Indieterria review Brain Food – Brain Food EP

Dear Readers,

We are absolutely gutted that we can only review this EP good three weeks after its release (came out on March 13th 2020) but the world has been in chaos lately. Maybe you noticed… However social isolation has good sides  – you can sit on your ass and listen to a lot of music. We will not complain too much about being four weeks into a self imposed exile then. After all this is what music scouts do anyway if not attending gigs: typing away mountains of text about artists they seen or are about to see.  Plus, the fridge is stocked and we have 24 pieces of toilet roll…So without any more ado, here is the record we will be ranting about on this blog today. Meet the band.

Brain Food:
Liam Mckeown (vox, guitar)
Jakob Cusp (guitar, keys)
William S Carrott (bass)
Connor Doyle (drums, percussion)

Official bio:

Brain Food are a four-piece cosmic psych outfit originally hailing from the suburbs of East Birmingham. Forming in the dying embers of 2017, the band have been making waves with their energetic, spaced-out and shimmering live set. In their brief history they have supported the likes of Insecure Men, Froth, Stonefield, Boy Azooga, Frankie & The Witch Fingers, Dead Coast, Man of Moon and Public Access TV. August 2018 saw the release of debut EP “Get One On”, a DIY project of five tracks recorded, mixed and produced by the band, on their own makeshift record label, Room 15 Records.

Birmingham is known nationally (and internationally if you ever poked your nose outside the disunited kingdom) for having a vibrant psychedelic and garage scene. If you are local we don’t necessarily have to introduce you to the likes of DOXA, Table Scraps, Cherry Pickles, The Cosmics or The Lizards. Chances are you drink with members of those bands more often at The Sunny than we do. However if you don’t hang around Digbeth too often, Second City may be uncharted musical waters. Then you are cordially invited to have a look at this BLOG we did for the scene and check out the playlists. It`s worth it – we will tell you this much.

Brain Food – photography by Psychedelic Eye
https://www.facebook.com/psychedelic.eye.photography

Brain Food are part of the vibrant Brummie scene and their new, self -titled EP is exceptional, in many regards. It is first time in aeons that we had a pleasure to listen to a space psychedelia record. For those who are not into musical genres: space psychedelia (also known as “space rock”) originated in the late 1960`s and is recognised by lengthy compositions with distorted, other-worldly vocals. Hypnotic drums and keyboards often accommodate poetic, mystic and science-fiction themed lyrics. This sub-genre of psychedelic and progressive rock came to prove itself to be very influential, inspiring every musical movement from the 80s onward: grunge, stone rock, shoe gaze to post rock. Early enthusiasts of the space sound were Jimmy Hendrix, Marc Bolan, The Beatles and Pink Floyd. The ground breaking “wah wah” sound was born out of the genre. But we digress…

The band sticks to a very traditional definition of space psychedelia – this record is full of wonderful riffs, mellow if minimal drumming, ethereal vocals and lyrics that evoke emotional and  spiritual sides of humanity. It`s 27 minutes that should be spent lying in the grass on a summer day with your eyes closed and  enjoying the sun on one`s face.

The Brain Food EP cover

Opening the record  is “Poseidon” – although not a leading single – it is a perfect introduction to the EP. The song greets us with a powerful riff and the words “Wake Up – what do you see?”. The low bass and heavy drums giving this track such a groovy, trippy feeling.

Then comes “Canyon Crawler” with its oriental theme and deep, echo like effects. The song changes tempo several times over the course of seven minutes but does not feel too dragging or boring. It is very Beatles-que in nature (meant in the best way possible).

“That Feeling” could give Pink Floyd a good run for their money had Brain Food been born few decades into the past. For some reason we love how the vocals sound  – there is no indication that they have been reinforced but it feels like there is more than one voice singing.

“Cosmic Jones” starts with a wah wah motif to explode into a distorted, quietly beautiful love song. It may be a strange observation but this is the only song that brings outthe fact that Brain Food are a British band. You can hear the strong West Midland accent clearer than on other compositions. Though out  the record you can`t place where the band comes from – they could easily pose for American quartet or  anywhere else in the world. Which adds to the charm of the EP – anyone from any corner of the world could relate. But on “Cosmic Jones”  the band is undisputedly  British. Also its our favourite track from the record. Not related to the fact that we are Anglophiles.

The EP ends with “Forbidden Tongue”. What we really love about this track are those long  guitar solos that are the central part of  composition. Vocals are here relocated to the back seat and treated  alongside with other instruments. Very clever idea.

It`s hard to rate this record. Brain Food do not reinvent the wheel. But  it`s such a strong  space psychedelic release in all its classical glory. And we have a soft spot for all things psychedelic!

This is a kick ass* release and if you can get your hand on it – do so. Hopefully we will get a physical release sooner than later.

*Kick ass is equivalent of at least 4.5 out of 5.

You can follow Brain Food on social media:

https://www.facebook.com/brainfoodofficial/
https://www.instagram.com/brainfoodofficial/
https://brainfoood.bandcamp.com/
https://soundcloud.com/brain-food-650656456
https://www.youtube.com/channel/UCt6TgF0ITsxJjDf3MuNMJKg
https://open.spotify.com/artist/4HqwUXaBaTJafihMSgeRsQ?si=JJ7P8nqqTFqjR5j9Dp6QeA

There is so much happening on the Brum scene we need to possibly consider a larger piece. Brain Food is one of those bands that you need to know if you want to know what`s hot on the indie circuit.

Big thank you to Sophie Hack (Bread Birmingham) for helping us with this review. Apologies for the delay.

M/R

Indieterria meets Scarlet.

Dear Readers,

We are in February – it may still be middle of Winter but we are posting the hottest bands on the circuit. Today`s entry is double special. In recent days a blog showing lack of women on major festivals bills written by music journalist Lucy McCourt went viral. Now the biggest heads of music industry prove left, right and centre the sheer hypocrisy of almost complete elimination of female artists from this year`s festivals. The average % of places for women is 4.75% for UK and 54% for European festivals.

Things need to change but they won’t unless the women themselves will have a voice. So we went and asked Jessie Scarlet Robinson – the vocalist and leader of Scarlet. to tell us how it is. And she had few words to say!

We are blown away by Scarlet. in general – the band have been rocking the circuit since 2014 and every year they get better, stronger and louder.  Please have a read – Jessie is truly an incredible conversationalist – clear, well prepared and straight to the point. Exactly what one would expect from a strong female voice from the world of rock and roll.

Scarlet. photographed by Glam Gig Pics
https://www.facebook.com/glamgigpics/

Abbie McCarthy of BBC 1 called the band “a massive powerhouse”. Please introduce Scarlet. to the readers of Indieterria.

Jessie Scarlet Robinson: We are Scarlet. a 4 piece band from the North West of England: Jessie on vocals and guitar, Laura on bass, Cai on drums and Adam on guitar.

You have been a strong part of the indie circuit since 2015. You debuted with an EP “FISHES” which gained a lot of attention from music professionals and journalists alike. It was like a breath of fresh air and Scarlet. were quickly regarded as the first band to announce revival of Riot-Grrrl movement. Where do you see yourself as musicians and artists?

Jessie Scarlet Robinson:  You’re very flattering for saying this, we have been around for a while yes and we were at the beginning of this whole female “riot grrl” revival. We were doing our thing as Wolf Alice’s old demos were being passed around… I think I personally see myself as having grown massively over these years and I see myself more now as an “artist” than I did in my late teens/early 20s. I feel like we’re developing a craft. I say all the time if we had the money and half a chance, we could headline Glastonbury tomorrow

Scarlet. has also received strong backing from national radio stations – you have been played on multiple BBC Introducing chapters, BBC 6, BBC Radio 1, Radio X among others. Your music has been described as “phenomenal”, “revolutionary” and “groundbreaking”. It’s hard to keep up with all compliments but is there any particular review (good or bad) that you remember the best? If so, who was  it and what was said about you?

Jessie Scarlet Robinson:  I got told I sound like an “ex Disney star that just discovered an electric guitar” once. I think it was meant to be offensive… but I mean, I love Disney… I can only ever dream of being as kick ass as an ex Disney star… Miley me up baby, I’m ready (laughs).

Ready to take on the world

 In 2016 you have released your debut album “Effigy” to universal acclaim. At that time, in an interview with “Fresh On The Net”, you said that this is “probably the best music we will ever make”. Looking back on the record, how do you feel about it now? Is there something you’d like to change or do better? Are you still proud of it?

Jessie Scarlet Robinson: Yeah that was a completely naive comment to make. At the time that album was everything to us. We took it so seriously. And looking back, it’s still something to be proud of and it got our music over to Japan and South Korea, so it was a very important piece to create. But we have so much more to give now. Better tracks, more experience. We are in general a much better band than we have ever been before now.

To finance “Effigy” you collaborated with Pledge Music. Can we ask about your experiences working with the fallen giant? Did you receive all the collected funds? Were there any red flags?

Jessie Scarlet Robinson:  I don’t want to go too much into this but I will say there were lots of let downs and hidden costs/charges. They kept a huge portion of the money we raised and paid us in random instalments making things very difficult to pay for and keep track of. There was lots of keeping professionals and fans waiting. In the end we didn’t have as much money as we thought (because of the charges) and had to sacrifice some of the ‘pledges’. We weren’t guided in what we were doing, we couldn’t afford funding the album and the pledges without the full raised amount. It was a learning curve and I hope we made it up to people that got stung by it. We always said we wouldn’t do anything like it again. To be honest I felt it was my fault.  I felt like I hadn’t researched enough or tried hard enough or raised enough…Then all of this information came out about them and I was like “Ohhhhhhh OK, so this wasn’t just me. This is a thing and it’s happening to everyone involved”.  That felt like a relief. I’ve never forgiven myself for not being able to do it all 100% properly. I had to borrow 2000 pounds from my parents just to get what we had promised done. I still owe some people some bits I’m sure. There wasn’t any clear record of pledges so it was all in a big jumbled spread sheet in the end. Madness!

Two years later, In 2018 you released a standalone single “Bones” that cemented your reputation as one of the indie circuit’s heavyweights. The song is four minutes of fury set to a surprisingly catchy melody. Tell us something about the track and the story behind it.

Jessie Scarlet Robinson:  It took us 2 years to recover financially from the album (laughs), it was hard graft like. The story is centred around a “kamikaze bichon fries” dog. In reality the dog is a metaphor… for an ex “boss” of mine that was all cute on the outside and vicious as hell on the inside destroying people that wanted to be good to her.  She totally tore me a new one and I was very angry about it. What better way to get over your anger towards someone’s attitude than turn them into a bad dog and tell them off in a song!

Scarlet. live – photo by JonMo Photography
http://jonmophotography.co.uk/

Let’s get a bit of political for a moment. It is a festival season and some festivals give women and mix gender band just 10 – 30 % of slots. Where do you place yourself on the issue? Should it be as some say – based on a talent or do we need the 50-50 split? What seems to be a rule in Europe is  harder and harder to find on festivals in the UK.

Jessie Scarlet Robinson:   Before I say anything, I’m gonna highlight, I love men. I have two men in my band. Boys are mint. And there are loads of really fab friends in all boy bands and I want them to be supported too. Here goes the rant. Of course we need 50/50 split. The only difference between say Scarlet. and the many boy bands that we’re at the exact same level as us but they surpassed us is two things.

Opportunity and money.

The boys work hard and were given opportunities. Like playing certain shows and festivals. It should be the same for women too.

Why does it seem so easy for men to stay at the forefront but women seem to get used up and cast off? For example, Kate Nash… have you seen her documentary? The way she was used up and spat out? Why does this ring so familiar within the female circle while men get to be part of the “lads lads lads club”? Certain radio stations play 90% male music and festivals booking 90% male acts…

There are so many female headliners I could list. It’s lazy promoting, lazy booking, lazy broadcasting, huge lack of effort and lack of push by everyone higher up than a grass root band.

If the girls don’t get the opportunities, they simply can’t make the money to grow their act and get bigger opportunities to get more money and the cycle continues.

What a total cop out it is to say “the female pool isn’t big enough” or “there aren’t enough females in the industry”…. COP OUT!!

Every band – male or female – starts off the exact same:  a bunch of nobody’s in a room with their mates. The only things that determine a bands success is hard work, money and opportunity. “Talent” doesn’t really come into it does it? It does a bit like, but I feel it’s all how something is marketed.

Having the money is crucial to release plans. Do you know it would cost us £300 per day in a studio to record. So let`s say: we want to record 4 track EP. Maybe 4 days will be enough, we could do a song a day. That’s £1200. Then it’s £300-£600 for a decent video made by a grass route level videographer. £700 for a national radio plugger. £700 for a good regional radio plugger. £500 upwards for a press agent… that’s £3700 for a 4 track EP before we make physical copies! Now take into consideration the cost of touring and little extras like music websites charging you to put your own music up online… You need money to market something properly. You need opportunity to make money. GIVE THE GIRLS SOME OPPORTUNITIES! GIVE THEM SOME MONEY AND THEY WILL BE ABLE TO STICK AROUND!

It’s like with radio. Why is Annie Mac the only well known DJ on Radio 1 for playing actual grass root bands… STOP PLAYING GEORGE MICHEAL AND QUEEN AND OASIS and CALVIN HARRIS AND BEYONCÉ ON YOUR RADIO STATIONS AND START PLAYING PEOPLE ON REPEAT THAT ARE UPCOMING AND GRAFTING LIKE MAD! ESPECIALLY FEMALES because we have the shit end of the stick!!

Jade Bird, ZuZu, Black Honey, Dream Wife, HINDS, Hands Off Gretel, Natalie McCool, White Horses, Bugeye, Tiger Mimic, Berries, A Void – the list of female fronted kick arse acts is so long! Why is it that all the already huge and established acts are getting all the opportunities? Why do these females get to a certain level, and then disappear from the public eye? As though they are a novelty act, a phase for everyone to shout about females in the mainstream music media, and then poof… gone and moved onto the next one… Even worse, the guys that are constantly shoved in our ears eyes and up our… noses… all play each other’s line ups!

Because they have money to buy onto each other’s shows? I don’t get it! Noel Gallagher, did you really need to support Smashing Pumpkins? What did that achieve for you? I mean come on dudes… they can sell thousands of tickets to make promoters money… it’s all about money guys. I’ve gone off on one here and I know there’s  “no simple answer”… but there is though! Book a fair gender split. Play a fair gender split. Fund a fair gender split. Work with a fair gender split. Men in big bands, get girls in smaller bands up on the big stages with you. Just do it.

Jessie Scarlet Robinson rocking on stage – another day in the office.

According to your recent social media posts, you have three brand new songs ready to go. Is it possible to bribe you with something to learn more details or are you going to keep the secret until the beginning of the tour?

Jessie Scarlet Robinson:  The songs are brilliant. There’s an energy to them- a bounce. That’s all you’re getting out of me! Come to a show and you tell us some more details

Talking about the tour, you are ready to hit the road very soon. Where are we going to see you?

Jessie Scarlet Robinson:  Everywhere. We have loads of shows to announce and are going to try to get everywhere we have seen any sort of craving for us. If your nan likes us and wants us to play in her front room for her, all you gotta do is ask!

You can follow Scarlet. on the socials

https://www.facebook.com/Scarletbanduk
https://twitter.com/Scarletbanduk
https://www.instagram.com/scarletbanduk/
https://scarletbanduk.bandcamp.com/
https://soundcloud.com/jessiescarlet
https://open.spotify.com/artist/4czeCqu5UxGT64nIKpc0yo?si=AvHADINoRZ2ibr9pVrdWXg

At Indieterria, we will always support strong female voices and bands that we think will conquer the world. Big kudos to Jessie for talking to us and dedicating us time despite her busy schedule. Hopefully we will see you on tour this summer. At a major festival! Pyramid Stage? Why the hell not!

M/R

Indieterria presents Alternative Christmas with The Kecks

Dear Readers,

Alternative Christmas continue at Indieterria. Many of our readers were absolute legends helping out during the fan campaign to get Jarvis Cocker`s single “Running The World” to #2 in the UK charts. We thought that after our shared Top 40 adventures, we will write about equally brilliant Christmas song recorded by a band that is making waves on indie circuit.

Those who follow our blog will be familiar with future rock stars known as The Kecks. We have interviewed them and followed their musical development for about a year now.  It is an absolute pleasure and privilege to see them evolve and develop their (incredibly huge) potential.

The Kecks came into being after mighty Manuka Hive came to an end and their arrival caught us by surprise. We were not expecting such a radiant mix of alternative rock, psychedelia, post punk and avant-garde. But sonic palette was just part of the package. The Kecks emerged from obscurity full of ideas and with a clear cut artistic vision. Blade Runner like visuals (images, videos), gender bending wardrobe, their courage to be photographed wearing dresses or holding hands in public. There was sense of adventure, rebellion, challenging of social norm in how they carried themselves on and off stage, how they merged different elements to create their own unique identity as artists and performers.

It was impossible not to fall in love with The Kecks almost instantly. And we were not the only ones. In just a year the band managed to get decent following on social media, released a successful single (Stick in My Throat), played a session for BBC Introducing, released a live video (All For Me) and played European tour that took them though Germany, Austria, The Netherlands, France and UK.

The band responded to their fans in a manner that could truly warm even the coldest of hearts.  Please allow us to quote their statement in full: “The support we’ve received in this first year has been phenomenal and we just wanted to do something as a little fun as a way of saying thanks to everyone who has taken the time to check us out this year. We look forward to catching up with you all on the road again in 2020 and have plenty of new music primed ready for your ears in the new year!”

And so they wrap up 2019 releasing a live version of Mud`s festive favourite Lonely This Christmas.

Written in 1974, this classic song went to number #1 and was performed on Top of The Pops.  The single was a homage to Elvis Presley and  members of Mud dedicated it to the King of Rock and Roll  for his 40th birthday.

The Kecks` version is very much on point and retains the slower Elvis-like singing of the original, but without the unnecessary pomp and kitsch. The song is stripped back and reinvigorated, dusted off and brought up to date for XXI century. It still sounds retro, vintage even but was given a very strong modern approach that will also appear for younger audience.

Lonely This Christmas was recorded as part of Glade Sessions. It was organised by Alexander Luebbe, produced by Carlos Andres and filmed by Yotam Schwartz.

The Kecks in all their splendour and glory

It`s not always a safe bet to take on a classic song  – but The Kecks come on top in their version of Lonely This Christmas. It shows their strength and ambition as a band.  If you can own a song written by a rock legends –then you can pretty much do anything, the sky`s the limit.

And this is what we would like to wish to The Kecks for 2020.

The band has been featured  on our blog before. We absolute adore them:

https://cocamidemea.wordpress.com/2019/06/22/indieterria-meets-the-kecks/
https://cocamidemea.wordpress.com/2019/10/24/indieterria-presents-the-kecks-on-european-tour/

More readings:
https://chaosmusicmagazine.nl/2019/12/18/chaos-brengt-je-een-alternatieve-kerst-met-deze-originele-kerstnummers

The Kecks have been getting more and more attention in the national and European blogs and magazines. If you are curious who they are and want to learn more, please check out those articles as well:

http://littleindieblogs.blogspot.com/2019/06/hamburg-based-newcomers-kecks-sing-tell.html
http://www.gigslutz.co.uk/this-feeling-track-of-the-day-the-kecks-stick-in-my-throat/
https://www.rgm.press/the-kecks-stick-in-my-throat/review/
https://www.rgm.press/the-kecks-return-to-the-uk-for-new-tour-dates/review/
https://willyoumag.com/2019/11/20/the-clause-live-at-cafe-totem-sheffield-review
https://www.musicbusinessworldwide.com/aviator-on-expanding-into-management-re-launching-its-label-and-the-future

Ready for action in 2020

You can follow the band on socials:

https://www.thekecksofficial.com/
https://www.facebook.com/thekecksofficial/
https://twitter.com/the_kecks
https://www.instagram.com/thekecksofficial/
https://soundcloud.com/thekecksofficial
https://www.youtube.com/channel/UCm0wdB5kpFtz5VjJlblmlIQ
https://open.spotify.com/artist/7rq4XneM5dE0uYeAoyMGGn?si=SD6WJsSaR9uBIck6pcusWA

We hope you enjoy the posts and the music and we want to wish you all the best in the new decade dear readers.

See you soon with a lot of stuff coming up.

Mal/Rita

Indieterria meets Bunkerpop

Dear Readers,

We have recently reviewed an incredible Manchester band Weimar and now we return with equally amazing gem from the underground. It is our pure pleasure and privilege to welcome Hull`s Bunkerpop to our blog. We sat down with guitarist Paul John Sarel to speak about the bands spiritual home venue (The New Adelphi Club), their genre bending debut album and their cost friendly videos. Bunkerpop consists of living legends of Hull`s music scene and the tunes they produce are brilliant. Wit, talent and strong DIY ethics – everything that we love at Indieterria.

Bunkerpop`s logo

Bunkerpop is a band after our own hearts! You describe yourselves as “self-managed, self-released, self- promo, self everything”. At Indieterria we absolutely adore people who uphold DIY ethics. Please introduce yourselves!

Paul John Sarel:  Bunkerpop are a collection of like minded lazy fluke artists. None of this is designed to be a success but we seem to have managed to become a cult like phenomenon as we all uphold a genuine desire to entertain, make music and uphold core values that are inclusive. It’s not a coincidence that as day jobs we all work with people. We connect and we offer support in our day jobs which we try and carry across into band activities. We are Trevor Simpson (teacher), Carlos  Macklin (barman), Jonathan Wainberg (mental health nurse), Mark Blissenden (youth leader) and Paul John Sarel (youth leader).

You probably will cringe at the expression but Bunkerpop is practically a supergroup! With a huge chunk of Hull musical history attached to it. You formed in 2016 and all members come from massively influential local groups such a Fonda 500, Baby Mammoth, Nyam Nyam, The Schoolgirls or Black Delta Movement. The amount of experience, records and Wikipedia pages between all of you is stunning!  Tell us how did the band start? You obviously known each other for years, but  was there ever a moment where you met one day  in a pub and decided – let`s form a band?

Paul John Sarel:  We all knew each other from either being in bands, attending gigs or just from our local community which is based in quite a artistic and cultural zone of the city.

Some of us had played gigs together in the same bands or attended each other’s gigs in the past. Some of us played veterans football together. We’ve been around for a long time as musicians and our age span ranges from 30 years old up to 58 years old. We’re pretty energetic for a bunch of middle-aged geezers. I like to think we’re quite open to new ideas…that’s how it all started. It was just something to do, to start with but it became very exciting as we’re all from different musical backgrounds but at the same time we all enjoy taking musical risks. We had nothing to lose and it became brilliant.

Bunkerpop ready for action

Bunkerpop material has been recorded at the Gorilla Studios in Hull with sound engineer Bob Wingfield, and then mastered by Pete Maher (The White Stripes, U2). How do you remember the studio session? Were any songs prepared prior the recordings – or were you leaving it for the time when you were already in the studio?

Paul John Sarel:  The album took about a year to record. Initially we had Bob engineer three different live sessions for us where we just played our set. We then had the basic live tracks and took them to our own studio. This is where the majority of the work and overdubs was done. Mark took a lot of the responsibility on with input from the rest of the band. Some of the tunes needed a lot of changing, cutting, throwing in the bin or re-thinking. We decided quite early on to take a different approach to the live version of the band. Because most tunes we do are instrumental we knew we had to create a narrative running through the album in some way. We took a lot of time finding dialogue that wasn’t clichéd or that was trying to be cool….cause that’s not cool.

You released your double debut album in July 2019 to critical acclaim.  Louder Than War lauded you as “unique and brilliant”, BBC Introducing  said “Everything they send is incredible”, other  blogs and magazines compared you to Neu, Devo, Brian Eno and Flaming Lips. Were you expecting such a positive reactions to your material?

Paul John Sarel:  The album has a very Hull feel to it. It’s not trendy, it doesn’t conform and it refuses to take the twists you expect. It’s a bit of a “fuck off” to anyone who wants a hit record. We like a good metaphorical fight. We have a giant Hull chip on our shoulders and we’re quite feisty. I think a lot of folks can relate to that in the current political climate.

The band live is a force to be reckoned with.

We need to ask you about the video to “(Are You Ready) For Something” because it`s the best surrealistic video we have seen in a long time. A boxing match meets eating contest is an incredibly funny idea but we also heard that the band spend a whole £18.80 on the props and costumes. If that is true, Bunkerpop deserve a recognition for not only being incredibly creative, but also efficient.

Paul John Sarel:  The video did cost £18.80. We did it on a cold February morning with hangovers. Our friends Mark Richardson and Anna Bean shot it, edited and added extras. They’re both central to creative things in our community. We got Viki to be the referee. Again she’s an energetic force in the local area. When you can work and play with such talented people like them you don’t need a big budget. You just all drawer from each other’s creativity and energy. Carlos and I look very grey in the video. That’s booze for ya!

The band members are funders and curators of Fast & Bulbous’ Festival. It`s been running for  the last three years raising funds for The New Adelphi Club in Hull. The venue is known for supporting young and emerging artists, but also hosted legends such as The Cranberries, Manics, The La`s and Kaiser Chiefs. How important are independent venues such as The New Adelphi for indie circuit?

Paul John Sarel:  The Adelphi is our spiritual home. It’s shabby and brilliant. In the last month it’s hosted everything from Fat Boy Slim to a youth music gig with all the performers playing being under 18. This speaks volumes about the place. A superstar millionaire DJ to kids playing their 1st gig in the space of a fortnight.

This week there is grime, folk, post punk, country blues and high octane rock on the billing. The Adelphi is one of the most important venues in the world. It’s fiercely independent and ugly. That’s how we like it. Long live independent venues up and down the country!

Bunkerpop in their iconic hazmat suits. Good music is contagious,

There are also plans to turn Fast & Bulbous’ into a proper label. You released your own material as Bunkerpop via Fast & Bulbous’ Records. Do you have any other releases coming up or are you looking for bands and artists to release their material via the label?

Paul John Sarel:  The next Fast & Bulbous release could be out in Spring 2020. We’re hoping to put out a double 7″ gatefold with four different artists on. Each artist takes up one side. It’s quite an ambitious project but the quality of the artists means it’s gonna be a belter. It’ll Bunkerpop, Bitmap (former Salako Chap Luke), Holly Blackshaw (Crooked Weather) and Nicholas Broten (Fonda 500). We’re all top notch artists….I’ve heard the tunes already and it’s going to be a beautiful release.

We are almost at the end of the year so what can we expect from you guys in the 2020? Another album? A Tour?

Paul John Sarel:  Bunkerpop have quite a few gigs lined up and we’re booked in to play Scunthorpe, Barrow, Nottingham, Hull, Sheffield, Manchester and Leeds. They’ll be a few festivals in 2020 too. We’ll possibly start recording a new album too. We have the demos for 4 songs already and we’re writing new tunes all the time. It’s all very exciting.

Last (in)famous question – if you could book the biggest stars of pop music into The Adelphi for a all nighter. What bands would you book and who is headlining?

Paul John Sarel: Gosh….if we could choose to book an Adelphi all nighter with our heroes and inspirations it’d probably look something like this (with the aid of a time machine):

Talking Heads big band line up as headliners. Sly & the Family Stone, Fela Kuti, Kraftwerk, William Oneyabor, Can, Velvets, Roxy with Eno, Flaming Lips, Fonda 500, Bunkerpop.

You can follow Bunkerpop on the socials:

https://www.facebook.com/HullBunkerpop/
https://www.instagram.com/bunkerpopband/
https://soundcloud.com/user-554608742
https://www.youtube.com/user/MrHotMIM
https://bunkerpopband.bandcamp.com/
https://open.spotify.com/artist/3Uuj2nCneKmPA58KY5577l?si=vRAnIn42RWeNRGcht2CdVw

 

Additional readings:

https://www.imnotfromlondon.com/bunker-pop-mentality-album-review-bunkerpops-bunkerpop-album/
http://www.soundspheremag.com/spotlight/band/band-spotlight-bunkerpop/
http://www.hullmusicarchive.co.uk/artist-bunkerpop/

We are so excited to be discovering acts like Bunkerpop and cant wait to see what they will produce in the future.

Good luck guys.

Mal/Rita

Indieterria Reviews – “Rebel Forever” by Avalanche Party

Dear readers,

On 13th of September, we had the pleasure of reviewing “El Dorado”, a second single by Avalanche Party promoting their upcoming debut album “24 Carat Diamond Trephine”. And now a month (and few days) later, we are presented with another single entitled “Rebel Forever”. This is the third promotional single released since July, the first being “7” and probably the last one before the album hits the shelves on 22nd of November. As two previous singles, “Rebel Forever” also comes with a fascinating video – in true AP fashion, it is dark, cinematic and quite beautiful.

Avalanche Party photographed by Jason Ferdinando

Writing the previous review, we reached the conclusion that “El Dorado” was the best song written by the band so far. It was experimental, bold and sublime. Having  listened to “Rebel Forever” over 200 times in the last 24 hours, we have now officially changed our mind. The new track is now our all-time favourite, vastly superior to previous releases and (we have to say it) extremely radio friendly at the same time!

There is nothing wrong with the radio-friendliness, mind you. “Rebel Forever” is a catchy (again, a compliment), addictive song that will get stuck inside your head for hours and the chorus is a true masterpiece. The lyrics are linking “Rebel” to the second single when the front man, Jordan Bell sings: “Make a golden bird/ It flies over the mountain ranges/It flies over the seas and across the world/Till it reaches the El Dorado”. Should we take it as a hint that the songs on the  upcoming album might all be linked somehow? Is “24 Carat Diamond Trephine” going to be a concept album? We will have to wait to find out but judging by the musical company the band keeps and their own releases, maybe risking a statement that we have a renaissance of concept albums in the North, is not too far stretched?

Standing at 3 minutes and 36 seconds, “Rebel Forever” can easily be placed in the middle between “7” and ” El Dorado”.  Not only because of the length of all three songs (“7” is just two minute long while “El Dorado is nearly 6 minute), but also because of the videos that illustrate all three tracks. “7” is a nightmarish visualization of somebody (in that role, truly convincing lead singer of Strange Bones, Bobby Bentham), being tortured and injected with a poison, clearly as a part of some horrific Russian/KGB experiment (there is a word “shell” on the syringe written in Cyrillic if anybody has any questions or doubts). The injections causes not only foaming at the mouth but also hallucinations and intense pain to the subject. It ends with the subject destroying the interrogation room and stabbing pictures of the Avalanche Party members with knives.

The video to “El Dorado” is like a quiet break between two outbursts of anger. It reminded us of a road movie, it was quiet, almost melancholic, idyllic but with an undertone of danger in it. And “Rebel Forever” takes us back to some strange location again, another experiment cell or maybe a motel room? There is not much furniture except a mattress in the middle of the room, a bottle of absinthe on the floor and strange collection of artworks and curiosum: taxidermied bird and a pair of moths, small goat figurine in an ornate glass jar, a picture of an bleeding ear, a skull and a statue of a Greek goddess without hands. A young man is laying on the make shift bed, clearly delirious from the drink or maybe something else as well. As usual with AP video clips, it’s hard to find straight answers. We can only wonder if the man was drugged against his will and left in this remote place to die or has ingested the drink himself with the intentions of getting high. Whatever the reason, he’s experiencing a  vivid, almost kaleidoscopic swirl of images and visions. Sometimes he seems to be drowning in water, grasping for air, in another moment he is looking calmly at changing colours stretching out his arms. There are two references to “El Dorado” in “Rebel Forever”. At the beginning of the video, we see a recording of the cowboy walking through the plateau known from “El Dorado” and there is a framed picture of him shooting a gun. We have a sneaky suspicion that the unnamed cowboy and the hallucinating man somehow know each other and will meet up at some point.

Avalanche Party by Jason Ferdinando

“Rebel Forever” came with a PR note attached and it is as cryptic as the video itself, but it provides us with a bit of background information about the shoot and it’s location:

“The video was filmed over the course of a few days in deep, dark Berkshire. It shows a trip through time and the great outdoors and has two main stars. Django is a scaly fiend of the reptile family Chamaeleonidae who spends his time eating rump steak and shedding his dark and succulent past. Ron is a horrible WMC toilet of a cat who would rather the world left him alone. This broadcast was made possible by Welsh wizard Kyle ‘Eagle Burger’ Howells and his unflinching vigour, boundless generosity and eye for a mood. Rebel Forever.”

It seems that the new song made a strong impression not only on us, but on other reviewers as well. We have found some fantastic opinions so please read on:

“Hard-touring underground rock outfit Avalanche Party simply refuse to stop. Capable of sustaining lung-bursting, multi-national spells on the road, the five-piece give 100% each and every night. And with With another massive UK tour on the cards, Avalanche Party have shared their bolshy, bruising new single ‘Rebel Forever'”.
https://www.clashmusic.com/news/avalanche-party-share-bold-clip-for-rebel-forever

“The band have now shared new single ‘Rebel Forever’, taken from their eagerly anticipated debut album to be release on November 22nd. ‘Rebel Forever’ is a gothic, pulsating album highlight that’s now accompanied by a suitably nightmarish video” –
https://circuitsweet.co.uk/2019/10/avalanche-party-share-new-video-rebel-forever-and-announce-us-dates/

“Twisty, hallucinogenic hoodoo from darkest Yorkshire, courtesy of garage punks Avalanche Party offers any indication. A dark, psychedelic yet hooky whoosh of gothic allure, woozy guitars and atmospheric electronics, it’s elegantly unhinged stuff”
https://www.loudersound.com/features/tracks-of-the-week-new-music-from-wolfmother-taylor-hawkins-and-more

“The garage punks knock out a belter of raucously melodic evocation on ‘Rebel Forever’, which may surprise some of their fans, as this feels almost ‘pop-ish’ compared to some of their earlier more heavier numbers. It’s still dark – aided by nightmarishly constructed images in its accompanying video – but both the style and production sound better than ever”
http://littleindieblogs.blogspot.com/2019/10/track-of-week-avalanche-party-will.html

“Avalanche Party’s delirious ‘Rebel Forever’ was made for gloomy, gray days (much like this one). Calling to mind the dark decadence that lent itself to the Berlin of Iggy and David, the song’s razorblade riffs and ever-so unhinged vocals lend an elegant, somewhat controlled violence to the band’s sound”  http://www.logicfuzzy.com/2019/10/video-of-day-avalanche-party.html

“‘Rebel Forever’” is a gothic, pulsating album highlight that’s now accompanied by a suitably nightmarish video. Playing out is a dark, paranoid hallucination taking place in a cabin in the lonely northern countryside, we’re invited to take a trip in more ways than one.
https://repeatfanzine.wordpress.com/2019/10/18/yorkshires-feral-garage-punk-quintet-avalanche-party-share-new-single-rebel-forever-and-announce-us-live-dates/

Avalanche Party will be on tour shortly and you can catch them live at the  following dates:

13th November – Preston at The Ferret – http://bit.ly/3465jnQ
14th November – Liverpool at Jimmy’s Liverpool – http://bit.ly/2MInFG5
15th November – Glasgow at Broadcast – http://bit.ly/32bVaUK
16th November  – Leeds at Hyde Park Book Club – http://bit.ly/2HznRDc
20th November – London at The Shacklewell Arms – http://bit.ly/2UiAx6S
21st November  – St Albans at The Horn – http://bit.ly/2ZsHUyn
23rd November – Birmingham at Actress and Bishop (official) – http://bit.ly/2Pkqcbr
29th November  – Newport at Le Pub – http://bit.ly/2ZsH2Je
30th November  – Bath at Moles – http://bit.ly/2NFcoG1

1st December – Milton Keynes at The Craufurd Arms (Live Music Venue) –http://bit.ly/30K3vin
4th December – Sheffield at Record Junkee – http://bit.ly/2ZxfW3E
5th December – York at The Fulford Arms – http://bit.ly/2zxi10Y
6th December  – Hull at The New Adelphi Club – http://bit.ly/2La1N2Y
12th December – Southampton at The Joiners – http://bit.ly/30IbJHP
13th December  – Notthingham at The Angel Microbrewery – https://bit.ly/2kADjqH
14th December  – Middlesbrough at Westgarth Social Club – http://bit.ly/2zsgucu

 

You can preorder their debut album through Rough Trade as well. It will come in red vinyl as an exclusive:

Come  and see one of the best bands on the alternative scene now on tour.
We will be seeing them in Birmingham.

Catch you on the road,
Rita and Mal

Indieterria presents – The Kecks on European Tour

Dear readers,

It is always with a great pleasure that we introduce you to an emerging talent. And seeing the artist progressing, growing, going on tours, recording and generally becoming better and better at their craft, is one of the reasons we continue writing and keeping this blog.

In June this year, we interviewed The Kecks, a young four piece indie rock band that grabbed our attention with their music, unique stage image and being innovative in a genre that sees hundreds of bands playing very similar tunes. We promised to keep an eye on them and we are staying true to our word.

The Kecks on Tour

2019 has been a very successful year for The Kecks and yet they are far from sitting down to rest. When every other band is now preparing for Christmas, the lads from Kecks are hitting the road to play UK, Germany, France and the Netherlands. The tour will commence at the famous Molotow Club in Hamburg on 26th of October (just in a couple of days!) and will finish on 17th of January at Cassiopeia with a massive show alongside the Talk Show.

You can see the entire tour listed below:

26th October – Molotow Cocktail Festival, Hamburg DE,
Tickets: https://www.facebook.com/events/2382978868463735/

31st October – Smoke, Groningen NL,
Tickets: https://www.facebook.com/events/751717945275994/

1st November – Le Nid de Poule, Lyon FR,
Tickets: https://www.facebook.com/events/428055024763233/

2nd November – Supersonic, Paris FR,
Tickets: https://www.facebook.com/events/349547939094494/ 

14th November – The Monarch, London UK
Free entry, https://www.facebook.com/events/2297421773811681/

15th November – The Pipeline, Brighton, UK,
Tickets: https://www.facebook.com/events/2373445422907103/

16th November – Cafe Totem, Shieffield UK,
Tickets: https://www.facebook.com/events/405700696817429/

17th November – Aatma, Manchester UK,
Tickets: https://www.facebook.com/events/2446994828867804/

23rd November – Molotow, Hamburg DE,
Tickets: https://www.facebook.com/events/937696006599854/

21st December – MTC, Koln, DE,
Tickets: TBA

17th January – Cassiopeia Berlin, DE with Talk Show,
Tickets: https://www.facebook.com/events/1456368057850215/

To celebrate their success over the last ten months, the band prepared a special version of “All For Me” for their fans which debuted on their Youtube channel on 24th of October.

The band even released a small statement alongside the video: “Making a last grasp effort to cling on to the summer sunshine The Kecks took some time out from a studio session deep in the East German countryside to capture a raw, intimate and personal one take stripped back acoustic version of future single ‘All For Me’. This stripped back version shows a completely new dimension to the band and is a huge departure from fiery debut ‘Stick In My Throat’ which was released in June of this year via AWAL. The snarling, simmering and emotionally charged debut complete with a weird and wonderful trip of a visual filmed and directed in collaboration with the bands close friend Carlos ‘Mexi Kravitz’ Andres was what originally grabbed the attention of the likes of Radio X , BBC Introducing, NDR and FKP Scorpio”

If you have a chance, please come and catch The Kecks playing live before the end of December. 2020 is looking like a breakthrough year for the band and they will be playing much bigger venues. There is magic in the smallest, most intimate places, where you can stand next to the band and see every drop of sweat on their faces.

And nothing in the whole wide world can replace this feeling.

See you soon!
xxx
R+M

Indieterria meets MOLLYANNA

Dear readers,

We having a lovers’ quarrel  with Google. Why? Because for reasons unknown the interview with Sheffield`s mighty MOLLYANNA was directed into a spam folder where it stayed for few good weeks before we finally realised. This post should have been online in September! Sometimes, there is little we can do to avoid technology being annoying. So big apologies to the band.

Don’t you worry, Google will be punished accordingly (we now see our emails via Outlook) and you dear readers can finally enjoy the wonderful interview with Bernadette Dales – singer and front woman of the band.

We spoke about their upcoming  album “Archaeology”, their inspirations, writing process and who they would like to record with.  Read on.

 

MOLLYANNA logo

Bernadette Dales (vox)
Mike Hukins (guitar)
Josh Roberts (bass)
Laura Moakes (drums)

Official bio:
Beauty can emerge from the most chaotic places – this is something singer Bernadette Dales and guitarist Mike Hukins know very well. During their decade long friendship they have stitched together their disparate and contradictory influences to form rock music that is at once wild, vulnerable and volatile. Their opposition is a clear influence in their latest collection of songs, which deal with nostalgia, destruction, and the hardest kinds of relationship.

MOLLYANNA have spent most of 2019 in the studio. Their new album “Archaeology” is about the year singer Bernadette spent in therapy dealing with the after-effects of abuse. “In my first session, my therapist warned me that it would feel worse before it started to feel better, and sure enough, for a while it felt like Pandora’s box had opened in my brain and all these demons had spilled out onto my brain. The songs on Archaeology are my attempt at dealing with each one.” In May 2019 the band launched their first ever crowdfunding campaign to help them cover the costs of making the record. Fans jumped at the chance to pre-order the record, as well as many other unique and limited edition items – smashing the band’s initial target in just three days. The campaign’s success was down to the raw and honest way MOLLYANNA told their story. MOLLYANNA are proof that beauty can emerge from the most chaotic of places, which is something singer Bernadette and guitarist Mike know very well. During their friendship, they have stitched together their contradictory influences to create alternative music that is deep, dark and wild. The pair began MOLLYANNA as a duo in 2016, but since then, with the help of bassist Joshua Roberts and drummer Laura Moakes, they have grown into an alt-rock band unlike any other. Their music is for the outsiders – those on the fringes with a story to tell.

MOLLYANNA photographed by Mal Whichelow
https://www.facebook.com/malwhichelowphotography/

MOLLYANNA is one of the leading alternative bands in Sheffield area. Their first EP “Ghosts” came out in 2016 and quickly caught attention of gig goers and local radio DJs. Their singles “Louder” and “Thief” established band`s position as a must see indie act. They have been consistently championed by BBC Introducing Sheffield and recently were even invited to the studio to play an acoustic session for the Beeb. No wonder the excitement for their new record is building. The band`s front woman Bernadette Dales is eloquent and speaks in details. Not always we have such a pleasure to interview artists who will patiently answer all the tricky questions we throw at them. It was such a pleasure to hear all the facts and stories from the studio. This is what we found out ahead of the record release:

Please introduce yourself to the readers of Indieterria. 

Bernadette Dales: Hey, I’m Bernadette and I’m the front-person of alt-rock band MOLLYANNA

Where are you based and who is in the band?

Bernadette Dales: We’re from Sheffield (UK), and we have Laura on drums, Josh on bass, Mike on guitar and I make mouth noise at the front.

Tell us something about the project – are there any goals that you managed to achieve to date?

Bernadette Dales: We’re about to release our 7-track record on November 1, which we’re pretty excited about. Earlier this year we launched a pre-order campaign to help us fund the recording, and we reached the target in just three days! That was surreal. We ended up reaching 208% overall over the month. 4 of the tracks have been produced by Mark Mynett of Kill II This, and then there are three live tracks too, produced by Nathan Bailey and Mike Hukins himself. It’s a really ambitious record, with orchestral strings, percussion, animated and live action music videos. This year has been so busy but so much fun. I can’t wait to show everyone what we’ve been up to behind the scenes.

What inspires you? What artists or genres had the biggest influence on you?

Bernadette Dales: The obvious influence would be Incubus, I guess! A lot of people ask where our name came from and it’s from their track “Anna Molly”. They were definitely the biggest influence on me growing up and deciding what musical direction we should go in. I think that’s really clear in songs like “Playing Dead”, which came out on October 4. I also love artists like Alanis Morrissette, and the lyrical genius of hip-hop artists like Lauryn Hill. Mike has some very different influences to me, he’s very much into his proggy, math rock stuff. During this album, he was listening to a lot of Porcupine Tree and Plini.

Ready for action. Photo by Mal Whichelow
https://www.facebook.com/malwhichelowphotography/

It’ all about the music – and we want to hear your tunes and how they have been written.

Bernadette Dales: We have a few tracks out already on streaming platforms, and there’s more coming out very soon! I think the best way to describe how Mike and I make music would be “fragmented”. It’s like we each come up with different jigsaw pieces and then meet up and try to fit them together to make a complete picture. Except there’s no box to work from. And some of the pieces are from a different puzzle. Does that make sense? I think this analogy might have fallen apart. Sometimes Mike starts with a riff or chord progression and I’ll fit something over it and send it back, other times I’ll have a tune or some lyrics stuck in my head and I’ll send it to him to see if he can make sense of it. Once all the parts are there we go over it with the whole band to polish it and make it cohesive.

Name your best song. Is there a story behind it?

Bernadette Dales: This is hard, because I know everyone in the band has a different idea of what the best song is! I think mine would be Archaeology, which is also the name of the album. It’s about the year I spent in therapy dealing with the after-effects of abuse. In my first session, my therapist warned me that it would feel worse before it started to feel better, and sure enough, for a while it felt like Pandora’s box had opened in my brain and all these demons had spilled out onto my brain. The track “Archaeology” is about that process of therapy and digging up the past.

How do you create your unique sound? What gear are you using?

Bernadette Dales: I think the uniqueness of our sound ultimately comes from the melting pot of ideas we have. Mike and I are the main songwriters and our influences are quite drastically different a lot of the time. When they merge together we manage to make some really cool stuff – it’s almost prog rock. As a vocalist, I like to bring out the different colours in my voice – I’m not afraid to sound ugly or creepy. There’s some weird whispered backing vocals in our next single to look out for.

In terms of gear, we’re not really a tech band to be honest. Mike has the usual guitar distortion/delay pedals, Josh has a 5-string bass to get the extra beefy riffs in and Laura is sponsored by Meinl for her kit. I just show up and sing.

“Bleach” single sleeve
Artwork by Joshua Roberts https://www.facebook.com/joshua.roberts.988

Are you touring? Where can we see you play live?

Bernadette Dales: We have a few dates in the diary for Autumn, and we’re hoping to get a proper tour together for early 2020 (follow us on the socials for updates on that!). Our next gig is November 1 at Record Junkee in Sheffield, which is also our album launch show. We have tickets available on our website, so please come! After that we have Leeds on December 4, Chesterfield on December 7, and Whitchurch on December 14. All the details are on our website.

If any bookers or promoters want to get in touch – what is the best way to contact you?

Bernadette Dales: They can get in touch over at www.facebook.com/mollyannaband or at mollyannaband@gmail.com

Imagine you can record an album with any producer, dead or alive in a studio of your choice. Who would be on your record?

Bernadette Dales: (laughing) Tupac!

The sleeve to “Playing Dead” single.

“Archaeology” will come out on November 1st 2019 and is promoted by two singles: “Bleach” and “Playing Dead”. The band is often described as “alternative rock” but you will find MOLLYANNA to be so much more than your average “female – fronted” rock act. For starters Bernadette`s voice range is absolutely incredible – from a whisper and delicate, nearly ethereal vocals to proper screams. The band is not far behind her with powerful riffs ranging from psychedelia to grunge and match rock. There is something in MOLLYANNA that reminds us of Soeur, or to aim much higher – of Veruca Salt and ExHex. There are melodic lines that could make Sleater Kinney jealous and lyrics that would make Mary Timony or Kristin Hersh proud.

If not this record, then the next will take MOLLYANNA from your local venues to Maida Vale for a session. If we don’t hear them on BBC 1 Rock Show in the new year we will eat a bowl of hot chilli sauce. It’s a promise.

Actually, we will do what Daniel P. Carter once said on air:  hey labels– sign this band. You can thank us later.

 

You can follow Mollyanna on their socials at:

https://www.facebook.com/mollyannaband/
http://mollyannaband.com/
https://www.instagram.com/mollyannaband/
https://www.youtube.com/channel/UCPu-pyDWaTucmkplcZvW6AQ

That`s all from us read readers. As usual – if you dig the music, go and see the band or support them in any way you can.

We will be back with more bangers.

Mal+Rita

Indeterria meets Elly Bailey

Dear Readers,

Vanadian Avenue is on a mission to shed a light at the girls in the music indystry. We call it “The Girls Who Can” and we try to introduce you to the amazing women who makes things happen. They write, they book, they build stages, run lights, think of marketing campaings, sell tees and tickets at the doors. They are reps and managers, promoters, bookers and everything inbetween. Yet, despite doing a stellar job, having successful careers, they not always receive a fair share of attention and recognition. And we want to change that.

After speaking to Sahera Walker in May this year, we now had the pleasure to sit down with Elly Bailey, a photographer and journalist extraordinaire to discuss recent opportunities for women, her brand new photo-zine Why Generation? and photographic equipment. Please read on (and share) and Elly raised several  very important points in her interview and gives a sound advice to all young girls thinking of entering the business professionally.

Photographer, journalist, promoter and a writer – that’s a very impressive resume for a 22 year old. Please introduce yourself to the readers of Indieterria. Every career has to start somewhere.

Elly Bailey: Thank you! My name is Elly Bailey, I live in London. As you said, I am a photographer and journalist, mainly focusing on music. I write for sites such as The Zine, Gigslutz and This Feeling. I starting taking photos in 2016, originally shooting on film and then in 2018 I moved onto DSLR or digital photography.

 Tell us what inspired you to chose this particular career path? Was it a certain gig you attended or an album you listened to? Or maybe something completely different?

Elly Bailey: I attended the Academy of Contemporary Music, studying Music Business. ‘I think it was being surrounded by so many musicians and also attending so many of my friends gigs that made me want to start taking photos. I’ve always been very into documenting everything I do (I currently have over 29,000 photos on my phones camera roll!) and it was great to be able to document doing what I love best, e.g. attending gigs.

Elly at work

Music business is very male orientated but recently the tide is turning and women are getting noticed and praised for their contribution. There are also more opportunities for young females who want to enter the music business professionally. Last year you took part in the Music Venue Trust and PRS “Fightback Grassroots Promoter” for women. In your opinion, how important are schemes like this? Do they offer any real chance to learn the skills needed in this industry?

Elly Bailey: Taking part in the MVT and PRS venue fight back scheme was amazing as it gave young women the opportunity to put on their own live music event without having to worry about the money, as the scheme completely covered any costs, such as hiring the venue or equipment. I think schemes like this are incredibly important as they help to give young women the confidence boost they may need to take that first step into the music industry and also helps to give them hands on experience whilst making sure that they will be successful.

As a journalist you have worked for the popular GigSlutz website, The Zine and you run your own Youtube channel. If you could offer a piece of advice for girls who would like to follow in your footsteps, what would that be?

The cover of first issue of Why Generation zine

Elly Bailey: Websites such as Gigslutz, The Zine and many others are always looking for writers, so if you’re interested then just email away and ask! Taking that first step towards doing what you want to do can always seem incredibly daunting, but once you’ve done it, then that’s it, you’re on your way! Also everyone I’ve ever worked with have all been so lovely, which makes it so much easier to talk and network with people and find new work.

2019 is a ground breaking year. You have covered Wilkestock and Reading Festivals, interviewed The Sherlocks, False Heads, Sleaford Mods among others, reviewed high profile events such as This Feeling tours. What was the best gig you have seen so far?

Elly Bailey: This has definitely been a crazy year for me, so far I’ve somehow managing to attend 11 festivals, and still have more to go! I was feeling pretty low at the beginning of the year and also got pretty sick, so seeing FIDLAR at House Of Vans at the beginning on February was the perfect cheer up for me, seeing one of my favourite bands in such an intimate setting was the best. Festival wise, The Great Escape was so much fun, I discovered so many new bands that weekend. Also Download Festival was just non-stop laughter from beginning to end, the bands were amazing and the weather was horrendous and we had a sick time! And of course Truck Festival, my hometown festival, was a lovely weekend, surrounded by so many friends, I think we all really enjoyed it.

We need to ask about your new enterprise – a photo zine called Why Generation? You have teamed up with three other female journalists and photographers to create it. Tell us more about it. How did this idea come to be? Who are your co-workers? Is Why Generation a single issue release or are you planning to turn it into monthly/bimonthly magazine? Are you planning to keep it in this format or extend it to contain reviews and interviews in the future?

Why Generation editorial team

Elly Bailey: After I got home from Truck Festival, I went to an exhibition by Nan Goldin at the Tate Modern and saw that she started off making photo-books of her work and decided that I wanted to do something similar. I decided to stick with film photography to give the zine more of a niche and also felt that I have some great 35mm photos that I wanted to print. I contacted the other three photographers, slightly on a whim, and after the positive responses I got from them on the idea, I just jumped in head first and decided to just got for it!

When I first made the zine I wasn’t sure where it was going to go but I know now that I would like to do another issue with articles alongside the photos this time, and also potentially create my own website. After years of working for other people, it’s been great and also slightly scary to be completely in charge of what I’m doing, so who knows what will happen!

There is a launch party scheduled for 23rd of September to celebrate the release of Why Generation. Who is playing and what can we expect? Are tickets still available?

Why Generation? Event launch poster

Elly Bailey: Yes! It’s a free entry gig on 23rd September at The Monarch with three amazing bands playing: Ric, SPIT and Scary Lemons. Each are guaranteed to put on an amazing show. It’s definitely going to be something to liven up your Monday evening.

The famous last question – let’s imagine you can get your dream photography kit absolutely for free. What equipment is going into your shopping basket?

Elly Bailey: I do love my camera and have managed to get so many great photos out of it, but I will be the first to admit it’s nowhere near the best model on the market. With shooting gigs, you’re not allowed to use flash photography in bigger venues or at festivals, so you need a camera that lets in a lot of light, and annoyingly the best cameras for this are the more expensive ones, so one of those would definitely be going into my shopping basket.

Also a lens with a better zoom would be amazing, I’ve done a lot of standing on my tip-toes trying to get closer to the artist playing to make up for my lack of zoom.

You can follow Elly online:
https://www.facebook.com/EllyBaileyPhotography
https://www.instagram.com/elly_bailey_
https://www.facebook.com/profile.php?id=100000978271449

Buy copy of Why Generation? online:
https://www.ellybailey.com/product-page/why-generation-zine

Contact: ellybailey27@gmail.com​

Why Generation? Event:
Event page: https://www.facebook.com/events/235155047375183/
Doors: 8 PM – 11:30 PM
Admission: Free Entry
Address:
The Monarch, 40-42 Chalk Farm Road, NW1 8BG London, United Kingdom

Stage times:
Ric – 8:30pm
SPIT – 9:15pm
Scary Lemons – 10:15pm

Big thank you’s to Elly for answering the questions and if you are attending the event tonight, please send us your pictures or videos. We will gladly update the entry with your snaps!

Support your scene and have fun!
Rita and Malicia

Indieterria meets The Gulps

Hello!

2019 seems to be the year of The Gulps. Whatever they do, they  do it perfectly, wherever they go, they win new fans. When they participate in an international competition, they easily win it, leaving their competition behind. And each of their tracks released so far is a real banger. If they continue on this stride, next year might see them  going right to the top. And frankly, this is what they deserve.

Lucky break has nothing to do with the results this London based quintet is receiving. They are one of the hardest working people we have met, and at the same time they are down to earth and  just genuinely nice. We sat down with The Gulps’ guitarist, Charlie Green to speak about the band, their influences and the new single entitled “Lola Cola”.

Official bio: 

Based in London and hailing from all different parts of Europe and the Middle East, The Gulps come together with a shared idealism for our times. Playfully reviving the original roots of rock and roll, they are a new wake up call and speak our truth, with enjoyment and optimism.

Lyrically informed poetry, sharing tales from our cities and experiences. With raw energy, The Gulps are a unique take on classic alternative pop, fuelled by the drive of rock music at its best.

The Gulps photographed by Jonathan Hallam.

Please introduce yourself to the readers of Indieterria. 

Charlie Green: The Gulps are a band of vivacious raconteurs who immigrated to London with a Mediterranean ferocity and an uncompromising skill for good music. We are a multi-various quintet who met at the intersection of smoke fuelled house parties and university, where the raw Gulp product was harnessed and the good times played.

Where are you based and who is in the band?

Charlie Green: We are a London based band hailing from different parts of Europe and The Middle East. Harry All is the lead singer, Charlie Green and Francesco Buffone are the guitarists, Simon Mouchard is on the bass and Raoul Khayat is the drummer.

Tell us something about the project – are there any goals that you managed to achieve to date?

Charlie Green: This has already been a huge year for the band, with the recording of the EP and touring. We secured a spot at Madrid’s Mad Cool Festival thanks to the votes of our fans and had the opportunity to play at the Truck Festival. We now have our sights on Space Mountain Festival in Granada and the recording of our first album.

What inspires you? What artists or genres had the biggest influence on you?

Charlie Green: Each of us bring our own biographical discography with us to influence the sound of The Gulps. Primarily, we draw upon the inspiration of rock’s household names such as The Strokes, Rolling Stones and The Clash to ground our compositions.

It`s all about the music – and we want to hear your tunes and how they have been written.

Charlie Green: You can hear all our tunes on Spotify, Soundcloud and watch our amazing videos directed by Sandra Crilo on Youtube. Also, we released the EP on vinyl earlier this year. Most of our songs start with an interesting riff or composition, then either Harry or me pen together the lyrics, based on what is stimulating us at the moment. After that, we take the new material to rehearsals and try it out with the whole band to test its potential.

The portrait of the band by Jonathan Hallam

Name your best song. What can you tell us about it?

Charlie Green: Our best song would be “The Kings House”. This song is about the old apartment where Harry and I used to live in London, on Camden Street. It’s where the magic happened, where we got into trouble with huge house parties and long smoky nights. It is a calling for freaks everywhere to celebrate their opulence, in a space opened to all.

How do you create your unique sound  and write the lyrics? What gear are you using?

Charlie Green:  We aim to write lyrically informed poetry, sharing tales from our cities and experiences. As for the equipment, we use different guitars and bass pedals, playing with distortions, delays, reverbs, to make our sound distinctive from others.

All in all, the marriage of guitars, Simon’s methodical bass, Raoul’s seamless drumming and Harry All’s energizing voice, allows us to celebrate our unique and youthful sound.

 

Are you touring? Where can we see you play live?

Charlie Green:  We have a number of shows lined up and you can catch us on:

Sunday 29th of September, Camden Assembly (London)
Friday 11th of October, Space Mountain Festival (Granada, Spain)
Saturday 2nd of November, Notting Hill Arts Club (London)
And from the 11th to the 15th of March 2020, The New Colossus Festival (New York)!

The Gulps at the pub by Xandru Zahra

Squad goals – where do you want to see the band in five years time?

Charlie Green:  This is a good question! We want to be touring around the world and playing big festivals such as Glastonbury, Coachella, Reading etc. We also want to go to studios to record new music and make The Gulps a new religion.

If any bookers or promoters want to get in touch – what is the best way to contact you?

Charlie Green:  They can contact us via email at thegulps.london@gmail.com, or just send us a message on one of our social media pages, they are listed below.

Imagine you can record an album with any producer, dead or alive in a studio of your choice. Who would be on your record?

Charlie Green:  We would love to work with the legendary George Martin, or Phil Spector (Beatles producers) but we are extremely happy working with ‘’Youth’’ at the moment. ‘’Youth’’ is a genuine producer with a long CV to his name, giving his soul and life to the music.

You can follow The Gulps at the socials:

https://www.thegulps.com/
https://www.facebook.com/thegulps/
https://www.instagram.com/thegulps/
https://twitter.com/TGulps
https://soundcloud.com/user-209918800
https://amazingtunes.com/thegulps/activity?page=2
https://www.youtube.com/channel/UCiL-v5G2Hnpgyb0it9E6mFw
https://thegulps.bandcamp.com/

Or listen to them on Spotify:

 

 

 

Indieterria review – El Dorado by Avalanche Party

Dear Readers,

After squeezing an un scheduled review of Saytr Play’s new single (“Second Hand Emotion”) earlier this week, we thought that nothing new will interrupt the carefully planned flow of our blog for September. And then we realized that we haven’t covered another super important release that came out almost at the same time as Saytr Play.

The other single is “El Dorado” by Avalanche Party. The song made such a strong impression on both of us, that it would be a crime not to write about it on Indieterria.  So we pushed all other reviews and intereviews a bit to make room for this very unique song. Was it worth it? Please read on.

Avalanche Party – wanted dead or alive?

Released on August 28th, “El Dorado” is the second single after “7” that is promoting Avalanche Party’s upcoming debut album. And while “7” was 2 minute cacophony of  noise, “El Dorado” is nearly 6 minute long experimental ballad with piano and harmonica. At first listen, it seems so different from anything the band has done so far that many listeners voiced their concerns that it was risky to chose this particular track as a single. However, if you keep on listening, it quickly becomes clear that “El Dorado” is simply a logical progression of the band’s musical development. Yes, it is different than previous material, but the band’s unique sound is still there. What’s more important, the new recording is bolder, more ambitious and mature. And we like it a lot.

The songs starts with a semi intro of harmonica and few chords of a piano. It reminds us of “Arizona Bay” by Soul Savers (from their excellent 2003 album “It’s Not How Far You Fall, It’s The Way You Land”). The tempo picks up around one minute mark, the piano becomes stronger, yet the composition remains slow and fluid until its end. It certainly has a western feel to it, maybe inspired by the band’s travels to Texas earlier this year for SXSW. There is a lot of Tom Waits and Johnny Cash influences in this tune as well. And Mark Lanegan, especially from the “Whiskey for the Holy Ghost” era. Other reviewers compared it to the original “Kingdom of Rain” which is an excellent comparison as it brings us again to the Soul Savers who worked closely with Lanegan on “It’s Not How You Fall” (and who did the rendition of “Kingdom of Rain” as well). The dramatic sforzando and dissonant harmonies offers another musical connection, this time to the works of Ólafur Arnalds. Italian music blog “Indie For Bunnies” wrote that “El Dorado” could perfectly fit a movie soundtrack: either a western, or a crime drama and it’s hard to argue with their opinion. Lead singer, Jordan Bell has always been a skilled vocalist, but what he does with his voice on this track is a masterpiece. He takes the listener on a rollercoaster of emotions: from a whisper to nearly a scream, from falsetto to poetic declamation, from serenity to a hidden fury. We cannot wait what Jordan and the band will come up on their debut album!

El Dorado artwork

“El Dorado” comes with one of the simplest and the most beautiful videos we have seen in a really long time. It is shot in black and white, with subtitles in yellow at the bottom of the screen. It makes you think of an old cowboy movies from 40’s and 50’s. A lone man wearing western clothing and what seems like a Hackberry Stetson hat on his head is seen walking through an open plain. The skies are heavy and grey, there is not a single soul around him, yet he is stubbornly hiking towards an unknown destination. We know absolutely nothing about the lone hero: what is he looking for, where is he, what happened to him that set him on his journey? Those rhetorical questions are adding to the overall mystery. The simplicity of the video allows the viewer to concentrate on the music, harmonies and the lyrics. And that makes it into a truly goose bumps inducing experience. You cannot take your eyes off it, there is some sense of incoming danger but nothing drastic is happening. The man is just walking and walking, stopping from time to time to take a look around and that’s all. You are left wondering what is going to happen next. Will his story be explained? Continued with another single?

The lyrics to the song are as mysterious as the video itself. Brutal and sentimental, full of longing, poetry and tenderness. They tell a story of suffering, mental anguish, love and loss, while not giving many details away. The band has an obvious love for highly visualistic, dramatic and nearly cinematic music videos to their songs. From the rain-soaked “I’m So Wet”, to the gory “Solid Gold” and abstract “Money”. Pop culture obsessives will quickly notice many references to popular movies or film genres. “Im So Wet” is shot with a blue filter that was famously used in “The Bodyguard” and “Trois Couleurs: Bleu” to create an atmosphere of  overwhelming sadness. “Solid gold” is a nod to the revenge movies  popularized by “Old Boy” and preferred by Tanantino/Rodriguez tag team (“Kill Bill”, “Machete”), while allegoristic “Money” is clearly influenced by David Lunch (“Twin Peaks”) with a flair of 1970’s crime/road movies such as “Vanishing Point”.

 

As brilliant as this track is, we do not expect “El Dorado” to receive much of an airplay on national radio. At nearly 6 minutes, it is much longer than other songs that currently dominate the airwaves. It is also an experimental composition, merging several genres into one. It needs time to grow on listeners and demands their concentration and focus. This is not a background music material that can quietly play while you read a book or wash the dishes.

But it is good to see that at least one indie band is willing to experiment and look for new sounds. We need eagerness to explore new routes, to take risks, to create something that will shake the indie genre properly and make a mess.

If Avalanche Party want to take the stick and chase the brit-pop nostalgia out of the country, they have our permission to do this. At least we at Vanadian Avenue will be eternally grateful.

You can follow Avalanche Party on socials:
www.avalancheparty.com
https://www.facebook.com/AvalancheParty/
https://twitter.com/avalanche_party
https://www.instagram.com/avalancheparty/
https://www.youtube.com/channel/UCVQHS8es36atxJMBqh8jAlQ
https://open.spotify.com/artist/2srEewBNMqpGckxpkW8moh

Or subscribe to their channel on Spotify:

 

The next few months are going to be extremely busy for the Avalanche Party. They are going on headlining tour throughout November and December (playing Actress and Bishop in Birmingham on Saturday, 23rd of November) and their debut album “24 Carat Diamond Trephine” will be released a day earlier on 22nd of November 2019. You can also catch them on Wednesday, the 25th September playing for PRS for Music & Yorkshire Music Forum at the LeadMill in Sheffield, (tickets at http://bit.ly/2yOxxoL), Tickhill T-Fest on 28th of September (tickets at: https://www.t-fest.co.uk/tickets), 20th of October at The Waterfront in Norwich (tickets at: https://bit.ly/2m7kpYD) and at 2Q Festival in Lincoln on 9th of November (tickets at https://bit.ly/2lOnY5V).

Avalanche Party headlining tour booked for November and December this year

Tour tickets are on sale now through the band’s website or through the local promoters:

13th November – Preston at The Ferret – http://bit.ly/3465jnQ
14th November – Liverpool at Jimmy’s Liverpool – http://bit.ly/2MInFG5
15th November – Glasgow at Broadcast – http://bit.ly/32bVaUK
16th November  – Leeds at Hyde Park Book Club – http://bit.ly/2HznRDc
20th November – London at The Shacklewell Arms – http://bit.ly/2UiAx6S
21st November  – St Albans at The Horn – http://bit.ly/2ZsHUyn
23rd November – Birmingham at Actress and Bishop (official) – http://bit.ly/2Pkqcbr
29th November  – Newport at Le Pub – http://bit.ly/2ZsH2Je
30th November  – Bath at Moles – http://bit.ly/2NFcoG1
1st December – Milton Keynes at The Craufurd Arms (Live Music Venue) –http://bit.ly/30K3vin
4th December – Sheffield at Record Junkee – http://bit.ly/2ZxfW3E
5th December – York at The Fulford Arms – http://bit.ly/2zxi10Y
6th December  – Hull at The New Adelphi Club – http://bit.ly/2La1N2Y
12th December – Southampton at The Joiners – http://bit.ly/30IbJHP
13th December  – Notthingham at The Angel Microbrewery – https://bit.ly/2kADjqH
14th December  – Middlesbrough at Westgarth Social Club – http://bit.ly/2zsgucu

Support your scene (as usual).

See you soon,
R+M

P. S. A big big thank you to the wonderful James Holt for his help. You sir, are a wonderful human being!