Indieterria meets Ist Ist

Dear Readers,

In December Indieterria focused on Manchester to showcase you some of the newest artists on their local scene. We had a pleasure to sit down and talk with Witch Fever and Tin Mole. Now, we bring you third interview with a band that grabbed our attention from the first time we heard them on Steve Lamacq show at BBC 6 Music. They are called Ist Ist and we swear they belong to a different era.

Louder Than War magazine described them as “majestic post-punk, haunting and hypnotic”. This four piece blends alternative rock with cold wave elegance and they have been compared to The White Lies and Joy Division. Dark, brooding, mysterious and melodic at the same time, Ist Ist are fiercely independent with disregard for social media and all the hype about networking.

Ist Ist (classic) logo

It was a bit of a challenge to find the right questions to ask but then again music requires effort from listeners and writers alike. So we had to dig around a bit, in an old school way. We questioned mutual friends in Mancunia for tips, went reading through printed interviews in Manchester Evening News in a Central Library and searched though pages of a label that would rather quote poetry than provide you with “about us” segment.

We also went down to Picadilly Records to “argue” to get a copy of the band`s EP on vinyl.

We visited Manc several times from Worcester…

The last time we researched a band like this was when Melody Maker was still a thing. But we loved every minute of the preparations. It only made our admiration for the band stronger. In a world where artists put their entire lives and privacy for everyone to see, Ist Ist are not just a band. Their approach is an act of defiance.

 

Ist Ist as a four piece photographed by Nidge Luhg Sanders (Trust A Fox)
https://www.trustafoxphotography.com/

Ist Ist:
Adam Houghton (vox, guitar)
Andy Keating (bass)
Joel Kay (drums)
Mat Peters (keyboards)

Ist Ist built themselves a reputation as iconic Manchester performers. Can you please introduce yourselves to Indieterria readers?

Andy Keating: We’re Adam Houghton, Andy Keating, Joel Kay and Mat Peters.

You have started out in 2014 and from the very beginning this band is synonymous with complete control of your art: no radio plugger, no label, handling all the group related matters and tours. We were told you don’t have a manager. Yet, you easily sell out such legendary and sizable venues as Gorilla or The Deaf Institute and receive air play on national radio. Steve Lamacq champions you regularly on his 6 Music shows. How important is the DIY ethos to you?

Andy Keating: The DIY ethos is very important. We don’t really know how to operate any other way, either. We seem to appeal to a fan base who don’t want any bullshit and want to get behind a band who are real people making real music they can believe in. At the same time, we’re not without a manager by design, if the right offer came along or the right opportunity to work with a genuine label presented itself, we’d take it.

Ist Ist as a three piece photographed by Paul Husband http://www.paulhusbandphotography.com/

Ist Ist are also not very fond of self promotion on the Internet. Your social media are limited to announcements regarding tours and upcoming music. No funny posts, jokes or behind the stages shots. You try to keep a distance between your audience and the band. Aren’t you sometimes tempted to break the fourth wall or post something controversial like Slaves for example?

Andy Keating: We’ve never felt like posting something controversial just for the sake of it. What’s the point? If it’s just for sake of it it’s just going to be contrived and unnecessary. With regards to breaking the fourth wall, we like to keep it strictly business online. Bands posting photos posing in Christmas hats? No thanks. Stick to the music.  Our fans would attest to us looking after them as best we can, we’ve always got time to sign a record, have a photo, have a chat or whatever at gigs but your online presence should be a snapshot of the band and their image. We’re serious about our music so we’re serious online.

We want to ask you about the visual side of the project. Your videos and photography are limited to the monochrome and all releases feature distinct photography, often of brutalist architecture or strange landmarks. There are other bands in Manchester who also have their own artistic direction but we have to admit, what you put out is the closest thing to what Peter Saville did with releases at Factory Records.

Andy Keating:  Thanks, the artwork and style should always compliment the music. The Peter Saville influences are inescapable given where we grew up and what we were listening to when we all started playing instruments as teenagers.

Sleeve and vinyl pressing of EP “Spinning Rooms”, photography by Tom Houghton

You channel FAC also in another way: Ist Ist is yet to release their debut album but your catalogue is huge and highly collectable. You released five singles: “White Swan”, “Night Arms”, “Silence”, “Strangers” and “Right Before Your Eyes”, then followed it up with a single compilation “Prologue” and two live albums “Live at St Phillips Church” and “Live at Manchester Gorilla”. Then in April 2018 you landed your first EP – “Spinning Rooms”. Each release is limited between 100 – 300 copies, on CDs or vinyl. And once the stock is gone, it’s gone. Nobody beside you and maybe Idles cares to release their materials in such collectable formats. What made you take this approach to releasing your music?

Andy Keating:  Listening to music should be an experience and much of that is lost with digital streaming. Being on streaming sites like Spotify and iTunes is necessary but it’s not an experience. The art of the album is being lost because of this. Sites like Spotify suggest an artist’s “most popular” songs, so unless you really want to get into a band, you’ll likely only listen to those suggested songs and you may never find some gems which are on earlier EPs or singles.

We wanted listening to music to be fun and something you commit to. Getting hold of a vinyl record and putting it on whilst you look at the artwork and cover notes should be special. Receiving a new record in the post should be special. Streaming sites serve a purpose but they’re not particularly fun.

The limited edition thing works well because people like to be part of something exclusive. There’s some people who’ve bought everything we’ve released and there’s some who maybe came on board around “Spinning Rooms” and missed out on the initial limited runs of singles and want to get their hands on them but can’t.

Ist Ist`s upcoming EP “Everything is Different Now” sleeve and red vinyl pressing. Photography by Tom Houghton

Ist Ist`s upcoming EP “Everything is Different Now” bundle: red and black vinyl pressing and CD. Photography by Tom Houghton

Ist Ist was for most of the time a three piece but recently you added Mat Peters as a permanent member of the band. Do you think your sound changed because of introduction of keyboard into the mix? 

Andy Keating: Barring “White Swan” and “Right Before Your Eyes”, every song we recorded in the studio had keyboards or extra on, but we either didn’t use those elements live or we occasionally used backing tracks. After the tour in early 2018 it felt right to bring an extra member in to play keyboards because the new songs demanded them. So the older songs haven’t lost their fundamentals and Mat gave them a lift – but we’ve really developed our sound with him. The new EP will show that.

The release of “Spinning Rooms” was followed by an extensive tour that took you around the country and abroad (playing in Berlin). It also received rave reviews. Nigel Carr wrote in Louder Than War: “This EP will stand as one of the best debut releases by any band; simply stunning”. Are you satisfied with what you accomplished with the record? Would you change/ correct anything on it?

Andy Keating: It’s always a bit of a wasted exercise to deliberate over something which has already been committed to record. We’ve sometimes discussed what sort of impact Mat would have had on the record if he was in the band at the time, but we love “Spinning Rooms” and it perfectly encapsulates who and where we were when we recorded that in early January 2018.

Promotional poster showcasing sleeve to single “Exist”. Photography by Tom Houghton

Your sophomore EP “Everything Is Different Now” will see the light of the day on Friday, 25th January 2019. What can we expect?

Andy Keating: It’s a progression from “Spinning Rooms.” It still sounds like Ist Ist but it was the natural progression. It’s probably actually slightly more accessible. “Spinning Rooms” was relatively niche in places but there’s two definite “singles” on “Everything Is Different Now.”

 “Everything Is Different Now” is being promoted by a single “Exist” and a video filmed in France. It was created and directed by Natalia Bedkowska and Matthew Boone. Can you tell us more about the idea behind this video? It seems to follow the same concept as “Right Before Your Eyes”, showing ordinary life and streets of urban dwellings.

Andy Keating: Our keyboard player Mat knows Natalia so he got in touch with her and the only brief really was that it needed to fit in with our style, we left the rest up to her. She was on a trip to Paris so decided to film it there, she sent it across and we were happy with it. Boone shot the live footage at our show at St Philip’s Church back in August 2018.

We want to ask you about your label – Kind Violence Records. They seems to share your interest in high art and dislike of social media hype. Their website is minimalistic and quotes “Darkness” – a poem by Lord Byron. We noticed that photography on the record label’s page is done by Tom Houghton whose images also can be found on the covers of your releases. It’s hard not to notice that Tom bears the same surname as Adam, your vocalist. Is it a coincidence or rather a family owned enterprise? 

Andy Keating: Someone’s done their research… Adam created Kind Violence to use as a label to release our EPs and to potentially release other music he and we liked. The surname isn’t a coincidence either. Tom is Adam’s brother. He takes some really cool photographs which always seem appropriate for our artwork.

Artwork showing a brutalist landmark that can be found on Kind Violence Records website
Photography by Tom Houghton

Surely after the EP is out, a tour will follow. Where can we see you playing live next?

Andy Keating:  Yes, we’re heading out on tour soon after the EP is out. We’re playing:

30/01 – Hebden Bridge Trades Club                     Venue              Tickets
28/02 – The Lending Room, Leeds                        Venue              Tickets            RSVP
01/03 – Sebright Arms, London                             Venue              Tickets            RSVP
05/03 – The Polar Bear, Hull                                   Venue            Free Entry        RSVP
09/03 – Cafe Totem, Sheffield                                Venue              Tickets           RSVP
15/03 – Rough Trade, Nottingham                        Venue              Tickets           RSVP
16/03 – Gorilla, Manchester                                   Venue              Tickets           RSVP
30/03 – Sneaky Pete’s, Edinburgh                          Venue              Tickets           RSVP

Last question. Will you ever release song “Rats” in the form of a single? It seems to be a fan favourite of sorts.

Andy Keating:  No, definitely not.

Ist Ist tour poster
Photography by Nidge Luhg Sanders (Trust A Fox)
https://www.trustafoxphotography.com/

Despite not being fans of inter-webs, Ist Ist keeps a healthy online presence. You can visit and follow them at:

https://www.facebook.com/ististmusic/
https://twitter.com/ististmusic
https://www.instagram.com/ististmusic
https://www.youtube.com/channel/UCIe48WYG__QCArF6t-CdIMw
https://www.musicglue.com/ististmusic/shop
https://open.spotify.com/artist/5YiRgqaj5yVjVtUp4G6iUq?si=l3HrO7M7QAm9mixV-epaXg

Or you can follow their record label, Kind Violence Records

https://www.kindviolencerecords.com/
https://www.facebook.com/kindviolencerecords/

The upcoming tour dates/tickets can be found here:

https://www.ents24.com/uk/tour-dates/ist-ist-1
https://www.musicglue.com/ististmusic/tour

Additional reading  for anyone who – like us – finds Ist Ist to be an incredible band.

https://www.eventhestars.co.uk/2017/09/ist-ist-interview.html
https://www.eventhestars.co.uk/2018/08/ist-ist-interview.html
https://epigram.org.uk/2018/04/06/ist-ist-spinning-rooms-ep/
https://bittersweetsymphonies.co.uk/2018/04/08/ep-review-ist-ist-spinning-rooms/
https://louderthanwar.com/ist-ist-spinning-rooms-review/
https://www.piccadillyrecords.com/counter/product.php?pid=122111

So there you have it. Ist Ist`s new EP “Everything Is Different Now” will be out on 25th January. Get your copy before its gone! The only thing we could not do while preparing this chapter of Indieterria was to see the band live. That may change in the coming months!

We hope you enjoyed our first interview of 2019 and we will be coming back to update this blog in the future.

M/R

Indieterria meets Tin Mole

Dear Readers,

This December Indieterria stops for a while in a port. Kingdom of Mancunia always had the best music and record collections and even  people who did things differently. So for the time being, we will stay in a safe and warm haven of Manchester and will report on new acts coming from the town and its  wonderfully loud venues of  Northern Quarter.

Two years ago we began Indieterria by interviewing Salford`s own Tigerside. This time around, we reopen a new year by chatting to the artist known as Tin Mole.  You probably did not hear about him yet (unless you listen to Salford City Radio 94.4 FM with Zach Peach who was one of the first DJs to play Tin Mole), but surely soon there will be a lot of hype around the artist who mixes samples, indie rock, trip hop and spoken word in a truly innovative fashion.

Tin Mole logo

You may be familiar with Tin Mole`s previous project – Ladies` Dart Night as they delivered their politically charged musical sermons across the North sharing stages with Garden Back or Strange Bones. Sadly, Ladies` Dart Night ended in 2017 and members of the band moved on to other projects.

We discovered Tin Mole  via Tom Robinson`s excellent Fresh on the Net portal and were so impressed with his debut single “Slug Frontier” that we contacted  him and asked for an interview. Tin Mole is an enigma wrapped in riddle, his answers are short, to the point with the usual northern swagger and edge. But you can`t deny him vision, talent and artistic integrity.  He works double hard to put music out there, doing his own PR (press releases, photos, editing) while studying and working at the same time.  Practical, honest and determined –  Tin Mole breaks the mold on Mancunian scene, offering something fresh and unusual.

Read on, listen and tell us what you think.

Tin Mole
?

Ladies` Darts Night logo

Ladies` Dart Night
 Luke Geoghegan (drums, keys)
Nathan Connell-Howard (guitar, bass)
Jonny Sowerby (vox)
Tom Milnes (vox)
Phil Stuttard (vox)

You are not a newcomer on Manchester music scene. Would you like to introduce yourself to Indieterria readers?

Tin Mole: I’m Tin Mole, a producer from Manchester. I’ve been in a couple of bands and done a fair bit of techno DJ`ing on the underground mole scene.

Before Tin Mole, you have been a member of five piece Ladies` Darts Night. You have released EP “Tragedies, Comedies & Histories” in 2017, toured nationally and shared stages with such established young acts as Garden Back and Strange Bones. Then suddenly you called it quits. What happened?

Tin Mole: It was fun while it lasted but it all went to pot after a trip out to Edinburgh. The Irn Bru was strong that day.

Tin Mole in a curious selfie mode?

German blog “Hey Musik” described Ladies` Darts Night as “pulling groovy, fuzzy guitar from The Stone Roses, powerful lyrics with a poetic rhythm like John Cooper Clarke or Morrissey, and pounding drums paired perfectly with a mysterious bass like Joy Division. If you’re into a loud, mesmerizing sound backed with politically infused lyrics, then this 5 piece band are who you need to be listening to”. The writer even travelled to Manchester to see you. Not every band on the Manc scene can say they had interest from foreign journalists.

Tin Mole: Yeah we were doing alright but it is what it is. “Mesmerising sound” is a great compliment, I like that.

You were pulling no punches as a band. “Message for May” is right up there with Shame`s “Visa Vulture”, an attack on PM for her policies. Your other song “Shopkeeper” tackles grooming. I get a feeling, had the band continued, you would be going in the same direction as The Blinders, leading politically charged music onwards.

Tin Mole:  Yeah we were sort of heading that way, just writing about things we were passionate about at the time. I do still write a lot of that type of thing but they’re amongst other more personal topics, like battles with slugs.

In contrast to being in a band, Tin Mole seems to be a solo act.

Tin Mole:  It sort of is. I’ve written and produced some tunes and Nathan Connell-Howard from Ladies` Darts Night has helped out with guitar parts. I’ve got a 6 piece band together now to play the tunes live which I’m well excited about.

Your first single Slug Frontier is a strange mix of trip hop, spoken word and samples. It reminds us of Black Grapes, Sleaford Mods and Tricky. With some incredible poetic lyrics. Is there a story behind the song?

Tin Mole: Thanks. they’re good acts to be compared to, especially Tricky. As for the story behind Slug Frontier, it’s all true… Every word.

We heard you will be releasing a new track soon. What shall we expect?

Tin Mole: Similar sample based production but a bit slower, slightly less shouty and every word is a lie.

Tin Mole is on a mission to fight slugs.

You once said “I think everyone knows deep down Manchester is Britain’s true second city. Sorry Birmingham.” Do you still feel the scene up north is ahead of everyone else?

Tin Mole:  Yeah I think it is in some ways. There are great bands coming out of Manchester like Duds or Gnod and The Blinders are doing really well. But it always seems that the London bands get more publicity. That’s usually the way with everything in the London-centric Brexit apocalypse.

There is an aura of mystery around Tin Mole – no bio, scarce presence on social media , no agent, no label. It seems that you try to let the music do the talking, rather than drive attention to yourself as an artist.

Promotional image towards Tin Mole`s upcoming single.

Tin Mole:  I talk enough shit in the songs so I don’t feel the need to bombard people with more of it. I’m trying to keep it as DIY as possible and I think the music speaks for itself enough, but no doubt things will pick up on social media in the coming weeks and months.

“Slug Frontier” is easily one of the singles of the year for us. After hearing it for the first time, we immediately started to look for your gigs. And we know we are not the only one. Do you have any concerts planned, and if so – where can we see you in the future?

Tin Mole:  Nice one, I appreciate that! We have a couple of gigs in Manchester confirmed for the new year but don’t think I can say anything until the promoters announce it. But I do know that there’s an exciting new band playing at a venue called Jimmy’s on Saturday 2nd February 2019, so might be worth keeping that date free.

The last (goofy) question. Your bio mentions a strange creature that looks like a monster of the week from Doctor Who: “silvery-white metal, made of tinplate or aluminium with a long muzzle, and small eyes, feeding mainly on worms, grubs, and other invertebrates”. What is Tin Mole and is it safe to keep one as a pet?

Tin Mole:  It’s what it says on the tin really. As long as food and drinks are provided with access to a studio, then yeah of course it’s safe.

Tin Mole as a ice cream vendor.

You can follow Tin Mole on socials:

https://www.facebook.com/tinmole/
https://twitter.com/tin_mole
https://www.instagram.com/tin_mole/
https://soundcloud.com/tinmole

And you can still find information about Ladies` Darts Night online too:

https://ldartsnight.bandcamp.com/
https://www.instagram.com/ladiesdartsnight/
https://twitter.com/ldartsnight
https://www.youtube.com/watch?v=J3fZRpZd-o8&t=172s
https://soundcloud.com/ladiesdartsnight
https://open.spotify.com/artist/0l1QTRDsC00gFoO394cUM1?si=2TOpjOMDRy6d5B1RXG3Dfw

If you fancy some additional reading on the band, check out those links:

https://www.gigmit.com/ladies-darts-night
https://www.manchestereveningnews.co.uk/incoming/boxer-liam-taylor-mates-behind-9646663
http://www.gigslutz.co.uk/ep-ladies-darts-night-tragedies-comedies-histories/
https://heymusikblog.de/2017/07/20/behind-scenes-manchester-uk-music/

The cover to Slug Frontier – Tin Mole`s debut single

In next few weeks Tin Mole should drop a brand new track which we will surely review on this blog. We are very excited about this artist. Nothing speaks to us more than music that is fresh and unusual. Looking back is a waste of emotions – and projects such as Tin Mole offer us a glimpse of what will be hip and trendy in the future. Just what A&Rs love.

All hail the incredible creative potential of Mancunia!

M/R

Indieterria meets The Blinders

Faithful Citizens of The State of Columbia!

The Blinders are less than a month from releasing their debut album. Each day they cover new grounds and by September 21st the world should know the power of their music. This is your duty as a Citizen to assist them in the conquest for our glorious homeland. Pre-order the record, call your local radio station unit and your local news publisher. Talk to your friends and advise them carefully to follow the same instructions. Your faith and co-operation will be rewarded. This humble blog brings you coverage from the front lines and a State approved message. The Blinders will appear at Leeds and Reading Festivals this weekend. But before they hit the stage – they have gracefully answered our questions. So read this interview, spread the word and don`t forget to eat your meat.

Thomas Haywood (vox, guitar, warpaint)
Charlie McGough (bass)
Matthew Neale (drums, vox)

Fans and music press reached a consensus describing you as “must see band” and “one of most original acts in recent years”. Would you like to introduce yourselves to Indieterria readers?
 

The Blinders: Hello Indieterria, individually we are Thomas Haywood, Charlie McGough and Matthew Neale, collectively we are known as the Manchester based band, The Blinders.

You often describe yourselves as “Johnny Dream and Codeine Scene”. It almost feels like there are two distinctive bands involved. So,  while we do the introductions, would you like to tell us who are the members  of Codeine Scene? Do they have names?  Can you elaborate how did you create the stage personas and their meaning? 

The Blinders: There are no specific members as of such. The Codeine Scene was a title banded about by ourselves when we came to name the band. We dismissed the idea and went with ‘The Blinders’ in its place (what fools we were). Johnny Dream plays a small narrative role on stage dressed in warpaint. However, the whole Johnny Dream and The Codeine Scene thing is a vessel we use in our heads to take on egos outside of our own in order to perform The Blinders’ music to its fullest intentions, all the while allowing us to detach ourselves from the on-stage personas. In short, it keeps us sane and allows us to remain grounded.

Why The Blinders? Are you fans of certain drama on BBC 2?

The Blinders: We are fans of the show. When we came to play our first gig, we were without a name so went with it. We didn’t really see it sticking, but here we are talking to you.

You grew up in Doncaster but relocated to Manchester. Is moving to a bigger city  beneficial for starting artists or is the competition for gigs and recognition not worth the effort?

The Blinders: Both were incredibly important places for us in the beginning of our lives as a band. We wouldn’t be where we are without coming to Manchester and playing its venues whilst friends from Doncaster would travel in busloads to continue on supporting us. This seemed to make a statement in a place that can be cliquey at times but were lucky enough to get in with the right people. In terms of bigger cities being beneficial for starting artists, that’s undoubtedly true because the contacts and resources you need exist in these really quite creative and liberal hubs.

It is hard to categorize your music. The Beatles, Police, Black Sabbath, Sonic Youth, Paul Weller, The Jam, Joy Division, Manics, The Doors and Arctic Monkeys were all mentioned as possible inspirations. If you were to review your own art, which musical heritage would  you subscribe to?

The Blinders: We don’t subscribe to a specific heritage. We obviously lean on certain bands or certain sounds, but it would be ludicrous to pigeon hole yourself as a ‘punk’ band. How could you while there are so many avenues to explore and doors to open in the world of music. We learnt how to write music like any other modern artist in the past 60 years, by having a hunger to listen to all music and interpret it in your own way.

There are many pop/cultural, political and historical references in your lyrics. “Ramona Flowers” is a character from a series of graphic stories by Bryan Lee O’Malley, “Brave New World” shares its title with dystopian novel by English author Aldous Huxley, “The ballad of Winston Smith” is an obvious reference to “1984” and “Swine” comes with the hypnotic chorus “There is no hope” that reminds us of the fated scene in “Terminator2 : Judgment Day”. Your admiration for Jack Kerouac is also widely observed.  You are first band since Manic Street Preachers who put their interest art and literature as a centre point of their music. Is it planned or does it naturally come out during the writing process?

The Blinders: It’s certainly not a conscience thing, perhaps we simply write by immediate influence or inspiration. This can be anything from a piece of literature to walking past the same homeless person every day and their story being impressed upon you. We like our lyrics to have a narrative, which is probably why novels and film seem so natural to draw influence from. Call us lazy.

Response to your music is incredible and it reads like a litany: you have been played on BBC 6 Music by several DJs, recorded a session for Steve Lamacq at legendary Maida Vale, Radio X`s John Kennedy is a fan, you have been on BBC Introducing, Louder Than War featured you in print, NME and MusicGlue offered rave reviews, influential zines such as Northern Exposure and Some Might Say champion you, you have been part of influential This Feeling  circuit and your single “Gotta Get Through” stayed on top of charts on Amazing Radio for weeks. You have achieved more in two years than most bands in their life-time. Where do you plan to go from here?

The Blinders: To the top, Johnny! To the Toppermost of the Poppermost!

You have recently signed to a label (Modern Sky UK). That’s a major step for any artist.  Does it come with losing your creative freedom or does it give more fire power to the band?

The Blinders: There’s clearly a balancing act. At the end of the day without signing such a deal we wouldn’t be talking to you about our debut album. We’d still be scrapping around trying get Brave New World recorded. We were given the chance and we took, and we can’t more grateful for that. We are now in a situation where we can pursue art and writing for a living, so you can’t complain.

Your debut LP “Columbia” will come out on 21st September. So far three singles have been made available from the record: “Gotta Get Through”, “L`Etat C`est Moi” and a new version of “Brave New World”. We can`t help but ask. Is Columbia a concept album? 

The Blinders: It can be a concept album for the people who want it to be. There are narratives and theme to be drawn from the album, however a lot of people will enjoy it as just 12 songs to be enjoyed in their own right. It also means different things for us all individually, we just want people to take what they will. If people simply listen to it, that is enough for us.

We know you try to leave room for interpretation for listeners but, in your eyes, if Columbia was  a real place: would it be a state or a town or alternative universe? Would it be more closer to Oceania with its poverty and lack of resources or would it be a highly advanced society (similar to what  is shown on Fear Factory`s trilogy Demanfacture – Obsolete- Digimortal)?

The Blinders: Columbia is drawn from our own reality. There was never any intention on creating our own dystopian world, it created itself from the worst parts of society we live in today. We used the dystopian narrative and language alongside our interpretation of what is going around us today. So Columbia would probably look a lot like what the UK or America does today.

And a question that must follow: is Johnny Dream a friend or a foe? Can we see him more of a real protagonist like Winston Smith or Edgecrusher  or is it just an idea?

The Blinders: Neither, he doesn’t exist.

One of our favourite songs is “L’état, C’est Moi”. The title can be translated as “I am the state” and is commonly attributed to Louis XIV of France. He established the French absolute monarchy and made France the main political power in Europe in his time. Surprisingly, the song feels very accurate in the current political climate as well. Tell us more about this song and its message.

The Blinders: The song was written around the very phrase that came out of his supposed mouth. It was something we’d picked up in a book somewhere and it stuck with us. As you say, it seems relevant, especially to a world in which frankly insane politicians and other insufferable individuals appear to be grabbing power and moving society in a direction in a way which seems to show a complete disregard for the people.

Once the album is out, you will embark on a 22- date headlining tour around the country. That will be the biggest tour to date. Are there any venues or towns that you are looking forward to visit?

The Blinders: Manchester feels most like home when we play, so that will hopefully be a highlight. We’re not really sure what to expect, we’re just looking forward to getting back on the road.

“Columbia” is being promoted by cryptic advertisements in the press, made out of fragments of lyrics.  What a great idea! What else can we expect? Secret shows?  New single or a video? Are you able to reveal any secrets?

The Blinders: We are working on something here and there, but our lips are currently sealed.

At the end of  August you will  headline BBC stage at Reading/Leeds festivals. What can we expect from your set. And since the show is sold out, will there be a chance to see/hear your performance afterwards? 

The Blinders: We’re presuming that a song or two are going to be filmed, so that will be there for your viewing pleasure.

There is a certain darkness in your music. In “Berlin Wall” you ask if voice of a sole person still matters.  In one of your older songs “Swine”, you sing “I need not to be, a man in the street”.  It is a brazen declaration of intent to escape the routine and grey existence of the common man. Yet, many of the most important events of the 20th century were started by the everyman, those invisible individuals who found themselves in extraordinary circumstances. We can mention the Tankman, a still unidentified man who stood in the way of tanks coming to suppress the Tiananmen Square protests of 1989 in China, Ryszard Siwiec (Poland) and Jan Palach (Czech Republic) who set themselves on fire in protest against police brutality against the Prague Spring, or August Landmesser who refused to perform the Nazi salute after becoming engaged to Jewish woman, Irma Eckler. Their sacrifices contributed to massive social mobilizations and in effect bringing down regimes and corrupted governments. Maybe each one of us is really capable of changing the world?

The Blinders:  As we mentioned before, many of our songs are drawn from the worst parts of our society. Combined with our existential perspective of whether any of this even matters anymore, naturally there is a darkness. In terms of our capabilities as individuals, we can commit incredibly powerful acts. Those acts are even more powerful in unison but that’s the problem we have. How can we stand together while those in power seek to divide us?

In May you have released a short film/video to “L’etat C`est Moi” that was a collaboration between Tom and Sam Crowston. It ends with the mysterious “to be continued”. Are you working on part deux? Will we learn what happened to the messenger and what exactly he was given to deliver?

The Blinders: We had a lot of fun creating that piece, and it’s something we intend to return to. When that will be is another question.

Cover artwork for Columbia Photo by Sam Crowston
https://www.facebook.com/sam.crowston

Let’s say The Blinders were offered to take up teaching residency at the university for the duration of one term.  What subject would you like to teach: creative writing, English literature or political science? Is there something really important to you that you’d like your students to remember?

The Blinders: It would undoubtedly be something on the subject of History, Politics or Sociology. We each have a tutor or lecturer which we were greatly inspired by whilst we attended university/sixth form. We’d like to spark the same inspiration in our hypothetical students.

Let us ask you about the swine masks that are a recurring element in your videos. Your technical crew members were also known to wear them during live shows. Who or what are they?  Columbia’s secret service or symbol of corrupted regimes?

The Blinders: A lot of features in our work tends to start as something trivial, with little meaning attached. We then allow it to manifest into its own ‘thing’. This happened with the masked men, Johnny Dream and our vision of Columbia. It’s a very fun way to work.

One last question. We have already established that you are designed for rock and roll greatness, but if you weren’t in a band, what careers would you pursue?

The Blinders: We’d probably all be butchers or something.

Please read our introduction to the band (long read format):

https://cocamidemea.wordpress.com/2018/07/07/indieterria-presents-the-blinders/

You can follow The Blinders on dystopian (social) media

https://theblinders.tmstor.es/
http://facebook.com/theblindersband
http://twitter.com/theblindersband
https://instagram.com/theblinders
https://soundcloud.com/theblinders-music
https://open.spotify.com/artist/3Z8Y3Ek99rukRa1Hdo14GE?si=yx5j8oK-RpG6qE7MQtVU5Q

Or their label Modern Sky:

https://modernsky.uk/
https://modernsky.uk/blinders-debut-album-columbia-now-available-pre-order
https://twitter.com/ModernSkyUK
https://www.facebook.com/ModernSkyUK/

or just stream the soundtrack to the dark times:

We will be doing a proper review of Columbia once it comes out. Till then we hope you enjoyed our profile and the interview with the band.

Big, big thank you to Caffy St Luce (A&R extraordinaire and our PR goddess) and Paul Fassam (the manager super hero) for all their help and assistance, the band for answering the litany of questions and their patience and Modern Sky for everything else.

This broadcast has been created for the glory and prosperity of The State of Columbia.

YOU ARE BEING WATCHED.

M/R

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Indieterria meets False Heads

Hello dear readers!

Today`s blog is very important as we wanted to conduct this interview for a very long time. It has been a privilege to watch this very special London-based band grow for nearly two years. Things are looking really bright for the trio these days: they got signed to These Bloody Thieves Records, on September 6th they will embark on a 23- dates tour across Ireland, UK, France, Netherlands and Germany. September 21st will see digital release of their new EP “Less is Better”, while physical debut will take place on October 5th at their home coming gig at Dingwalls in London. Without further delay – please welcome False Heads to our humble blog. On the eve of the release of their new single “Yellow”, we sat down with their lead singer Luke Griffiths to talk about the music, Iggy Pop and their upcoming tour.

 

Barney Nash (vocals, drums)
Luke Griffiths (vocals, guitar)
Jake Elliott (bass)

Official bio: Hailing from the outskirts of East London, False Heads formed in 2016. Behind the energy of their live shows, the trio quickly thrust themselves into punk-rock limelight, catching the attention of Punk’n’Roll legend Iggy Pop, ex-Ramones manager Danny Fields and music taste maker Rodney Bingenheimer. Having quickly graduated from playing empty rooms in London to supporting The Libertines on a sold-out tour, the buzz around the young band is undeniable. False Heads are Barney Nash (vocals & drums), Luke Griffiths (vocals & guitar) and Jake Elliott (bass).

You have been making a name for yourselves on the indie circuit since 2015 yet we still wonder, who are False Heads? Would you be so kind and introduce band members to the good citizens of West Midlands.

False Heads promo picture #1 Photo by Alex Hurst https://www.instagram.com/alexhurstphotographer

Luke Griffiths: I’m Luke and I sing and play guitar. Jake plays bass and Barney plays drums and sings as well. Thank you good citizens of West Midlands.

You chose an interesting name for the band. The term “False Head” has several meanings rooted in the theory of communication, journalism and psychology. Our favourite definitions include an informal name for the news caster or a political TV commentator coined in the 1950’s; a social mask worn by an individual hiding their true feelings and an incorrect belief in one’s superiority based on an economic or class advantages (so called “False Head” start). So where does your name really come from?

Luke Griffiths: That’s pretty fucking awesome, that you’ve got that from the name and I always thought it was evocative. Originally, I just misread “False Hood” on a list of names scribbled down and I thought I’d written “False Heads”. I just got an image of all the people I despised from where I grew up – the fake, benign, mediocre, sleep walk through life type then die whilst mocking and turning their nose up at anyone different or creative type moron. I also got the image of irritating “talking heads” on TV of politicians spouting the same drivel they’d had written for them by the same script writer. So, it just conjured up a lot of different things for me. The name seems to be more relevant now, people are carbon copies of each other and base their belief system on what they think won’t get them in trouble. It’s nonsense.

You have been championed heavily by punk rock icon, Iggy Pop himself. He has played your songs on his show on BBC 6 Music. How does it feel to have his backing? It surely seems to be a dream come true.

Luke Griffiths: Yeah, “Raw Power” was and is one of my favourite punk albums. Iggy was a huge inspiration for me and emailing him is slightly bizarre. Him naming us as one of his favourite bands in the UK was crazy. It’s an amazing honour. He’s an incredible person and he still gives a shit about new bands.

False Heads promo picture #2 Photo by Alex Hurst https://www.instagram.com/alexhurstphotographer

Iggy Pop is not the only radio personality who gave you an outstanding review on air. We could mention several others such as John Kennedy of Radio X, Steve Lamacq of BBC 6 Music or  Hew Stephens  from BBC 1. Do you feel you are on the right track to the rock and roll greatness?

Luke Griffiths:  (laughing) I guess so, but I try not to think about it too much. We just try and write the best songs we possibly can and put on a great show. But all of those people, those huge names, we are extremely grateful for the support from them.

You also won a die hard fan on the other side of the Pond in form of senior KRCQ and Sirius FM DJ, Rodney Bingenheimer (and an owner of  his own star at the Hollywood Walk of Fame!) Rodney expressed  sentiment that you are Nirvana-reborn and the best British act that came out of London scene in the last decade. Are you off to conquer the olde US of A anytime soon?

Luke Griffiths: Yes! Another mad surreal one! He’s a living legend, he helped break bands in America and says things like that about us. It’s crazy. He’s another one we need to thank. There’s been some initial conversations about it, yes but we will see.

Tell us more about your beginnings. You met at the secondary school in Upminster and you played in several bands before separating to attend university. Do you still remember the names of the early projects you were involved in? Did they have any influence on your current sound?

Luke Griffiths: We were all born in East London and then moved out to Upminster which is like half East London, half Essex. Just an odd place, really. Barney and Jake were in a band called FiftyFours and I always operated under the name False Heads. I just could never get a proper band going (laughing)! It was extremely frustrating for me, but gave me a lot of time to write until the band finally did happen. I wouldn’t say there’s much influence from those early days, although I did write the “Twentynothing” riff when I was 15. Although, the chemistry between us comes from school. I think Jake and Barney being in the same band helped the chemistry between them and Barney recorded some demos for me to go to uni with to try and make a band, so it was probably inevitable!

New Single entitled “Yellow” is debuting this Friday, 24th of August

False Heads has been going on for three years now and from the start, you have received a strong support from audience and other bands from the capitol circuit. in November 2015, you played a memorable gig at The Black Heart in Camden  and you attracted the attention of  Danny Fields, the former manager of The Ramones. He became your mentor and a friend.  We are sure you have learnt a great deal from him.

Luke Griffiths: Yes, we’ve learnt so much from him, so much. He’s done so much for us, we’re so grateful for what he has done for us. The advice he gave and honestly it is so true. He said to get a lawyer or someone to help you deal with contracts and dealings at the very least (who knows about law). The stories that guy tells us over a few drinks are unbelievable and his company is brilliant. He can outwit anyone, trust me – do not try and mug him off (laughing).  A truly wonderful human being.

Your new EP “Less is Better” will be released very shortly. Tell us more about it. How many songs can we expect on the EP? Where did you record it and who’s producing?

Luke Griffiths: It was recorded and produced by the wizard named Jonathan Hucks and mastered by Tonalex (who are also incredible). Jonny is like our Nigel Godrich at the moment. There’s four tracks on the EP. It was recorded very DIY, sort of all over the joint –  some in his room, some in a little studio near Stanstead and some in the epic Grand Cru Studios. It’s a follow on from our first release, “Gutter Press”. The themes and things I wrote about on that have only got worse. The echo chamber, social media culture is extremely damaging. We’re completely fine with censorship, we can’t tell the difference between a joke and a bigot. We have created an environment where people are scared to say what they think, then we wondered how such fucking awful things like Brexit and Trump happened? But at times, it’s also more personal than “Gutter Press”. “Retina” sort of came about from an acid trip, but every song has a few different themes going on. It’s difficult to just pin point one and I also don’t want to sound like a broken record (laughing). It’s a scary world we live in man and the hope shrinks every day, without sounding too bleak. The cover art for me was like there’s this beautiful open blue sky/colour/whatever you want to think it is and there’s so much space there for discourse. Life and building relationships and changing peoples minds yet we’re just sucked into this horrible black hole or echo chamber and people are scared to step out of it, even though it’s much more beautiful.

You also have a brand new label, These Bloody Thieves Records so congratulations are in order! We are interested to hear how your co-operation started.

Luke Griffiths: Thank you! Rob Hirst, the owner, is an incredible guy. He has been a big supporter of us for a long time. He spoke to our manager, Cargo Records, got involved and we built an amazing team around us. It’s all gravy. Rob deserves some serious credit. He is an amazing bloke with an amazing work ethic.

Tour poster – please check the dates and buy your tickets before the gigs sell out

This Autumn we will have a chance to see you on your first European tour. You will be playing UK, Ireland, Germany and France. Are you excited?

Luke Griffiths: Well, our first European tour was early on this year. Sorry to be pedantic (laughing)! We haven’t played in Ireland or Germany before yet and we cannot wait. We played France and Belgium on our last tour and played Rock Olmen Festival and InMusic Festival in Croatia. Europe is amazing for bands so we can’t wait to get back. And we fucking love Guinness so can’t wait for Ireland either. Whelans in Dublin is so iconic as well. All amazing stuff, really!

The famous last question and this is going to be hard! Name a song you wish you have written that was released in the last 12 months.

Luke Griffiths : “Blind Faith No Future”  by Strange Bones

———————-

These Bloody Thieves Records logo

After speaking to Luke and hearing the praise for their new record label, we decided to approach Rob Hirst himself and ask him few questions as well. We didn’t think he would agree to do it, but he was more than happy to speak to us. This way, instead of just one interview, we got two! And that’s why we absolutely adore the DIY scene. Musicians, record label people, PR teams, fans – they are out there for each other. It is more than just everyday kindness. This is a genuine friendship, a true interest, that can only come from those who really care. People are taking care of one another, they look out for others, they participate and support. It is amazing to see it happen! As our good friend keeps saying: “What a time to be alive!”. We at Vanadian Avenue, are extremely privileged to be a part of that movement.

But coming back to Rob and his record label. This is what he said:

Rob, your dream is coming true. You are now an owner of an independent record label! Can you tell us more about These Bloody Thieves Record. Is there any rock and roll history behind its name?

Rob Hirst: The name of the label was actually the name of the very last band I was in. A very short-lived band that I believe was the best I was in and certainly the best band name I had come up with. I just thought it would be a good way for me to continue my past into the future and I couldn’t be bothered with spending hours of thinking of a label name and branding.

How did you set it up?

Rob Hirst: As you know I already work with bands & my Spotify playlist gets hundreds of submissions a month. I was scouting for other management companies and labels. I just woke up one morning and just thought ‘I’m going to start my our label’ and I did (laughing)! I must admit I have been very fortunate with the support I have had around me, especially coming from Rich (False Heads manager) & Ditto Music.

False Heads are your first release. How did you convince them to join you?

Rob Hirst: They approached me. I’ve known the band for a while and I’m a huge supporter. As soon as they asked I knew I had a label & a solid foundation to show that this label is serious. What a band for a first release.

Besides “Less is Better” EP, do you plan any other future releases linked to False Heads?

Rob Hirst: Er! Really, everything has gone into this release. The band has a great team around them and at the moment it’s all about this release. I’m sure there will be as the band have been in the studio with legendary producer Jonathan Hucks and have a bank of unreleased material in their locker. It’s very exciting times! False Heads have nowhere near reached their potential as a band. Pretty exciting really when you consider how great this EP is.

Are you accepting submissions from an unsigned acts? If so, what are you looking for?

Rob Hirst: I am always searching and always accepting submissions. It’s one of the most exciting aspects of running a label. Nothing better that discovering a band that you instantly gravitate towards and fall in love with everything about them. I don’t have specifics for what I’m looking for. I don’t really know until it comes along and slaps me in the face and says to me ‘Here I am, love me’. The label has a couple of other acts on the radar, one close to signing who I have been following for the last four months and a single deal out next month that is due for announcement anytime now.

You can follow False Heads and These Bloody Thieves Record on social media:

False Heads
https://www.facebook.com/FalseHeads
http://www.falseheads.com/
https://www.instagram.com/falseheads/
https://www.youtube.com/channel/UCqivl1sWLJyZxP3Ywei3HGw
https://twitter.com/FalseHeads

These Bloody Thieves Record
https://www.facebook.com/pg/thesebloodythieves
https://myspace.com/thesebloodythieves
https://twitter.com/TBT_Records
https://www.facebook.com/rob.hirst.754
https://open.spotify.com/user/dbjph28w55odrz4ehj79ckorm/playlist/4ZqYUJXPWs0SFcT7MEQ9FU?si=Xz7oHAGeTauD0k-9TX6nOA

Thank you Luke and thank you Rob for speaking to us! This week is fantastic for so many great new bands and we are happy to be able to witness the revolution in popular music. False Heads will release their new single entitled “Yellow” this Friday, so please come back as we will have a full review for you to enjoy.

Until then, we bid you farewell.
Keep on rocking in the free world and  make sure you listen to your vinyls/cds/digital albums loud. Very, very loud.

Rita and Malicia Dabrowicz

Indieterria meets Inwards

Dear readers!

Oh, it was a very frustrating beginning of the month! The WordPress went down, their SSL broke and our publishing schedule got delayed by a week and a half. Luckily, Rita is a miracle worker, found the right script, implemented it and voila – we are back in action. But it took a long time and we do apologize for the technical issues. They were outside of our control!

So, in span of just several days, you can enjoy two brand new blogs. The first one is our view/review/official waffling post about The Blinders (you can read it Here) and the other is a brand new interview with the electronic music prodigy, Inwards.

Inwards in another dimension (or maybe just on the stage!)

Of course, we don’t have to tell you that Inwards (aka Kristian Shelley) is the pride and joy of Worcestershire and we are extremely proud of his achievements. And there is a lot to be proud about! His music receives praise after praise and super favourable reviews from journalists, media and radio stations. Kris is going places and he is going to the top at an impressive speed. Before you blink, he will be there at the top of the charts with Burial, Aphex Twin and Chemical Brothers.

Talking to Kris is a rare pleasure. He is entertaining, kind and very pleasing to interview. He is curious about the world, culture and popular heritage. We sat down with him after his session for BBC Introducing in Hereford and Worcester and grilled him about his equipment, music and having his music played on the national radio.

Official bio:  Inwards is the alias of Kristian Shelley, a multi-instrumentalist and music programmer from Worcestershire, UK. His work exists in the experimental domain and draws influence from the far borders of dance music, using modular synths with acoustic and electronic sources to create a nostalgic and colourful sonic palette.  Crackling with the freedom and spontaneity that characterises his studio productions, Inwards live performances vary from one environment to the next, taking on organic forms through the manipulation of his electronic instruments. Gaining a reputation for his absorbing shows, which are often complemented by live visuals, he has played alongside the likes of Lapalux, Adam Betts (Three Trapped Tigers), Tyondai Braxton (Battles) and Ulrich Schnauss, and at festivals including The Great Escape and Brighton Digital Festival. Signing to Small Pond in 2017 after capturing attention with a series of DIY releases, Inwards invites you into a dark yet playful and psychedelic world of sound on his debut album.

According to your bio, Inwards is a moniker of producer, multi-instrumentalist and music programmer – Kristian Shelley. We are intrigued. Can you introduce yourself to readers of Indieterria?

Inwards: Hello readers of Indieterria! I’m Kris and I play instruments and use computers to make music.

Inwards is very poetic term. It describes someone “orientated towards the inside” or something “existing within the mind, soul or spirit, often not expressed”. It can also be applied to a person that is private or even shy. This is not a name that was chosen accidentally, isn’t it?

Inwards:  No, it is not an accident. The music I make is an introspective experience for me so I arrived at the name “Inwards” and it felt right. I stuck with it.

Before becoming a DJ, you played in several alternative and funk outfits. Is working on your own much harder than being part of a group? Do you feel more comfortable relying only on yourself on stage?

Diesel album cover

Inwards:  Working on your own can be a very freeing experience. It also makes you question whether what you are doing is a good vibe because you don’t have anyone to bounce ideas off. Being on stage alone is much more daunting than with a band but I like it. At this moment, I’m looking forward to a new project I have started with some musicians friends this year. I really miss playing in a band and miss the band vibrations!

It is not always possible to meet your musical heroes, but you were lucky to speak with Aphex Twin (aka Richard D James) at Bangface Festival in Cornwall in 2012, right at the beginning of your career. Are you still in touch? If so, did he say anything about your newest compositions?

Inwards:  This was just before I had started making electronic music and the whole festival was very inspirational! We didn’t exchanged details but I was lucky enough to bump into him again last year at a small festival in Cornwall and we had a good chat about modulars and living in the countryside. I don’t know if he has listened to any of my stuff, but it would be great to give him something back for his early support!

You have performed alongside Lapalux, Forest Swords, Adam Betts (Three Trapped Tigers), Tyondai Braxton (Battles) and Ulrich Schnauss (of Tangerine Dream) and at festivals including The Great Escape and Brighton Digital Festival. If you could share the stage with just one artist or a band, who would you choose?

Inwards: (laughing) Slayer! It has to be them!

On 19th of January 2018 you released double single entitled “Amsterdam”/“Computertalsk”. In one interview you mentioned that both tracks are based on your personal experiences.  Can you tell us what events from your life inspired each song?

Amsterdam/Computertalsk double single cover

Inwards: Well, the first track “Amsterdam” kind of gives me that feeling of freedom you get when travelling. It is mixed with undertones of wanting to return home and chill. “Computertalsk” represents a different feeling, the one of trying to make the computer to express itself. It is like giving the machine a voice so it can tell you what’s going on. For me, this tune is like the computer is learning to talk because it’s got something really emotionally potent it needs to tell you. I really like making the machines feel like they have a personality and trying to give them a voice and this was me exploring these possibilities.

You are the only Worcestershire based artist who has been championed by so many DJ across BBC 6 Music: Mary Ann Hobbs, Don Letts, Stuart Maconie, Lauren Laverne, Tom Robinson, Steve Lamacq and Tom Ravenscroft. Your single “When she flashes her smile on me” was named a Song of the Week. That’s a complete take-over of national radio station! What`s your secret?

Inwards: (laughing) I don’t really know how to answer this question. I don’t think there are any secrets to making music! Just do what feels right for you.

We have seen the equipment you use to create your music during your session for BBC Introducing Hereford and Worcester in Pershore. It looks very impressive and very complicated. We are sure that outside of music, it is also capable of answering phone calls and making a cuppa. Help us out and tells us what are all those cables, wires and boxes?

Inwards: I will try to make it easy! So, the main box with the wires is a modular synthesizer. It is basically a synthesizer that you can choose what component parts are inside it. Basically, you can make it your own instrument. The other stuff is a mixer, drum machine and a Delay Pedal which I use alongside the modular and my computer to create the vibes. I wish it could make drinks but not quite there yet (laughing). Would be cool to make a phone module that could randomly call people in a contacts list and then use the audio from the call in the system. Or a prank call module with customizable soundbank for all your favourite prank calls. If you are a modular synth developer and reading this, you’re welcome!

Tell us about your relationship with your label – Small Pond

Kristian at work

Inwards: I met the Small Pond crew through living in Brighton. I remember going to a great party at their studio on Castle Street. I think it was the opening evening of the studio that the Small Pond team had been building for 2 years. I met most of their employees that evening, although I didn’t back then think I would be working so closely with them in the future! Samuel Organ asked me in late 2016 if I would be interested in working on a release with them and if I had any music that I would consider submitting. I put everything I made that I thought was decent enough and sent them a file with about 60 tracks in it. It was quite nerve racking experience really. It felt like sending of all this precious stuff that I wasn’t even sure was any good anymore because I had listened to it so much. I think they were a bit taken back by the number of tracks included! Obviously, they couldn’t make a 60-track album (or could we?). It took some time for us to work out the best combinations of tunes but we got there in the end. The album turned out to be a belter and I’m super proud of it. Yeah in short, the relationship is ace, I had a great time so far working with the whole team and I look forward to future projects with them.

Your music is classified as general electronic /dance but we hear so many elements and inspirations: from Aphex Twin, Ian Pooley, The Orb, Orbital, Future Sound of London, 808 State, Sven Vath to Atticus Ross. At times you cross into territory inhabited by Boards of Canada, Unkle, Bjork and all the way to Radiophonic Workshop. You seem to be familiar with incredible amount of popular music, how do you retain your own distinctive identity?

Inwards:  I think the identity of music comes from chasing a sound or vibe that makes you feel a certain way. For me, it’s like there are massive spaces in music. Almost like big gaps or territories that haven’t been discovered yet. Making music is my way of bridging these gaps and getting to these sonic landscapes that I feel are missing from my current musical world. I think this is perhaps where musical identity comes from. When you are trying to chase an idea or feeling that exists only in your mind and you try to make it into something tangible. It has your own stamp on it.

Your debut offering via Small Pond – “Diesel” was released on 27th April 2018. How did you approach working on that album? Did you enter the studio with prepared material or preferred to compose there and then?

Inwards:  My approach varies to each song individually. Each track is like an experiment where I am exploring music possibilities within a framework of equipment that I set up in different ways each time. When I experiment, I am chasing a vibe or sound that makes me feel in a certain way. Sometimes I can be making music and listening to the same cycle for an hour and not realize it because I am totally sucked in. Some tunes are made in a methodical sequenced way on the computer and others may be coming straight out of the hardware live or a combination of the two methods. I didn’t sit down and said to myself: “Right, I’m going to make a 13-track album this month”.  Every time I make music, I just do it in certain moment. Only afterwards I try and fuse tracks together to make larger works.

Last question – where can we see/hear you next? What`s in your calendar for coming months?

Inwards: I have a live show in London coming up at the Pickle Factory on the 16th of August with my visual bro Irie Pixel. We have been working on a live AV show that I am excited to perform. I’m very excited that the show will take place at the Pickle Factory as they have really good club system. Also, I have a show coming up in Bristol soon and some other very cool things to announce but can’t quite tell you about them yet! You will have to watch and see!

You can follow Inwards on social medias:

Label: Small Pond
Contact: Rosie James
Website: https://smallpondrec.co.uk/
Bandcamp: https://smallpond.bandcamp.com/

Facebook: https://www.facebook.com/inwardsuk/
Twitter: https://twitter.com/inwards_
Instagram: https://www.instagram.com/inwards_92/
Bandcamp: https://smallpond.bandcamp.com/album/diesel
Soundcloud: https://soundcloud.com/inwardsuk
Spotify: https://open.spotify.com/artist/542nHHjo4wRmP3AbeJWkse?si=I3pj6B1DSyqchOJ45fV8uw

On 29th April 2018, Inwards visited his home town of Pershore to record BBC Introducing session. We have been there and made some recordings and videos on the day. It is only fair to share some of our materials with you.

This slideshow requires JavaScript.

You can also see our videos on Youtube (yes, we have our own channel with a lot of goodies here)

Well, that’s all folks for today, but stay tuned and we will be back shortly with even more news, reviews and interviews!

Please stay beautiful!
xxx
Rita and Malicia Dabrowicz

Indieterria meets Jack Fletcher Band

Hey all you people (right here, right now)!

So much is going on dear readers, that we don’t know where to start! Interviews, pictures, secret gigs being organized (maybe in Birmingham, or maybe not 😊), plans and collaborations – we are 24hrs party people, only our party is a long-time marketing campaign! It is an exciting time to be alive as our friend says, but we wish our day had 48 hours instead of 24. Or well, you only live once.

Saturday, the 9th of June is coming closer and closer and we cannot wait! We will have a mini Worcester invasion with HVMM playing at The Flapper, Lost Tigers appearing at the Bishop and Actress and Dead Dads Club coming back to The Sunflower Lounge to rock you like a hurricane. Please use the links below to purchase the tickets and support The Racket, Jack Fletcher Band and our Malvern boys in DDC, if you are looking for a quality entertainment. Always support your local DIY scene. Those bands are the future of the British guitar music!

Poster for gig at the legendary Sunflower Lounge on 9th June 2018

https://www.facebook.com/events/216304582300587/
https://www.seetickets.com/tour/modern-age-birmingham-w-the-racket

You can also read our previous interview with:
Dead Dads Club: https://cocamidemea.wordpress.com/2018/06/04/indieterria-meets-dead-dads-club/
The Racket: https://cocamidemea.wordpress.com/2018/05/20/indieterria-meets-the-racket/

The event has made it onto the newspapers in Brum, so we are happy kittens:

https://www.expressandstar.com/entertainment/music/2018/06/04/wolverhamptons-the-jack-fletcher-band-to-support-the-racket-in-birmingham/

Today, we would like to present you with the last interview we did to promote the show. The Jack Fletcher Band is one of Wolverhampton’s finest new bands and you just have to see them live. We talked to lead singer and guitarist, Jack Fletcher about the band’s name (quite obvious!), playing with Johnny Brown of Twisted Wheel and their new upcoming music. No beating about bush, only simple and straightforward answers. This is what we like!

Band`s logo

Jack Fletcher (vocals, guitar)
Tom Robinson (drummer)
Henry Bradley (bass)
George Hadley (lead guitar)

Official bio:  The Jack Fletcher Bans is an indie-rock four piece from Wolverhampton that can only be described as real rock with their stripped back guitar music, Midlands twang and their live-for-the moment attitude.

After the split of his former band “The Town”, lead vocalist Jack Fletcher began his solo career before meeting fellow band members: Tom Robinson (drummer) and Henry Bradley (bass) on a music technology course at university. From this friendship and the introduction of George Hadley (lead guitar), The Jack Fletcher Band was formed. Combining influences from mod bands such as The Jam & The Who with the rock and roll sounds of Led Zeppelin and Jimi Hendrix.

To date these Black Country lads have played numerous festivals and venues including Lakefest (supporting the likes of Primal Scream, The Coral, Cast and Star Sailor), Party in the Pines Festival, Wolverhampton’s Slade Rooms, Notting Hill Arts Club, Sunflower Lounge in Birmingham and the legendary Band on the Wall in Manchester.

With their unique and timeless compositions, youthful spirit and optimistic outlook, The Jack Fletcher Band are a group that will stand the test of time. They are a band that not only defines the present, but a band that embodies the culture and guts of those that came before them and will continue to do so for years to come.

Amazing picture taken by our dear friend Nidge Luhg Sanders at Trust A Fox Photography https://www.facebook.com/TrustAFoxPhotography/

Before we start, let`s have a proper introduction to all the members of the band. Please tell us who is who?

Jack Fletcher: Hi. My name is Jack Fletcher and I’m the lead singer and I play guitar. The rest of the band is George Hadley on lead guitar, Henry Bradley on bass and Tom Robinson on drums.

You have been performing under The Jack Fletcher Band moniker for quite some time now. It is simple yet memorable name. Did you choose it on purpose or was it last minute decision that just stayed with you? Are you tempted to change it to something else?

Jack Fletcher: We decided on The Jack Fletcher Band as the band’s name wasn’t really something we cared about. I wasn’t really good at picking names so we picked the worst name that we could find (laughing). Joking aside, it’s just stuck with us.

Your biography mentions that the band started out after a group of incredibly talented musicians took the same music course at the university. It is a perfect script material. Was it really a random encounter or did you know each other before?

Jack Fletcher: We all knew each other. Myself, Henry and Tom – we all really met at college and George was a friend of Jack’s early on… and the rest is a history (laughing).

Jack, before forming this group, you fronted The Town, an accomplished act in its own right. Can you tell us more about your project?

Jack Fletcher: The Town was my first real band. We played all around the country when we were around 16 -17 years old. Looking back on it, that’s a big achievement in itself really. We did well and we were so very young. But we enjoyed it.

Jack Fletcher Band in black and white

You have wonderful working relationship with Twisted Wheel. You supported them several times and in return Johnny Brown performed with you on stage. How did your collaboration start?

Jack Fletcher: We were always big fans of Johnny’s music and we met him at an acoustic gig in Derby some time ago and our friendship has been good ever since. We see him as a hero, but please don’t tell him that (laughing). He is a good friend.

The video to song “Has it all gone wrong” beautifully directed by Benjamin Harrp amassed over 100k views on social media.  We have to admit, we absolutely love this song. It is very emotional. Any back story behind this track?

Jack Fletcher: Thank you! The story behind this track is very simple. I personally believe everyone can relate to it. Anything can go wrong in life but I suppose, it is always for the right reasons. The song is very emotional but I think it has a positive ending. You know, “keep on keeping on”, that sort of thing. And we are glad to hear that people can relate to the song’s tune and its lyrics.

Another of our favourites “What are you waiting for” was produced by Ryan Pinson at RML Studios in Wolverhampton. Pinson is known for working with several upcoming independent artists such as Jump The Shark, Wax Futures and Cosmic Rays. His style is crisp, a bit raw and energetic. Was that what you wanted to highlight in your song?

Jack Fletcher: Writing a good song is one thing but getting it produced well and making it sound like you do live is very difficult. Ryan’s a legend. He is an excellent producer and he can do his stuff very well. Always brings the best out of our music and that’s very important for us.

As Vanadian Avenue is based in Worcester, we have to mention that you have played on our home turf at Worcester Music Festival in 2017. How do you remember it? We hope The Faithful City provided you with a solid crowd and good memories.

JFB live on stage

Jack Fletcher: Yeah we have played in Worcester a few times. To be honest sometimes a bit too early for us to have half-decent crowd. You seem to put up shows very early guys, but the experience hasn’t been bad all bad (laughing).

On 9th of June you will join The Racket and Dead Dads Club at The Sunflower Lounge for a true rock and roll celebration. Are you preparing something special for the gig?

Jack Fletcher: We will try and impress people at gig on Saturday. That’s what we always intend to do anyway. We are not planning anything special, we will give it our all and maybe play a new tune.

Your schedule this year is fully packed. Where can your fans see you next? Any summer festivals or important concerts we should be on the look out for?

Jack Fletcher: We’ve got a quite a few things coming up and we are getting quite busy again. But everything still needs to be confirmed. Always come to our social media sites including Facebook, Twitter and Instagram to check things out. You will not be disappointed.

As mentioned already, the band is available on all important social media platforms, so take your pick!

Facebook: https://www.facebook.com/jackfletcherband/
Official website: http://www.jackfletcherband.co.uk/
Twitter: https://twitter.com/jackfband
Instagram: https://www.instagram.com/thejackfletcherband/
Youtube: https://www.youtube.com/channel/UC81Xd2zyhx0Xkju36Q5Geug
Soundcloud: https://soundcloud.com/jackf_music

Talking to the bands is one thing, but seeing them live is a completely different set of vinyls. Hopefully we will see you in Sunflower Lounge this Saturday. Bring your friends, a pair of comfortable shoes and let’s dance the night away!

Au revoir la haut à mes amis (just because speaking in French is hot these days)
xoxox
Rita and Malicia

Indieterria meets Dead Dads Club

Dear Readers!

The first half of 2018 is behind us but your two faithful A&R’s are not stopping for an inch! In the last week we have travelled with Nuns of the Tundra to HowTheLightsGetIn festival, witnessed them play a semi acoustic gig at Paradiddles Cafe for Before The Music  workshops (similar in form to the “Story Tellers” on MTV if you are old enough to remember it!) and wave them off to go to Swindon for a meeting with a producer!

That’s not all! The Americas and Soeur were chosen by BBC Hereford and Worcester to play at the Wychwood Festival and you can see a short video of The Americas playing one of their best gigs on Vanadian Avenue Facebook page. In short, it was a crazy 7 days  but we are having the time of our lives (as usual anyway)!

New week and we have a brand new interview for you dear readers. We have sat down with Lee Richardson, lead singer of the Dead Dads Club, to discuss Malvern blooming rock and roll scene, new tracks and their love for the DIY, guitar driven scene led by bands such as The Blinders. Dead Dads Club will support The Racket on their first national tour and you can catch them both (plus the Jack Fletcher Band) at the Sunflower Lounge in Birmingham on the 9th of June. The show is organized by the great people at Modern Age Music and you can find more information about the show here:

Poster for gig at the legendary Sunflower Lounge on 9th June 2018

https://www.facebook.com/events/216304582300587/
https://www.seetickets.com/tour/modern-age-birmingham-w-the-racket

We have to admit that we giggled like schoolgirls reading the interview and Lee’s sense of humour (bit dry and sarcastic) made it one of the funniest interviews we ever hosted on Indieterria.

So, please enjoy!

Lee Richardson (vocals, guitar)
Matt Rawlings (bass)
James Devine (drums)
Milo Ferreira-Hayes (lead guitar)

Official bio:  Hailing from Malvern, Worcestershire, The Dead Dads Club consist of four close friends: Lee, Milo, James and Matt. Lee Richardson (lead vocals) is known for composing meaningful lyrics that everyone can relate to. There is a rich deepness as much as sense of humour backed up by strong, dynamic rock and roll acoustic steele string guitar. Lee’s chords are graced by Milo Ferreira-Hayes on lead guitar. Their partnership creates a unique sound with strong arrangements and lush solos. Then comes James Devine with his powerful drumming and unmatched beats that strongly root the band inside the alternative and independent genres. Matt Rawlings’ atmospheric and hypnotic bass completes the musical equation. The Dead Dads Club tour consistently and played many important venues in West Midlands such as The Sunflower Lounge, O2 Arena and O2 Institute in Birmingham, Gifford Arms in Wolverhampton or Marr’s Bar in Worcester. They shared stages with The Racket, HVMM, Nuns of the Tundra, Jump the Shark, Matchboy, Juniper Nights, Winchester, Ruben Seabright, The Soviets and many more.

According to your bio, The Dead Dads Club are four good friends with similar musical interests and outlook on life. You listen to the same records and laugh at the same (apparently unfunny) jokes. Please introduce yourselves to the readers of Indieterria.

Lee Richardson: All right, let’s get started. First, we have JD or James Devine. Our drummer is 23-year-old history graduate. Has a tendency to throw his drumsticks mid-song and he’s a huge music fan. One of the nicest guys you’ll ever meet, although he never shuts up (laughing).  Matt Rawlings. Bass. 19 years old. Studying music at college. Saved the band when our previous bass player Liam left as I was ready to jack it in.  Intelligent but quietly reserved, and says what he needs to.  Milo. Lead guitar. 17 years old. Studying music with Matt in Hereford. Channels Jimmy Hendrix and Stevie Ray Vaughan while he continues to develop his own style.  Highly intelligent, loves the ladies (and some men).  He’ll go places.  Lee Richardson.  Rhythm guitar, vocals. 30 something. Loves the band, they’ve become his family.  Came late to the music game but is glad he did.  Also, what really brings us together is we’re fed up of what is considered “popular music” these days. Where the hell are the guitar bands in the charts?  We aim to be part of the wave of new guitar bands that will bring back indie music to the masses. Its due, and it’s going to happen. Bands like The Blinders will lead the way for this new wave.

We heard there is a good story surrounding your first meeting. How and where have you met?

Lee Richardson: Actually, there is (laughing). I met JD first, in a pub over Christmas in 2016. He’d put an Oasis track on the jukebox and in my drunken state, I stumbled over to his table and asked who the Oasis fan was.  Initially, JD thought I was coming over to start trouble so… (laughing again). Anyway, we started chatting and he joined me at some open mic night accompanying me on Cajon. At one such open mic, we were just sitting down as a tall, good looking kid walked in with a guitar and amp in hand.  He set up and started banging out “Voodoo Child (Slight Return)” by Hendrix note for note perfect.  Jaws dropped around the pub, and I was introduced to Milo 10 minutes later.  Milo, being an old soul in a young body (he’s 17), decided he was going to adopt us and he started joining JD and I on stage.  Matt came into the band last as a replacement for Liam Blakemore, who left us after becoming a father last year.

Dead Dads Club Live
Picture by Duncan Graves https://www.facebook.com/duncan.graves

The Dead Dads Club is a highly unusual name. We did a little research about it and the results are very inconclusive. We found an episode of a popular American TV series “Grey’s Anatomy” bearing that title, a book, an independently released murder-mystery stage play and a scientific paper. What is the inspiration behind the band’s name?

Lee Richardson: A friend of mine, Tristan James (who is an incredible rapper and lyricist by the way) and I were working on some songs together two years ago.  Tristan’s dad had passed away two years before and mine had just died around the time.  We made a joke that we should call ourselves The Dead Dads Club. Some found it distasteful, we found it funny and as time went on, it proved to be an attention grabber.  As the band was developing in its infancy, we moved forward without Tristan as we felt that we wouldn’t be able to accommodate rap within our music, and that Tristan’s talents needed to have the sole emphasis placed on him alone.  We still work together and have a collaboration between DDC and Tristan James coming out this year.

The original line-up of The Dead Dads Club included Liam Blakemore on bass and Milo Ferreira-Hayes on lead guitar. Currently you have a newcomer, Matt Rawlings on guitar and Milo moved on to play bass. How long have you been working with Matt? When did he join the band?

Lee Richardson: We have been working with Matt just under a year now. We were lucky to find him after Liam left the band to concentrate on his new family.

Talking about Matt, we have noticed that him and Milo have a tendency of swapping guitars during gigs. Is it done only for certain songs or are you trying to totally confuse the audience?

Lee Richardson: Matt is actually a lead guitarist first and foremost, but we dragged him into the band as we needed a bass player.  Luckily, he could hold his own on the bass.  Matt and Milo swap their instruments over on a song called “Stop”. When we recorded the studio version, Milo was laying down his lead track, when I suggested an idea of putting something “Hendrixy” into the solo. Matt immediately heard something in his head, grabbed Milo’s guitar and played the most amazing little lick that had Milo put his hands to his head in disbelief and proclaim: “You’re a @*%^”! Please insert the swear word of your choice! We all still laugh about it months later. We have another new track in development about an unsuccessful application to play at a local festival that Matt will again take guitar duties on.  And yes, we love to confuse the audience.  It’s what we do best!

Your home town of Malvern is relatively small but it has long musical tradition and a vibrant scene. You are part of the local pack along with Nuns of the Tundra, Ruben Seabright, UltraMegaOK and White Feather Collective. Any explanation for such a high concentration of talent per square mile?

Lee Richardson: Malvern has always attracted arty types from all over the country. It has also produced many talented locals in many endeavors aside from just music. There’s good music everywhere, but I think a lot of people are scared to put it out into the open as they’re worried what people will think.  Bands like the Nuns of The Tundra and The White Feather Collective have got the balls to believe in themselves and their songs and they should.  They set the standard in Malvern for sure and I’d argue further afield than that as well. The Malvern scene has been very supportive of us playing our own songs, and that has provided us with a platform to build on to play bigger towns and cities. Of course, others would say the high concentration of talent is just down to the Malvern spring water (laughing).

Lee Richards singing his heart out
Picture by Duncan Graves https://www.facebook.com/duncan.graves

Dead Dads Club’s music has been compared to The Beatles, The Stone Roses, The Doors, Oasis, Crosby Stills Young and Nash, Tom Petty and the Heartbreakers, Ryan Adams and Arctic Monkeys – that’s some of the biggest names in popular music. Tell us what inspires you to write?

Lee Richardson:  Have we?  Jesus, we should be playing Wembley by now then if that’s the case (laughing). Our influences vary, but all those bands have been massive for me when I was growing up.  I have one goal when I write and that’s to infect a person’s mind with the melody or the hook.  If I see people dancing, tapping their feet or getting emotional when they hear Dead Dads Club track, then my job is done.  My lyrics aren’t really deep or even that good. It’s hard to write meaningful lyrics when you have a heart of stone (laughing again).  Most of the tracks have been inspired by either ex-girlfriends, stalkers or life events. I don’t look at the moon on a dark starry night and have flood of beautiful Dylan-esque lyrics come to the forefront of my mind’s eye.  I’ll leave that to all the Joni Mitchells of this world.  I’m rather in-your-face rock n roll writer with attitude and swagger. That’s enough for us.

Your shows attract large number of guest musicians and singers. We are especially interested in James Burnham who joined you on stage playing electric violin many times. Any chances of seeing him performing with you again?

Lee Richardson: James was an original member of Dead Dads Club along with Liam, Milo, JD and myself. Our sound changed after Liam left the band, and it was becoming increasingly difficult to accommodate a violin within a setting that was chasing a heavier charged more electric sound.  James Burnham is probably the most talented musical mind I’ve met and I plan on doing more acoustic recordings with him as a duo to add to the songs we’ve already recorded together.

Recently you played three gigs in one day. Were you celebrating a special occasion or trying to beat the Guinness World Book record for the biggest number of gigs played in a single day?

Lee Richardson: We already have a record for band with the most special needs, so we’ll settle for that one for now (laughing). We played at a 21st birthday party in Malvern and did an acoustic set to start things rolling, before packing up and heading to play at The Brickroom in Worcester.  We then headed back to the party to play a full electric set.  It was a good day and the alcohol certainly helped us along the way!

You have been working hard on your new batch of songs. So far you have given us three titles: “After the War”, “Chant” and “Buttons of Gold”. Can you tell us more about those songs?

Lee Richardson: We have such a backlog of tracks, it’s hard to decide what to bring to the set next!  The first song you are asking about “After the War” was written by Matt and myself after consuming half a bottle of Jack one Sunday afternoon.  Matt’s been listening to a lot of Jeff Buckley recently and wrote the trip chords. I wrote the lyrics and melody there and then. Not sure why, but I had images of a post-apocalyptic Earth ravaged by the aftermath of fallen society.  So, I just wrote the story that was forming in my head and we had the track recorded as a demo within an hour. Another demo recording, entitled temporarily as “Chant” in short is a peace protest kind of song. I channeled the “Hey Jude” chorus and came up with my own interpretation of that massive crowd singalong. We’re currently rehearsing “Chant” to add to the set, but “After the War” will probably end up as just a standalone song. It would be very difficult to reproduce the haunting sound we got on the recording on stage, unless we used multiple effects peddles and we don’t believe in overdoing it with those. “Buttons of Gold” is brand new track inspired in a way by the sound that The Blinders have made their own.  It’s about an experience that Jimi Hendrix had when he came to London in the 1960’s with two policemen who stopped him for wearing a WW2 military veterinary core jacket but really because of the color of his skin, let’s face it.  I encourage everyone to read up on it, it’s interesting.  I won’t bore you with the details here (laughing). Anyway, we’ll be playing “Buttons of Gold” for the first time in public at the Sunflower Lounge gig on June 9th. We are supporting another good guitar band, The Racket so come and see us there.

The band in full
Picture by Duncan Graves
https://www.facebook.com/duncan.graves

Next months will surely be very busy for you. What’s in store for the Dead Dads Club? Anything we need to know?

Lee Richardson: We’re having a month off in July to re-charge and find new inspiration.  Our EP is ready to roll now, and that’ll be out in August.  We’ll be throwing a release party at Carnival records in Malvern, and playing a set there too.  The momentum has been building nicely thanks to support from the Nuns and local promoters, and we’re going to build on this massively this year, guaranteed.  Long live rock n roll…and cheeseburgers.

You can follow Dead Dads Club on social media:

Management and booking:
Officialdeaddadsclub@gmail.com
Youtube: https://www.youtube.com/channel/UCBAV3WyU2Yika85Moux8uzg
Facebook: https://www.facebook.com/officialdeaddadsclub/
Soundcloud: https://soundcloud.com/deaddadsclublive
Instagram: www.instagram.com/officialdeaddadsclub

Articles about the band:
http://www.malverngazette.co.uk/news/15889224.Bands_to_play_in_Worcester_as_part_of_Independent_Venue_Week/
http://www.worcesternews.co.uk/news/16080910.Snow_forces_Malvern_band_to_postpone_gig_-_but_the_show_goes_on_in_nearby_venue/
https://www.expressandstar.com/entertainment/2018/03/13/birmingham-show-rescheduled-for-worcester-band-nuns-of-the-tundra/

We cannot wait to see Lee, Milo, James and Matt rocking The Sunflower stage again! Last time Dead Dads Club played there, they gave their best and the audience loved them. Some tickets are still available, so do yourself a favor and come see them live.

The Blinders might be leading the musical revolution, but Dead Dads Club are following their footsteps!

Please come back soon as we have  another great interview to show you before the big day  next Saturday!!

till then,
Rita and Mal
xxx