Plastic Mermaids // Album Review // Suddenly Everyone Explodes

Single, EP and Album Reviews, Uncategorized
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‘Suddenly Everyone Explodes’
Released 24th May 2019
Sunday Best Recordings

‘Suddenly Everyone Explodes’ completely caught me off guard – never, has the term genre-bending, been more aptly alined.

This debut album from the Isle of Wight based five-piece is sure to bring many a new ear to the party. To be frank, we are at odds as to how their (three) EPs missed our radar.

Unhinged and enamoured from start to journeys end, your thirst for outlandish, left field pop will be quenched.

Plastic Mermaids combine space-rock, orchestral-pop, psychedelia and spoken word with aplomb.

Framing the dichotomy between awe and fear of our modern/digital age through the euphony of spacey electronics, operatic strings, choir choruses and socially conscious lyrics.

Unquestionably ‘Yoyo’ is the highlight track because of it’s poetry; pensive lines and overlapping metaphors challenge perceptions of life and death. Perhaps the poignancy is enhanced by the fact it’s vocally very different from the rest of the album, and is mostly spoken word, accompanied by rising choir choruses.

But seriously, who would of considered drawing on the perspective of a personified yoyo, never mind one who challenges cosmic mysteries? Songwriting stardust right there.

The eponymous yoyo cannot not be ignored – we must “free ourselves and just let go of everything…(and live a little) let’s smash into the floor and explode like a Jackson Pollock…I wish we could do this everyday, but it seems, at least for now, that death is a one way journey.” And suddenly, everyone explodes!

Suddenly Everyone Explodes is out 24 May 2019 via Sunday Best Recordings

Follow Plastic Mermaids on: Facebook // Twitter // Instagram

Words: Rachael Crabtree (@eccentric_eejit)

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Bazooka Zero Hits LP Review

Single, EP and Album Reviews, Uncategorized
Bazooka; Credit Sarah

Athens-based psychedelic punk outfit, Bazooka

Bazooka shook us up last year with their turbulent psychedelic EP: ‘Zougla’ (‘Jungle’ released Nov 2017) – in case you missed it, here’s our review. Their chaotic and acidic punk 4-track EP has now given birth to this completely face-melting full-length record, Zero Hits.

Returning this January with their 3rd LP – and for the month that’s in it, it’s been the most well timed irreverent psych-punk record to lift those ominous clouds.

Their lead single: ‘Fylaki’ (‘Prison’) in the bands words: “..was born from the thought that we are seemingly free, yet we are locked up in our own mental cell. You know, we create our personal hell and we don’t even know it. And some of us even believe that it’s a place of love and happiness.”

The Athens based four-piece have irrepressible passion, and you cannot help but feed off their contagious energy. Singing entirely in their Greek mother tongue is of no barrier, sonically, you will appreciate just how ambitious and different their sound is; driving surf-rock crossed with new wave and laced with fuzzy guitar riffs. It would certainly find a fitting home on BBC Radio 6 Music – a refreshing spin for Steve Lamacq’s Roundtable we reckon!

Bazooka LP Artwork; George Chandrinos.jpeg

Bazooka LP artwork credit; George Chandrinos

Zero Hits (released via Inner Ear Records) is out now: Inner Ear RecordsiTunesBandCamp

Follow Bazooka on: Facebook // Twitter // Instagram

Words: Rachael Crabtree (@eccentric_eejit)

The False and the Fair Whelans, Dublin Live Review

Live Reviews, Uncategorized
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The False and The Fair; EP launch at Whelans, Dublin (18-11-2018); photo credit: imagery.by.ro

Despite the late switch to the larger venue tonight, there wasn’t much room to move in Whelans for The False and The Fair’s EP launch. Ahead of the main event, we were treated to fantastic support from Aisling Jarvis and a solo performance from Vernon Jane.

The False and The Fair arrived on stage to the ambient glow of a projector showing off their new EP artwork, kicking off with their always popular “Blue Bottles Blues”. The catchy riff helped set the tone for the evening as they passionately launched into their ever increasing and established repertoire.

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It’s hard to pin down a genre for The False and the Fair, they play their unique and brand of hard rocking blues-folk but they are not afraid to branch out into different styles with the likes of “Psychedelic Smile” (which features on the new EP) that wouldn’t be out of place on a Radiohead album.

 

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They were joined by a host of guests on the stage during the night, including the familiar face of Emily Jane from Vernon Jane who jumped in to lend her vocals to the fan favourite: “Bald Apes” (just as she had done on the recorded version).

The evening drew to a close with one encore, the lead (and personal highlight) track lifted from their EP: “The Space in Between”. The band were joined on stage by a trio of backing singers which enhanced their already expansive sound, giving an edge fans hadn’t seen before. All in all, it was yet another great set from the South Dublin band which certainly piqued interest here tonight – there’s really no limit to how far these guys can go!

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Their new EP: ‘The Space In-Between’ is out now!

FOLLOW THE FALSE AND THE FAIR ON: SPOTIFY // TWITTER // FACEBOOK // INSTAGRAM

WORDS: Niall McDermott: @NiallMcDermott7

Photos: Róisín: Imagery By Ró

Feng Suave // Sebright Arms // Live Review

Live Reviews, Uncategorized
Feng Suave; Spiral Magazine

Amsterdam-based psych-soul band ‘Feng Suave’ at The Sebright Arms (05/12/18)

When you see a band mid-week amidst the hustle and they not only unhinge you from your daily life, but in their wake, completely re-adjust your focus, that’s something beyond the control of the many. Feng Suave’s lo-fi psychedelia blends silky bass and reverb’d guitar wrapped around soulful vocals. And when paired with their sensitive lyrics, you cannot help but be encouraged to reconsider what we otherwise take for granted; the stars above our heads and the earth at our feet is all we need. Keeping grounded and in touch with the harmony to be had with natural world is the result of Feng Suave induced daydreaming.

Tonight (5th Dec), was the third night of their first tour, the final UK date and, as one half of Feng Suave, Daniel De Jong, told me after the show, was without doubt the “highlight of the tour so far”. Being their first tour, De Jong wasn’t too sure his vocals would last the duration, a question that had never entered my mind, especially given tonight’s established performance. His lead singer duties required his every vocal range and tone, even the soft croon and hushed notes were used to their full capacity – and you had to hand it to him, his pitch-shifting vocals were mesmerising. As an outfit, the keyboardist, drummer and guitar trio were cool and collected. They gifted us with their grace and warmth.

The evening may have been just as intimate as De Jong went onto compare with the Servants Jazz Quarters (their last London show) but there was definitely something magical about tonight. The interaction from their sold out crowd in response to their every track must have felt pretty rewarding, with the greatest audience chorus arriving with ‘Sink Into The Floor’. Their latest single: Venus Flytrap (an instant hit with BBC 6 Music) and the encore: Notre Ochre were personal highlights.

On the back of a successful year, amassing millions of streams for their eponymously titled debut EP, this tour for the Dutch duo (and touring ensemble) certainly cemented them as ones to watch here in the UK. There’s also a pretty good chance everyone went out into the night floaty, finding “…solace in just noticing the stars above..” It might be momentary but it’s all that we need, truly.

Follow Feng Suave on: Spotify // Twitter // Instagram // Facebook

WORDS: RACHAEL CRABTREE (@ECCENTRIC_EEJIT)

 

The False And The Fair Interview

Interviews, Uncategorized

The False and the Fair press shot 1 2018 - photo credit Joanna O'Malley

We spoke to The False And The Fair who were in the heart of Hell Fire Studios recording their latest single: ‘The Space In-between’ lifted from their eponymous EP (released 16th Nov) ahead of what will be an epic headline show at Whelans tomorrow (18th Nov).

The lads have a great way of volarising nature and romanticising the otherwise mundane band origins, inspiration and recording processes, and are proud to be belong to Dublin’s thriving music scene. For us, their record is an exquisite slow prog-rock burner with warm harmonies and transfixing layers of psychedelic guitar lines that just narrate the EP so well.

Rachael: I was gutted to narrowly miss you playing The Crow Bar when I was last over in Dublin – how did the night go, and generally speaking, how do you find the local music scene – where’s your favourite haunt to play?

Jacob: The crowbar gig was great. We stripped back all the songs, took away the drum kit and rearranged some of them to suit the more acoustic vibe we were going for. The crowd were really attentive and respectful too which is nice when you’re trying something new.

There are times when it can feel like parts of the songs, such as the harmonies, can get lost during gigs so it was nice to expose those a bit more and put the songs in a new context. I got to play a wooden box that Adam found in a warehouse so I enjoyed the challenge of playing the same songs in a different way on a different instrument.

The music scene here is booming. There are so many new bands being born every day and they’re all so different. No matter what type of music you play everyone just seems really supportive and encouraging. Having colleges such as BIMM Dublin and Newpark jazz has made people realise that they can actually have a career in this industry and it’s very encouraging to see you friends succeed at doing what they love.

Tommy: In terms of venues, we’ve had fun playing all over. Workmans, Sin E and the Grand Social are all great spots, as well as Whelan’s where we’re launching this new EP. The Harbour Bar in Bray also has a special place in our hearts. We’ve got roots in Bray as well as Dublin so it’s always nice to come back to that home crowd.

Your origins of the band sound awfully romantic…atop the Wicklow Mountains at dawn, which feed seamlessly into the outdoors themes of this EP. I suppose coming from such a beautiful country it’s inevitable that you become consumed by it’s natural beauty – can you continue the story as romantically as possible please, haha…

T: I can try, although the songs on the EP might do a better job of it! There is something about being out in nature, isn’t there? You just feel so big and small and lost and hopeful and peaceful all at the same time, and it’s nice to have space to breathe and think. There’s something about the headspace of writing songs that I always connect with the outdoors, even though I’m usually inside when I write. I think looking out at something bigger than yourself is one of the major themes with this collection of songs, so hopefully some of that energy comes through. You’re not just yourself; you’re part of a living, breathing world and it’s too easy to get stuck inside your head sometimes. I hope people will be able to put this EP on and let their minds wander a bit.

You dropped a reference to Townes Van Zandt – I’d love for you to share with us more what this American artist means to you as a band?

T: Townes is the man. Listening to him up in the mountains that morning definitely helped spark the creative energy that ultimately led to this EP coming together. There’s such an aching beauty to his writing, a real rawness and a yearning quality that I find utterly breathtaking. A lot of it’s really sad actually, but whatever way his voice hit me that morning just made me appreciate what I’ve got and where I was at.

Psychedelia seems the compass of TFATF’s sound – are there many likeminded souls that you’ve collaborated with/do you find yourself part of a scene, inspiring, jamming and gigging together?

Adam: I think we’ve been really lucky with the people we’ve gotten to collaborate with over the years.  We’ve all been huge Vernon Jane fans since seeing their first show, so getting Emily-Jane O’Connor to lend her voice to Bald Apes made us all a bit giddy. Having been a part of the BIMM scene, we got a chance to mingle with tonnes of unbelievable musicians. Through the college we met Laura O’Sullivan and Claire Z, who provided vocals for the last half of The Space In Between and have really promising projects of their own.

Ultimately though, I think we’re still trying to find our place in the broader Dublin music scene. No one here wants to be pigeonholed, which is amazing because you end up getting some really incredible genre-bending acts like Wastefellow and Fehdah, but it can also be a bit of a pain when you’re trying to put a show together! Ultimately I think it becomes more about quality over genre at a certain point though.

Cormac: When I joined the band, there seemed to be an established sound that I felt was very organic yet unprotected. Knowing that we had mutual interests, I felt that as we progressed we would be comfortable exploring each of our individual personalities as musicians. I think it’s evident that we all like psychedelic music to one degree or another, but we aren’t psych rockers. We enjoy much more of the genre’s soft, playful nature but you’ll get the occasional freak-out. Collaborations are always fun, Emily’s vocal on ‘Bald Apes’ is amazing. That section would have suffered without her. We’re currently taking on a lot more as individuals when it comes to the recordings. Rather than feature a new musician, we might try out something new ourselves. We like to experiment with different instruments and effects because it’s a lot of fun.

Have you ever heard of TAU – only discovered the artist myself recently (Shaun Mulroney is the mastermind behind the project) and they’re actually heading over to Dublin next month, I could really see your soundscapes sitting well together! 🙂

A: I hadn’t, I can definitely see what you mean though! Myself and Cormac are big fans of a Swedish psychedelic band called Goat and there are a lot of similarities there. We might have to shoot him a message!

The False and the Fair Space EP artwork by Grace Ryan

‘The Space In Between’ EP artwork by Grace Ryan

The guitar work is exquisite, I have to say, it’s warm progressive rock that just seems to narrate the EP so well – how do you each approach songwriting?

A: Tommy will come into our rehearsal room with the bones of a song and we’ll all sit around feeling out the track and throwing melodies about until we find something we like and the vibe sits right. Once we all have an idea for our main parts, we’ll start arranging it and adding little flourishes and accents – we’re basically just kids with crayons and a colouring book at that stage.

J: We’ve all played together for so long that when we work on new material it all comes quite naturally. We know what we like and we know what to expect from each other from a musical standpoint. We’re at a stage where we can trust each other and nobody is afraid to try something to see if it works.

C: When writing guitar parts I usually try to hear what the music is telling me. I hear how the lads gravitate to it and I find a way to make my own emotional tie to the sound. That said, we’ve all had a hand in writing the main riffs on this EP. I tend to become very attached to the sounds that I develop in the early stages of an arrangement. If it works I usually don’t try to push it too much, but there’s always room to explore new ideas.

T: I spend a lot of time writing by myself so it’s always a joy to get together with the guys and play. The more they contribute creatively the better, as far as I’m concerned. We’ve had a lot of fun writing together in the same room recently, so I hope some of those songs take shape and find their way onto future projects.

You’ve included ‘Gone’ on this EP which you previously released as a single, this song must bear a particular weighting – what does this song mean to you? 

T: Gone Tomorrow’s one of those songs that’s been with us forever, must have been the second or third song we ever worked on as a group and it’s certainly the oldest song remaining in our set these days. I think we’ve all got a certain fondness for it and it helped define our sound early on, to some extent. We released it last year but it was out on its own, and since it was just one track we only did an online release for it. We decided we’d like to have it on this collection for the blessed souls who want to buy our CDs and listen to the tracks that way, and when we realised that it worked nicely leading directly on from our new song ‘Psychedelic Psmile’ we knew that was the perfect place for it.

Would it be fair to say that you’re recognised by your most popular track: Bald Apes, which is very different sound to where you’re at with this EP, two years on, would you agree, not least in reference to the vocals (screamed to gentle-vocal hooks)? Can you talk us through this journey?

A: I think Bald Apes has always felt like a bit of an outlier for us tonally. It was written around the same time as Gone Tomorrow and In The Shade of the Mountain, yet it has this totally different perspective and scope. We’ve always been open to experimentation and I think back then we were still very much crafting our collective voice. I’m really proud of what we came up with, considering we actually recorded it 2 years prior to releasing it. This last year has really helped me to understand our dynamic and the direction we’re going in together, but I think that our recent musical development has had a lot to do with the shedding of pretense, a new level of openness, and a mutual acceptance of our individual voices and talents.

T: For me, I just thought Apes was one of our strongest songs at the time. As Adam says, we didn’t necessarily know what direction things were going for us musically. We decided to just go for it with a tune we were all excited about, and that seemed to have a great impact and energy when we played it live. I also won’t rule out more shouting in the future.

Even the location you chose to record your EP was in the heart of the Dublin Mountains – Hellfire Studios, where some Dublin legends like Hozier and David Keenan have recorded – how was the experience?

A: We got really lucky actually, I was studying Music Production in Bray and it turned out one of my lecturers Ivan Jackman is heavily involved with the studio. We ended up recording In the Shade Of the Mountain, Gone Tomorrow and The Space In Between with his students as part of one of their assignments, then once we realised that we wanted to make this EP, we booked in another few days to lay down Another Life and Psychedelic Psmile. It’s not your typical stuffy studio and the distance from the city gives you an opportunity to really focus on what you’re doing. It’s amazing up there – totally secluded with this amazing view of the city and the sea! I think we all fell in love with the place. Besides, their gear is delish!

What elements of an era do you hear in your songs – whether they are conscious choices made or unconscious results?

J: As far as the drums are concerned I grew up listening to a lot of Nirvana, Tool and The Smashing Pumpkins. It may not come across in the songs too much but there are definitely elements of that mid-late 90’s angst in the drums. Another Life is the best example of that, I really let loose on that song.

T: In terms of a broad influence the most obvious reference is probably a late ‘60s, early ‘70s kind of vibe. The likes of Love, Pink Floyd and Neil Young would be touchstones for me, but we’ve got such varied musical interests within the group that I hope we’ve come up with something reasonably unique that stands on its own two legs. We recently put together a Spotify playlist featuring some of the tracks that influenced us on this EP and I’ve really enjoyed listening back over them and reflecting on where we’re coming from.

Check out their latest single: ‘The Space In-Between’, recorded live by Ivan Jackman at Hell Fire Studios:

Catch them live at Whelans tomorrow (18th Nov) €8.50 (Adv) €10

Follow The False and The Fair on: Spotify // Twitter // Facebook // Instagram

WORDS: RACHAEL CRABTREE (@ECCENTRIC_EEJIT)

The Noise Figures // Telepath Review

Single, EP and Album Reviews, Uncategorized

The Noise Figures; Photo Credit; Fotis Milionis.jpg

If you’re chasing down a new Psych-Blues band to add to your playlist then we recommend checking out The Noise Figures and their slow burning offering of a third album: ‘Telepath’. The Greek two-piece, George Nikas (vocals, drums) and Stamos Bamparis (guitar, vocals) combine intoxicating guitar riffs and tribal drumming that dapples in the bluesy grittiness, echoing the brilliance of Drenge.

You are destined to enjoy their fuzzy vertigo running through the album which has paved way to a heavier album than their previous two – their manically satisfying guitar work, shifting in its patterns are best highlighted on tracks: Telepath, Taste Like Time and Lethargy. Like me, you might even detect a slight 90’s edge, circa Madchester, running through some of their tracks, at times vocally (though I might be alone on this one) I definitely detect a reminiscence of The Charlatans.

All the while, you will be quickly taken in by the dark and primitive spirit of their raw guitar and drums, sitting somewhere between The Black Angels and BRMC, giving this two-piece not only an addictive edge but essentially flagging The Noise Figures as a band to watch!

The Athens-based rock duo released their third album on March 2nd via Inner Ear Records – tune into Telepath below…

THE NOISE FIGURES: WEBSITE // FACEBOOK// TWITTER //

INSTAGRAM

WORDS: RACHAEL CRABTREE (@ECCENTRIC_EEJIT)

Introducing // Flare Voyant

Uncategorized
Flare Voyant Press Photo

Psychedelic revivalists, Flare Voyant

There is something so completely timeless about the sound (and aesthetic) of the late 60s, early 70s, that it’s no wonder it’s been the inspiration for so many contemporary musicians. A new band that we discovered just before Christmas is the London-based four-piece, Flare Voyant, who rekindle vibes akin to both The Rolling Stones and The Doors. Their early demos caught the ear of legendary producer, Chris Kemsey (who is recognised for his work with the Stones) who recently went on to produce Flare Voyant’s debut EP (released November 2017).

They saw in the New Year by selling out Dalston’s Rocksteady (a gig we were sorry to miss out on) and are currently preparing videos for their EP tracks (due for release in the coming months). Here’s their most iconic single, Ephemeral Romance, lifted from their self titled EP:

Having realised their potential as a four-piece in early 2015, their effervescent blend of nationalities; Brazilian drummer Lucas Roxo, Greco-Italian-Brazilian guitarist Rod Bourganos, French singer Thomas Baignères and British bassist, George Hudson, have paved way for an iconic style, throwback yet distinctly their own. Their infectious EP effortlessly merges Psychedelia, Blues and Rock n’ Roll, with instrumental progressive jamming and the lead singer’s raspy bluesy overtones drawing them close in comparison at times, to not only The Doors, but to their contemporaries, White Denim – Flare Voyant have a strong alliance with 2018’s cosmos; we’re predicting big things from these!

Join us, by kicking back to their EP and by keeping your eyes peeled for 2018’s gig dates here!

Flare Voyant: Soundcloud // Instagram // Facebook

WORDS: RACHAEL CRABTREE (@ECCENTRIC_EEJIT)

 

Acid Baby Jesus // Live Review // London

Live Reviews, Uncategorized
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Acid Baby Jesus rocking The Victoria, Dalston (13/09/17)

It’s not often you discover a band that aligns with both a local show of theirs, plus an album release and, most importantly, happen to be one of the best modern bands out there. Acid Baby Jesus, a psych-garage-rock four piece from Athens, Greece, exceed (my already great) expectations onstage The Victoria, Dalston that it’s impossible to take your attention away from them; they have the audience in the palm of their hand. Playing to a sold out London crowd, up front everyone has just about enough room to bounce off one another, becoming comfortably close and sweaty, lead singer Noda plays off the audience and vice-versa, wanting to get “..everything loose and groovy” from the get go, the crowd’s response to throw some acid out, launches into the familiar footing of ‘Vegetable’ where audience participation comes easily. Tonight, older material is mixed with songs from the latest album ‘Lilac Days’ (29/09/17) which guitarist Tili eagerly wants to share with us and everyone can’t wait to get a piece of, by their set’s closure: “We only just got our hands on it today and it’s available to buy over there from our very much fifth band member, Kris”. IMG_3661

The experimental moments are tonight’s highlights, and when you attempt to pair their sound to another you’re left with so many cross references and contradictions – 60’s psychedelia to garage-punk to 70’s prog-rock, they even throw in a bit of glam-rock; comparisons to Marc Bolan’s aesthetics are natural with frontman Noda’s effervescent stage persona along with his silver glittered eyes, just about distinguishable under masses of curly hair.

There are so many off the wall moments and stand out guitar solo’s that everyone here tonight is left completely satisfied and speechless by Acid Baby Jesus’s departure. Speaking just days beforehand with drummer, Marko, he offered us a very valuable point in how modern music is so fortunate to have such an timeless back catalogue of ‘greats’ to reference: “…it’s the first time a whole generation grows up with all the history of recorded music at our disposal”. When you consider the concept of Rock n’ Roll, akin to an artist emulating another movement through their painting, Impressionism for instance, yet distinctly follows a path of their own making; as Marko continues “…rock n’ roll as an art form has strong roots in certain traditions and sounds. We try to continue on that path while bringing our own sensibilities to it”, all comparisons to other musicians becomes almost irrelevant. Acid Baby Jesus are exceptional artists in their own right, one’s that are set to become a legacy of our generation; long live Rock n’ Roll!

Acid Baby JesusWebsite // Facebook

Words and photography: RACHAEL CRABTREE (@ECCENTRIC_EEJIT)

Acid Baby Jesus Interview // Introducing

Interviews, Uncategorized
Acid Baby Jesus Profile Pic

Greek Garage-Psych-Rockers, Acid Baby Jesus

There’s an incredible feeling you get when you discover new music – one minute we complain about the amount of time wasted on social media but within the same instant a new band via Instagram, promoted by the venue you follow hits you and suddenly their post spirals into a subsequent listen to this promising band. It’s the very moment you tune in, and it’s instant love that the time spent on your phone can be forgiven; you’ve discovered an absolute gem and the world is suddenly so much better. Even better when said band are on a European/UK tour – performing today in Brighton (for you lucky few) Falmouth on Monday and Wednesday for us London folk! Let me introduce you to Acid Baby Jesus, one of the best new bands out there, alongside Ten Fé (naturally) – who we love over here at Spiral – line for line can now be recited of ‘Hit The Light’ and yet their album just keeps on giving!

Despite Acid Baby Jesus’s busy touring schedule, we very fortunately managed to catch up with their drummer, Marko, to gain a glimpse into their band ahead of their UK tour!

Can you introduce us to your music, we’re loving the psychedelic 60’s vibes coming through: Love has Left my House Today, feels almost throwback yet so completely fresh and different, how long have we been missing out on your music is really the question at stake here?

We’ve been a band since 2009, so we’ve been playing for 8 years. About our sound, we could say there’s a lot of referencing going on in modern music because it’s the first time a whole generation grows up with all the history of recorded music at our disposal. Also rock ‘n’ roll as an art form has strong roots in certain traditions and sounds. We try to continue on that path while bringing our own sensibilities in it.

So you’re from Athens, Greece, what is the music scene like back home?

It’s very active with a lot of bands and musicians from inside and outside the country moving there and doing their thing. Lately many bands have started touring more, which works wonders to get local music heard outside the country.

Very fortunately we stumbled across your music midst your European/UK Tour, and can’t wait to catch your London gig in a few days time! There’s so many small venues over here in the UK closing down rapidly, those that are left, are on the brink of survival. These venues are momentous to bands starting out, this is where they cut their teeth. Would you say there’s a decent gig circuit in Athens?

Not really. But it’s getting more alive. There used to be lots of small independent venues, but most got shut down in recent years. Now it’s picking up and things are looking better, with more things happening all around.

Really looking forward to your upcoming ‘Lilac Days’ LP can you give us a quick low down on your inspiration, any strong literary influences in the mix, and your favourite track off the album, and why?

It’s a mix of our personalities and tastes that gives our music its sound. We all have lots of musical and artistic influences that we combine in one direction that pushes and shapes our songs. Personal favorite could maybe be Love Has Left My House Today, just because it worked when we didn’t expect it to.

Lilac Days is out 29th September on Fuzz Club Records, details here

We recommend that you get yourselves down to Sticky Mikes (Tickets here) tonight (10/09) or you’ll regret it, if you can’t make it come join us at The Victoria, London, Wednesday (13/09)…Tickets here!

Acid Baby JesusWebsite // Facebook

Words: RACHAEL CRABTREE (@ECCENTRIC_EEJIT)

White Denim Live Review // Green Man Festival // 19/08/16

Live Reviews, Uncategorized

(Photographer: Will Steadman)

Expertly curated Green Man, which this year featured: James Blake, Wild Beasts, Belle and Sebastian, Battles, Warpaint and Laura Marling, along with an impressive number of new bands and artists on the special Green Man Rising stage, was a great platform for White Denim; introducing a decent helping of loud, up-tempo rock ’n roll into a festival usually dominated by folk, electronic, indie and world sounds.

Four-piece White Denim, who are no doubt used to somewhat warmer and drier surroundings in their hometown of Austin, Texas, today find themselves in a cold, damp but nonetheless beautifully located field in the Brecon Beacons for the 14th Green Man Festival. The band, led by (blue) denim-clad James Petralli, has been active for 10 years now and have just released their superb 6th album: ‘Stiff’, produced by Ethan Johns (Kings of Leon, The Vaccines, Ray LaMontagne).

Their one hour set on the Green Man main stage, complete with Wales’ black mountains as a stunning natural backdrop, demonstrates outstanding musicianship throughout, especially from the rhythm section which includes brand new drummer Jeff Olsen, who plays flawlessly and flamboyantly on his white and green-sparkle kit, despite it only being his 4th gig with the band. Their songs, which are bursting with energetic riffs, high-octane guitar solos, and interesting transitions manage to touch on every era and sub-genre of rock, with elements of 60s soul, 70s funk, jazz, blues and psychedelic folk thrown in too. The result is one of the most enjoyable and energy-filled festival sets I’ve seen.

They draw an impressively large and enthusiastic crowd, benefitting perhaps from preceding Friday’s headliner, James Blake. With 20,000 people in attendance at Green Man, Petralli and co appear genuinely humbled by the turnout and proclaim jubilantly that it’s their “biggest ever show”, which is surprising. White Denim are deserving festival headliners of the future and hopefully this appearance will help broaden their cult-appeal.

White Denim are touring the UK in October, including London’s Roundhouse on 11th Oct‘Stiff’ is out now on Downtown Records.

Writer: Will Steadman: @steadman_will

LINKS

Websitehttp://www.whitedenimmusic.com
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Twitter: https://twitter.com/whitedenimmusic