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Live Gig Video: Spring Offensive cover Drake’s ‘Hold On, We’re Going Home’

By on Thursday, 17th April 2014 at 4:00 pm

Sometimes the best results come out of spontaneous activity. Such is the case with Oxford band Spring Offensive‘s impromptu decision to tackle Drake’s ‘Hold On, We’re Coming Home’ and film it last minute on their smartphones. I really like this cover. Watch it below.

Earlier this month, we posted the band’s latest promo video for ‘Bodylifting’, which you can watch here.



Live Gig Video: Haim’s entire set at the first weekend of Coachella 2014

By on Monday, 14th April 2014 at 4:00 pm

Why suffer through the Californian desert heat (not to mention the damage to your wallet) when there are nice people on the internet that film entire sets from Coachella such as this one of Haim this past Friday afternoon? I don’t know if acoustics are to blame, but they don’t sound very good at all. Also, is it just me or do the Haim sisters look like they’re in pain and not actually enjoying performing at the festival? And it’s not just Este suffering as John witnessed at Reading 2013. Watch the whole shebang below.



Live Gig Video: Real Estate play ‘Talking Backwards’ on David Letterman

By on Friday, 11th April 2014 at 4:00 pm

This past Wednesday, Brooklyn rockers Real Estate appeared on American late night talk show David Letterman to perform ‘Talking Backwards’. The song is featured on the group’s current album ‘Atlas’, out now on Domino. Watch the performance below.



Live Gig Video: Hozier performs an acoustic version of ‘To Be Alone’ in Kilkenny

By on Thursday, 10th April 2014 at 4:00 pm

County Wicklow born singer/songwriter Hozier wowed the audience, including Carrie, at the Communion night at St. David’s church at SXSW 2014 last month. But this seems an even more appropriate venue for him to perform in: the Langton House Ballroom, where he filmed this acoustic performance of ‘To Be Alone’. Watch it below.

‘To Be Alone’ features on Hozier’s upcoming EP ‘From Eden’, out on the 28th of April on Rubyworks.



Live Review: School of Language at Newcastle Cluny – 7th April 2014

By on Thursday, 10th April 2014 at 2:00 pm

One would be forgiven for not understanding the subtle difference between School of Language, in which David Brewis sings and Peter Brewis plays the drums, and the Mercury-nominated Field Music, in which David Brewis sings and Peter Brewis plays the drums. Well, School of Language is ostensibly David’s solo operation, so despite the live presence of Pete (and the bassist looks somehow familiar too), pretty much everything on the album was written and recorded by David. So tonight there’s no Field Music-style instrument swapping: David takes full frontman responsibility throughout.

And he’s rather good at it, clad in ‘70s-dad chic complete with slacks and linen jacket, displaying an awkward cool which reflects the mindset of the music. He helpfully points out that this is the first School of Language gig since September 2008, a fact which surely does nothing to calm first-night anxiety – nervous fiddling with guitar controls and an in-and-out-of pocket plectrum are telling giveaways. Perhaps the knowledge that bro isn’t going to step out from behind the drum kit tonight adds an extra frisson of tension. But as the photos attest, when initial nerves give way to concentration and growing confidence, Brewis certainly looks the part, sharp of cheekbone and jawline, even throwing some modest guitar-hero moves.

The songs are as precise and efficient as the workings of a Swiss watch. ‘A Smile Cracks’ has two electric guitar solos and a drum solo, which in another context could be a byword for excess, but in fact both are the very model of restraint. There’s acres of space in the arrangements, allowing exact placement of the various melodic components. As the album cover art suggests, this is the motion of an architect’s pencil made music: line, form, and placement are elegant, specific and unambiguous – as if played on a set square and recorded in thin graphite strokes.

One shouldn’t assume that such methods preclude the portrayal of emotion, or that the end result must be soulless. Far from it: the whole SoL experience is one of restrained white funk. Mary has already mentioned Talking Heads in her review of ‘Old Fears’, and the comparison is apt indeed. Self-described “kinda the single” ‘Between the Suburbs’ hints at Nile Rodgers-era Bowie in its stop-start rhythm and chorused Stratocaster work. ‘Dress Up’ is so retro it hurts, heavy with FM synth, tremendous auto-wah guitar, and drums that again refuse to play anything even vaguely resembling a conventional beat. ‘Suits Us Better’ is a dreamy interlude of ethereal backing vocals and reverbed guitar, and a groove conjured from looped beatboxing: at once ethereal and lo-fi.

The introspective-on-record ‘So Much Time’ is slightly faster and certainly more intense live, and works well as a full-stop to an evening of fine virgin music. It’s the sort of gig one wishes to experience again – not because of any particular mind-blowing spectacle, more because of the nagging certainty that with music as subtle and charming as this, the first reading cannot reveal the true depth of everything that’s on offer. Oh well – that’s what records are for.


Interview: Daniel Pearson

By on Tuesday, 8th April 2014 at 3:00 pm

Singer/songwriter Daniel Pearson is a true “indie” artist, releasing music on his own record label and promoting his work on the Internet via social media. His most recent studio project is an EP titled ‘Escape Acts’, due for release on the 14th of April. His previous albums ‘Satellites’ and ‘Mercury State’ both received positive critical reviews and earned him more than a few fans along the way. Following the release of ‘Escape Acts’, Pearson is scheduled to appear at Leeds music venue Milo as part of this year’s Live at Leeds Festival on the 3rd of May. We caught up with him for an e-mail interview before that flurry of activity, and he was kind enough to share with us his down-to-earth perspective on the past, present, and future of his music career.

You’re a new artist to TGTF, but you’re not new to the music business. Could you give us a little background on your career? (Have you played in other bands? What kinds of music have you played previously?)
I’ve been a solo artist for the last few years and have released two albums, ‘Satellites’ and ‘Mercury State’. I’m a fairly prolific writer so I wanted to get music out there quickly – I don’t really need a year to write and record an album and like to keep momentum building. I try to keep things independent and honest and people respond to that. Before going solo I was playing in different rock ‘n’ roll and punk-type bands and that taught me a lot about songwriting and performing. I did that as soon as I started playing guitar as a 15-year old – no YouTube covers, no talent shows. Just straight into writing songs and playing them in bands at gigs. It wasn’t all good stuff! But you learn what works and what you want to say in your music.

As far as genre is concerned, I find it increasingly difficult to put artists into neat little boxes. As one of those genre-bending types yourself, how would you classify your own music?
It falls under the singer-songwriter bracket for sure, but that’s such a strange term that it can be a good or a bad thing. It can mean anything from James Blake to a kid uploading ukulele Ed Sheeran covers in his bedroom. I love guitars and melodies, so that’s always going to be a big part of what I do. There are rock n’ roll, grunge, country, folk and pop influences, but I think it all comes out sounding like me in the end.

Your new EP ‘Escape Acts’ contains four new recordings, two of which are new songs and two of which are reworkings of songs you’ve already released, is that correct? How did you decide which songs to include, and what was the reason for reworking the two older tunes?
At the moment I’m kind of in between albums; ‘Satellites’ established me as a solo act, which was the first step, and that was very much a relationships album. It got some good press and radio support and built a small fan base. ‘Mercury State’ was a more serious record about the recession and hard times, and was much more sparse and downbeat. The reviews I had for that were great and I felt like it was much more of a statement piece.

Since then, I’ve been working hard to expand my audience, and ‘Escape Acts’ is a natural part of that. I’ve got songs for the next album, but there’s no theme connecting them yet, so it made sense to put a couple of the new songs out there for people. I want to wait a while before I put out another full album – three inside 3 years might be overkill! The re-recorded songs were done because I felt like I hadn’t done them justice the first time around, that there was more to be done with them. The arrangement on ‘Promises Promises’ is much bigger, and the version of ‘Satellite Town’ is the way I’ve been playing it live, which I think is much more subtle than the originally recorded song.

On first listen, the ‘Escape Acts’ EP is quite eclectic, in that each of the four songs has its own unique flavor. (‘Lost My Way’ has a kind of pop sense to it, ‘Promises Promises’ is more of a blues rock, ‘Satellite Town’ is acoustic folkish, and ‘I Dug Myself a Hole’ feels almost like a country song.) What is the common thread that unifies them on the EP?
They’re all diverse songs, which I think reflects the different aspects of my songwriting. I like to change things up a little and keep it interesting. Lyrically, they’re all about escaping or wanting to escape from a situation in your life, so that’s why I think they hang together as an EP. I think everyone experiences those feelings at points in your life.

The most obvious common feature among these three recordings is your lyrics. I would describe your lyrical style as very straightforward and uncomplicated, occasionally elegant, but always emotional. Would you say that’s a fair assessment? Is that the effect you’re going for, or do you have an intended effect at all?
I’ve been going through a process of refining my lyrics and trying to distill them down to something universal and simple. It can be really easy to write overly complex lyrics and get too sophisticated – but in most cases you can say what you want in less words. I love poetry and the work that speaks to me the most is the most emotionally direct, the stuff without pretension. So I’m going for that rather than trying to cram in sophisticated words and too many syllables. I actually like repetition in writing – that idea of repeating the key message, or making subtle changes to a lyric as a song progresses to change the meaning. The audience is so eager to move on to the next song, the next band, the next thing, so you’ve gotta get your point across quickly and in a memorable way.

I understand that all of your records are released on your own label, Saint In The City Records. Would you like to tell us a little bit about how that came about?
When I recorded ‘Satellites’, I spent a while shopping it around labels looking for distribution but the whole process was kind of self-defeating. You get into discussions about how they think it should sound or find yourself waiting to hear back a lot. You end up looking for validation from others too much, and I’ve seen bands chewed up and spat out by the industry and how it works. So I got sick of waiting around and decided to put it out myself. I figured that I knew enough about it to at least have a go, and it’s worked out pretty well so far. It’s very hard as an independent artist, as people judge you against X or Y band who might have a million dollar recording, marketing and touring budget from a label. I think that in the mind of some people, they can’t see past what’s on Radio 1 or MTV and assume because you’re not on there, you can’t be any good. But it feels great to be in control and know that any success that comes my way has been earned and not bought. There are more and more indie success stories coming through and it’s awesome to be a part of that.

You’ve mentioned on Twitter several people who worked with you on the ‘Escape Acts’ EP. Would you like to give us a little more information about them here as well?
I’m lucky in that I have talented friends who’ll work with me on my projects. Ed Heaton is a great producer who worked on ‘Escape Acts’ and ‘Satellites’, and he really knows how to get the best out of me. He works out of Eiger Studios in Leeds, it’s a great set up and he’s worked on a lot of good records. He’s just set up his own label too called All My Friends. I’d recommend him to anyone looking for a studio and producer. Jeremy Platt is a longtime friend of mine, and he’s played on most of my records – he’s so talented, it makes you sick! He can play piano, organ, bass and it all sounds great. He’s put out his own album and it’s good stuff. Ed Fielding is another guy I mentioned on Twitter – he’s a really cool photographer who’s worked with Florence and the Machine and Paloma Faith. It’s nice to have people you can call on, good people you can trust and it’s nice to give them some support back.

Speaking of Twitter, that is how you and I came into acquaintance. You seem to be quite active on social media, including Twitter, Facebook, and Instagram. Have you found social media to be a good way to reach out to new fans?
I think it’s the future, but it’s already here! If I want to tell my fans about a release, or show them a video, I can let them know there and then it removes the middle man. I’m a big believer in interacting with people; after all, these are the people buying your records and tickets, so I’m amazed when bands think they’re too cool to do all that.

Twitter’s been an invaluable tool for me in building and interacting with my audience, and I think its part of our lives now. Facebook is the biggest fish in the sea, but it’s gotten greedy – now I have to pay so that my fans can see my posts easily, so I’m not so crazy about that platform right now. Of course, when you level the playing field it means everyone can join in – and that means people are bombarded with a lot of bad music too. I think key to using it well is being yourself and not having a superiority complex. The folks you’re interacting with are usually pretty smart, so if you’re a good, interesting person with something of value to offer they’ll get on board with what you’re doing. Just like you did!

Cheers Daniel for answering our questions! Stay tuned for his answers to our Quickfire Questions to post tomorrow, as well as a review of ‘Escape Acts’. In the meantime, you can follow him on Twitter, Facebook, and Instagram.


About Us

There Goes The Fear is where we tell you about the latest music, gigs, and tours we love and think you should too.

We love music that has its heart on its sleeve, tells a story, swims around our head all day or makes us dance like no-one's watching.

TGTF was edited by Mary Chang, based in Washington, DC.

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