Soon to be touring with Snow Patrol, Cashier No 9 showcase their modern country with a swaggering, confident beat and a shovelful of funky pizazz. And at the risk of sounding cheesy, it's a bit of a toe-tapping affair withevery song grabbing hold of you and demanding dance.
Recent single 'When Jackie Shone' is an excellent case in point.
Fresh from their studio session in Glasgow, support comes from the delightfully energetic Escape Act. Retro indie with tinges of Jesus & Mary Chain and Pixies, these guys combine sweetened vocals with blasts of spiky guitar riffs.
4/5
The Fly - the-fly.co.uk
Saturday, February 28, 2009
Saturday, February 21, 2009
Heritage centre&Empire of Lights @Whelans - 20.2.09
It's a sold-out show for the release of Heritage Centre's debut EP The City, The Tree And The Fox in Whelan's. The crowd loves these guys and they in turn love the attention. It's a completely professional performance - there's no self-conscious shuffling on and off stage for this lot. Lights dim for the intro song and at the end, we're even treated to an encore before they disappear into the backstage.
Standout tracks include the excellent 'Death By Silence' - vicious, rocky, perfectly loud - and the single 'Losing Touch' - a soft, not particularly original but very sweet track. They're in their element with the heavier numbers – reminiscent of an early Idlewild or even Snow Patrol before they forgot how to write great songs.
Despite their rock-star posturing they're polite young boys who give a shout-out and thanks to their parents without whom they say there would be no EP. Ah, how sweet.
Support comes from London/Dundalk mates Empire Of Lights with their lovely jingle-jangle indie pop. Sugary and upbeat, comparisons can be drawn with Stars and the now-defunct Belfast band Torgas Valley Reds. It's all beautiful harmonies and warm synths, there is even a melodica! 'Inaction Man' is one of the best songs of the night.
An excellent line up with Heritage Centre tight as hell, exuding a confidence that will hopefully ensure their heritage lives on both in Ireland and across the water. An Irish tour is to follow - if you have any interest in professionally executed indie-rock then go see this band. We insist.
4/5
The Fly - the-fly.co.uk
Standout tracks include the excellent 'Death By Silence' - vicious, rocky, perfectly loud - and the single 'Losing Touch' - a soft, not particularly original but very sweet track. They're in their element with the heavier numbers – reminiscent of an early Idlewild or even Snow Patrol before they forgot how to write great songs.
Despite their rock-star posturing they're polite young boys who give a shout-out and thanks to their parents without whom they say there would be no EP. Ah, how sweet.
Support comes from London/Dundalk mates Empire Of Lights with their lovely jingle-jangle indie pop. Sugary and upbeat, comparisons can be drawn with Stars and the now-defunct Belfast band Torgas Valley Reds. It's all beautiful harmonies and warm synths, there is even a melodica! 'Inaction Man' is one of the best songs of the night.
An excellent line up with Heritage Centre tight as hell, exuding a confidence that will hopefully ensure their heritage lives on both in Ireland and across the water. An Irish tour is to follow - if you have any interest in professionally executed indie-rock then go see this band. We insist.
4/5
The Fly - the-fly.co.uk
Sunday, November 23, 2008
Pure 'brel'-liance (headline courtesy of Claire Hartnett!)
Having never been to Liverpool, despite it only being a quick hop across the Irish Sea, I decided that this year would be the best year to do it. The city is currently basking in prestigious glory under the title of European Capital of Culture.
With only a month and a half left before the end of 2008, I realised that time was certainly of the essence and so I set myself a specific goal.
One night in Liverpool. One night to experience something unique and interesting. One night to find out what this little city had to offer. An all night drinking session in a bar or club was ruled out, considering that Dublin has an extensive range of this kind of culture anyway. So what could I do?
The options seemed plentiful – an architecture exhibition, an LGBT festival, a dance show at one of the universities. Certainly I had a wide range of choices but then I found the event that seemed a little more interesting to me - ‘The Potting Shed Cabaret celebrates the Nouveau Beaujolais (sic)’.
In itself, it didn’t sound particularly spectacular. When in France, I had celebrated the
Beaujolais Nouveau– a somewhat pointless celebration that simply involved drinking a glass of unexciting red wine.
However, the venue for the evening was to be a brightly coloured ship moored in Canning Dock, just footsteps away from its more famous neightbour, Albert Dock – home of the Tate Liverpool and the Beatles Story museum.
Arriving in Liverpool felt anti-climatic – the outskirts look grey in the rain – unsurprising, of course, being that this is north England at the end of November. The centre of the city is much more pleasant. It feels busy and lively even in the drizzle and narrow down-hill streets lead the way to the cabaret destination.
Walk the Plank is the theatre company that uses the ship as a base. Once used for touring productions around the UK and Ireland, the boat has found its home in front of the Liver building and is unlikely to take to the sea again.
However this 200 capacity venue, which can sleep sixteen crew, plays host to a variety of performers and artists with seasonal shows, theatrical pieces and the monthly cabaret.
The Beaujolais Nouveau celebration is being curated by Nuala Dorrity and Tony Cairns. Nuala is a Northern Irish born actress and musician for whom tonight is one in a series of collaborations with the venue:
“I met a couple of people working on this touring threatre ship and thought it sounded amazing. The director auditioned me for Noah’s Ark and I travelled round the British Isles with them. It was a very physical, sweaty show. The company is so versatile and I really got into that. I’ve performed in most of the cabarets since 2006.”
Hosting a cabaret on a boat is a fantastic idea in practice although for those who have decided to follow the French theme, clambering onboard in heels and swishing feather boas is a little more difficult.
Downstairs in the hold, groups of besuitted men and their elegantly dressed female friends sit around candlelight tables - it feels like a world away from the brash Liverpool outside.
The main focus of the evening is Dead Belgian – a four-piece group who perform the songs of Jacques Brel in both English and French. Nuala has been involved with the band for a number of years:
“Andy, our drummer saw me in a play and liked my voice. Liverpool is a small city – people working in the arts get to know each other. He loved Jacques Brel’s music. It is amazing, so threatical with beautiful arrangements. I don’t speak any French, in fact I got an E at GCSE. I know what the translation means but I’m starting to perform it better.”
Nuala and the other performers in the group are an incredibly gifted group of musicians. From the moment the first strain of the accordion pierces through the boat, there is absolute silence and awed respect.
Despite Nuala’s claim not to have spoken French two years previously, it is impossible to tell as her voice soars and falls with the alternating joy and melancholy of Brel’s lyrics. The music commands attention but the group are keen to have the audience involved and participating rather than listening in hushed quiet.
A break between songs leads to a ‘Guess the cheese’ competition. Under every seat in the boat, a small piece of cheese has been packaged and attached. Everyone is invited to participate in tasting and guessing.
There are further competitions where a cheese is presented using shadow puppetry on a screen behind the performers on stage. Small french-themed gifts are given to the winners. It’s a completely frivilous game but one that has the audience laughing and eagerly joining in.
“Everyone is there to have a laugh,” explains Nuala. “It’s incredibly light-hearted. The evening was divided into sections so that people could drink and talk to their friends. It holds attention and keeps everyone revived.”
A clever ploy and one that works. As the group continue their performance, couples jump up to dance to the music as it becomes more raucous and vibrant. A fire eater shows off by the side of the stage and the shadow puppetry continues behind Dead Belgian. A group of can can dancers initiate an impromptu game of limbo dancing.
The evening quickly becomes organised madness – and instead of being on a rickety boat in Liverpool, I feel like I am in the freedom and celebration of 1950s Paris. It feels wonderfully decadent and confusing. As the night ends and I stumble back on dry land, I find myself wishing that I could stay on the boat – forever a part of this flamboyant french atmosphere.
“Theatre is a form of escapism,” says Nuala. “Everyone wants a little world for a couple of hours where they can do something they wouldn’t do in normal day to day life. Here, they come to a place where so many others are sharing in the same way. It gives the imagination a chance to explode.”
With only a month and a half left before the end of 2008, I realised that time was certainly of the essence and so I set myself a specific goal.
One night in Liverpool. One night to experience something unique and interesting. One night to find out what this little city had to offer. An all night drinking session in a bar or club was ruled out, considering that Dublin has an extensive range of this kind of culture anyway. So what could I do?
The options seemed plentiful – an architecture exhibition, an LGBT festival, a dance show at one of the universities. Certainly I had a wide range of choices but then I found the event that seemed a little more interesting to me - ‘The Potting Shed Cabaret celebrates the Nouveau Beaujolais (sic)’.
In itself, it didn’t sound particularly spectacular. When in France, I had celebrated the
Beaujolais Nouveau– a somewhat pointless celebration that simply involved drinking a glass of unexciting red wine.
However, the venue for the evening was to be a brightly coloured ship moored in Canning Dock, just footsteps away from its more famous neightbour, Albert Dock – home of the Tate Liverpool and the Beatles Story museum.
Arriving in Liverpool felt anti-climatic – the outskirts look grey in the rain – unsurprising, of course, being that this is north England at the end of November. The centre of the city is much more pleasant. It feels busy and lively even in the drizzle and narrow down-hill streets lead the way to the cabaret destination.
Walk the Plank is the theatre company that uses the ship as a base. Once used for touring productions around the UK and Ireland, the boat has found its home in front of the Liver building and is unlikely to take to the sea again.
However this 200 capacity venue, which can sleep sixteen crew, plays host to a variety of performers and artists with seasonal shows, theatrical pieces and the monthly cabaret.
The Beaujolais Nouveau celebration is being curated by Nuala Dorrity and Tony Cairns. Nuala is a Northern Irish born actress and musician for whom tonight is one in a series of collaborations with the venue:
“I met a couple of people working on this touring threatre ship and thought it sounded amazing. The director auditioned me for Noah’s Ark and I travelled round the British Isles with them. It was a very physical, sweaty show. The company is so versatile and I really got into that. I’ve performed in most of the cabarets since 2006.”
Hosting a cabaret on a boat is a fantastic idea in practice although for those who have decided to follow the French theme, clambering onboard in heels and swishing feather boas is a little more difficult.
Downstairs in the hold, groups of besuitted men and their elegantly dressed female friends sit around candlelight tables - it feels like a world away from the brash Liverpool outside.
The main focus of the evening is Dead Belgian – a four-piece group who perform the songs of Jacques Brel in both English and French. Nuala has been involved with the band for a number of years:
“Andy, our drummer saw me in a play and liked my voice. Liverpool is a small city – people working in the arts get to know each other. He loved Jacques Brel’s music. It is amazing, so threatical with beautiful arrangements. I don’t speak any French, in fact I got an E at GCSE. I know what the translation means but I’m starting to perform it better.”
Nuala and the other performers in the group are an incredibly gifted group of musicians. From the moment the first strain of the accordion pierces through the boat, there is absolute silence and awed respect.
Despite Nuala’s claim not to have spoken French two years previously, it is impossible to tell as her voice soars and falls with the alternating joy and melancholy of Brel’s lyrics. The music commands attention but the group are keen to have the audience involved and participating rather than listening in hushed quiet.
A break between songs leads to a ‘Guess the cheese’ competition. Under every seat in the boat, a small piece of cheese has been packaged and attached. Everyone is invited to participate in tasting and guessing.
There are further competitions where a cheese is presented using shadow puppetry on a screen behind the performers on stage. Small french-themed gifts are given to the winners. It’s a completely frivilous game but one that has the audience laughing and eagerly joining in.
“Everyone is there to have a laugh,” explains Nuala. “It’s incredibly light-hearted. The evening was divided into sections so that people could drink and talk to their friends. It holds attention and keeps everyone revived.”
A clever ploy and one that works. As the group continue their performance, couples jump up to dance to the music as it becomes more raucous and vibrant. A fire eater shows off by the side of the stage and the shadow puppetry continues behind Dead Belgian. A group of can can dancers initiate an impromptu game of limbo dancing.
The evening quickly becomes organised madness – and instead of being on a rickety boat in Liverpool, I feel like I am in the freedom and celebration of 1950s Paris. It feels wonderfully decadent and confusing. As the night ends and I stumble back on dry land, I find myself wishing that I could stay on the boat – forever a part of this flamboyant french atmosphere.
“Theatre is a form of escapism,” says Nuala. “Everyone wants a little world for a couple of hours where they can do something they wouldn’t do in normal day to day life. Here, they come to a place where so many others are sharing in the same way. It gives the imagination a chance to explode.”
Friday, March 7, 2008
Delays @Spring&Airbrake - 7.3.08
It's pouring outside. It’s ridiculously cold; there’s nothing more depressing than NIrish weather. When Delays finally skip onto stage many minutes late (insert Delay-related joke here), it’s wall-to-wall pop perkiness. Bizarrely bright and upbeat, they’re the antithesis of every moping indie band, but it’s all right, because the way things are going outside, we could do with some sunshine.
‘Long Time Coming’; an appropriately named first song, gets the crowd singing along. Sunnier than a Steps concert, the set highlights some of the best tracks from the band’s forthcoming album including the brilliant 'Pieces'. Latest single, 'Hooray', is a somewhat questionable cheese-fest, but that said, it is incredibly difficult not to jump up and down and dance along. Don’t be fooled by the saccharine keyboards; perfectly crafted melodies and harmonies; a closer listen to the lyrics suggests that our lovely Southampton boys have a darker side.
But it’s the final song of the evening that shines the brightest: the Donna Summer-esque 'Valentine' is a fabulous display of disco electro, with frontman Greg Gilbert’s swooping falsetto carrying the song to its luscious chorus. Disco pop seems to suit Delays and it’s a powerful end to a sometimes surprising set.
Set List:
Long Time Coming
Touch Down
Hooray
Pieces
Lets Keep It Simple
You And Me
Valentine
4/5
The Fly - the-fly.co.uk
‘Long Time Coming’; an appropriately named first song, gets the crowd singing along. Sunnier than a Steps concert, the set highlights some of the best tracks from the band’s forthcoming album including the brilliant 'Pieces'. Latest single, 'Hooray', is a somewhat questionable cheese-fest, but that said, it is incredibly difficult not to jump up and down and dance along. Don’t be fooled by the saccharine keyboards; perfectly crafted melodies and harmonies; a closer listen to the lyrics suggests that our lovely Southampton boys have a darker side.
But it’s the final song of the evening that shines the brightest: the Donna Summer-esque 'Valentine' is a fabulous display of disco electro, with frontman Greg Gilbert’s swooping falsetto carrying the song to its luscious chorus. Disco pop seems to suit Delays and it’s a powerful end to a sometimes surprising set.
Set List:
Long Time Coming
Touch Down
Hooray
Pieces
Lets Keep It Simple
You And Me
Valentine
4/5
The Fly - the-fly.co.uk
Wednesday, February 20, 2008
ASIWYFA&Fighting With Wire@Limelight - 20.2.08
Too much hype can be a bad thing but post-rock adventurists And So I Watch You From Afar take it in their stride with a dangerously intense performance. Loud and melodic with each track slowly erupting to a powerful crescendo, sometimes it feels like the soundtrack to every tragic film scene.
Spunky support FWW celebrate their recent Atlantic Records signing with a sound-perfect performance. Poppy; punky and polished, a mix of At The Drive In meets Foo Fighters, this Derry trio almost upstage their hosts.
Spunky support FWW celebrate their recent Atlantic Records signing with a sound-perfect performance. Poppy; punky and polished, a mix of At The Drive In meets Foo Fighters, this Derry trio almost upstage their hosts.
Sunday, October 15, 2006
Who are: The View? - October 2006 (RADAR magazine)
They're from Scotland.
The oldest member is 22.
They like girls.
They make damn good music.
So we ring them up, and as we're talking to them, they're on their bus driving to Glasgow for a show in Strathclyde University. It's part of a headline tour through the UK, and although rave reviews are flying around the place, if we were to review them on their conversational skills, they'd get a shabby one out of five. Nevertheless, we can't all have the gift of the gab.
"We've had such a great time so far. People have given us such a good reception wherever we go," enthuses guitarist and vocalist Kyle. Well, perhaps enthuses is the wrong word. For a young lad who has the world at his band's feet, he is remarkably monosyllabic throughout the whole interview. Friendly but almost guarded with his information. Then again, perhaps he's just not quite ready to give away the secrets of how the View have managed to collect such a high-profile set of fans.
"Bobby (Gillespie) asked us personally if we'd do support for the forthcoming Primal Scream Tour. We're big fans of the band so it's pretty exciting. He's told us that he really likes our stuff."
Debut single, Wasted Little Djs reached #15 in the UK single's chart on its release. A week prior, it had entered the charts on downloads alone – one can assume that the MySpace hype surrounding The View may have had something to do with this. Demo tracks had been available on the site since November last year. Big things are expected of the second single, Superstar Tradesmen, which already has been championed on Radio One, as Edith Bowman's Single of the Week. And further in the future, what can we expect?
"Our album is going to be out in January. We're working with Owen Morris on it. He's produced albums for Oasis and the Verve and he understands where we're coming from."
Signed to 1965 Records, a subsidary of Sony, Kyle claims that one of the most important aspects of their contact was to be able to have creative control. Of course, every new band these days claims the same but he is admanant that the View will not allow themselves to be influenced, or led astray.
Originally from Dundee, one of their biggest performances to date was in their hometown at the One Big Weekend event in May. Although seemingly glad to escape from the small town mentality, Kyle is relatively complimentary about the Dundee scene.
"There is quite a bit going on – bands playing in bars but most of them don't go anywhere. We always wanted to do something with this, to get out of Dundee. We always wanted success."
Success and all it entails perhaps? Rumours were rife after the band's performance at Tennant's ViTal. Apparantly our young friends were fully enjoying themselves with a group of keen female fans in the dressing room. When probed about this, Kyle is politely reticent. "We're young. We like to enjoy ourselves." And the dead silence that follows speaks more than he ever could.
Rock n roll young'uns but gentlemen all the same.
New single, Superstar Tradesman out 23rd October on 1965 Records
The oldest member is 22.
They like girls.
They make damn good music.
So we ring them up, and as we're talking to them, they're on their bus driving to Glasgow for a show in Strathclyde University. It's part of a headline tour through the UK, and although rave reviews are flying around the place, if we were to review them on their conversational skills, they'd get a shabby one out of five. Nevertheless, we can't all have the gift of the gab.
"We've had such a great time so far. People have given us such a good reception wherever we go," enthuses guitarist and vocalist Kyle. Well, perhaps enthuses is the wrong word. For a young lad who has the world at his band's feet, he is remarkably monosyllabic throughout the whole interview. Friendly but almost guarded with his information. Then again, perhaps he's just not quite ready to give away the secrets of how the View have managed to collect such a high-profile set of fans.
"Bobby (Gillespie) asked us personally if we'd do support for the forthcoming Primal Scream Tour. We're big fans of the band so it's pretty exciting. He's told us that he really likes our stuff."
Debut single, Wasted Little Djs reached #15 in the UK single's chart on its release. A week prior, it had entered the charts on downloads alone – one can assume that the MySpace hype surrounding The View may have had something to do with this. Demo tracks had been available on the site since November last year. Big things are expected of the second single, Superstar Tradesmen, which already has been championed on Radio One, as Edith Bowman's Single of the Week. And further in the future, what can we expect?
"Our album is going to be out in January. We're working with Owen Morris on it. He's produced albums for Oasis and the Verve and he understands where we're coming from."
Signed to 1965 Records, a subsidary of Sony, Kyle claims that one of the most important aspects of their contact was to be able to have creative control. Of course, every new band these days claims the same but he is admanant that the View will not allow themselves to be influenced, or led astray.
Originally from Dundee, one of their biggest performances to date was in their hometown at the One Big Weekend event in May. Although seemingly glad to escape from the small town mentality, Kyle is relatively complimentary about the Dundee scene.
"There is quite a bit going on – bands playing in bars but most of them don't go anywhere. We always wanted to do something with this, to get out of Dundee. We always wanted success."
Success and all it entails perhaps? Rumours were rife after the band's performance at Tennant's ViTal. Apparantly our young friends were fully enjoying themselves with a group of keen female fans in the dressing room. When probed about this, Kyle is politely reticent. "We're young. We like to enjoy ourselves." And the dead silence that follows speaks more than he ever could.
Rock n roll young'uns but gentlemen all the same.
New single, Superstar Tradesman out 23rd October on 1965 Records
Wednesday, September 20, 2006
Incoming: Klaxons - September 2006 (RADAR magazine)
So called rave revivalists, Klaxons are one of the bands to name-check right now. RADAR was lucky enough to entrap guitarist, Simon Taylor, to uncover a little more about the band and find out just what this “nu-rave” title means:
“We basically invented the nu-rave name ourselves. We were just joking around, we wanted to invent a label and eventually we did. Then all of a sudden, you have people from the Guardian writing about nu-rave. We find it hilarious.”
The practice of attaching a fancy genre to a band is nothing new; various popular music publications have played their part in it and Klaxons are emphatic that the label does not define them totally as a band.
“It’s not something that bothers us. It’s a problem for some bands if you’re a band that can only exist in those borders but we’re completely confident that we can branch out a bit.”
Despite being slightly amused by their neo-rave credentials, it is not difficult to see where this has sprung from. Covers of songs such as the 90s rave hits, “The Bouncer” and “Not Over Yet” only work to solidify the claims. Simon is quick to point out, however, that their versions are somewhat different to the tunes of yore although a basic premise exists.
“We wanted to recreate that excitement about going out on a Friday night; the excitement about parties.”
It’s an interesting sentiment from a group of guys who had barely hit puberty at the height of the dance scene. On the other hand, they are keen to highlight the trail of thought that suggests bands can mix and match everything. James, the bassist, admits to being a Gwen Stefani fan; Simon prefers “weird noise stuff” and as a group, they share a love of kraut-rock bands, such as Cluster.
“Even as youngsters, we listened to Nirvana and Ash on one side of the tape and dance music on the other.”
Comparisons have been made in the press with the now-defunct, Test Icicles, notable perhaps due to the fact that Simon shares a house with one of the band members. He’s reluctant to say that musically they share common ground but he does have his own theories as to why such links are made.
“They had that element of high-energy music and made party music which is hopefully what we do as well. Test Icicles shook people out of that Whitechapel, dark, dingy Libertines-esque scene and with our album, we want to do that as well.”
At the time of the interview, Klaxons have been locked away in the middle of nowhere - a recording studio near Hastings in England, working on their debut album. James Ford (Arctic Monkeys, Mystery Jets) is their main producer but the band have previously worked with Erol Alkan on some material and are keen to do so again.
“We’ve already done some stuff with Erol – it’s probably going to be b-sides. It’s a bit of a time issue with him but we’ll definitely be working with him again.”
The album is due for release in the second week of January – one year since things started taking off for the guys. It does not escape them how quick their rise to success has been.
“In November 2005, we basically formed a band, had one rehearsal, booked a gig a few days later and that was that. We had the intention that by February we’d have a few more gigs on the go. By the second week of January, we had management; record labels chasing after us trying to sign us and basically all our live dates booked ‘til May.”
It is pretty impressive, especially considering keyboardist James was drafted in under false pretences. Originally residing in Madrid, he was convinced by Simon and Jamie that he was wanted to front a band of girls back in London so he returned. Still, he can’t have been too disappointed as he remains here a year later! Both James and Simon had recently finished uni by the time plans came together about setting up their post-punk, dance band.
“I studied Fine Art and personally I think the music we make wouldn’t have sounded like it does if I hadn’t had the creative influences there. In terms of lyrics, the books I came across reading there are critical to where I am now. It does make a major difference having something to fall back on. I can’t even fathom not having any sense of direction.”
His grounding in Fine Art has been of benefit to the band – they are determined to stay involved in their creative process – doing artwork, working with friends of theirs videos etc. Being able to have a great deal of authority was what took Klaxons so long choosing their record label.
“I think some of the bands recently who have come out with second albums, you can see who has been influenced and immediately you can see whether a major label has had a say in it – even in advertising and merchandising. I think a lot of people can see through it and for us, it’s incredibly important to keep a firm hand on every aspect that goes on”
He enthuses about one of his musical stimulus - Liars Club, a small capacity club, in Nottingham, where he studied, that is well known as a starting ground for bands – Franz Ferdinand played one of their first shows there Things have changed now though – instead of being part of the crowd, Klaxons are now up on stage, having recently come from playing the Carling Stage at Reading festival.
“Reading was one of those life-changing moments. To walk out to four / five thousand people and knowing they’re there to see, it’s really weird. You play some gigs and you’re like ‘are they really there to see you, a support band?’ But to go to Reading and knowing people are there to see you… It was nearly a week ago and we’re still completely baffled.”
Looks like you’re going to have to get used to it, boys, as it seems Klaxons are only going to get higher and higher!
Next single, Magic, out 1st week October.
“We basically invented the nu-rave name ourselves. We were just joking around, we wanted to invent a label and eventually we did. Then all of a sudden, you have people from the Guardian writing about nu-rave. We find it hilarious.”
The practice of attaching a fancy genre to a band is nothing new; various popular music publications have played their part in it and Klaxons are emphatic that the label does not define them totally as a band.
“It’s not something that bothers us. It’s a problem for some bands if you’re a band that can only exist in those borders but we’re completely confident that we can branch out a bit.”
Despite being slightly amused by their neo-rave credentials, it is not difficult to see where this has sprung from. Covers of songs such as the 90s rave hits, “The Bouncer” and “Not Over Yet” only work to solidify the claims. Simon is quick to point out, however, that their versions are somewhat different to the tunes of yore although a basic premise exists.
“We wanted to recreate that excitement about going out on a Friday night; the excitement about parties.”
It’s an interesting sentiment from a group of guys who had barely hit puberty at the height of the dance scene. On the other hand, they are keen to highlight the trail of thought that suggests bands can mix and match everything. James, the bassist, admits to being a Gwen Stefani fan; Simon prefers “weird noise stuff” and as a group, they share a love of kraut-rock bands, such as Cluster.
“Even as youngsters, we listened to Nirvana and Ash on one side of the tape and dance music on the other.”
Comparisons have been made in the press with the now-defunct, Test Icicles, notable perhaps due to the fact that Simon shares a house with one of the band members. He’s reluctant to say that musically they share common ground but he does have his own theories as to why such links are made.
“They had that element of high-energy music and made party music which is hopefully what we do as well. Test Icicles shook people out of that Whitechapel, dark, dingy Libertines-esque scene and with our album, we want to do that as well.”
At the time of the interview, Klaxons have been locked away in the middle of nowhere - a recording studio near Hastings in England, working on their debut album. James Ford (Arctic Monkeys, Mystery Jets) is their main producer but the band have previously worked with Erol Alkan on some material and are keen to do so again.
“We’ve already done some stuff with Erol – it’s probably going to be b-sides. It’s a bit of a time issue with him but we’ll definitely be working with him again.”
The album is due for release in the second week of January – one year since things started taking off for the guys. It does not escape them how quick their rise to success has been.
“In November 2005, we basically formed a band, had one rehearsal, booked a gig a few days later and that was that. We had the intention that by February we’d have a few more gigs on the go. By the second week of January, we had management; record labels chasing after us trying to sign us and basically all our live dates booked ‘til May.”
It is pretty impressive, especially considering keyboardist James was drafted in under false pretences. Originally residing in Madrid, he was convinced by Simon and Jamie that he was wanted to front a band of girls back in London so he returned. Still, he can’t have been too disappointed as he remains here a year later! Both James and Simon had recently finished uni by the time plans came together about setting up their post-punk, dance band.
“I studied Fine Art and personally I think the music we make wouldn’t have sounded like it does if I hadn’t had the creative influences there. In terms of lyrics, the books I came across reading there are critical to where I am now. It does make a major difference having something to fall back on. I can’t even fathom not having any sense of direction.”
His grounding in Fine Art has been of benefit to the band – they are determined to stay involved in their creative process – doing artwork, working with friends of theirs videos etc. Being able to have a great deal of authority was what took Klaxons so long choosing their record label.
“I think some of the bands recently who have come out with second albums, you can see who has been influenced and immediately you can see whether a major label has had a say in it – even in advertising and merchandising. I think a lot of people can see through it and for us, it’s incredibly important to keep a firm hand on every aspect that goes on”
He enthuses about one of his musical stimulus - Liars Club, a small capacity club, in Nottingham, where he studied, that is well known as a starting ground for bands – Franz Ferdinand played one of their first shows there Things have changed now though – instead of being part of the crowd, Klaxons are now up on stage, having recently come from playing the Carling Stage at Reading festival.
“Reading was one of those life-changing moments. To walk out to four / five thousand people and knowing they’re there to see, it’s really weird. You play some gigs and you’re like ‘are they really there to see you, a support band?’ But to go to Reading and knowing people are there to see you… It was nearly a week ago and we’re still completely baffled.”
Looks like you’re going to have to get used to it, boys, as it seems Klaxons are only going to get higher and higher!
Next single, Magic, out 1st week October.
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