Steve x from Songs From The Shows

1. How did you come up with the name Songs From The Shows?

Normally you'd get a stupid answer to that question, but I'm on a train that's running to time, and the sun is out, I'm not hungover, and I'm in a less-sarcastic mood than normal, so I'll try and give you sensible answers to all these questions.

To be honest, I didn't come up with the name. None of us did. About 3 years ago, I was talking to my friend Zoë, who's a hotshot TV director, about band names. She suggested that "Songs From The Shows" would be the best band name ever because of the confusion it would cause. Next time some newspaper for Tory idiots like the Mail on Sunday comes with a free CD of dreck from West End musicals, it'll hopefully be called "Songs From The Shows" too. I promised her that the next band I was involved with would use the name. So, here we are.

We have t-shirts that read "I only listen to Songs From The Shows", and I've already had a fantastically-beautiful girl start a conversation with me based on my favourite show tune. It really pained me to tell her that I can't stand musicals, and that the T-shirt is a pisstake. She wouldn't talk to me anymore after that. Bloody band name.

2. What’s the best way to describe what the band's about?

Songs From The Shows is about getting rid of the traditional guitarist, with his personality disorders, egomania and preening self-obsession, from rock. We don't have one person writing the songs and treating the rest of the band as unpaid session musicians; We all contribute equally. We don't have anyone demanding a solo. Ever. We don't have anyone doing the traditional guitarist thing of going "Look at me! Look at me!" and then doing something shit. Instead we have two bass players, alternately holding the tunes together and ripping them apart, Ania teasing and caressing the drums, and Ben playing baritone guitar. Ben's a very special guitarist – he wrings some incredible sounds out of his gear, and he doesn't have any of the neediness of a traditional guitarist. He's like a good bass player or drummer, in that he does what's right for the song, rather than what's right for his own ego.

Any guitarists, who are reading this and getting angry, go and take a long hard look at yourself in the mirror. Any metal guitarists reading this and getting angry, would you like me to explain it again in shorter words?

3. What are your main influences?

We're all quite different, musically. There's stuff in there from bands like Slint, Joy Division, Rollins Band, QOTSA, Mogwai, Sonic Youth and The Cure. I also have to tip my cap to the great 2-bass bands, and especially Cop Shoot Cop who are obviously a big influence. We're trying to live up to the legacy of people like Disco Inferno in terms of the name and some of the conceptual thinking behind the music, too.

Personally the thing that affects how I go about making music, why I make it, and what it sounds like, is probably rage. There's nothing like being really pissed-off to make you pick up the bass and start banging out a new tune. And no gig is better than an angry gig. I think rage is something we've lost in rock. I'm tired of bands made up of good-looking smug guys making competent, mediocre, smug music. With shit like Coldplay and similar landfill Indie, as well as all the electro toss made by posh London kids, we've lost passion, and intensity. We've lost rage.

And I don't mean angry like metal bands are angry. They're just angry because they're stupid and don't quite understand how the world works, so are vaguely aware that they're not getting the most out of it. And that anger comes through as an over-compressed mush of a sound with no focus and no dynamic range. I mean angry like Big Black were angry. The kind of angry that makes you produce music that sounds like a Stanley knife. The kind of angry that means you have to make music or write or SOMETHING to take part in a meaningful creative act.

4. How long have you been together for?

Its 4 months since Jim walked into our rehearsal space and thought 'what the fuck have I got myself into here?’ I've known Ania for a couple of years, and Ben and I played together last year in a short-lived instrumental band called Inemuri.

5. Will you be recording an album or EP anytime soon?

Hopefully. I'm just trying to find the right engineer and studio. I'd like to find someone who hasn't grown up listening to MTV, and can understand what records are meant to sound like, rather than compressing everything to fuck, overdubbing loads of times, mixing the bass out, and all those other things that make every single guitar track on TV sound exactly the fuc king same. We'll probably do an EP first.

6. Any last words?

Yeah, for those who haven't got time to read all the above, I shall summarise:

Metal licks balls.

This is an amazing band that I look forward to seeing sometime in the near future. Check them out on myspace www.myspace.com/songsfromtheshows

The October games gig on the 15th of September 2008

As the October game walked into Hertford marquee the first thing that I noticed was the fact they were all eating fruit. I found that pretty damn Rock n’ Roll. Before they played their gig I was chatting to them before hand, and I have to say that they are really nice, genuine guys. After the first two bands had played there set it was now The October Games go. They all seemed really fired up and as Owen Stephen (bass) put it “I feel like a dream.” As they took to the stage they started off with Heartlines. This is a good song for them to start off with because to me it has everything that this band is about. It has the two guitar parts, the catchy rhythms and the way in which Luke (lead singer) uses his voice. They then went on to play Cast These Waves. Both these songs are on the current EP. They then played a new song called Where the Devil. This song is on the new album that they are going to record rather soon. I liked the song and I can’t really wait to hear how the new album sounds. They then played one of my favourite songs by them called No Time For Feelings. This is a personal favourite of mine that is on their first album. I think this song is really upbeat and is one of those types of songs that when you have a listen to it, it makes you want to smile no matter what your mood is. Then then played Slowburn. This song sounded so good live. I didn’t really think that they would have played it live but they did. It is a slow song and the emotion in the song is nicely expressed by Luke’s voice. To finish off their set they played Concrete (When We Were Invincible). This song has a different ending live then on the Ep. They have this amazing breakdown which they are all playing percussion instruments and then they finish off the song. You really have to hear this song live to believe it. You can download Concrete from The October Games wed site which is http://www.theoctobergame.com/. I think if you like how they sound and the songs then you would enjoy them even more live.

Will

TV on the Radio Dear Science

by Brad Barrett

 

There's no sense in analysing the oblique album title - is it an endearment or the opening to a scathing missive? - anymore than it is resisting the black hole gravity of the music. TV On The Radio have streamlined the inflamed and ravaging noise of 2006's Return To Cookie Mountain, developing their blend of myriad genres into a unique attempt at a self-confessed "dance record".

Of course this was always going to be wildly different to other such examples. For one, they haven't abandoned that gorgeous sense of asphyixation and shadowy threat that billows from their previous work. It creeps from David Sitek's squadron of guitars and Tunde Adebimpe's soulful, tear-wringing vocals. It's even in the ghostly backwards percussion on Crying, and the silhouetted synth and violin-plucking on the breathtaking Stork & Owl.

Nevertheless, Prince-spattered basslines and funk-guitar paintjobs run like a rebellious streak through the album, most notably on forthcoming single Golden Age, where Sitek's unexpectedly sparse production brings lightness to their steps. It's testament to their unashamed musical-magpie attitude that the sudden rush of haunting backing vocals, vibrant horns and buzzing fuzz bass come the chorus sound natural in what seems initially to be a sensual pop song.

It's this exceptional talent for layering songs with tiers of ideas, nuances and melodic or textural counterparts which brings this five-piece's undeniable chemistry violently to life. Whether they are crafting lush, piano-led daydreams like Family Tree, or intimidatingly-rendered nightmares like standout DLZ, it's clear that TV On The Radio are unassailable in fusing elements that don't fit into any typical periodic table.

Hold Fire Interview

1. How did you come up with the name hold fire?

Obviously, like any band, we needed a name we all liked and felt good about. We had a short list of 4 or 5. Around the same time as this we were recording some new demos. After their parts were done, for a laugh Sam (bass)drew a "tattoo" on Steve's (drums) arm and in the middle of it wrote one of the short listed names...for some reason that was the moment that Hold Fire felt like the right name.

2. What's the best way to describe what the bands about?

We're really about writing great, melodic, catchy and interesting pop/rock tunes that hopefully lots of people will love! And when people come to see us live we want them to have a good, fun night out with lots of dancing and singing along!

3. What are your main influences?

We're all into and influenced by so much. Just recently, whilst driving to a gig we were listening to stuff like Mansun, Radiohead, Dr Dre, and Oasis amongst other random songs. Seriously Richard (guitar) has an iPod that’s just like a pub jukebox! I don't think we sound that much like the things we are really into though. By far the first big influences for me growing up and probably still now were Prince and Blur. My earliest memories are of listening to Sign 'O' The Times.

4. Where was your best gig played at? And what made it so good?

Well we once played to 11,000 people in Brighton but we only got to play one song that probably doesn't really count. Recently we've played a few good'uns! One at the Metro in London that earned us a shout out on daytime Radio 1 and another good one was supporting One Night Only. I think we won over their 500 excited fans! It was great.

5. What's the worst gig you played? And what made it so bad?

HA! We've played so many silly gigs! Worst one? Maybe Asda car park. There are two Asda's in Brighton. One Saturday they had a charity event. One Asda had Louise Redknapp the other had us! That was quite a few years ago now though...

6. Where do you want to be in 5 years time?

Wembley! Ha!

I think like most bands we do sort of dream of being massive and having loads of fans! Although I guess these days just having a 5 year career in music is a massive achievement!

7. What should we look out for with your new single Power cuts?

Well apart from the fact it’s a great tune we're all proud of, look out for the very special format!

It’s very limited and only available through a link on our myspace from 22nd September. Keep checking the myspace for more details and the unveiling of the special format! Trust me; it’s quite cool and different!

8. Any last words?

We're booking loads of gigs all around the country for the rest of the year so if we're playing in your area please come and say hello!



I really like this band and think you should check them out on myspace http://www.myspace.com/weareholdfire

Glasvegas

by Chris Long   05 September 2008

Every so often, Glasgow produces a band, say Primal Scream or Franz Ferdinand, who seem so effortlessly capable of massive success that it makes you wonder why the city isn't the centre of the musical world.

To many, Glasvegas are the next heirs to such a crown. Named in a colloquial nod to their beloved hometown, they have been creating a buzz since catching indie mogul Alan McGee's ear 18 or so months ago.

They were the one band every industry high-flier and music hack agreed on at last year's In The City, despite not actually playing at the conference, and started this year nestled snugly behind The Ting Tings at the head of the BBC's Sounds Of 2008 poll. And now, they have every chance of mimicking the Salford duo's success, though they couldn't be more different if they tried.

Glasvegas' music sounds like the east end of Glasgow that gave birth to it; rough, raw and epic, it is a stunning wall of sound that strains the rich rockabilly and doo-wop of the 50s through the raucous brooding rock of The Jesus And Mary Chain to create something timeless.

It was a sound showed off brilliantly in the three independent singles that got them noticed to begin with – Go Square Go, Daddy's Gone and It's My Own Cheating Heart – and it's one that is driven hard across the whole of their eponymous debut.
All three of those starter singles are included, with Daddy’s Gone still standing out as a devastating slab of emotion-soaked songwriting, but they are by no means the only worthy inclusions.

A nod to front man James Allan's former career as a professional footballer, the catchy echo of Flowers & Football Tops, opens proceedings and the exhausting excellence of the band's oeuvre barely lets up until the smacked-out gospel of Ice Cream Van shuts the album down, with only the slightly odd spoken-word piano drama of Stabbed allowing some breathing space.

It is everything you could have asked for from the band. With the pressure on to produce an album worthy of the hype, they have succeeded where others, notably The Ting Tings and fellow Sound of 2008 nominees Foals, failed and delivered a genuinely classic debut. Scotland's second city has done it again.

Coldplay announce double release

Coldplay have announced plans to release a new EP and album.

Chris Martin said the band are planning two further releases including the full-length follow up to Viva La Vida, by the end of 2009.         He told BBC 6 Music: "We're going to put an EP out at Christmas called Prospects March and we're going to release an album next December to end the decade."     The band played a one-off show at the BBC Radio Theatre at the weekend. Martin also said that the EP is recorded but they are still to work on their next album.    The singer also joked his band might disappear from the public eye after the release of their fifth LP.

He added: "And then we’re gonna be ‘Whooosh! Where’ve they gone?', just like [The Usual Suspects' mythical film villain] Keyser Soze."    The band will embark on a UK tour later this year visiting London, Manchester and Glasgow.    They are currently offering a free new song, Death Will Never Conquer, available to download from their website.    Coldplay have also been nominated for the best special effects award for Violet Hill at this year's MTV VMA awards.     Russell Brand will host the event which is due to be held at LA's Paramount Pictures Studios on 7 September.

Friendly Fires

by Ian Wade    29 August 2008

Friendly Fires, the splendidly-named trio hailing from St Albans, first ventured into showbiz using the medium of instrumental, Fugazi-esque hardcore. Realising that it wasn't really them, and thankfully lightening up a bit, Ed, Edd and Jack ventured forth into the world of disco and headed towards a far more interesting and musically rewarding future. It's one that's found them feted by the likes of Zane Lowe, Colin Murray and Rob Da Bank, loved by Guardian and NME alike, and now on XL – fast becoming a label that's the home of the hits.

Friendly Fires rattles along quite nicely. There may not be an immediacy or instant large to the angle of the Fires' jangle, but after a couple of listens you're wondering why they didn't release it at the height of summer, as it would've sounded perfect. Self-produced, with the exception of the Paul Epworth-produced single and lead track, Jump In The Pool, and recorded under Ed's parent’s house, it's an album that sounds at home on both the radio and down the rave-up.

Earlier tracks, Paris and On Board are particularly ebullient and joyous, bringing to mind classic Chicago house textures with hand-in-air rushing moments. In The Hospital has the sweaty urgency of LCD Soundsystem, and Photobooth may destroy Earth itself, once a few choice remixes are commissioned. Lovesick is downright amazing: potentially the tune that turns the band from skinny indie groovers into chart-eating pop behemoths. Certain choruses and breakdowns mark this as a post-Klaxons album but that's about as much as FF has in common with the nu-rave herberts. Friendly Fires sound more like an excitable, puppy-like version of The Rapture or Cut Copy.

Overall, Friendly Fires – along with Late Of The Pier and Wild Beasts – have shown that there's some more forward-thinking and multiplex bands for people who've grown bored of the identikit indie gristle. A bit of sparkle and magic is all you need, and your life improves immeasurably.