Things changed here in April 2019. TGTF will be further evolving in 2020. Stay tuned!

SXSW 2019 | 2018 | 2017 | 2016 | 2015 | 2014 | 2013 | 2012 | Live at Leeds 2016 | 2015 | 2014
Sound City 2015 | 2014 | 2013 | 2012 | Great Escape 2018 | 2015 | 2013 | 2012

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Live Gig Video: Waylayers perform new song ‘Rose Tinted’ at London Roundhouse

 
By on Tuesday, 5th August 2014 at 4:00 pm
 

Back in the spring, East London’s Waylayers shot this video of ‘Rose Tinted’ from a live performance they did at London Roundhouse. The video features on the CD release on the 15th of September on Alcopop! Records of a new double A-sided single, ‘Take Hold’ / ‘Footsie’. Watch the live performance below; the song itself has a bit of a bouncy reggae-ish / pop flavour. If you like this one, hang tight: we’ve been told this is the first of three videos that have been done.

[youtube]https://www.youtube.com/watch?v=iQqDitNr0wM[/youtube]

 

Interview: Fearless Vampire Killers at Camden Rocks 2014

 
By on Friday, 27th June 2014 at 11:00 am
 

With an acoustic gig down and a full blown electric fandango to follow, TGTF seized the opportunity to crack open a cold one (and, not the beer-y kind…) with horror punk five-piece Fearless Vampire Killers at Camden Rocks 2014. The bumpkins from Beccles turned bombastic ball busters with extra bite gave the low down on Katy Perry, festival fun times and inter band rivalry in the shires.

The theme of today is rock music. How important do you believe events like this are to the genre as a whole?
Kier Kemp (KK): Well, I guess I would have to say very important! Specific rock festivals are always important because it’s a genre that gets a lot of bad press, in the sense that everybody is always going on about dying all the time. “Oh, rock’s dead”! That guitar music’s dead, but it never is and just lives on. There are always people that don’t want to listen to fucking Katy Perry… Even though I love Katy Perry, actually. That was a bad example! But, [people who] don’t want to listen to something else rubbish. It is important to have something billed as rock. It’s like: “rock music together, man!”
Cyrus Barrone (CB): This festival is particularly good because it’s got the whole street. So many venues and so many different things going on. You can basically stumble into someone you haven’t known before. You hear something outside, like when we were playing earlier with all the windows open so everybody could hear it. It means that, even if you’re not at the festival, you’re still hearing that rock music’s alive and well in Camden. If I hear a snippet of something, I’ll think “I’ll need to check that out” – that’s the appeal of these types of festival.

How does it feel to be playing in Camden, with such a unique rock music heritage? Do you feed off that a little bit?
KK: It’s pretty cool. We live down the road so it’s not quite as exciting for us…
CB: We’re seasoned!
Laurence Beveridge (LB): We used to play here every month. We had our own club night at a place called Tommy Flynn’s. We played it every month and at the first three there weren’t people there.
KK: They charged 50p to get in. We didn’t want to make money, they just wanted people to come.
Drew Woolnough (DW): We used to flyer around Camden market. Well, not flyers but wax sealed envelopes inviting people to come to the gigs. It didn’t make any difference, but it looked fucking cool.
LB: Every band in London has played a million shit gigs in Camden – write that down!
DW: But, there’ll always be a gleaming gold one, like when we played The Underworld.
LB: Some our best gigs have been in Camden. The Barfly – we sold that out. The Underworld. Where else have we played?
CB: Purple Turtle!
KK: Camden is a place of highs and lows. It’s got that stigma.
LB: We used to be here every night, just trying to meet new people and bands.

What’s your favourite Camden venue?
KK: Of the bigger ones, Roundhouse is an amazing venue. The smaller ones, Barfly, now. It used to be shite but they put a new system in and it sounds good, so Barfly’s good now. That’s where we met our sound technician, actually.

What is it that makes a good Camden venue?
KK: Dirty!
DW: It’s got to be grimy but also sound good. Sometimes you have grimy and run down, which is not good… But, then you’ve got grimy and it’s meant to be grimy. When you walk into The Underworld, you feel this stench – a wave of sweat comes over you, but you don’t mind because you know you’re going to have a good night. We don’t mind smelling of shit. It’s all about the vibes!

Urban festivals, or fun in a field?
KK: I’ve never been a massive purveyor of festivals, just because I’m a pansy and I don’t like being dirty. So, the only way I can survive is trying to be drunk the whole time, so I don’t realise I’m disgusting and horrible.
LB: I think the best festival to play and be at – definitely to play – is Takedown Festival, because it’s fucking brilliant! They just give you loads of booze, and – there’s booze everywhere. You can go anywhere with your booze. It’s all within the university, and it’s so easy to get to. There’s like five stages within three minutes’ walking distance. It’s just a walk through to another room. Just so easy, so relaxed.
CB: You feel so connected. You feel like you really get to talk to everyone. You get to meet all your friends, and talk to new bands.
LB: With most festivals, there’s always the fear of being run over. At a field festival, if you fall over then you just get a bit muddy. If you fall over here, you might get run over by a bus! I did once get run over at Glastonbury. I just wasn’t paying attention. There’s this one road that they’d kind of sectioned off – “This is where cars go”. I didn’t know this, and got run over. I say ‘run over’, he kind of nudged me out the way.
CB: But, you’ve never been run over at Camden Rocks…

Just to stick with the ‘rock’ theme; what inspired you to start making rock music in the first place?
KK: Something random, I guess. It’s kind of what you grow up with to a degree, isn’t it? My Mum was into the old punk stuff. She was a punk back when she was a kid and I just grew up on what they listened to. Then, I guess you just get naturally drawn to that kind of subculture, in a way, because if you’re not – and I hate to say mainstream – but, if you don’t fit in as a person, you often turn to things that also aren’t mainstream.
LB: At the time we were growing up, rock music was really popular. It was in every film – every thing. ‘American Pie’ had this punk rock soundtrack. ‘School of Rock’ had just come out. Everything was very rock orientated.
KK: We had pop punk, and then nu metal, and then emo all within the early years of our youth.
LB: Even hardcore was part of our youth.
CB: You get these massive albums like ‘American Idiot’ and ‘The Black Parade’; even The Killers. They were rock. Everyone had a bit of rock in them.
LB: This is what you did. If you didn’t play football, you were in a band. In our town, Beccles, there was a population of like 6,000. It’s not a big population and there were like fucking 20 bands – and we were all trying to get the same gigs. Even we were in rival bands. Half of the band… they’re two different bands.
CB: We’ve formed an uneasy alliance now…

So, there’s still some general suspicion?
CB: Oh yeah…
LB: Massive suspicion!

 

Live Gig Video: SOHN performs four tracks live for Seattle radio station KEXP

 
By on Wednesday, 18th June 2014 at 4:00 pm
 

I admit it. Ever since I heard ‘Artifice’ by SOHN, I’ve been addicted to the man’s music. Live, the Vienna-based English electronic musician is pretty much a one-man band, with synths, samplers and sequencers at the ready to pair beautifully with his soulful vocals. Unfortunately, I was in England when Christopher Taylor made his first visit to DC and I will just have to wait until winter before he returns. He’ll be playing a couple dates in the UK in September too.

In the meantime, we’ve got this amazing live performance of the always hooded Taylor, plus a bit of a chat with Cheryl Waters, all filmed at famed Seattle radio station KEXP. In it, he performs ‘Veto’, ‘Tempest’, ‘Artifice’ and ‘The Wheel’. The songs appear on his debut album ‘Tremors’, which came out in April on 4AD. Watch the magic unfold below.

 

Camden Rocks 2014 Roundup

 
By on Friday, 13th June 2014 at 2:00 pm
 

Camden Rocks‘ mission? To raise the studded standard for the borough’s rock heritage, past and present. Two hundred fifty bands across 20 venues and infinite beer pumps is a heady combination for just over half a day’s entertainment, especially when the bands are mindful of competing to be remembered in the same breath as the district’s forerunners, from The Rolling Stones to The Ramones. But, who might use one of these cider-soaked stages to write themselves into Camden folklore? No matter how big the band, this historically eclectic setting means all bets are off.

The Underworld is transformed into something in between Frankenstein’s lair and Dexter’s lab for the on-rushing psychofest that is Hounds. (Read my interview with Olly Burden of the band here.) Adorned only in sterile white, the throbbing lights and monotone hum of their entrance creates a sense of mechanised power fused with intriguing unease that would continue throughout the set. Trivial sound trouble aside, a track list including the likes of ‘Stigmata’ and standout tune ‘The Witch is Dead’ ensure a powerful reception for the boys from the countryside.

Sonic Boom Six, by comparison, is kid’s TV. The lighting engineer back above ground at The Electric Ballroom turns the contrast up to maximum as the predominantly suited and booted troupe from Manchester – fronted by the anomalously naked Laila Khan – has the day’s largest venue bouncing to their unique reggae/rock/hip hop crossover. ‘Drop the Bass and Pick it Up’, ‘Piggy in the Middle’ and ‘All In’ are undoubtedly floor-fillers, but there is an element of style over substance in their scramble to cover every genre and aesthetic within half an hour. It’s a small world, after all.

A quick licking by The Howling‘s resident axe man The Rev, and it’s off down to Purple Turtle for the force of nature that is Palm Reader. This is not a gig. This is a tumultuous, chest-thumping display of disenchanted machismo: a charmingly anarchic right of passage requiring limitless energy, plus a promoter willing to pick up the tab once the dust and debris has settled. Towards the heavy end of the South’s resurgent punk nouveau riche, to call them abrasive would be an insulting underestimation. With bassist Josh Redrup in the crowd and singer Josh McKeown emitting some kind of primal scream, it hardly matters which track they were playing (although ‘Spineless’ and ‘Uncomfortably Lucid’ somehow stood out in the malaise), and signing off “let’s get a beer or something” could not be a more welcome sentiment.

Managing to avoid the pitfalls of Sonic Boom Six despite their penchant for eyeliner and a statement fringe, the choreography of Fearless Vampire Killers feels somehow more sincere. A product of the My Chemical Romance era, the five boys from Beccles are theatrical in both dress and attitude, spitting water and multi-layered vocals across the youngest crowd of the day. A smattering of tracks from 2012’s ‘Militia of the Lost’, alongside a curious cover of Wham!‘s ‘Club Tropicana’, is clearly a release after the relative confinement of an acoustic set earlier in the day.

There’s only one way to describe the next band: ‘Shit Just Got Real’. Fittingly, this is already a song title from their debut album ‘You’re Listening to The Hell. Starting off as a smarmy joke at the expense of the hardcore scene, the band’s modus operandi is to instigate moments of raw, self absorbed aggression. Appropriately, the first act of their set at The Black Heart is a man with a deadpan look nonchalantly chucking his pint into the anonymous singer’s face from point blank range in an almost silent room.

Needless to say, it only spurs them on to incite more carnage through the likes of ‘These Butters Bitches’, ‘Groovehammer’, ‘Everybody Dies’ and ‘Hanneman’ – dedicated to the late Slayer shred machine. It could be their unique aesthetic – the guitarists play on just four strings between them and their merch tag is ‘…You Dick’ – that seems to unite the crowd in an anarchic union bound only by the uniqueness of their reactions. In any case, a joke about similarity has come to encompass a definition of individuality.

Rap metal maestros Hacktivist (pictured at top) openly admit that theirs is an act to be witnesses live before it can be fully comprehended. (Read my interview with Ben Marvin and J Hurley this way.) Chastised on occasion by elements of both the hip hop and metal scenes, their model doesn’t include a Chester Bennington or Fred Durst to bridge the gap like their noughties forerunners. This is more for the UK purists. With a thick smattering of London grime vocalists Ben Marvin and J Hurley machine gun out syllables that hit the crowd consciousness square between the eyes.

It also becomes evident who The Hell had sold their strings to, as the band’s Korn-esque rhythm section wove through the likes of ‘Fight Fire with Fire’ and Jay-Z‘s ‘Niggas in Paris’ on their six-string bass and eight-string guitar. Onlookers tear the place apart metal-style, and trying to envisage this same set getting an identical reaction amongst a room full of hip hop fans is tough, but that shouldn’t detract from a massive performance by the boys that have clearly been welcomed in to this scene with horns raised.

What organiser Chris McCormack have achieved in this year’s edition is quite possibly the most biggest buzz you can get in Camden for £25. And, as just a short walk amongst the shady characters around Camden Lock will tell you, there are plenty of ways to get your kicks in this borough.

 

Live at Leeds 2014 Review (Part 2)

 
By on Thursday, 12th June 2014 at 2:00 pm
 

To read the first half of Martin’s review of Live at Leeds 2014, go here.

Happyness sound like they come from Slackersville, USA, their sound reminiscent of college rock luminaries such as The Lemonheads. But a quick post-gig chat with affable singer Jonny Allan reveals they’re actually from South London – it’s their record collections, not their accents, that are transatlantic. What’s also very British is their moderately grumpy, slightly pained, dead-pan intra-song witticisms (imagine if Derek and Clive formed a band and cut out most of the swearing) which puts the lie to their optimistic name.

Such obscurantism matches the music well – the full name of one song is revealed to be ‘I’m Wearing Win Butler’s Hair; There’s a Scalpless Singer of a Montreal Rock Band Somewhere’. Said song has a superbly laid-back groove, making it pretty much the perfect song for a late afternoon spent indoors when it’s sunny outside. There’s every day at a festival there’s a band who summarise the mood, linking atmosphere, location and sound in a perfect circle of gentle euphoria – Happyness are that today.

Woman’s Hour (pictured at top) trade in gentle washes of electronica and minimal beats, topped with Fiona Burgess’ peachily delicate croon. Smooth and fragile, here appropriately swathed in smoke-machine atmosphere, Burgess making smooth motions with her hands as if hosting a communal tai-chi class. Much like the smoke, there’s the suspicion that Woman’s Hour are a bit ethereal, slightly monotonal, perhaps without the dynamics to structure a set which fully engages right to the end. Within their niche, very competent, but The xx have nothing to fear.

Highasakite sound like nobody else and are certainly the most ambitious band of the day. They make a fantastic orchestrated noise, perhaps best described as prog-pop, where guitars are just another instrument to carry their elegant, architectural melodies. Ingrid Helene Håvik strolls on stage unassumingly, wearing a hoodie several sizes too big, but when she starts to sing, the true potential of the band begins to be realised. ‘Since Last Wednesday’ is an epic on the theme of loss, featuring cathedral-size pipe organ and enormous drum hits, ‘Indian Summer’ has an enormous uplifting chorus, and latest single ‘Leaving No Traces’ melds spaghetti-western sensibilities with an electronic pop chorus which manages to be both icy cold and deeply emotional all at the same time. Quite a ride.

Each member of the band appears to be a virtuoso, particularly the impossibly-talented, formally-trained synth player Marte Eberson, whose playing stands out as being as stunning as her looks. In the back room of the Brudenell, with not much more than a handful of audience members, this starts to feel like a rare treat, of a band with stadium-sized potential playing a private gig for a select few who know the secret of where to find nuggets of otherworldly music. This is the performance of the day, and, for that matter, of the year so far.

There could hardly be two bands more different than Highasakite and The Orielles. One is an ensemble of refined, trained musicians who formed at the Trondheim Jazz Observatory. The other is a group of two sisters and their schoolfriend from Halifax who have a, shall we say, more rudimentary approach to their instruments. What isn’t rudimentary is their ability with a tune. Their sound is 60s-inspired melodic surf-psyche-garage of the most endearing naiveté. But there they are on Spotify and iTunes, with an EP and a single, showing for more experienced practitioners how to go about this music business thing.

Check out something like ‘Old Stuff // New Glass’ from their ‘Hindering Waves’ EP (video of the title track we featured earlier on TGTF here) – there’s a fantastic surf-guitar sound that Dick Dale would be proud of, there’s the double-double-barrelled Esme-Dee Hand-Halford giving Louise Wener a lesson or two in offhand cool, and her sister’s Ringo Starr-esque drumming holding it all together with a simple, tight groove. They even take on a bit of white funk in ‘Sugar Tastes Like Salt’. Tonight, the audience are mostly men, mostly at least twice the band’s age, heads nodding and feet tapping to the frenzy of noise coming from the stage, as the band race through their set with no banter or niceties to lighten the intensity. You might go to see them for the novelty of age, but you’ll stay for the tunes. (For more of our coverage on the Orielles, go here.)

By the time TGTF arrives at Leeds University for a look at the Wytches, the well-refreshed crowd are already as excited as a toddler at Christmas, bless them. The appearance of Kristian Bell and his the sound of his dirty power chords sends them over the edge – a tsunami of people surge forward and crush the photographers and their expensive gear who’ve braved the front of stage position. The photographers don’t stay long, the crowd continuing to press wave after wave of human flesh against the barrier. A fight breaks out at one point, which seems perfectly normal given the circumstances.

The band themselves do have a nice line in semitonal noise, mixing ’60s psychedelia with ’90s mainstream grunge like Temples‘ naughty little brothers. In ‘Wire Framed Mattress’, Bell emotes about his dignity collapsing, and it’s clear some members of the crowd can relate to him from first-hand experience this evening. Overall, The Wytches are about as scary as a Vincent Price film, and just as corny, but they’re good for a laugh in a paradoxically light-hearted way. Just don’t stand at the front if you value your bones unbroken. (For more of our coverage on the Wytches, go here.)

It’s left to Drenge to wrap the night up. They take the visceral impact of an act like the Wytches but manage to tidy it up a bit, making proper songs that don’t rely on tons of reverb and walls of noise, but feature audacious concepts like groove and melody. Eoin Loveless is a positive guitar hero for a new generation, despite, or perhaps because of, not really ever playing a solo. (For more of our coverage on Drenge, go here.)He loves a good riff, though. Kids these days, eh? Sadly the crowd here is even further removed from the mores of polite society than the previous one, with flying beer cups, extreme moshing (some punters even come complete with anticipatory plaster casts already applied), and the final straw – enthusiastic vomiting just in front of the speaker stack. TGTF retreats to a safe distance – outside the venue, watching from the stage door – just to be able to enjoy the performance without being assaulted by various fluids, bodily or otherwise. And that’s it. The end.

The genius of Live at Leeds is that it attracts enough ticket sales from those wanting to see bigger, more mainstream acts – apparently Frank Turner’s acoustic set was at capacity long before stage time – that they can afford to run a fringe of more interesting new music. DIY’s programming of the Brudenell was flawless – in another universe TGTF stayed there all day and saw The Amazing Snakeheads, Fair Ohs and Pulled Apart By Horses. But the program is so varied that there’s something for everyone, and at £25 for a whole day of class acts, superb value. Roll on 2015.

 

Interview: Ben Marvin and J Hurley of Hacktivist at Camden Rocks 2014

 
By on Wednesday, 11th June 2014 at 11:00 am
 

With a name like Hacktivist, an interview with some kind of 21st century incarnation of HAL 9000 would have sufficed. Instead, vocalists Ben Marvin and J Hurley spurn the monotone passive aggression to offer a colourful account of their rise to prominence, their unique rap/metal crossover style and and their love for the borough that is the heartland for London’s alternative scene at this year’s Camden Rocks festival.

So, obviously the theme of today is rock music. How important do you believe events like this are to the genre as a whole?
Ben Marvin: Very important, man! It brings everyone together – a lot of bands that have done festivals and tours together all getting to mingle. It’s good for the fans because they get to split and choose who to see and at what venue and stuff. But, yeah, really cool.

How does it feel to be playing in Camden, with such a unique rock music heritage? Do you feed off that a little bit?
J Hurley: I love coming to Camden and playing music. Every time. Obviously it’s the heart of music for London. I’ve always enjoyed playing here. The crowd’s always crazy – everyone’s always crazy! Every time we play it’s always energetic and just… crazy!
BM: It’s always a good vide in Camden. Good Chinese too.

What’s your favourite Camden venue?
JH: Underworld. But, I went to see Yelawolf at The Electric Ballroom, and that was awesome.

What is it about the Underworld that keeps drawing you back?
JH: It’s nice and dark and dingy and low…
BM: It’s a grimy venue, but it’s a big grimy venue. So, it’s the best of both worlds. Your on top of the crowd; it’s really intimate, small stage. There’s a lot of injuries take place. Ticks all the boxes.

Urban festivals, or fun in a field?
BM: I say both. Both have their qualities. I think we’re yet to play a festival or gig that we haven’t enjoyed. There’s pros to playing urban festivals. We played a lot of festivals last year where the bill’s were all over the place with the artists that were playing. So, we love doing shit like that. But, at the same time we’ve played stuff like Fieldview, which was kind of like a hippy fest so we were really out of place there. And, that was a proper ‘sit down on the grass’ kind of thing – and even that fucking went off. So, I think all festivals are good.

Sticking with the ‘rock’ theme; what inspired you to start making rock music in the first place?
JH: For me, my brother kept coming home with loads of drum n bass/rave tapes. It wasn’t even called drum n bass then! It was just ‘rave’ music to me. And, then I used to listen to the tapes and sing along to them, and then one day I just thought I might as well make my own lyrics. Rather than singing their stuff, I’ll just write my own. That was when I was young. I was probably about 14-15 when that started happening, and then when I got to 16 I thought “Right, I’m going to write lyrics now”. From then, that was it.

So, lyrically, who are your main influences?
JH: I’ve got a log of influences, like Wiley, Dizzee Rascal, Pharrell Williams, P Money, I like Eminem
BM: Obviously, J’s not from the rock scene. I kind of wheeled him in a few years back, and ever since then I’ve been getting him in to metal. Then, about a year later, that’s when we started Hacktivist. I’ve been in metal (there or thereabouts) bands since I was 14, so me and J I guess got in to the music scene at the same time but from different angles. I mean, I’ve always been involved in the rock scene, so we kind of met in the middle and created Hacktivist.

How’s the reception been to your unique brand of crossover?
JH: They’re loving it. The reception’s been amazing – the reception’s been better than I thought. Every gig’s been like “woah!” – people singing along. Even when we went to Russia, there were people singing along to every single word of the lyrics. I just thought “wow!”, it blew me away, man.
BM: We’re definitely a ‘love or hate’ band. I think when we started, there was a lot of controversy about what we were doing for some reason; because we don’t fit in to a certain category or whatever. We never tried to be a certain thing anyway. It was just an experiment. We never realised we would even be a band. I think, over the course of time, even the haters are slowly moving over because – a lot of people who hear us, don’t like us. They come and see us live, and they come and speak to us and are like: “I never really got you guys, but now I get it”. It takes a while. I mean, I was the same when I was a kid and first heard Slipknot, I was like: “What the fuck is this shit?” – this is when I first started getting into the rock music and stuff. And, you know what, I listened to the album 2 or 3 times on loop and something just clicked. From then I was into heavy music. I can understand why people would automatically take a dislike to us, but overall I think the reception’s been way better than we could have ever dreamed of, man. It’s just going up and up!

Stay tuned for more of Ben’s coverage of Camden Rocks coming soon.

 
 
 

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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