2018

10 Years of Nottingham Splendour

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First published June 2018. Now part of ‘The Best Of Eudaemonia.’ More info via the ABOUT page.

No one quite encapsulates the mood of Nottingham’s Splendour Festival like DHP Family owner George Akins:

“Ten years ago Nottingham City Council and DHP decided to start a festival for the people of Nottingham, an event to showcase some of our talented local musicians and bring some of the world’s best talent to the area.”

As the festival reaches its ten year anniversary, perhaps now is the best time to step back and remember all that has made its first decade so successful, whether it be musically, or through its celebration of Nottingham’s diverse local community. 

2008

Kate Nash; The Charlatans; Ocean Colour Scene; Paolo Nutini; Rufus Wainwright; Lemonheads

The first edition of Splendour is now a decade in the past, though the names and complexity of its first edition have stood the test of time. Kate Nash, who at the time was touring in support of seminal debut “Made of Bricks,” headlined the festival’s opening night. Hits such as ‘Foundations’ come to mind, she has since gone on to achieve even further success, though it is her activism and political support which truly makes her standout.

Also on the line up was The Charlatans, the famous West Midland outfit who symbolically feature on this year’s anniversary line up. At a time when they were picking up support slots at stadiums with The Who and The Rolling Stones, it is clear that the Britpop rockers have since gone on to reinvent themselves with critical success, lead singer Tim Burgess’ re-imagination of music, technology and culture in the past decade is nothing short of impressive. 

2009

Madness; The Pogues; Fun Lovin’ Criminals; The Rifles; Kid British; Dog is Dead

2009, the second edition of the festival which is often the most challenging for any festival organiser, just ask DHP. Following the success of its first edition, Splendour pulled out all the stops to make 2009 one of the most memorable of all. Madness, the legendary Camden Ska outfit, headlined. They at the time were touring in support of “The Dangermen Sessions Vol. 1,” their highest chart position in the UK since 1984.

With far more emphasis on rock and alternative sounds than previous years, The Pogues also topped a line up with a live outing which these days have become far too rare. In fact, health issues have mean that the Irish-British punk band haven’t performed in almost four years.

2009 was also the first sign of a promising local Nottingham band gracing the festival stage with Dog is Dead making their festival debut. Their first Splendour set was a real turning point for the band and also symbolic for the festival too, it has since grown into being a starting point for many local artists on the festival circuit. 

2010

Pet Shop Boys; Calvin Harris; Dog is Dead

The grooves of electronic music came to the park in 2010, a fortunate and exciting mish mash of mainstream success and a vibrant community spirit. Pet Shop Boys, having just released critically acclaimed tenth studio album “Yes” were on fine form. ‘Love Etc’ still proves to be a festival highlight, in many ways it is still one of their best collection of studio tracks to date. Just a year after they received received the British Phonographic Industry’s outstanding contribution to British music at the 2009 Brit Awards, some might say that there was no better time to catch the duo in a festival setting.

Calvin Harris also featured, by no means as famous as he is now though the Scotsman was generally referred to as the ‘next big thing’ in the chart industry. “Ready for the Weekend” had just topped the charts, the album truly propelled him to international status. Harris is arguably one of the most successful names to ever grace the now famous Splendour stage. 

2011

Scissor Sisters; Blondie; Feeder; The Bluetones; Dog is Dead; Jake Bugg

Scissor Sisters and Feeder may not have been the alternative music fans cup of tea, but it was clear that the 2011 version of Splendour truly catered to a wide range of music fans. In fact, the festival has since gone on to boast one of the broadest array of musical genres any UK festival has to offer. It is such diversity which makes the festival so welcoming. With the legendary Blondie thrown in for good measure, 2011 proves that Splendour could compete with the best.

However, 2011 will always be known as Jake Bugg’s Splendour debut, a turning point in his career. In fact, it symbolised the beginning of a period which propelled Nottingham’s healthy music scene to national prominence. Here’s Bugg’s thoughts on the Wollaton Park festival:

“I have great memories of Splendour. I had been a few times as a music fan and then I was invited to play at the festival in the early days of my career, so to headline it in my home town remains a career highlight for me. Congratulations on the 10th anniversary!”

2012

Dizzee Rascal; Razorlight; Jake Bugg; Childhood; Saint Raymond

Dizzee Rascal’s headline set saw a change in proceedings at Splendour, think Jay-Z at Glastonbury a few years preceding it. The grime star ultimately went on to produce one of the festivals greatest ever performances, a real up-beat moment for a huge summers day. Tracks such as “Bonkers” and “Holiday” were each anthemic, ultimately summing up the euphoria felt by the whole country during a memorable Olympic year. 

Once again, Splendour played home to local talent. This time it was Saint Raymond’s turn to make his festival debut. Speaking quite fondly, Raymond says: “I love this festival; it was such a great experience working my way up from playing the smallest stage to getting to play the main stage and especially to a Notts crowd who are always the best! Here’s to another 10 years of great music at Splendour!” 

2013 

Jake Bugg; Squeeze; Maximo Park; Peter Hook & The Light; Kagoule

With a headline set from Jake Bugg, it was clear that Nottingham held its own in the upper divisions of British music. Bugg, who’s debut had already made it to the top of the UK album charts. ‘Two Fingers’ was nothing less than a game changing anthem, and 2013’s “Shangri-La” was already penned for quick release. The city was euphoric, Bugg symbolised all the ethics of it’s flourishing music scene. 

Special mention must be made for Maximo Park, who’s indie hits were not just impressive but a combination of catchy guitar riffs and uncle-like dance moves meant that their set was memorable for all the right reasons. 

2014

Tom Odell; Happy Mondays; Reverend & The Makers; The Rifles; Amber Run

2014 saw the festival return to its indie, alternative routes with the likes of Tom Odell and Happy Mondays topping the bill, there really was something for everyone and Splendour once more routed itself as a spectacular family day out. 

At this point, Tom Odell was a year into supporting hit debut record “Long Way Down,” Despite a 0/10 review from an already dying NME, hits such as ‘Can’t Pretend’ and ‘Another Love’ were both memorable in the Splendour setting. 

2015

The Specials; James; The Twang; Ferocious Dog; Georgie

The Specials are one of the country’s seminal bands, their punk/ska sound redefined a generation and soundtracked much of the 80s. ‘A Message To You Rudy’ and ‘Ghost Town’ were true festival favourites, providing the backbone to a Splendour which once more played true to its more alternative routes.

James and The Twang are each cult bands in themselves, though it was the inclusion of Georgie which brought the biggest smile to DHP’s metaphorical faces. Having gone on to support the likes of Jake Bugg and Blossoms, Splendour ones more proves to be the perfect testing ground for an upcoming artist like the Nottingham born singer/songwriter. 

2016 

Jess Glynne; The Human League; Super Furniture; The Darkness; The Fratellis; The Rifles

2016 Splendour proved that it catered to the whole family, no doubt enhanced by its now extensive family zones and food line-up. Jess Glynne, the London based singer songwriter, topped the bill in an expressive display of female empowerment. In fact, Splendour have always strived to achieve a gender and genre diverse line up to welcome response.

Super Furniture, the upbeat Nottingham indie band, also took to the festival for the first time. They soon headline the city’s Rescue Rooms venue in their own right, a band who truly have the potential to go far!

2017

Kaiser Chiefs; Busted; Georgie; Billy Ocean; British Sea Power; Black Grape; Buzzcocks

If Splendour prides itself upon genre diversity then 2017 was its best year yet. Kaiser Chiefs, the indie rocks legends, topped the line up with hits such as ‘Ruby’ and ‘I Predict a Riot.’ Buzzcocks, who’s ‘Ever Fallen in Love’ is widely regarded as one of the greatest alternative songs of all time, also featured.

It was Busted, who’s recent reunion was totally unexpected, who brought much cheer to the younger Splendour goers. In recent times, it is the festival’s devotion to accessibility for family’s and the younger music fan which makes it so special.

Splendour returns in 2018 having had more than 300 acts have grace its stages throughout its 10-year history as it has doubled in size and grown to be the party of the summer for the city and beyond. 

The stage is now set for the special 10th anniversary, with award-winning singer-songwriter Paloma Faith headlining, alongside indie rockers The Charlatans – who made their Splendour debut 10 years ago.Joining them at the event will beinfluential quartet The Stranglers,who have an incredible 17 top 40 albums to their name; Soft Cell frontman Marc Almond; Björn Again performing ABBA’s hits;pop sensation Sophie Ellis-Bextor and feel-good vibes from indie pop band Peace, plus many more.

First published June 2018. Now part of ‘The Best Of Eudaemonia.’ More info via the ABOUT page.

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Live Review: Anteros

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First published April 2018. Now part of ‘The Best Of Eudaemonia.’ More info via the ABOUT page.

2018 is the year of Anteros, there are no doubts about it. Their media exposure and fan base is growing on a weekly basis and for right reasons. Their Old Blue Last gig, as part of Dork Magazine’s Easter celebration was one to behold, a real ‘I was there’ moment.

Opening with the clinically impressive “Cherry Drop,” it was clear from the start that Anteros are one of the tightest, well practised bands in the entire country. A rare inclusion of “The Beat” merged well with newer releases such as the ever impressive “Love.” In fact, it is their latest single release which is most memorable, a beautiful mix of echoey guitar and lyricism representing teenage angst and desire for escape.

The famous East London venue was packed throughout, it may represent one of Anteros’ final small venue shows in the capital for one can only imagine that a year of large summer festivals and a soon to come debut album will only propel them into higher echelons. Having already embarked upon UK wide tours of their own, alongside support slots with bands such as Two Door Cinema Club, it is clear that now represents the perfect opportunity for the London based band to break through the metaphorical glass ceiling.

“On The Moon” was a clear fan favourite, sincerely representative of so many personal moments. It is evident that Anteros lyrically target youthful experience whether it be in love or else. “Breakfast” is another soundtrack to the most chaotic of nights out.

It was 2017s “Bonnie” which provided the most obvious highlight. Aimed at expressing female individuality, it is clear that the track is already a live favourite with echoey singalong and crowd involvement occurring throughout. Closing with “Anteros”, it is clear that the band already have songs worthy of chart success, some of which already close to fans’ hearts. 

Anteros are onto something special, their growing reputation only further suggests the impeccable nature of each of their already released songs. One can only hope that 2018 is their year, they truly have to ability to go far!

First published April 2018. Now part of ‘The Best Of Eudaemonia.’ More info via the ABOUT page.

Review: SPINN – SPINN EP

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First published April 2018. Now part of ‘The Best Of Eudaemonia.’ More info via the ABOUT page.

SPINN are leading the way for Liverpool’s ever-growing, constantly exciting underground music scene. In fact, we’d go as far as saying that they are destined to be the next big thing from a city already of legendary status in the business. Their debut, self titled EP is nothing short of a masterpiece.

Opening track “She Takes Her Time” will notably take comparisons to The Smiths with its evident, catchy use of guitar and mesmerising lyricism. Such a comparison may be fair though SPINN are unique in their own right, merging inspirational past sounds with their own impressive twist. The opening track is exciting and has every right to soundtrack the most enticing summertime experiences. It wouldn’t seem out of place in the most joyous of Hollywood blockbuster films nor as amazing sing-alongs on the biggest festival stages. 

Lyrically, SPINN are eloquent. “After Dark” quite obviously displays a slightly darker sound which at the same time manages to express an entire enclave of emotions. Even in sound can you see picture the Jagger-like movement of lead singer Johnny Quinn who will one day imaginably adorn the covers of magazines and billboard alike… SPINN’s rise to the top really will be THAT good!

Since their formation in 2015, the Liverpool based band formed of Johnny Quinn – Rhythm Guitar/Lead Vocals, Andy Power – Lead Guitar/Keyboards, Sean McLachlan – Bass/Backing Vocals and George Whitehead – Drums, have gone from strength to strength. Impressive singles such as the delightful, nostalgic “Home” brought them into a whirlwind of industry support and a growing fan base to match. It is “Notice Me” which as brought them most success, over a million plays on Spotify to be precise. If any song will help drag them to the top then it certainly will be that one, catchy and suited to grand arenas alike.

“Who You Are” is what many may see as the EP’s lead track, a display of perfect instrumental clashing with well meant, catchy and unique lyrics. With a guitar procession in which even Johnny Marr would be proud of, SPINN have an essence of approachable superiority about them; you won’t find a nicer, more talented bunch of lads in the industry. “Who You Are” is suited to the live setting and is in many ways THE perfect way to begin any kind of set.

It is the SPINN live set which is most intriguing, crowd interaction and sing-alongs are very much common alongside the ritual-like yet friendly mosh pit which “Notice Me” always seems to induce. Their live outings are becoming all the more numerous, the Liverpool based band are very much hard working and them signing to Modern Age UK no doubt proves this. Recent outings to Scotland, Nottingham, London and a sold-out headline date in their home city suggests that their fan base is ever growing for all the right reasons.

“November” is slower yet one of the most lyrically impressive tracks on the entire EP. A powerful chorus is hyperbolic to each verse which is the band’s take on the ultimate love story. One can only assume that this track will grow and become a fan favourite in the years to come.

SPINN are onto something special, their self titled EP only does well to prove this. 

First published April 2018. Now part of ‘The Best Of Eudaemonia.’ More info via the ABOUT page.

Eudaemonia Live – Manchester

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First published March 2018. Now part of ‘The Best Of Eudaemonia.’ More info via the ABOUT page.

Today, we preview our Eudaemonia Live Event taking place at Jimmy’s, Manchester.

The Circus Villains:

The Darlington formed band have an infectious sound, take “Mistake” for example. A blending of impressive guitar riff and lyricism creates a track like no other. One can only assume that their Manchester return will be something worth catching come 4th April 2018!

Debut EP ‘An Evening With… The Circus Villains’ is perhaps the perfect starting point for the new listener, a true expression of their sound. “Blurred Dreamz” is also firm evidence of their electric sound, once again a track which is memorable from first listen. We cannot wait to catch The Circus Villains live in Manchester!

Feral Family:

If debut single “Treacle” is anything to go by, Feral Family are onto something quite special. The track displays all the positives of guitar based music. Its ever obvious bass line connects well with lyricism to create stellar atmosphere similar to the likes of Cabbage, The Fall and more. 

Their sound is at times raucous, vocally impressive with a unique twist. Inspiration from the punk/grunge movement is at times obvious, though in many ways Feral Family are on a quest to redefine music in their own way, their Jimmy’s event coming with the release of upcoming single “Shock Horror.”

Getrz:

Swindon formed Getrz are already embarked upon an incredible 2018, their live credentials seem to know no boundaries and instant industry support is ever growing. Their sound is anthemic and if latest single “Old Town” is anything to go by, Getrz’s sound is destined to the larger stages.

“Mother” has the same effect, hugely noticeable choruses mix well with instantly catchy guitar riffs. However, it is heavier tracks such as “Jewellery” which are most promising, in many ways they act as they perfect soundtrack to any raucous weekend night.

Alongside their Jimmy’s NQ gig comes dates as Modern Ages’ Soma Fest in London as well as trips to Bristol and Leeds. If any band are going to take this summer by storm then it for sure  is Getrz!

Brown Lion Zoo:

Brown Lion Zoo made our 2018 watch-list for good reason, they really are onto something special! Already gaining strong reputation in Nottingham and beyond, it is clear that they have a sound worth listening to. Their debut EP release ‘Where’s My Sandwich’ is unusual in both name and initial superiority – it is a rarity to see a new band release something so good, so early in their career.

“Get Up” is impressive, it has a breezy sound and strong lyricism and could soundtrack any formative experience. Whilst on record they appear calmer, their live sound is in many ways heavy and atmospheric and takes them to an even larger dimension. “Electric Bed” is a wonderful example of this!

2018 promises dates in Nottingham, London and more! We can’t wait to see what the band have planned, their Manchester debut is gonna be something else and we can only urge you to get down early!


First published March 2018. Now part of ‘The Best Of Eudaemonia.’ More info via the ABOUT page.

Live Review: Spinn

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First published March 2018. Now part of ‘The Best Of Eudaemonia.’ More info via the ABOUT page.

In The Tune made its Nottingham debut just last month, already it seems to be developing a strong reputation amongst the local scene. This month saw soon to be Liverpool icons Spinn make their first trip to the East Midlands.

The night opened spectacularly with The Rooves, their debut EP ‘Ground Control’ is no doubt impressive and already making waves throughout the local industry. “Nausea” was perhaps the perfect starting point for the already capacity gathered crowd, its guitar riffs mix well with impressive lyricism and voice to create something quite otherworldly. 

Their relative youth as a band is obvious, though with such impressive industry support already it is clear that The Rooves are going to go far! A cover of Declan McKenna’s “Brazil” invoked huge crowd interaction, though it was “Jaws II” which perhaps was most formidable in the live setting. One can only assume that the Chesterfield band are only going to get bigger and better with ever growing live credential, clearly their sound is already suited to the larger stages.

Next came Short Weekends, the local Nottingham five piece who have already made large waves throughout the city’s live industry. Having already played venues such as The Bodega and Rescue Rooms as well as taken part in local festival ‘Beat The Streets,’ its clear that they are part of a new generation of Nottingham bands ready to make the next step up!

Tracks such as “Green Summer” were formidable in the live setting, energetic and obvious in terms of musical ability. Debut EP ‘The Garden’ was also well represented, tracks such as “I Miss You” prove the upbeat, sometimes dance-like credentials of their indie rock sound. It is clear that Short Weekends are one of the best live bands the city have to offer.

Super Furniture are no strangers to Nottingham’s ever growing live music scene, their attitude and on-stage energy is infectious. “Sleepless” was perhaps the most obvious track of their live set, totally recognisable and entirely well produced. Lyrically it is impressive, though the mixing of drum beat and guitar creates something entirely atmospheric.

“Vultures” is in many ways the perfect set closer, much like “Sleepless” it lyrically explores darker themes whilst creating atmosphere through instrument. Mix that in with a glimpse of the Arthur Theme Track and you could argue that Super Furniture’s set is nothing short of sensational, the perfect example of their sound and musical ability. Once more, we can only assume that these boys are gonna go far!

And so it was on to Spinn, a band who are gaining a ferocious reputation throughout the country for all the right reasons. Together, their tracks have amassed way over two million streams on Spotify and already they are being tipped as one of the most promising bands in the country. It is easy to see why, their enthusiasm is infectious and musical ability second to none. 

“Who Are You” in many ways is the perfect soundtrack to the most mesmerising of nights, upbeat and memorable it displays all the hallmarks of the Liverpool based bands sound. On stage chemistry is no doubt obvious, a Jagger like frontman will no doubt achieve all the benefits of fame in years to come! 

“Home” manages to slow down the watching crowd on a raucous St Patricks Day night, though in many ways is the most noticeable track of the evening, an obvious ode to love and long lost evening. However, it was “Notice Me” which provided the most sensational moment of the evening, mosh pits galore and sing alongs prove that it is by far their most impressive track to date. Spinn are going far, one can only assume that the evening was somewhat of an ‘I was there moment.’

In The Tune returns to Nottingham in May 2018, stay in touch with their social media for further announcements. 

First published March 2018. Now part of ‘The Best Of Eudaemonia.’ More info via the ABOUT page.

Review: False Heads – Retina

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First published February 2018. Now part of ‘The Best Of Eudaemonia.’ More info via the ABOUT page.

False Heads are a musical enigma, their progress over the past year or so has been second to none. Latest single release “Retina” has been long anticipated, it is an exciting time to be a fan of the London based band!

Their back catalogue dates back to 2015, between now and then numerous singles and EP’s have been released with “Retina” being the latest addition to an ever growing back catalogue. The track is dark, atmospheric and powerful. Obvious bass lines and a crashing drum beat emphasise the power of lead singer Luke Griffiths’ vocal. 

The trio consist of Griffiths (vocals/guitar) and old school friends Jake Elliott (bass) and Barney Nash (drums). “Retina” makes sensational use of distorted guitar chords, clashing well with bass and drums to create a powerful sense of confident ability. The track could soundtrack a wild night out or the most frantic of getaways!

For fans of Black Sabbath, The Fall or even more modern favourites such as Royal Blood, False Heads are already destined to far greater things. Their live show takes the small venue by storm, often wonderfully chaotic whereby mosh pits and sing alongs are a given. They currently embark upon a UK tour, heading to cities such as Manchester, London and Nottingham’s Chameleon Arts Cafe for a very special gig alongside fellow Eudaemonia favourites Babe Punch and Brown Lion Zoo. 

Iggy Pop is already a huge fan and for good reason! Beyond him, False Heads have amassed a strong list of fans ranging between the NME and Q Magazine to Radio 1 and Radio X. It is clear their sound is suited to a broad range of listeners, between indie and rock, metal and pop. Their broad sound is perhaps a unique selling point, though at the same time they still have so much individuality, False Heads are any music fans’ dream.

Before “Retina” came Latest EP ‘Gutter Press’ which in itself is remarkable, we see it as somewhat of a masterpiece. Tracks such as “Twentynothing” and “Thick Skin” make up the well supported EP, something which is now the backbone of any False Heads live set. 

Now’s the time to catch False Heads live, they’re gonna take this summers festival circuit by storm and then some! “Retina” is already a fine example of the wondrous talents the London band behold.

First published February 2018. Now part of ‘The Best Of Eudaemonia.’ More info via the ABOUT page.

Live Review: The Blinders

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First published February 2018. Now part of ‘The Best Of Eudaemonia.’ More info via the ABOUT page.

Across town the Brit Awards took centre stage, still an institution but in many ways now just a worrying insight into the very much closed circle of modern mainstream music. The Lexington boasted the opposite, The Blinders in the form of their lives and a true representation of the DIY, underground scene. Raw, exciting and vicious, they boast identity and relevance in which their more famous counterparts will never be able to comprehend.

Opening with the instantly iconic, instantly raucous “Gotta Get Through” you’d be forgiven that its extended intro was intentional, a breakdown in amp coverage merely creating further excitement for the gathered North London crowd. The venue instantly turns into a frenzy, crowds pushing forward, lyrics being chanted – the Doncaster band are still on the up though any newcomer to their sound would be forgiven for thinking they were an already established arena band, they really are that good!

Tracks such as “,L’Etat C’est moi” have the potential to overthrow the state, its confident yet moody guitar riff makes it all the more pleasing in the live setting. “Free The Slave” continues to build upon the dark aura of the latter, entirely relevant and impressive at the same time. This is matched in “ICB Blues” now a beautiful mix of chaotic riff and menacing bass lines courtesy of Charlie McGough. Venomous yet seemingly without a care in the world, McGough truly manages to encapsulate an aura of confidence in which many bassists struggle to ever achieve.

“Ramona Flowers” has some kind of mesmerising swagger to it, now well known and already a venue sing along in its own right. Lead singer Thomas Haywood almost shrieks into the microphone with aggressive, unique intent. However, it was down to lead single “Swine” to provide the highlight of the night, arguably the stand-out Blinders single and the perfect starting point of the new listener.

It was the latter section of the set which was more foreign to the gathered crowd, tunes most likely taken from their upcoming debut album. “Et Tu Brutus” emphasises a sense of togetherness, catchy and echoey around the room. Much like any of their songs, it creates a sense of protest, one day perhaps the soundtrack to a social/spiritual revolution… who knows! The set closed with “Berlin Wall,” arguably one of the most perfect closing songs about. Short and snappy it also manages to build atmosphere and intensity. 

Yes, the Brit Awards are in many ways credible, diversity in genre, race, sex were all represented in award winners. Stormzy is one of the most politically relevant figures in the country, Dua Lipa an inspiration to women everywhere. However, the one true negative is the dominance of modern industry: record labels, PR companies, radio stations. In many ways it is an incestuous circle where only the pre selected few break through. Talent rarely comes to nothing, songwriting almost forgotten. This is where bands like The Blinders can be hard done by, true talent ignored and replaced by sales figures and past favours. The DIY music scene is relevant, important and exciting, it boast community attitude in which no Brit Award can ever replace. This is REAL, this is the FUTURE!

The set was short yet intense, a beautiful chaos in which the Doncaster band only create too effortlessly. They could have mesmerised the mass crowd for hours, everyone in the room urging for more… if you think this tour has been on another level, just wait until the next one! It’s hard to think of the next adjective to use to sum up the trio,they really are astounding!

With The Blinders, their hype and reputation is real, they truly are destined for the top. As one of the best live bands in the country right now you’d be a fool to not catch them as soon as possible, their sound effortlessly transferable to even the biggest of arenas and festival stages. 

First published February 2018. Now part of ‘The Best Of Eudaemonia.’ More info via the ABOUT page.

Interview: RedFaces

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First published January 2018. Now part of ‘The Best Of Eudaemonia.’ More info via the ABOUT page.

A corrupted hard drive left us thinking this interview was lost forever. Fortunately, a minor miracle occured over the Christmas period enabling us to FINALLY get our interview with RedFaces up. WHAT an amazing band they are, knowledgeably, nice and extremely talented. Here’s our chat with Isaac and Charlie from the band…

You formed in 2012 which now seems like absolutely ages away, can you briefly describe your journey from there to now?

Isaac: There wasn’t one specific turning point really, we did a gig at the Leadmill in Sheffield in our hometown in Sheffield. Our managers came and saw us there and saw something in us… possibly Harry’s face. 

Charlie: There’s been points in our career where we’ve been pushed more, though every show is like a stepping stone.

Isaac: We recently played Community Festival at Finsbury Park in London which was a huge gig and got us a lot of exposure. A lot of people have started buying tickets to see us now, with this tour being the first one which is really selling out well.

This tour definitely feels like a step up in the world, some of the venues are quite a big deal…

Charlie: It’s gonna be good… Apart from half way through when you have a massive hangover and you’ve lost all your clothes and don’t really know where you are!

Isaac: Yeah it’s definitely a good feeling going around the whole of the UK playing our songs to people who want to hear them, it’s a bit different to festivals in that sense.

Charlie: People are also interested in the stuff they haven’t heard. We have a 45 minute set too with a lot of new songs and different vibes and lyrical themes.

Can you describe your sound in three words?

Isaac: I don’t know!

Charlie: 09 Fifa Emo!

Who would you say are your biggest inspirations?

Charlie: The first musical inspiration I remember was Michael Jackson. I was completely drawn to the way he wrote and recorded his demos. He wrote it all with his voice and beatboxed into the recordings all of the top off his head! His melodies were gorgeous, lyrics were great so yeah i’d say he was the first inspiration for me.

It feels like RedFaces’ production qualities are quite high, would you agree?

Isaac: Yeah! Recently we got into an Australian band named Tame Impala who we appreciate for their production. The drums on that were very much like dance music, we wanted to try replicate that style.

Do you prefer being in the studio or playing live?

Isaac: I like them both really…

Charlie: We gel a lot more as a four piece in the studio but everything has its own different feeling. 

Isaac: We’re really creative in the studio and experiment a lot with lyrics and melody, trying to make things not as straight forward as they seem.

Charlie: We have our own home studio to make demos so going from there to a real studio allows us to know what we need to do.

We love latest single “Take It Or Leave It,” what can you tell us about it?

Isaac: I feel like it changed during its development, it was written very recently in about March this year just after our “Kerosene” tour. 

We’d been listening non stop to Mark Ronson’s new album which has all these killer grooves on it so I wanted to do something like that. I wrote the riff and slowly it metamorphosed into the song it is now. The aim was to write an indie record with roots in different places. 

Charlie: People seem to shy away from pop music, guitar bands especially. There’s nothing wrong with pulling inspiration from whats in the charts.

There’s definitely a lot of differentiation in your sound, would you agree?

Isaac: I was reading an article earlier about the term landfill indie. The vibe was that its alright to be generic… No its not! Don’t show people that you’re not creative. A lot of people want the lifestyle of being in a band, music isn’t really the priority for them but to us it is. Just be as creative as you can in a band really!

Charlie: You can be generic but be aware that that’s gonna get you scrutiny from other people. It’s a harder line to tread. Don’t live for the actual lifestyle.

Is there anywhere where you’re really excited to play on this tour?

Charlie: Newcastle, everyone there has a good personality. The accent is great too and cheap beer.

What can we expect from a RedFaces live set?

Isaac: Lots of nudity… We were gonna dress up as the ghostbusters too! A lot of people know us for being intense and energetic so the main thing we want to do is bring more depth to our sound. 

There’s a song in the set which is slower, where the lyrics are more profound. We basically want this tour to establish us as musicians as well as a good live act.

What does the next 6 months have in store for RedFaces?

Charlie: I think more single release in order to give our fans what they actually want!

Isaac: It’s impossible to say which the next single will be, we could write something in the meantime to blow whatever is planned into the water!

Where would you like the band to be in 5 years time?

Isaac: The main aim is to make records which people can relate to and take inspiration from. 

Charlie: We wanna be playing to a lot more people at bigger places but still enjoy what we’re doing. As long as we’re still doing what we like at the end of the day!

First published January 2018. Now part of ‘The Best Of Eudaemonia.’ More info via the ABOUT page.

Review: Starcrawler – Starcrawler

| clickmusicuk

First published January 2018. Now part of ‘The Best Of Eudaemonia.’ More info via the ABOUT page.

Name: ‘Starcrawler’

Artist: Starcrawler

Rating: ★★★★

From first listen, Starcrawler blew our minds. The are cool, new and refreshing and resurrect a style of LA rock n roll which hasn’t been seen for many a year. Their self titled, debut album is sensational, one of the best you’ll hear all year!

Supported by the likes of Elton John and Dave Grohl, it is no wonder that their debut album is something quite otherworldly. Already they have reached heights in which their contemporaries can never imagine, this is surely a result of their intriguing sound and lyricism only matched with one of the most intense, swaggering live presence the small venue has seem. 

From first listen is is clear that Starcrawler come with an aim to shock, “Train” is frantic, dark and powerful. It’s mysterious use of guitar matched with emotionless, echoey vocals create all the more reason for intrigue. Lead singer Arrow de Wilde is an enigma, think Courtney Love, Blondie and Wonder Woman all rolled into one. A persona on her behalf develops throughout the album, transcending from her on-stage presence in the live setting. 

“Love’s Gone Again” wouldn’t sound out of place in a Hollywood blockbuster, think car chases and beach parties all under one umbrella. In fact, the whole album takes the setting of LA, the band’s home. Don’t believe us? Just have a listen to the cult, confident anthem “I Love LA,” an ode to their home city. There is a level of beautiful, unrehearsed excitement in both sound and band alike. De Wilde leads a youthful, stylish group in which no member is above 22. It is for this reason that there is longevity to their debut release, it wouldn’t be surprising to see them grow into a much larger entity. 

“Chicken Woman” heralds a sound which wouldn’t sound out of place amongst a Doors album, in-fact Jim Morrison would even be proud of the riotous frenzy in which their live sound creates. Starcrawler are as much fun and kooky as they are talented, “Pussy Towers” sounds like it has come from a porno directed by Wes Anderson, it is colourful and electrifying in the most memorable of ways. 

Attitude is a given, LA is home to the most sideways of fame and it is clear that Starcrawler use this to their advantage. They may not have reached the peak of a long running career just yet, though their style seems to suggest otherwise. Glam punk has seen a resurrection, de Wilde is its modern poster girl. “Full Of Pride” is the ultimate ‘FUCK YOU’ to an ex, lyrically direct and painfully accurate… Going through a break up? Been betrayed by a long term friend? Then this one’s for you!

Recorded alongside Ryan Adams in January 2017 the album has been a long time in the making, clearly a certain amount of pressure has been released given its release. A recent string of live shows in the UK and Europe celebrated its release, something in which the band are notorious for. They are rock n roll at its finest, mosh pits and sing-alongs galore. We already can’t wait to see what the band have planned in the future…

You HAVE to check out this album, already its one of the year’s best releases!

First published January 2018. Now part of ‘The Best Of Eudaemonia.’ More info via the ABOUT page.