Outfit Live Review

Ending their seven-date, UK tour beneath the roof of Birmingham’s, Rainbow Warehouse, Outfit inconspicuously take to the stage in a smouldered, purple lit room. Resembling The Beatle’s, boy band charm, Hot-Chip’s, quirky eruptions and Steve Morrissey’s, hair raising vocals, it is vital to address that despite these correlations- this band is not to be categorised.

From the pleasant constraint of internet information, to the unpretentious and effortless performances, it is clear to see that this band ask for their audience to examine them with honesty, optimism and an open mind- creating opportunity for nothing other than sweet success.

Opening song, ‘Vehicles’ has no trouble owning the crowd’s whole attention, even those lingering aimlessly around the bar. They then hurl into second song, ‘Every Night I Dress Up As You’ before the rest of the soundtracks loop, swirl and intertwine gracefully into one another. The flawlessly synced, melodies and hypnotic, escapism atmosphere, allures the audience’s interest further. Soon enough, the entire room is completely engrossed.

The disparity between Outfit and other rock contemporys, is their refreshing approach of being themselves-nailing the entertainment factor without exerting. It’s clear to see why five piece Liverpudlians are quickly becoming the nation’s new found favourites. And the exciting part? It’s only a taster of what they’re truly made of.

Pulled Apart By Horses Interview & Review

Left to right: Lee, James, Tom and Rob

 

‘Describe yourselves in three words.’ (Pause)...‘nearly, a, band’. Laughter erupts backstage of the HMV Institute as Pulled Apart By Horses take a dig at themselves and provide an answer that was expected the very least. Yet, these three simple words also say a lot about the new poster boys of rock and roll. They are grounded, playful, humble, witty, and entirely unaware of how awesome they truly are.

Over the years, Rock music has had its fair share of highs and lows. Right now, when you think of Rock, there aren’t many bands that fully embrace that authentic, raw, hardcore sound.  Ripping guitar riffs, gravitating, burdening choruses and ear shattering vocals, seem almost, none existent. That is of course, before the release of second album, Tough Love, as Pulled Apart By Horses accidentally found themselves labelled as the latest and coolest rock band to date. Greeted by firm handshakes and beaming smiles, I sit down with Tom, Rob and Lee to find out how they felt about their new tag.

The only thing that we’ve ever called ourselves is a rock band. There aren’t many of them around anymore so it’s almost like a responsibility to keep it going. We have the opportunity to do it so were just trying as hard as we can to keep it going. Edging our way into radio is also a big deal for us because you never hear rock music on stations anymore. For us, its weird that were the only rock band that gets played on Radio 1 at four in the afternoon. Few years ago there used to be loads of rock music playing. It definitely not dead, it just goes in different cycles.

Although Tough Love was the bands second album, it has been self- described as the album that felt most like their first.

I think primarily that came from the writing of it. The first one was never written in the idea that we were ever going to record an album, we just did it to get together in a practice room to play a few shows and enjoy it. This time round it was properly thought about and we figured out what we wanted to do. We put a lot of time and effort it demos so we could figure out what it would sound like before we gave it to a producer. With the first album we were still experimenting with our gear and performing at any gig we could get our hands on. It was a short, snap document of who we were and the second one has given us a benchmark of finding out who we really are.

While the success of Tough Love seems to have given the band a more respected and appreciated status of skilful recording artists, the magic in this band will always lie within their live performances. Blood, sweat, vomiting, severe injuries and apparent fish frying, can be all expected when Pulled Apart By Horses are on tour. Their famous stage behaviour has undeniably created an out of control and reckless reputation that their fans so evidently adore and admire, but how enjoyable can injuries and throwing up really be? Tom quickly protests.

It’s not enjoyable at all! It’s really embarrassing! Before we play I always get really nervous and phsyc myself out and as soon as we start playing, the adrenaline buzz and excitement kicks in. I’ve just pushed it too hard in the past, jumped around too much to the point of no return but the crowd just cheers. We just completely loose ourselves when were playing.

Rob chips in. Whenever he does it though he goes in the corner and starts going- uh I’ve been sick all over the carpet!

So...it’s not on purpose then?

Doing stuff on purpose to get the crowd going doesn’t work. It’s all spontaneous, we don’t think about anything when were up there. We completely loose ourselves in the moment.

And the best part about touring?

We’re all loving the UK tour at the minute but we all love the European touring too. It’s a total adventure. There’s more you can get away with as well. We do go out and party a lot more when were in Europe. You need to seize the moment, it’s like a quest!

The interview breaks into more laughter as Tom babbles on about being on a real life quest and Rob jokes about not taking any clothes on tour, instead, just a suit of armour and a sword. After a few more giggles about whom the biggest prankster is (James likes to run around Hotels hiding his downstairs area with nothing but shaving foam. Tom likes to think of himself of the next Ashton Cutcher) and silly debates of who pulls the most girls, (Lee is a big hit with the slightly larger females), the not so professional interview draws to an end as it’s time for them to take to the stage in order to do what they’re known to do best.

Opening classic and all time favourite ‘I Punched a Lion In Throat’ tears the venue apart as the thrilled and over-excited fans begin to mosh wildly, lapping up the band’s powerful energy, enjoying every beating minute possible.

The energy persists right through to the very end, a very polite Tom exclaiming ‘Cheers!’ after every song and chatting to the audience as if each individual was an old pal. Without a doubt, there lies something very special and profoundly unique about Pulled Apart By Horses. They love what they do and never fail to do it at its very best, whether on a stage or in a recording studio. It pays off- taking into account they’re extremely loyal fan base and ever-growing fame. A band that adores rock music and delivers talented, real, feel-good, rock music the industry was so desperately in need of, and on that note; Pulled Apart By Horses are utterly amazing.

Album single, V.E.N.O.M. Tough Love Out Now

Errors Interview & Live Review

Left to right, Simon, Steev and James

Thanks to the extraordinary and downright awesome, third album, Have Some Faith in Magic, Errors have already had an incredible start to the New Year, even after a highly strenuous 2011. With the departure of their guitarist, Greg Paterson in October, followed by their studio roof collapsing months before the release date of their new track, it’s easily guessed that tensions ran high for the Scottish threesome.  I meet main-brain, Stephen ‘Steev’ Livingstone, to sit down and find out what it was really like for them behind closed doors.

It’s important to highlight that Have Some Faith in Magic is the start of a new beginning for Errors. The time it took them to get to this point is certainly disheartening, considering they formed an extensive eight years ago. Yet, it is also a great escalation from the viciously unbending comparisons of label bosses; Mogwai. Have Some Faith in Magic wasn’t exactly the album fans were waiting for, more so the album they had hoped would eventually come along. The album that would at last, collapse the boring and indolent shadow that unfairly loomed over the undervalued band. Did this cause frustration or relief? Steev happily explains.

‘To me, I’ve always thought we were different, right from the start. There are elements of Mogwai in our music, but there are also elements of loads of different things. For me, it just seemed like people were being lazy because they’d see the link between Rock Action began by Mogwai and us. The music we make has never seemed like it was a Mogwai album. It is good that people are hopefully starting to forget about that. It has been a slight burden, every review would begin with Mogwai, but they’ve helped us a lot so I don’t want to criticize them.’

The breakthrough of this appears to be the transformation of taking their musical image and talent more proficiently.  It’s Not Something But It’s Like Whatever and Come Down With Me, could be described as the two ‘experimental’ albums - music from a band still in the process of defining their own sound. And now- after developing from ‘post-electro’ to ‘pop-electro’, the birth of a braver, tighter and most significantly, distinguishing album is born.

Of course, along with this charismatic, new sound comes the string of overwhelming, kind words. In fact - it’s almost impossible to find a bad word to describe the album. The question was raised whether or not attention is paid towards these reviews. Are they essential, valued or merely brushed aside?

‘It’s really encouraging. We get sent every single review that ever gets written, even down to little regional things, so I see everything and I choose to read it all. I care about what people think about our music. I think it would be weird to be doing things and being ignorant about it. That would be foolish.’

The most enjoyable part of the album is the use of vocals- not that anyone is likely to sing along. Smartly created as part of the music, the Gregorian style chants and heavily distorted effects are beautifully synced with the floaty keyboards and complex guitar passages. Curiosity overcame of whether this was planned, or naturally generated.

‘We kind of made the decision before.’  Taking a thirsty gulp of his beer and pushing his trademark, oversized, round glasses up his nose, Steev carries on. ‘There are little tiny bits of vocals in the last record but its way in the background, you can barely hear them so we kind of toyed about with that. Until recently we hadn’t found a way of using vocals that we were happy with because we didn’t want to have prominent vocals. I don’t really like the idea of people being able to tell what the lyrics are. So yeah I guess we were waiting for that point where it felt right and it fell in place for this record.’

So can we expect actual lyrics in forthcoming albums or will their lyrics always be a part of the music? In his notable Glaswegian accent, Steev persists. ‘I can’t really say how that’s going to go at the moment because the next record won’t be until the next two years or so. I wouldn’t like to say we’ll never do that because originally, when we first started, I said in an interview we would never use vocals. You should never say never because who knows what’s going to happen. We’re always going to be trying something different...we’re never going to settle with doing one thing and that’s why every record has been different.’

The saddening departure of Greg had a shattering effect on the band as Steev reminisces. ‘He would always be the one on the bus making us laugh and now we’re dealing with him not being around.’ Instead of mopping around and missing a friend, Steev took it upon himself to seize control to ensure their music didn’t lose its quality. This led to Steev juggling between playing the keys and guitars, as well as performing vocals...a daunting prospect for any professional musician. ‘Yeah the touring thing has been difficult but he didn’t necessarily leave. It was more of a case of him having other commitments and not being able to be in a band as well. There are no hard feelings, he’s still a pal but we are slowly adjusting and its getting easier.’

Fortunately, their hard graft, endeavour and commitment in the previous year, has rewarded them massively. Have Some Faith in Magic is a liberating, explosion of organic sounds, blended perfectly together with swallowing vocals and ever-changing tempos, making a delicious cocktail of mind-blowing music that sounds even more captivating live. As they take to the stage, Steev is endlessly thankful towards the audience, maintaining his modesty and gratitude. They are truly fascinating to watch. The audience latch their eyes onto Simon, who is in a world of his own, drowning himself in the music and lapping up the invigorating atmosphere. James’ aggressive, drum playing is striking to say the least as he gives his absolute all with nothing but his bare hands, a pair of wooden drum sticks and whole load of hair whipping. As for Steev’s multi-tasking between a variety of instruments (without misplacing a single beat)- it can only be described as something astonishing.

The whole performance is dazzling and the audience leave mesmerized with more respect than ever before for Errors. From this point on, regardless of whatever else is thrown at them it’s clear to see that Errors, are in complete control and can no longer do any wrong.

Have Some Faith In Magic available now.

Machines on Fire

UK rock band, Yellowire, have done significantly well for themselves regarding they formed in 2010 and have so far, toured America, performed at countless festivals, as well as have their songs played on radio stations as far afield as Dubai. Impressive- as is their album.

Ten track debut album, Machines on Fire is indulgent and passionate that swiftly and effortlessly swirls around you, filling the entire room with nothing but warmth and serenity. It captivates, without overpowering- a technique heard very little in music today.  With the uplifting ability to take you as far away from reality as possible, (think classic, American movie, sunny road trip to the middle of nowhere), it will undoubtedly put you at complete ease, even after the most miserable of days.

Ol Beach’s rich, gravelly, vocals are a faultless match to the rough-pitched, stringy drums and folk- tapping melodies. (Now think dark, handsome, rock star with hair healthier looking than yours, driving you to the middle of nowhere...that’s him.) An album you can quite happily leave on repeat for hours whilst getting on with your daily routine. It prides itself in variety and appealing on a range of different levels. Although the diversity is good, it is however, too generic.

The album includes the happy-go-lucky, pop rock tune, Starlife followed by the fast- tempo and rebellious, Machines on Fire. Set You Free is out-of- date, and predictable, that’s energetic, but lacks depth. Then we have the reggae-like and quite frankly, ‘summery’ track, Where is Summer; a curveball that sounds like it was plucked randomly from another album; but nevertheless, hugely enjoyable. Towards the end it becomes slow and reflective; unfortunately resulting in forgetting you even had it playing in the first place.

Machines On Fire isn’t groundbreaking or one of a kind, but that isn’t always vital in a successful album. Yellowire have managed to produce a gracious, cool and gratifying soundtrack. Whether you want to blast it in the car, pop it on as completing your essay or tune out whilst relaxing at the park with a little glass of something- it’s certainly the perfect album if you merely want to lose yourself in some real, feel-good music.

Born to Die

It wouldn’t be unreasonable to describe Lana Del Rey as a product. New name, new image and new sound, all skilfully constructed and carefully combined to reinvent another primp and perfect, Hollywood clone. Straight away, she sounds like our worst nightmare- yet it was a simple, stand-alone single that made the rich, blank-stared and filthy pouted singer, one of the leading new acts of 2012. The pop-star’s internet viral, Video Games immediately had us gripped. Her hypnotic, seductive vocals became an addiction as we found ourselves hitting the replay button, over and over, until every little detail and note was exceptionally appreciated.

Then the question of whether or not this botoxed beauty is the real deal. How long will she stick around for? Surely there must be further reasoning behind boastfully, self-proclaiming herself as the ‘gangsta Nancy Sinatra’. Her debut album as Lana Del Rey, Born to Die, is where all her talent is unleashed.

Born to Die is lovesick and sad, yet completely sensual and gripping. It should have been a recipe for disaster, considering the endless, clichéd lyrics and repetitive storytelling of her incapability of living without her other half. Instead, the catchy hip-hop beats, mixed with vintage vocals make it utterly irresistible- as her whole persona. Summertime Sadness and Dark Paradise are lingering soundscapes that complement singles, Born to Die and Video Games. Then we have the quirky, head-bopping tune, Off to the Races before the smart and shallow, National Anthem, as she becomes America itself rather than the American, bad-girl-in-love she portrays throughout the album.

Del Rey has produced a rich and wonderfully groomed masterpiece, overflowed with raw emotion, making accusations of false advertising, gossip about surgery and Daddy’s money totally irrelevant. She contains an incredible ability to slip from lazy, deep-toned smugness to high-note heartbreak, all in the same, stunning melody. Oozing with femme fatale and a notable vocal to match, she’s gracefully proved herself to anyone who ever doubted her. Lana Del Rey, is in fact, here to stay.