2017

Interview: John Hassall & The April Rainers

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First published March 2017. Now part of ‘The Best Of Eudaemonia.’ More info via the ABOUT page.

We were fortunate enough to catch up with the wonderful John Hassall and the April Rainers before their gig at Leicester’s Soundhouse. The project takes on a slightly different sound to John’s other band,The Libertines, and in many ways is a wonderful, idyllic reflection of life in Denmark. The band’s debut album “Wheels To Idyll” is currently streaming on Spotify. 

How did The April Rainers come about?

John: We’ve actually been going for a fairly long time, for about three years. It basically started after I met James in Denmark and then we met Jakob and Erlend. I moved to Denmark in 2008 and so it has been quite a long time since we started especially considering we only released the first song at the end of last year. Now we have the album coming out.

I read that James was working in a bar in Aarhus. How did it go from that to then being a band?

James: I knew that John was somewhere in Aarhus so I tried to keep my eye out for him.

John: He was stalking me!

James: I’m actually a big fan of John’s other band, Yeti (if you don’t know them you should definitely check them out). “Never Lose Your Sense Of Wonder” was a song I played in the pub the night we first met. I knew he was around and bumped into him one day and invited me to his wife’s poetry club where I played a few days later.

Jakob: Did you take a selfie with John when you first met?

James: No I withheld from that, though I was a massive Yeti fan. Playing on one of John’s song was pretty weird.

John: It was a pretty massive coincidence to meet the only Yeti fan in the world in your hometown in Denmark. But yeah thats how it started pretty much, it was very fortuitous that we met each other and we clicked very well.

It seems like it started as more of a creative collective of musicians, were you always aiming to release music as a band?

John: My intention was always to do an album. But you never know what’s round the corner because you meet someone and things take a different turn. I knew when I moved to Denmark that I was going to write some songs.

“Wheels To Idyll” is out officially next week, if you could describe that album in three words what would they be?

John: Optimistic, Joyful, Creative.

James: Mellifluous, varied and… wank! No, floral.

Thats an aura which I got when listening, really positive and optimistic. Is that a vibe you wanted to pursue?

John: My intention was to create something that is positive and optimistic. If I am going to spend time writing a song which takes some time then I want to do something that I enjoy. 

Someone actually asked me the other day, an artist friend called Ed who always does really dark depressing art. He asked to swap, I do something dark and depressing and he’ll do something positive and it didn’t work out at all. I find it hard, maybe I should try do something like that at some point. 

At the same time you don’t have to be positive in a song to be positive, you can have a slightly dark song which is still optimistic but a bit under the surface.

James: Its about what it is used for, one of my favourite artists is Elliot Smith whom everyone thinks is a depressing song writer yet i’ve never got that from what he has written. Likewise I don’t listen to happy music and get happy, i’m not that manipulable. It is about how it is interpreted by the individual.

John: It boils down to hope really and how far you can translate such hope into a song. It doesn’t have to be “happy clappy.”

The word which hit me is idyllic, it feels like it was made for a wondrous world and everything seems a bit more positive when listening to it…

John: it is quite pastoral and idyllic, thats pretty much what I wanted to relate to and feel in my life.

James: Theres lots of spaces and meadows…

John: It’s not as if every song is about that but its about optimism more than anything and trying to find that in your life and putting it into a song.

Did anyone in particular influence you whilst writing “Wheels To Idyll?”

John: Yeah loads of stuff, personally i’m a big fan of The Beatles, The Zombies and stuff like that. There are different influences there though it doesnt sound anything like them.

One of the songs which impressed us most was “Intercity 125,” what can you tell us about that particular song?

John: I always bang on about this but the idea of the album is about going to see my Granny in the countryside. That song was about taking the train on my own as a kid. It is basically trying to sincerely relate what I was seeing and feeling at the time into a song.

How do you feel this current tour is going?

John: For me it has been really great actually, just driving about the English and Welsh countryside in our massive van. For me it feels like a realisation of everything I wanted to achieve on the album and it has been ideal.

How has travelling to cities which aren’t traditionally toured in before?

James: I am from a town in Kent called Medway which is pretty colourful so i’m quite familiar with towns like Bedford for example where everything isn’t as clean cut and I kinda like that in many ways. I think places like London are great to play in but a lot of people who live there are in a different zone in their heads as well as with who they are.

Erlend: It’s been great man, I’ve never been to Bedford or Cardiff. There was a Polish discothek next to the venue in Bedford and a fight broke out five minutes before the gig. A guy got his teeth knocked out which was quite disturbing.

James: It’s a bit weird being in England in general because living in Denmark you realise just how gated and safe it is. 

John: They call it the duck pond because when you are in Denmark it is a really high quality of living and everything is very civilised. 

Do you feel like an idyllic album could have been written in somewhere such as London?

John: No I don’t think so. It’s not to say I cant experience the same feelings being in London, you can feel as much joy there as in Denmark.

Obviously you supported Peter Doherty last year in quite large venues, do you feel different coming back to smaller, yet equally nice pub sized venues such as Leicester’s Soundhouse?

James: I think there’s more pressure in a venue such as the Soundhouse. I get more nervous playing smaller venues than I do playing big places. Hackney Empire is the biggest place I’ve ever played, it was like a sea of people.

Erlend: Playing in venues such as this now is what we’re used to having played in other bands.

John: I love doing those big gigs, it was a great pleasure and privilege playing at Hackney Empire.

Beyond this tour, do you have anymore touring commitments in support of the album?

John: We have a couple of festival coming up and we’ll be coming back to the UK to play some more again as well as in our hometown and probably Copenhagen.

Will there be a second album coming? Would it pursue a similar sound to the first?

John: Yeah definitely, I think it would be impossible to keep the same vibe and I certainly wouldn’t try and do that. I think it should come organically, I’ve forced it a little bit sometimes and you can feel that. It has to have heart in it!

Where would you like to see the band in five years time?

James: At the bottom of the ocean!

John: I would like to see us being able to get paid a bit of money to be doing what its doing and to have people getting into the band and appreciate what we are doing.

First published March 2017. Now part of ‘The Best Of Eudaemonia.’ More info via the ABOUT page.

Focus: Alexandra Savior

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First published March 2017. Now part of ‘The Best Of Eudaemonia.’ More info via the ABOUT page.

It is a wonder that Alexandra Savior is already not one of the most prominent female artists in the world however, with an incoming debut album and many upcoming sold out shows it is clear that this will not be the case for much longer.

Savior’s elegant songwriting ability mixed with a sound which creates profound, intriguing class is prominent within each of her well received singles. It was last summer which saw the American break into relative stardom when a demo of her song ‘Risk’ featured in the second series of TV show True Detective. Fast forward a few months and another single named “Shades” appeared. Whilst it effortlessly symbolises her cool, stylish existence it is also evidence of her limitless potential.

Somewhat mysteriously at the time Savior was listed as a co writer for the Last Shadow Puppets’ track “Miracle Aligner” taken from second LP ‘Everything You’ve Come To Expect.’ However, this is the fruition of a chance meeting with band member Miles Kane. Having met Kane at a party and jokingly suggesting the possibility of a Turner-Savior partnership, it is incredible to realise the strength and choreography of the pairing which had swiftly come to existence. It is clear that Turner and Savior have developed a strong partnership which seems a little surprising, especially considering his commitments within two other world-famous bands.

Her second single release “M.T.M.E” was even more impressive, seemingly improving upon the production quality of “Shades.” Additionally, her latest single “Mirage” is perhaps the greatest of all and would not seem out of place on the most extravagant of Hollywood movie soundtracks. With an aura not too dissimilar to melancholy Parisian grooves mixed with the soft air of California the single is lyrically and musically superb, a clear ode to Savior’s effortless ability.

Savior is set to tour extensively throughout 2017 in support of her debut album, with a first wave of dates coming in London, Paris and Berlin in April. Her huge potential suggests that it will be a rare chance to see such a distinct artist in an intimate venue, for it is obvious that her sound is soon to be reserved merely for large summer festivals and larger musical halls and theatres.

Whilst it is not too far fetched that one could wish for Savior to compose the next Bond theme or produce soundtracks for great plays and films, an album is a true gift for all of her current and no doubt future fans. Co-written and produced by Alex Turner “Belladonna of Sadness” will be a sign of Savior’s songwriting and musical ability. However, with an already strong influx of singles and an elegant live show to match it is clear that the Oregon born singer is slowly embarking upon a swift journey towards superstardom. 

A common trend to all of her singles is its elegant, cultured sound. Whilst she is still to release an album, the faith thrown upon Savior by talent and record companies alike is an ode to her mesmerising ability. With “Belladonna of Sadness” being released in the not too distant future on can only assume that 2017 will mark the rise of Alexandra Savior.

First published March 2017. Now part of ‘The Best Of Eudaemonia.’ More info via the ABOUT page.

Review: The Dunts – “Astroboy”

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First published February 2017. Now part of ‘The Best Of Eudaemonia.’ More info via the ABOUT page.

Whilst you may not have yet heard of The Dunts, it is clear that the Scottish based band have phenomenal talent; their latest single “Astroboy” is synonymous of this.

Having released debut demo EP “Fried” just last year, the intriguing indie band return with what is arguably their most impressive song to date. Recorded at 45 A-Side Recordings in Glasgow the single has all the features of a classic anthem, a mix of both guitar and strong lyricism.

Opening with a slow yet strong verse “Astroboy” eventually comes to an obvious fruition with a host of guitar based features which would not seem out of place on the most recognisable of albums. On first listen the song perhaps resembles the sound of early Arctic Monkeys mixed with a Glaswegian twist. The most impressive part of the song is its less obvious but dynamic chorus which displays effortless melody and class.

The Dunts are slowly amassing a relevant fan base with equally strong songs to match. Having supported Redfaces on the Glasgow leg of their recent UK tour, the band are now set to headline the world famous King Tut’s Wah Wah Hut on May 20th 2017. The famous Scottish venue is known to have played host to some of the best upcoming UK talent in years gone by including Pulp, Blur and Oasis; The Dunts’ impressive early sound makes them candidates to join such an illustrious list.

Their inspirations are well rounded, ranging between The Libertines and The Strokes to The Kinks and Brian Jonestown Massacre. Hints of such legendary names are already prominent in each of their early tracks, though they rightfully have the ability to turn their sound into their own product. Emerging from Scotland’s growing indie scene, which has already been home to bands such as The View and Biffy Clyro, it is clear that the Glasgow based musicians are a band of huge potential.

Whilst still in their infancy, The Dunts’ “Astroboy” is a sign of strong intent. Its strong musical ability is a clear sign of the band’s mass potential. 

First published February 2017. Now part of ‘The Best Of Eudaemonia.’ More info via the ABOUT page.

Review: Lighthouse – “Brown Bottle Flu / Loaded”

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First published February 2017. Now part of ‘The Best Of Eudaemonia.’ More info via the ABOUT page.

Emerging from London’s iconic and ever-growing indie music scene, Lighthouse’s latest double A side single release is a firm example of their strong sound and potential.

“Brown Bottle Flu / Loaded” was recorded upon Lightship 95 in East London by Rory Attwell (The Vaccines/Peace.) Released by the upcoming Derelict Art Records, both singles are catchy and demonstrative of an obvious guitar based sound.

Attwell’s influences can been seen in both singles through thier technical production however, what shines most is the bands obvious use of catchy guitar solo’s and instantly recognisable chorus. This is most evident in “Brown Bottle Flu,” the first of the two singles. Most recognisable for its opening guitar riffs, the single is a good example of the band’s huge potential and talent.

Lighthouse have already amassed a huge repertoire of live performances in their relatively short history. Most prominent is their regular performances across London, they most recently headlined Camden’s ‘Welcome To The Monkey House’ event, a night at the Black Heart hosted by Sisteray – another of London’s most proactive touring bands.

“Loaded” continues to build upon a similar sound to the first with guitar solo’s resembling a hybrid amalgamation of Palma Violets and Arctic Monkeys references, albeit in a positive way. “Loaded” is perhaps most prominent in the live setting, with it’s echoing guitar chords and strong verse creating a heavy, dramatic sound. 

Considering their relative infancy we can still expect much more from Lighthouse in terms of musical releases, there’s sure to be many more singles and EP’s penned in for future release. “Brown Bottle Flu / Loaded” is a strong example of their sound, a firm assertion that Lighthouse are a name to be reckoned with.

First published February 2017. Now part of ‘The Best Of Eudaemonia.’ More info via the ABOUT page.

Focus: Habitats

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First published January 2017. Now part of ‘The Best Of Eudaemonia.’ More info via the ABOUT page.

It’s fair to say that Habitats’ sound is quite the rarity. Not only does it provide a persuasive edge of tropical groove but it also co-aligns itself heavily with the melodies of modern day indie music. 

Perhaps one of the most exciting up and coming bands in the country right now, Habitats already hold two successful EP’s to their name. ‘Diamond Days EP’ was released in 2015 and is perhaps a great starting point for the newer listener. Featuring heavy use of guitar pedals and other effects, songs such as “Diamond Days” and “Turn Down The Sun” have gone on to already become obvious crowd favourites and wouldn’t seem out of place on the majority of summer playlists.

The band have already created a mass stir amongst many industry favourites including Steve Lamacq and Huw Stephens as well as impressing the legendary BBC Introducing series. Alongside this they have rightfully amassed a strong fanbase across the country following on from numerous tours in various parts of the nation. 


Their second venture came in the form of ‘Jungles EP,’ equally as well rounded and well received as the first. ‘Jungles,’ the EP’s title track, is perhaps the most impressive. Featuring a heavy, intensifying drum beat and catchy lyricism, the track encapsulates a different, heaver side to the bands’ sound; this becomes even more obvious in the live setting.

It appears as though the band have settled on developing such an obvious, well-received sound; as proven in “Guilty Pleasure,” their latest release. Much like their previous two EP’s the single once more gives off groovy, disco-like vibes and production wise is incredibly strong.

Excitingly, the Basingstoke formed band have announced a string of gigs throughout early 2017. Though their existence is still in its infancy, musically they are very mature and talented and thus one must assume even further growth especially with the prospect of a debut album in the near future.

Overall, Habitats’ sound is an exciting rarity, a refreshing form of escape in a scene which is usually so similar. 

First published January 2017. Now part of ‘The Best Of Eudaemonia.’ More info via the ABOUT page.

Focus: The Blinders

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First published January 2017. Now part of ‘The Best Of Eudaemonia.’ More info via the ABOUT page.

To many, The Blinders are perhaps the torchbearers for modern political punk rock music. Based in Manchester, the vast potential of the alternate band gives reason for their already strong following throughout the country. It is obvious that they are set to take 2017 by storm.

Their sound is heavy, dark and intriguing and righteously incomparable to much of what modern music has to offer. The three piece comprises of Thomas (guitar), Charlie (bass) and Matt (drums) and incorporates elements of punk rock whilst proactively promoting relevant political and social messages. 

This is most obvious in their debut EP, ‘Hidden Horror Dance.” Tracks such as “84” and “Murder At The Ballet” include obvious bass-lines and a chaotic, yet organised use of the guitar. The EP boasts impressive lyricism and fiery vocals which are resemblant of a ‘Wytches/Yak’ hybrid. Additionally, songs such as “ICB Blues” have obvious connotations towards relevant modern day political issues and are incredibly suited to the live music venue.

2016 was arguably a turning point for the band, embarking upon a frantic touring schedule encompassing much of the country including a sell-out single release gig and Manchester’s Death Institute. Such touring also saw them play amongst many of the worlds most famous names at Leeds festival as part of the Jack Daniels/This Feeling stage. Notably, the year also saw the band pick up many famous and influential fans from Blossoms and the ‘This Feeling’ set-up to Cabbage, another of Manchester’s trailblazing bands.

October saw the Doncaster formed band release their official debut single, “Swine.” Building on from the success of their debut EP, the single is further proof of their limitless ability. Varying in both tempo and instrumental characterisation, the single deservedly gained much exposure and is a perfect starting point for a new listener of the band.

It is already clear that 2017 will see The Blinders build upon the success of the previous year. Already, the Manchester based band are embarking upon a nationwide tour of respectable venues supporting Cabbage alongside April as well as headline dates of their own in conjunction with ‘This Feeling.’ 

The Blinders’ sound means that they are destined for the top, we can only assume that the trio are soon to righteously become the unofficial torchbearers of their intrinsic genre.   

First published January 2017. Now part of ‘The Best Of Eudaemonia.’ More info via the ABOUT page.

Focus: Sisteray

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First published January 2017. Now part of ‘The Best Of Eudaemonia.’ More info via the ABOUT page.

To many, the modern music industry is bleak and unforgiving. Not only does the British music scene struggle to nurture and prioritise the growth of small bands, it also favours the rich, bigoted institutional record companies. However, with such a strong message of unity and anti-establishment hints, Sisteray’s punk rock ethos is a much needed response to all of this.

2016 has been incredibly fruitful for the London based band, a year of relentless gigging, festival appearances and a string of well received new tracks. Alongside this, they have also appeared regularly on a range of radio shows as well as the highly acclaimed ‘BBC Introducing’ programme. 

Perhaps the most prominent of their releases this year is the single “A Wise Man Said.” With obvious guitar chords and catchy lyricism the track is incredibly resemblant to the chaotic melodies of early Libertines material. It is in the live setting where this song flourishes best, often inciting rapturous stage invasions and raucous crowd involvement.

Most impressive is Sisteray’s obvious underlying political and social messages. The band are strong supporters of the survival of grass-root music venues and recently played as part of the Music Venue Trust’s fundraising gig at Camden’s Roundhouse. In addition to this, the Londoners are also keen to emphasise the dangers of the modern world and its capitalist values, the most obvious example of this being their track “Gentrification.” Their attention to social and political issues is incredibly rare but most necessary in a time of uncertainty in both the music industry and beyond.

2016 also saw the release of their latest single, “Who R Ya.” Production wise, this song may perhaps be their most impressive release to date, it was produced by Rory Atwell (Vaccines, Palma Violets) at Lightship 95 and mixes all of Sisteray’s stereotypical strong points. Much like previous singles “A Wise Man Said” and “No Escape” it includes heavy drum beats and catchy guitar solos.

Having recently been signed to Vallance Records, the prospect of nationwide tours and even more media appearances, one can only assume that Sisteray will grow even more so as 2017 looms.

First published January 2017. Now part of ‘The Best Of Eudaemonia.’ More info via the ABOUT page.

2017 Watchlist

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First published January 2017. Now part of ‘The Best Of Eudaemonia.’ More info via the ABOUT page.

One of the key concepts behind Eudaemoniablog is its focus on new and upcoming talent throughout the UK and beyond. With that in mind, here is our 2017 watchlist, five band who we think will be huge as the year progresses.

Trampolene:

2016 has been the year in which Trampolene have come to great prominence, not least helped by the inclusion of leader singer Jack Jones amongst a certain Peter Doherty’s set up. Not only has he opened for the Libertines at arenas with elegant poetry but Jones also plays a predominant role as a guitarist amongst Doherty’s band, the Purta Madres. 

However, perhaps the single most important aspect of Trampolene’s growth has been a discovery of more melodic, intrinsic songs which have featured amongst numerous pocket albums throughout the year. The most obvious example of this comes in the form of “Blue Balls & A Broken Heart” from ‘Pocket Album 5 (Divided Kingdom.) 

Recent years have seen the band release numerous EP’s, sell out many venues across the country and achieve mass radio play. Perhaps 2017 will be the year that we see a debut album, one thing is for sure that the Welsh outfit are certain for even more growth and popularity as time goes on.

Sisteray:

As the featured band in our first ever ‘focus’ series, you can tell we are big fans of the London band. Sisteray are perhaps the most proactive band in the whole of the capital at the minute, gigging regularly but also increasing their support of key issues such as anti-establishment and anti-gentrification.

2016 saw the band release two equally well supported singles in the form of “A Wise Man Said” and “Who R Ya,” both of which were met with great anticipation from press and fans alike. Alongside this, the ‘Libertines-inspired’ band featured at many festivals across the UK alongside headlining many venues in London and beyond.

If 2016 was successful for the band, trend suggests that 2017 can only see them achieving even more success.

Cabbage:

With the release of their EP compilation entitled ‘Young Dumb and Full of….’ we can only assume that 2017 will see the release of a debut album from Cabbage. The intense Manchester band are arguably poised to see mass growth and a rise much like Blossoms in 2016.

Such exposure is mostly an ode to their impressive, heavy and increasingly relevant sound which has been obviously consistent in all of their four previous EP releases. This is perhaps best expressed through the song “Uber Capitalist Death Trade,” perhaps the perfect starting place for the new listener. It features crunching guitar chords, intrinsic drum beats and most importantly relevant, anti capitalist lyricism. 

Early 2017 sees the Manchester based band embark on a near-sold out headline tour across established UK venues. In addition to this, they form part of an impressive supporting cast for the Courteeners’ largest headline show to date at Manchester’s Old Trafford Cricket ground. However, with such mass appeal and growth one can only assume even larger dates of their own as the year comes to a close.

Crosa Rosa:

Spawning from Nottingham’s growing music scene, Crosa Rosa’s ‘wobbly rock’ sound is perhaps one of the most interesting of its kind.

Featuring three members and a heavy, pedal effects dominated sound, it is perhaps fair to describe the band as an intrinsic amalgamation of The Wytches and Nirvana. The previous two years have been extremely successful for the band, regularly featuring at large festivals and performing to sold out crowds of their own.

Their debut EP “Pantaphobia” incorporates perhaps the heaviest side of Crosa Rosa’s sound, though at times still creating effortless melodies along with a softer side to their songwriting. Their second release, “Candy Eyes EP” continues to build upon the initial. Tracks such as “Like A Lady” and “Tainted Lover” are an obvious highlight, both of which are suited well to the live setting.

With such an already strong following created through 2 strong EP releases we can only assume the Crosa Rosa name will continue to grow throughout 2017 and beyond.

The Jacques:

Perhaps the most established name on the list, The Jacques have existed for a number of years. Having been signed to Gary Powell of The Libertines’ label they have already seen some great success. However, with a new line up and a somewhat new approach to their sound 2017 symbolises the second coming of the band.

“Eleanor Ring Me,” their latest single, somewhat epitomises this. The track features heavier guitar cords and much distortion. Interestingly, it also makes use of a somewhat poetically spoken verse. This contrast greatly to their “Pretty DJ EP” which was released in 2014 featuring well loved tracks including “Weekend” and “Foreign Films.”

Overall, the sound of The Jacques is a clever mix of heavy chords and strong lyricism. It will be interesting to see how such a sound adapts to a new line up and future releases.

First published January 2017. Now part of ‘The Best Of Eudaemonia.’ More info via the ABOUT page.