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 presents Weimar

Dear Readers, 

We have said it before, but Vanadian Avenue is always on the look out for unusual bands, unique musical styles or new trends in music. Sometimes we find interesting artists on our own, sometimes we receive a tip or sometimes the artists take their time to contact us themselves.

And this is how we learnt about Manchester quartet called Weimar. Last week, lead singer of the band, Aidan Cross sent us an email asking if we would be interested in  reviewing his newest double A single. After listening to both songs, and seeing the accompanying videos we had to say yes!

Weimar is a Manchester-based band consisting of singer-songwriter and rhythm guitarist Aidan Cross (The Bacillus, Black Light Mutants), lead guitarist Stephen Sarsen (Frank Is Dead, The Bacillus, Playground), bassist John Armstrong (The Speed of Sound) and drummer Anthony Edwards (The Deceased).

Weimar Republic of Mancunia by Zac Gale

Official bio: “Combining a range of influences and naming themselves Weimar after the German Weimar Republic of the 1920s in which experimental art, music and cabaret saw a boom, Weimar combine an eclectic range of influences, with their songs containing elements of Art Rock, Post-Punk, Cabaret, Chanson, Prog Rock, Funk, Alt Folk, Gothic Rock, Music Hall and Dark Circus. Lyrically they cover themes of the dark side of culture and human nature, drawing on a socio-political awareness as well as historical inspiration. In the spirit of the Weimar Republic itself, the emphasis is on the need for freedom of expression and rebellion in the face of political and social oppression. In the current turbulent political era, which has already sparked talk of ‘Weimar Britain’, this approach has a profound relevance to contemporary culture”.

The songs “Marvel to the State” and “Undesirable Master” were released on 22nd of November 2019 and they feature the guest vocals of Rose Niland, singer with Rose & the Diamond Hand and Poppycock. The Double A side single was also released digitally on German Shepherd Records, and on CD via Weimar’s own label Marlene’s Hat.

So what can we say about the singles? First thing that comes to mind is that Weimar is reviewer’s real nightmare when it comes to classification. We can easily imagine that if those songs were released back in the 1990’s, Steve Lamacq would tear all his hair out trying to come up with a name for what they do. This is a real mixture of genres – from the classical French chanson, to pop to rock and alternative. There is a lot of Divine Comedy, a lot of the Smiths, The Fall and a bit of a cabaret. To complicate the matters even further – we can swear that “Marvel to the State” has been ispired by 1920’s and 1930’d european jazz. And if we throw trip hop and pop into the cauldron, then we have a real bomb ready to go off.

Weimar in black and white by Zac Gale

The PR note released alongside the singles is confirming what we heard for ourselves:

“Stylistically, both new songs are significantly different from Weimar’s previous single. ‘Marvel To The State’ is written as a celebration of female figures throughout history who have stood up in the face of oppressive politics. It is a duet between Weimar’s frontman Aidan Cross and Rose Niland, set to a jazz-funk inspired backing, with a more upbeat and pop-oriented feel than the previous single. ‘Undesirable Master’ meanwhile, is a romantic torch song with an ethereal backing vocal from Niland. Both songs are accompanied by promo videos directed by Nikos Pavlou. Niland co-stars in the video for “Marvel” while the “Undesirable Master” video guest stars screen thespian Indigo Azidahaka, also vocalist with Granola Suicide.”

We are not the only ones impressed with both songs. Other reviewers were also truly generous with compliments:

“You know when you get that chill up your back when you hear music that is genuinely different and exciting…..? The most important band to come out of Manchester since Magazine.” – Bob Osborne, Aural Delights Blog

“What makes Weimar stand out from so many other guitar bands is their emphatic execution of highly observant songs informed by life’s surreal and unnerving experiences, underpinned by instrumentation which is accomplished – almost oblivious to how good it actually is. Guitars jangle, jolt and drive emotion in equal measure, matched with point-hitting drums… with enigmatic singer and musician Aidan Cross captivating the crowd.” – Emily Oldfield, Louder Than War

We have to admit that Weimar is one of the most unusual bands we have discovered this year and it will be a pleasure to watch them grow. The band is currently working on their debut album while continuing to gig regularly. The album is scheduled to be released in the spring of 2020.

Weimar in black and whte (again) by Zac Gale

You can follow the band on their socials:
https://weimarbanduk.com/
https://www.facebook.com/WeimarTheBand/
https://twitter.com/WeimarBandUK
https://www.instagram.com/weimarbanduk/
https://soundcloud.com/weimartheband
https://www.youtube.com/channel/UCRVRYJayyyN0Q46AA_74Aig

 

With bands such as The Blinders, Dirty Laces, Scuttlers, The Document, Saytr Play, The Red Stains, Witch Fever, Liines, Gloves, The Membranes, The Battery Farm and many others (we could go on forever!) Manchester music scene is one of the best in the world. Keep your eyes and ears open as the Kingdon of Mancunia is four steps ahead of everyone.

Xoxox
Rita and Malicia D.

Indieterria meets Avalanche Party

Honourable comrades!

Avalanche Party is one of the most important new bands on the indie scene at the moment. Formed in 2014, AP (as they are known to their fans) built an impressive resume in a relatively short period of time. They travelled throughout the UK and mainland Europe, performed in NYC and at the famous SXSW in Texas, recorded at the desert studios somewhere in the Death Valley in California. They also played at all the important summer festivals and shared stages with the best of the best in rock music.

The band is known for its wild, mesmerizing shows, full of drama, sweat and hypnotic music. And for their specific, dry, half-sarcastic, half-abstract sense of humour. Just few days before their gig in Birmingham and the release of their debut album, we sat down with vocalist and front-man, Jordan Bell to discuss their videos, trips to America and what can we expect from the Avalanche Party in 2020.

Avalanche Party photographed by Jason Ferdinando

BBC Radio 1 calls you “The most exciting rock & roll band in the UK right now.” But let’s take things to the very beginning. How and where did Avalanche Party form?

Jordan Bell: Keep an open yoghurt in your kitchen fridge for long enough and over time, it will morph and grow into something quite remarkably different from the yoghurt you once knew. Until you can no longer bear to keep it in your refrigeration station and have no choice but to toss it out into the big bad world. It was kind of like that. We’re from North Yorkshire, if it makes a difference. Where the wild things are and the OneStops aren’t.

You managed to keep the news of your debut album completely under wraps. There were no mentions, no leaks, no warnings and then on 27th of August a bomb was dropped. In the era where people lead their entire existence online, did you think it was important to keep your fans unaware of what was coming?

Jordan Bell: Definitely and that’s something which extends past fans and straight into the band itself. Two members didn’t even know the album had been recorded and our manager still doesn’t. Keep it to yourselves.

The album “24 Carat Diamond Trephine” is finally due on 22nd of November. We are intrigued by the title? Trephine are commonly used in bone surgery and dentistry, but we are certain that NHS cannot afford a 24 carat ones. Where does the title come from? Is there a particular meaning behind it?

Jordan Bell: Trephines are still knocking around but the album title is based on the more primitive versions used for trepanning – the old practice of cutting holes in the head to let out the evil spirits responsible for strange behaviours. There seems to be some kind of parallel between that and listening to music which makes sense. It’s a 24 carat diamond one because, it’s not just any old Trephine. This one’s special, it cuts right to the heart of the matter. As far as we know, a 24 Carat Diamond Trephine is the only reliable Trephine for evil spirit excavation, these days.

Avalanche Party by Jason Ferdinando

To promote your debut, the band released three singles in span of four months: “7”, “El Dorado” and “Rebel Forever”. They are completely different from each other: “7” is two minute cacophony of noise, “El Dorado is an experimental ballad of 6 minutes and “Rebel Forever” is quite a catchy, mainstream, radio-friendly track. The upcoming album seems to be very varied in terms of genres and song length. What can we expect from it? Was it a conscious decision to make it as variable as possible?

Jordan Bell: Well yeah it is, we’ll give you that one. We made a conscious decision to attempt as many different genres as possible, because Kane’s uncle, Simon said, we need to try and be like a band that appeals to a massive audience. Like Swedish House Mafia or Catfish & The Shottybottlemen. We went away and thought about it for a bit. Next time we saw him, he said, “Well? Who have you chosen with a massive audience in a particular musical genre that you can be like? Preferably a genre with a long musical history, so you can appeal to the mams and dads and grandies, too?” “Yes”, we said. “Who is it? Miley Cirrhosis? Post Maloon?” “Both”, we said. He nearly fell off his whippet.

Buy it and see.

Avalanche Party always had incredible videos – cinematic, pop culture inspired with complicated, sometimes brutal storylines. The video to “7” shows what only can be described as some sort of illegal experiment, “El Dorado” takes the viewer to America for a mini road movie where nothing really happens and “Rebel Forever” is a dream-like, kaleidoscopic drug-induced nightmare. How important is the visual side of storytelling for you? Are you going to use the videos on tour in some way?

Jordan Bell: “El Dorado” is actually a live video we shot at our last gig in Birmingham! (laughing)

Let’s stick to the videos for a while longer – Bobby Bentham, lead singer of Strange Bones and your personal friend, plays the subject of the experiment in “7”. How do you recall working with him on the set? We have to say he’s terrifyingly convincing.

Jordan Bell: Bobby was perfect for the role given he is THE method acting champion of the world. It was a very, very nice afternoon requiring very little direction or instruction, which began with him floating east by the medium of transpennine express and peaked with me serving him watermelons through the air to flamboyantly slice with a samurai sword in slow motion. He fucking nailed it. And the knife throwing. His gran was in the Yakuza for a bit, so he picked up some stuff. When the zombie apocalypse comes, he’ll be fine. In fact, I’m moving into his house. He’s a great friend and Strange Bones are the fucking dons. He taught me how to swim, but that’s another story.

Jordan Bell live, picture by Jason Ferdinand

Few days ago, the band announced that NHS professionals have a free entry to your gigs on this tour. That’s a very generous way of supporting the National Health Service. Is this your way of protesting against the cuts and showing the solidarity with the workers?

Jordan Bell: It’s a nice thing to do for people, who give a lot, working insane hours and dealing with insane shit for fuck all. The harrowing stuff they have to see and do on a daily basis is truly incredible and they have saved the lives of many, many people near and close to us all.

2019 was a breakthrough year for the band. First SXSW and American festivals, then a session for legendary radio station KEXP for The International Clash Day in London. You recently returned to US to play more gigs. And you are about to embark on a 19 dates long national tour. It must be both incredibly exciting time, but also a challenging one.

Jordan Bell: Big up KEXP. Yeah, but we can see the progression in our music and in ourselves and it’s easy to keep going. It feels far more exciting than challenging. And as our tour manager, Jimmy Mac says – you can sleep when you’re dead! Or in his case, whenever he hits the nice straight bit going past that house in the middle of the M62.

After the UK tour is done and a well deserved Christmas break, can we expect an EU tour in the spring of 2020?

Jordan Bell: No, Brexit means Breakfast (laughing). Joke, it’s a joke! Yeah, we’re going back to the mainland, maybe even sooner than spring. We always have a great time over there and it feels like it’s been too long since we last went, so lets see which way the wind blows.

Debut album – track list

The famous last question – trips to US, especially to SXSW are known to be culinary adventurous. We heard stories of the UK bands being hospitalized after trying the nuclear hot Austin sauce or having margaritas for every meal. What was your diet like at the conference? 

Jordan Bell: I ate great. Have you seen the size of the carrots over there? Superb. I survived for 3 days on just one single Carrot. Apart from that, I can see why people could struggle but personally – absolutely no problems.  Our friends in Trail Of Dead took us for the full Austin BBQ experience, our hosts made amazing blueberry pancakes, showed us Cookie Dough and made great egg foo young. And at the festival, we grabbed everything free & edible that wasn’t nailed to Lady Gaga!

Follow Avalanche Party on their socials:
https://www.avalancheparty.com/
https://www.facebook.com/AvalancheParty
https://twitter.com/avalanche_party
https://www.instagram.com/avalancheparty/
https://www.youtube.com/channel/UCVQHS8es36atxJMBqh8jAlQ

 

And while we are waiting for the debut album, the band released a fourth single to a song called “Howl”. You can watch the AP guys perform in some sort of distorted version of “Top of the Pops” below:

“24 Carat Diamond Trephine” is released in three days time, but several influential websites, zines and blogs already listened to it and gave it fantastic reviews. We have gathered several of them for your reading pleasure:

24 Carat Diamond Trephine is an eleven track joyride that veers from the poetic and introspective to a ferocious barrage of explosive energy. Brimming with their infamous live urgency, it’s a masterfully curated album that ranges from full-throttle sonic assault (7, HAHA) to refrained moments of cool clarity to catch your breath (Hey Misdemeanour, Every Last Drop). The legendary James Aparicio (Grinderman, Spiritualized) was the man tasked with taming the beast and it’s a production that does no such thing. It’s an album barely contained, constantly teetering on the edge of insanity but is completely alluring throughout.

24 Carat Diamond Trephine is undoubtedly a fist-raising crowd pleaser, but like contemporaries Fat White Family, Viagra Boys or The Blinders, they’ve used it as an opportunity to enforce their own birds-eye view of the world. They tackle hefty themes of anger and fear, the capitalist machine that drives us ever closer to the great flaming End, cloak-and-dagger corporate greed, the environment, lyrics of love, death and an individual’s walk through a world they were spat into, laughing as they go” – Rough Trade Magazine
https://www.roughtrade.com/gb/avalanche-party/24-carat-diamond-trephine/

“‘24 Carat Diamond Trephine’ is an album of transformation, just as the process that turns leaves to coal, and coal to diamonds. ‘Cruel Madness’ is less At The Drive-In, more The Mars Volta and the kind of theatrical rock the likes of Alex Turner and Muse might favour, the ‘new day, new dawn’ lyric a blatant burn but also a statement of the company this band now sees itself in. Closer, ‘Rebel Forever’ is an instant classic revisiting ‘Howl’’s giddy and unexpected high points and reprising the ‘El Dorado’ theme in the lyrics; and with just enough Psycho Killer energy that should see it become a restless reference point for the band; a moment in time, a place, a memory…” – Steve Spithray for God is in the TV Zine
http://www.godisinthetvzine.co.uk/2019/11/18/avalanche-party-24-carat-diamond-trephine-so-knee-records/

“There’s so much to explore on this album and it’s likely to take a few listens before it starts to really blossom into its true form. But there’s no escaping this is an extremely impressive and ambitious debut that aside from a few nods to influences is unlike anything else out there. The band have managed to showcase their genre-bending best and sewn it all together to create a Frankenstein’s monster of an album that’s indicative of their terrifying potential” –  Richard Cobb for Little Indie Blog
http://littleindieblogs.blogspot.com/2019/11/album-review-avalanche-party-24-carat.html

“My favourite track at the moment is ‘Howl’ the current single. It is a very Bowieesque slab of prime heavy riff-laden early 70s rock with a gospel-style chorus. If you are not moved to dance to ‘Howl’ then you might well be clinically dead! This is possibly the finest song that the band have released so far. It is also accompanied by a fabulous video which features a cameo appearance on tambourine from the multi-talented Charlie Swainston! The track which proves how great a band Avalanche Party is is the psychedelic rock circus that is ‘Milk And Sunlight Is A Heavy Dream’. Vocals, backing vocals, keys, bass, guitars, and drums all align perfectly and the chorus will not let you go. James Aparicio has captured the essence of what makes Avalanche Party such a great live band in his production. From the massed Panzer Tank Division sonic assault of ‘HA HA’ to the deeply mellow buzz of ‘Hey Misdemeanour’ the former Grinderman and Spiritualized producer does not put a foot or a fader wrong. I can already picture a crowd incursion from Jordan during ‘Playing Field Blues’ using his rock star evil stare to hypnotise his audience into becoming Avalanche Party‘s helpless mosh puppets. It redefines heavy, scuzzy garage blues into something very 21st Century. I never thought that I would see myself finding a U2 influence from Avalanche Party, but ‘Every Last Drop’ is the kind of song that Bono would kill to have written. I can see the lighters and lit up mobile phone screens waving in the air at festivals to accompany this gorgeous modern, dirty power ballad. Dark menace runs through the veins of ‘Cruel Madness’ and draws you into a dark, descent of a dream to a world that might be populated by all your fears and phobias. The album closes with ‘Rebel Forever’ which opens and is underpinned with a warped fairground organ riff which gives the tune a Cockney Rebel feel and in many ways sums up Avalanche Party. They are rebels and I hope they will remain rebellious forever!” – With Just A Mint of Mayhem Blog
https://withjustahintofmayhem.blog/tag/avalanche-party/

“The two most important things to know about Avalanche Party are they write life affirming songs that give you faith guitar music. What’s more they’re hungry and have ideas. ‘24 Carat Diamond Trephine’ is chocked full of both of these. It’s an album that was worth the five year wait as it finally delivers on Avalanche Party’s initial unruly promise of writing a heartfelt vitriolic lament while trying to cave our heads in through viscous indie rock, whilst doubling down on killer melodies” – Nick Roseblade for Clash Magazine
https://www.clashmusic.com/reviews/avalanche-party-24-carat-diamond-trephine

“Most bands are at their best on their first album and spend the rest of their careers trying to reach the same dizzy heights. If this is Avalanche Party’s piece de resistance, then so be it. Its early days, but I feel whatever they do in the future, this will be go down in history as their ‘In Utero’, their very own ‘The Holy Bible’. ’24 Carat Diamond Trephine’ is Avalanche Party’s defining moment, and one of the best debut album of the year.” – Ben Hughes for RPM Online http://rpmonline.co.uk/2019/11/27/avalanche-party-24-carat-diamond-trephine-so-knee-records/

“The wild record is a possessive trip that spits as you as it scuttles past. It’s disgusting but in all the right ways and mirrors a similar disturbance to contemporaries such as Fat White Family and Viagra Boys. Not many bands can capture their live excitement in an album- especially in a debut- however, Avalanche Party have perfectly crafted their unique sound at an early stage and have created something outstanding. Let the Avalanche Party magic bring you along on its hectic ride” – Jasmine Hodge for Jasmine Hodge Reviews
http://jasminehodge.blogspot.com/2019/11/avalanche-party-24-carat-diamond.html

“Welcome the immersive 24 Carat Diamond Trephine, one of the strongest pieces of artwork 2019 has been lucky enough to be graced with. Sharply corrosive, and harrowingly bleak, Avalanche Party’s debut album is a haunting and melodic mix of heavy edged punk, fuzzy psych rock, and shimmery euphoria, and the band have truly excelled themselves, mashing their heavy punk presence with something so stark and chilling that the album conjures up eclectic and dispersed emotions from the very start” – Sahera Walker for Indie Underground Blog
https://indieunderground.blog/2019/11/21/a-hauntingly-harrowing-and-stunning-debut-from-avalanche-party-24-carat-diamond-trephine/

 

We cannot wait to see AP in Birmingham this Saturday.

Support your scene kids!

Malicia and Rita

Indieterria meets HUSK

Dear Readers,

First world problems you will say – but it is incredibly hard to sit on a great interview and wait for a right time to publish it. It been a few anxious weeks but the wait is finally over! HUSK`s new single  “Feeling Heat” is dropping on November 1st, with funky lo-fi video to accompany it, and we can only tell you to get your dancing shoes on – we are going to a proper party!

We spoke with Alfie Austin about his music, a single that may turn him into a proper pop star, artists that inspired him and where he sees himself in five years time. Despite being incredibly talented singer and song writer, he remains grounded and even humble, looking at his music in practical ways. It is such a welcoming change from all the adrenaline pumped ladsy bands with egos and arrogance bigger than the Beetham Tower. And a stark reminder that is not the hype that makes an artist – but a talent and hard work.

But we digress. Its Monday and we have an amazing singer, song producer and musician to introduce!

The sleeve for Feeling Heat single

Please introduce yourself to the readers of Indieterria.

Alfie Austin:  I’m HUSK, I’ve been dubbed as “the outsider pop star we’ve all been waiting for” and “pretty darn good” by BBC 6 Music. I describe myself as the ”love-child of 80’s synth nostalgia and fresh leftfield pop”.

Where are you based and who is in the band?

Alfie Austin:  It’s just me. I`m from Manchester, UK. I work with a lot of talent because it takes a village to make music happen!

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

Alfie Austin:  Since releasing my first EP in 2018, I’ve had some really cool stuff come my way. Being played on BBC 6 Music and BBC Introducing Manchester is definitely a highlight, as well as playing the revered Manchester International Festival this summer and to 15,000 at Pride in Hull. I’m so excited to be releasing my next single “Feeling Heat” on 1st Nov via really cool label AnalogueTrash, that’s already being played in Australia and the UK.

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

Alfie Austin:  I’m a hairbrush diva at heart, and grew up on a diet of melody centred Pop, with the likes of Madonna and Girls Aloud and I’m an avid Eurovision fan. In recent years though, the rich, imperfect vocals of Northern Soul and intelligent Pop with smart production and New Wave has influenced me with artists like Prince, Eurythmics, Robyn and Little Dragon.

I’m really influenced by queer culture too. Most queer parties are full of love and expression, and I want to create that good mood in my music, whilst talking about real issues that aren’t just dancing and/or love.

Naturally, I love artist like CHVRCHES & Christine & The Queens but I can’t replicate what they do – I have my own writing style.

Husk_1

Hand on the heart – HUSK by Roo Gannon Photography
https://www.facebook.com/roogannonphotography/

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

Alfie Austin:   When writing a new track, I will sing melodies and if they get stuck in my head, I know they’re a keeper. Next, I tend to create the bones of the track, including most of the synths and beats. I then take it into the studio and turn it into something really special. I’ve been working with producers Sugar House Music (Viola Beach/ Pale Waves/ Larkins), who are incredibly good at making things sound polished but interesting and work you hard to get the best out of you.

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

Alfie Austin:   It’s definitely the new one “Feeling Heat”. It’s got really strong 80’s vibes, which I just can’t get enough of. I was having a time where everything I wrote I absolutely hated and I was feeling really under pressure to come up with something in my really busy schedule. “Feeling Heat” is about that! And then once we got it into the studio, everything we tried just clicked – we finished it in a matter of hours.

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

Alfie Austin:  My main tools are my Arturia Microbrute synth and Propellerhead’s Reason. I use a lot of layers. There’s always like 4 snares and 2 kicks, 5 synth sounds playing the lead melody and 2 bass synths. Sugar House also used a really creepy vocoder for vocal harmonies on my EP that we have used ever since.

Husk_2

Strike a pose – HUSK by Roo Gannon Photography
https://www.facebook.com/roogannonphotography/

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

Alfie Austin:  I’m not going to lie, it would be really nice if I was signed to Virgin EMI and had a shit hot manager that keeps me in check, filling arenas. But if I’m still making music that people enjoy, and I’m not going hungry, I’ll be okay. I have a few specific goals for this next single “Feeling Heat”, and now that AnalogueTrash are on board, that’s one goal ticked off. Every little piece written about HUSK is still really exciting though.

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

Alfie Austin:  Email me: husknoise@gmail.com or Facebook message me at HUSK 

 

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

Alfie Austin:  Totally self-indulgent but Brian Higgins/Xenomania featuring a Nadine Coyle vocal would be a dream! Xenomania have such an amazing repertoire of innovative pop and I think it would make for a really great record. I’d also love, love, love a collab with Janelle Monae. She’s just and all round great artist!

Pre-order “Feeling Heat” 

You can follow HUSK on social media:

https://www.husknoise.com
https://www.facebook.com/husknoise
https://www.instagram.com/husknoise
https://www.twitter.com/husknoise
https://www.soundcloud.com/husknoise
https://www.youtube.com/husknoise
http://husknoise.bandcamp.com
https://open.spotify.com/artist/5rxW72hkuquJAYuBZz1now?si=WMiX_P_-R8i62o5vvTblYw
https://amazingtunes.com/husknoise/

We have absolutely adore HUSK and his music – you can expect that we will welcome him again in the future on our blog.

All the best Husk and we hope that in five years time you will be playing arenas.

M/R

Indieterria meets Dirty Circus

Dear Readers,

Rock and roll music is all about storytelling. If pop can get away with repeated lines or lyrics barely making any sense, rock always had bigger inspirations. Drawing its roots from the soul, blues and R&B, it became a proud tradition of the genre to take a stance during political unrest, social changes or at least to describe the lives of the common men. Many of the leading voices of rock are also noted poets (Bob Dylan, Jeff Buckley, Patti Smith or Joni Mitchell) or shrewd commentators of the world (Bruce Springsteen, Billy Joel, Freddy Mercury). Their critical eye helped to shape the musical heritage and the entire post war, modern cultural landscape.

The people behind the rock music are not only singing or telling stories on stage, their lives are full of great tales of friendship, struggles, victories or partying. American journalist Kurt Loder has once said that the annals of rock music are the best lecture and indeed the biographies of its stars are anything but dull. And that’s what makes the genre stand out among thousand of other musical styles. The artists come to us with something to say, with their own baggage of losses and gains the listeners can relate to.

Pardon the long beginning, but it was a pleasure to interview Chris Binns of Wigan’s Dirty Circus. The quartet is returning to the spotlight after a decade and their story is truly unique. We have sat him down to discuss the band’s past, releasing their debut album and the future that looks brighter than ever.

 

Bands logo

Official bio: Hailing from Wigan and Leigh, Dirty Circus consists of Chris Binns (vox), Jon Hollingsworth (bass), Stephen Ahern (guitar) and Ryan Whittle (drums). They catapulted to the top of the North West music scene in the late 2000’s becoming notorious for energy packed raucous live performances and winning an army of devoted Fans. With an impressive CV including a label deal with Columbia Records, work with Hacienda Legend Mike Pickering, a tour support slot to Madchester royalty Happy Mondays, and a very special appearance at Glastonbury Festival, they’re back for round 2 and seem to have something of a point to prove. With their record finally out and northern tour, the band is ready to claim their rightful place at the top.

The hands emblem that became a symbol for the band

Dirty Circus have a fascinating history as a band. You formed at the beginning on 2000’s and quickly established yourselves as one of the best emerging bands of that period. You got signed to Columbia, started working on an album and then unexpectedly, you parted ways with the label. What happened?

Chris Binns:  In the mid to late 00’s the music industry was in a real transition. This was a time when CD sales had begun to decline, pirating and illegal downloading was rife and record companies hadn’t figured out how to use streaming to their benefit. It was a time before MySpace And Apple Music. The 90’s boom was no longer and the majors had less room for risk. Unfortunately, we were expendable and were part of a cull of bands who were offered ultimatums and too good to turn down offers to terminate the contracts. I think it was a common misconception that we were dropped. The truth is we choose to leave. Knowing that staying with the label at that time would have been more damaging to the band.

After leaving Columbia, the band continued as an independent act for nearly a year under the guidance of manager Phil Saxe. You worked with Mike Pickering of Hacidena fame and toured with Happy Mondays, only to call it a day out of the blue. The infamous “creative differences” were cited as a reason for the split. Looking back on that decision, do you think it was a right path to take?

Chris Binns: At the time we had started to internally combust. In the beginning everything was happening so fast.  We had genuine label interest within the first three months. After six months we had 6 or 7 big labels fighting over us.  The band got to the point where every show we were playing was sold out and were getting 500/700 plays a day on MySpace. Now throw in a packed out Glastonbury set then signing to one of the biggest labels in the world. We felt like we had landed the greatest job in the world.

Fast forward 2 years and everything had become slower. The band practiced and practiced very rarely playing live, working on new material while trying to get the album done. It felt like the label had lost interest then we got a call and that was it. We walked away and had to get normal jobs again. It was then the infighting started, each member blamed others for what happened.

Firstly our synth player Floyd Woolley left and we carried on for a little while after but the magic was gone. Then bassist Ian Halliwell left and personally I couldn’t see the point after that. We had all been best friends way before the band started and it felt like we had run our course.

Dirty Circus are back and ready for action.

Dirty Circus returned as a 4 piece in 2017 to sold out shows and excited public. What prompted you to get back together?

Chris Binns: It was our guitarist Stevie (Ahern)`s wedding so myself and the drummer Ryan (Whittle) decided to go along mainly for a piss up. Me and Ryan hadn’t seen or spoke to Stevie or Jonny (Hollingsworth) for about 7 years so I wasn’t sure how it was gonna be. As soon as we were back together it was like all them years had never happened. We decided then and there to have a practice. The Sunday after the wedding we spoke to Jon and he was up for it. The other boys Floyd and Ian didn’t want to do it which we have to respect and we’re still in contact with them.

I booked a room and when we started playing the energy was back! It was amazing.  The day after I booked a gig in Wigan at the Old Courts -an amazing venue which had sprung up whilst we were out the game – and we were off. The place holds around 400 people and it was sold out within few weeks which blew us away.

Your album “What Doesn’t Kill You Makes You Worse” was finally released on 4th of March 2019. The story behind this record could be made into a Hallmark movie: a successful band is dropped by a major record label, the demos go missing for a decade, they are found on a old computer drive and re-mastered. How do you feel about this record after all what’s happened? It must have been quite a ride.

Chris Binns:  When we got the masters back it was pretty emotional – that album was nearly 10 years of work and it was amazing to hear it in its entirety. Up to that point we had been so focused on writing new material we had forgot how good the old stuff was!  We had quite an experience getting to that point and listening to the album brought plenty of memories back most of which I can’t repeat in this interview. The songs on that record are a reflection of how we were all living life at that point and the lyrics are all the things me and the boys were experiencing.

Dirty Circus are back. Deal with it.

You recorded the original demos at the Motor Museum studio in Liverpool. This is one of the oldest and most accomplished recording studios in the North – a home to Oasis, The La’s, Arctic Monkeys and The Coral. Your producer, Tristan Ivemy worked with The Holloways, Towers of London, Frank Turner, and recently The Lottery Winners. Where did you re-mastered the tapes? Did you come back to the same place to properly finish the record?

Chris Binns:  In all honesty we didn’t return to the old studios. We got the songs mastered in the US pretty cheaply. At this point we weren’t sure what we were going to do with the album and we got it mastered on a whim. We were originally planning on just dropping it on Soundcloud but when the tracks come back from mastering, we knew we had to make it a proper release. The songs were massive. I remember how excited I was and sent them to them lads immediately. It was full on energy and aggression – just like we sounded live. The only real change was that we decided to record a new version of a track we always wanted on the album. “Dropped” was never recorded in original sessions because we could never get it right. When we reformed we thought we would give it one more try so we worked with our friends Martin and Dan at Strangeway Studios in Manchester. We finally got what we wanted.

We have to ask about the collectible edition of “WDKMYW” on a pink vinyl. Is it still available? If so, where can it be purchased?

Chris Binns: There’s not many records left! We printed 600 initially and we must have 50 left and whatever the stores have. It’s currently in the key independent record stores in most major cities across the UK. And of course in Wigan and Bolton (laughs).

Dirty Circus are currently on tour. You will be playing Manchester soon (The Bread Shed on 26th of October) and a possible date in London is in the works. Are you planning on visiting West Midlands area? We’d love to see you rock Bristol or Birmingham.

Chris Binns:  100% we would love to play in Bristol and Birmingham. Hopefully we’ll get there in the first part of 2020. In fact I had somebody contact me the other day to tell me how big fans of us they used to be, filling mini buses and driving to our Manchester shows from Birmingham. Somebody also had a club night called Dirty Disco named after our song.

Tour poster for Manchester show at The Bread Shed

A home coming show is booked in Wigan on 17th of November at The Bailiff Bar. We are told it is going to be an acoustic night. What can we expect and how does shows normally go down in Wigan?

Chris Binns:  We never did an acoustic performance before so it’ll definitely be interesting. But we’re not doing it full acoustic, we are still gonna have all the electronics in the mix. It’s more of a stripped back performance.

Any plans for the nearest future? Where will 2020 take you?

Chris Binns:  Well we’ve currently got 12 new songs we are really happy with so we’re gonna try and get in the studio and hopefully release them as an EP in April. We have always been a band that prides ourselves on new music and pushing things forward and that’s what this music does. Imagine Jonny Rotten singing in Cafe del Mar on ecstasy (laughs)

Last questions are a bit of fun at Indieterria. Let’s say you can go back in time and fix one mistake from your own past. Which wrongs are you going to right?

Chris Binns: Nothing! Honestly it is what it is. We don’t dwell, we just want to make sure we prove ourselves this time around…. No wait! In-fact I wouldn’t sold my black The North Face 3 in 1 jacket I had. It was a banger.

 You can follow the band online:
https://www.facebook.com/Dirty__circus-1686236101623735/
https://www.instagram.com/dirty__circus
https://twitter.com/DIRTY__CIRCUS
https://music.apple.com/gb/album/what-doesnt-kill-you-makes-you-worse/1455007989

 

More reading:
https://www.wigantoday.net/whats-on/music/dirty-circus-moves-with-the-times-1-8358276
https://www.theoldcourts.com/single-post/2018/11/14/Sit-Down-Sunday-with-Chris-Binns-Dirty-Circus
http://northern-exposure.co/dirty-circus-wigan-100217/
https://www.manchestereveningnews.co.uk/whats-on/music/circus-comes-to-town-1024425
https://wiganmusicreviews.wordpress.com/category/dirty-circus/
https://www.wigantoday.net/whats-on/music/roll-up-for-dirty-circus-reunion-gig-1-7817717

Dirty Circus on tour:
Manchester at the Bradshed (along with Red Bricks/Idle Hands/County Rats)
26th of October
More information: https://www.facebook.com/events/411057949498078/
Tickets: https://www.fatsoma.com/scruffoftheneck/qzufeilt/dirty-circus-red-bricks-idle-hands-county-rats

Wigan at the Old Courts (accoustic performance)
17th of November
More information: https://www.facebook.com/events/713534025768387/
Tickets: https://www.eventbrite.co.uk/e/friday-night-in-the-bailiff-bar-with-dirty-circus-acoustic-tickets-66323018935

Radio appearances:
Bolton FM/ November 12th
The Unsigned Show at 7:00 and 9:00 PM
https://www.boltonfm.com/

Shock Radio/Salford
Time: TBA
https://www.shockradio.co.uk/

Dirty Circus will be adding new dates and interviews shortly so please keep your eyes open and your hand on the pulse. We will be travelling to Kingdom of Mancunia many times in the new year and if they are playing anywhere close, be sure you will see us in the front row.

xoxo
Rita and Malicia

Indieterria meets Methods

Dear Readers,

One of the things Vanadian Avenue has been trying to accomplish in the past year was to bring Manchester and Birmingham scenes closer together. We networked, attended gigs, introduced people to each other, nagged, bugged and dragged folks by their collars. As you do. We have just found ourselves allies in our continuous struggle to connect Kingdom of Mancunia and The Black Country.  Please meet Methods. This five piece has been born between Wolverhampton and Salford and they just released an incredibly good EP at the beginning of October.

For A&Rs there is nothing better than a new band to interview so we went and did just that. And it was such a fun.

Band`s logo

 

Ash Bradley (vox)
Ryan Deakin (guitar/keys)
Adam Hall (bass)
Peter Bates (drums)
Jon Nash (key/vox)

Official bio:

Influenced by life and their soundings along with the likes of Joy Division, Depeche Mode, The National and Interpol, METHODS formed with the mutual understanding to do things their way and write what they love.

Methods have made their mark with their own dark sounding synth indie anthems. The Midlands based 5 piece have been gaining recognition in the last few years, playing countless shows to crowds across the UK. The band have been garnering support from the likes of BBC Introducing West Midlands as well as nominations at The Birmingham Music Awards and Black Country Music Awards.

We have seen Methods live earlier this year as part of Magic Garden Studios fundraiser for Musicians Against Homelessness in Birmingham. Magic Garden is of course the very famous recording studios where Gavin Monaghan and Joe Murray help create the best music around. Think The Blinders, The Pagans SOH, The Novus, The Lizzards etc. Methods, who also work with Magic Garden, played a wonderful set at The Coach and Horses on May 3rd and quietly we knew we were to expect something huge from them.  Their stage presence was immaculate, the songs sounded exciting and in general we had jumped up and down on the night having the best time.

The sleeve for Anything – a new EP from Methods.

When Methods` new EP “Anything” landed in our office both Rita and I could not wait to give it a listen. As you probably can deduct from the tone of this post, we loved it to bits, but before we will offer some words on the EP itself,  its only fair to give you some back ground information about the artists. What`s the point of a review otherwise?

We have sat down with band`s guitarist Ryan Deakin for a quick chat about the band`s inspirations and song writing process. This is what he told us:

Please introduce yourself to the readers of Indieterria.  

Ryan Deakin:  Hello,  we are Methods.

Where are you based and who is in the band?

Ryan Deakin:  The band is based between Wolverhampton and Salford.

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

Ryan Deakin:  We played some good support slots with some high profile bands – but – we haven’t really got any goals, just making music we want to hear and see what happens.

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

Ryan Deakin:  The one that we all seem to love is Bowie.

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

Ryan Deakin:  Normally we send each other voice messages of melodies and we work stuff out from that.

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

Ryan Deakin: We love all our children. We are proud of “Back of Your Hand”, we literally did the whole thing in about 2 hours. People take so many different meanings from it which is great, and what it’s all about. It was written when Trump was supposed to meet Kim Jong-Un….take from that what you will.

How do you create your unique sound?

Ryan Deakin:  We kind of mix 80`s synths with some 50`s surf guitars…and add a mad singer to the mix.

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

Ryan Deakin:  We will appear in Manchester at  The Peer Hat on 13th October.

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

Ryan Deakin:  We want to be playing some decent sized venues and have a couple of good albums under our belts – that will be fine.

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

Ryan Deakin:  Contact us at Methodsmusik@mail.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?

Ryan Deakin:  Recording at Sun City with Phil Spectre (pre Homocide) would be interesting.

Methods photographed by Nidge Luhg Sanders (Trust A Fox Photography)
https://www.trustafoxphotography.com/

So, let us pen few words about Methods` new EP “Anything”. As we mentioned, it was released on October 4th 2019 to rave reviews from blogs and music magazines alike.  You will find four songs on the record (“Back Of Your Hand”, “Collector”, “No Cover” and “Human Existence”) and two short instrumentals (Intro, Interlude).

The EP starts with unsettling “Intro” –  and despite just being 40 seconds long, this track actually stands on its own and serves a very important purpose – to set the mood for the record. Call it cliché but there is something cinematic about both instrumental tracks on the EP. They are not fillers, more like road signs pointing in which direction the music will go.

“Back of Your Hand” – is powerfully anthemic composition. Close your eyes and you can easily imagine the band playing this track to a full stadium backed by live orchestra and powerful visuals. The band considers it their best song to date and it tells a story of a historical meeting between two political leaders and sworn enemies.

By contrast “Collector” starts slowly but around one minute in incredible drums come in followed by a change of tempo and more optimistic overtones. And the lyrics! Just listen. Not sure who is main writer in Methods but man, they surely can deliver. Not one dry eye in the house – you have been warned.

Methods photographed by Danny Hodge https://www.dannyhodge.photography/

Interlude divides “Collector” from “No Cover” where dystopian theme clashes with uplifting music. Again it sounds nearly as anthemic as “Back of Your Hand” and we could only wish to hear it with accompaniment of a live orchestra.

“Human Existence” closes the record. Like “Collector”, it is slower and contemplative track. Yet the back ground melody line keeps hope despite rather bleak lyrics.

We love how the EP is divided into two equal parts. One faster/anthemic song and one slower/contemplative one. And a short instrumental track to divide them. Like two sides of a perfectly balanced vinyl record. Actually we want that EP on a vinyl.

 

Methods photographed by Rob Hadley
https://www.facebook.com/photosbyindieimages/

You can follow the band on the socials:

http://www.methodsmusic.co.uk
https://www.facebook.com/methods2
https://www.instagram.com/methodsofficial
https://twitter.com/methodsmusik
http://www.soundcloud.com/methods_official
https://www.youtube.com/channel/UCGoNTNzTQv30UVpbeDbxJ2A
https://open.spotify.com/artist/5RG6MWN2BuVHelIs2HRZbo?si=TLYTQKUJT4aq2foeId4BjA

We hope you enjoyed this interview and if you have a chance to see Methods live, go and grab yourself a ticket. Actually two tickets – so you can bring a friend. You both will have an excellent time.

We will be back soon with more music and more kick ass interviews.

Love,

Mal+ Rita