘cause usually I feel like it’s gonna jinx it, but that one actually came true. And then the next year we were playing ‘Spread Your Love’ on that same stage. That was one of the most surreal things ever to happen to me. Little rock star dream came true.”

Ahhh, I feel strangely moved. “Yeah. Then the beer hit me in the face,” he remembers with a smile. Someone threw it at you? “Oh every festival you get drenched in beer. That’s kind of the fun of it too. Free drinks.”

Following on from 2005’s ‘Howl’ is new album ‘Baby 81’, out in a matter of days. Apparently it's named after a child admitted to hospital after the 2004 tsunami which was wrongly claimed by nine mothers before thankfully being reunited with its true family. BRMC are looking foward to seeing how the album goes down with listeners. “It’s the calm before the storm. It’s like a really exciting record to make and exciting to see what’s going to happen when people hear it,” says Robert.

Songs on 'Baby 81' include 'American X', '666 Conducer', 'Took Out A Loan' and 'Am I Only'. Got any favourite tracks? “Uh… almost all of them. The ones I’m kind of critical of are the ones where I’m critical of the recordings of them – they’re the ones that just explode live. I lived with the record for a while and I forgot how they sounded when we were just playing them together," explains Robert. "And you know when you go and record something you lose elements sometimes. Sometimes you gain it. Sometimes a song that doesn’t work live, on tape it can just be like – ah, the greatest thing ever. But then on other ones it’s the opposite, it steals something from them and I kind of forgot that they did work in any way. So yeah, even the ones that aren’t that strong just work amazingly well live. It’s a pretty bulletproof record."

We’re just done with Easter, left with vague memories of a lot of chocolate and some new-found toothache. BRMC didn’t give anything up for Lent. “That’s all it’s about, right? Easter eggs,” says Peter.

“Give something up for the bunnies,” adds Robert. “The magical bunny.”

What would be hardest for you to give up for forty days?“Oh, you only have you do it for 40 days?” says Robert. “It’s not like a New Years resolution.” Well it is, in that you give up then start again soon after. No-one keeps New Year resolutions.

“I’d like to give up talking for 40 days. That’d be nice,” says Peter from his recumbent position on the sofa. “Live in silence for 40 days.” You should have started that before I got in here, that would have made it fun. “I tried it for a couple of days once. Just wrote on paper.” How did you get on with that? “All right. Would like to do it longer.”

Powerful single ‘Weapon Of Choice’ came out on April 16th. “It started just as a guitar riff Peter had and the chorus line ‘I won’t waste my love on a nation’ and it was just really fun to play, just one of the fastest songs we had. And so whenever things felt kind of draggy we’d play that and it would wake you up,” explains Robert.

“We thought that was going to be an easy one to put down ‘cause live it was just like great, and then it just flatlined. It was so full on, it didn’t have enough of an emotional rollercoaster to give you a ride as much. We ended up doing a last minute thing where it just started with acoustic guitar - which wasn’t planned at all - and then drums entering in and everything being introduced more dramatically, and all of a sudden it had this emotional connection. At least it can have that for some people.

“We didn’t try to force our way into what a single was going to be, it was kind of between that and ‘Berlin’ we were thinking, and [the label] went with that.”

What’s Peter listening to at the moment? “I’ve got the new Nick Cave album. I have a bunch of old time radio shows. They put me to sleep at night - turn off the TV and listen to old time radio shows. Old stories, what would you call it, mystery theatre-type stuff, Orson Welles, this kind of voice narrating a story, half-hour stuff they did in the ‘20s, ‘30s, ‘40s maybe. I’m looking for books, but I haven’t gotten into that yet. I haven’t got the guts to buy any books and put them on my iPod as far as listening to them.”

I tell Peter to get a Harry Potter one. They last hours and hours, that’ll put him to sleep. “No, I’m not interested in that kind of thing really,” he says, and bursts out guffawing. “I think I’d just turn it off, it would be a waste of money. No offence to Mr Harry Potter. Or Mrs Harry Potter.” He laughs again.

“Nine Inch Nails ‘Survivalism’ album,” says Robert, “and ‘Battlestar Galactica’ which are really good, surprisingly enough.”

The friendly PR, or Speaking Clock, is hovering with updates on how long we've been talking, and it's time to finish. I tell BRMC they can go back to sleep. Peter protests he's not tired and sits with his eyes as wide open as possible to prove it, but it just makes him look like he's sat on something very sharp and pointy. Let's hope 'Baby 81', like its namesake, finds its way into the arms of people who'll appreciate it.

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Black Rebel Motorcycle Club's 'Weapon Of Choice' single is out April 16th, with album 'Baby 81' released April 30th on Island Records.

Black Rebel Motorcycle Club
MySpace

Alberta Cross - Band Of The Week

Words - Suzy Sims
Originally published on Native.tv http://www.native.tv in April 2007
(c) Niche News & Publishing Ltd


ALBERTA CROSS - BAND OF THE WEEK

Band Members
Petter Ericson Stakee - lead vocals, guitar
Terry Wolfers – bass, vocals
John Alexander Ericson – organ, keyboard, vocals
Sebastian Stone – drums

Looking slightly like Kings of Leon crossed with that nice man on the Quaker Oats packets, Alberta Cross have been feted by fancy music/style mag Clash and described in NME as ‘melancholic country folk… would have Neil Young in tears.’ Petter grew up travelling with his singer/songwriter father between Sweden and the UK, and met Terry in dubious smoky East End boozers. With their shared interest in music, the pair formed Alberta Cross, accompanied by Petter’s brother John and Sebastian. Catch them supporting the Earlies, Fields, Scott Matthews and Findlay Brown this spring

INFLUENCES
The Band, Van Morrison and Leonard Cohen; blues, soul and gospel

THEY SAY
“You do feel pressure to get a career started. That’s when your life is really going to begin”
- Terry Wolfers

”It’s a battle against weak verses and big choruses and we want to make classic albums, not albums with four singles and a bunch of fillers”
- Petter Ericson Stakee

WE SAY
Gentle folk rock with twanging yet soothing guitars and wounded, mildly Scandinavian vocals. Alt-rock with a bit of country thrown in. ‘Heart Breaks’ rolls along revelling in its sadness, while their album title track has a gin-soaked swagger about it

SAMPLE LYRICS
“Why do we always lose what we love?” – ‘Lucy Rider’

SIGNED
Black Lodge / Fiction Records. Mini album ‘The Thief & The Heartbreaker’ is released on April 2nd

DOWNLOAD
Your-friend-and-mine Zane Lowe recently played ‘Lucy Rider’ on his Radio 1 show. Get yourself a free acoustic MP3 of the track right here (it's a zipped folder containing the one track)

LINKS
MySpace
Fiction Records