Tag Archive: Echo and the Bunnymen


Bandcrush: The New Fabian Society

So, with thanks to Wikipedia, we present the Fabian Society:

a British socialist movement, whose purpose is to advance the principles of democratic socialism via gradualist and reformist, rather than revolutionary, means. It is best known for its initial ground-breaking work beginning late in the 19th century and continuing up to World War I. The society laid many of the foundations of the Labour Party and subsequently affected the policies of states emerging from the decolonisation of the British Empire, especially India‘.

Wow. Serious stuff and and otherwise-inoccuous email from a band has led us to this fascinating history lesson. The name of the ‘New’ Fabian Society instantly registered some recognition with us, but if it had come up in a pub quiz we’d have been struggling to define quite what it was.

So thanks then to this Glasgow two-piece for leading us to this info, but more importantly, thanks also for their awesome debut EP, Exhibition of Love.

We’ve streamed the whole thing below – it’s three tracks and just over seventeen minutes of predictably dark, gloomy and powerful guitars and drums, reminiscent of Bauhaus, Echo and the Bunnymen and their more modern acolytes Interpol (before they lost their way after two exciting albums, of course).

Lost in Berlin after four minutes of distorted effects slips into a thunderous rock song with singer Michael, aahhh, ‘Fabian’ doing his best Pete Murphy howl; Devious Minds is of a similar vein but goes for the jugular much quicker before fizzing out on the same whirring sounds that opened the EP in the first place.

There aren’t many bands in Scotland playing this kind of music to any kind of competency or quality so hearing this was a blast of fresh, yet polluted and post-industrial air. We absolutely love, and fully expect to be hearing much more from, these guys. We spoke to drummer Nick about the EP and what’s next.

So who the hell are you?

We are a two-piece band hailing from Glasgow who formed in late 2011.

Describe your sound in ten words or less!

Shadow ridden post-industrial punk with a psychedelic slant.

A minimalist EP cover - there are no 'press' shots of the band ready yet!

The band name seems very carefully chosen; care to tell us about what’s behind it?

Yes, it was carefully chosen and one which we almost never went ahead with. We’re not attempting to be political troubadours or anything like that. It was more an attempt to capture or emulate the spirit of what was once a powerful and romantic sentiment that slowly became corrupted, distorted, anarchic and tainted. I think that we wanted to convey that sense of fallibility, aggression, failure and industrialism to the current musical landscape.

How did you guys get together to make music?

We have known each other the best part of fifteen years and both grew up together but we only really joined musical forces when we ran into each other at a Horrors gig. We formed through an appreciation of the same music, excess, self loathing, misery, marginalism and disorientation with the current social environment. We wanted to make a lot of noise to the point where live it was almost unpalatable to those witnessing it.

What’s influenced the EP?

The EP was influenced by early Brian Jonestown Massacre, No Age, Mogwai, The Eighties Matchbox B-line Disaster, My Bloody Valentine, early Joy Division and The Idiot by Iggy Pop.

How did you come by such a huge sound with just two of you?

We use a lot of reverb through the mics on the drum kit and a classic fender reverb amp for the guitar. We also love our effects which is generated through trusty dream machine and boss DD-7 – we have also recently became infatuated with the limitless capabilities of the e-bow. All of this helps to create a pretty loud violent industrial sound.

Is there a full length release in the pipeline?

We’ve literally just started showcasing our debut EP and we’ve been quite fortunate to have been offered some good gigs already. At this point we’re just looking to develop and expand our sound further and a generate as much noise as we can. Yeah, we would love to put an album out sometime in the near future but we have a bit to go before we’re ready.

Any live shows on the horizon? Quite a few at the moment, looking forward to supporting London band Foreign Office at King Tuts Fri 18th May. There’s a full listing of shows on our Bandcamp page, or follow us on Twitter.

Excluding yours, what’s your favourite society?

There are far too many to mention but I guess for us it would be the Oliver Reed Appreciation Society. He was a fine actor and would have been good company in Rab Ha’s* with a beer!!

*We’re assuming this is some kind of west coast wine bar.

We hope to bring you some exciting news about this band shortly – stay tuned!

Everyone loves free stuff. Everyone also loves strawberries.

So when news of a hitherto unknown band called Strawberry Ocean Sea firing three songs up on their website for free download broke, the Tidal Wave of Indifference turned to thoughts of dessert, milkshakes and tennis.

Once we woke up from that delicious dream, we remembered that there were some tunes available for zero pence and rushed over to get them.

The results were a very pleasant surprise. The tunes definitely play more to the expansive-sounding ‘ocean sea’ part of their name rather than anything too sickly sweet.

Enough is Never Enough and Under the Moonlight carry the melancholic melody of a Scottish Echo and the Bunnymen while Today’s the Day has a clear nod to Arcade Fire’s Wake Up, a comparison that may be a little passé these days, but one that’s still weighty and evocative.

The five-piece are Glasgow based and made up by Jonny Skinner (vocals/guitar), Greg Kenney (Guitar), Richie Bell (bass/backing vocals), Stu Kennedy (keys/synths/backing vocals) and Cobo Boyle (drums).

I caught up with Jonny to find out a wee bit more.

So who the hell are you?

We’re Strawberry Ocean Sea – Jonny, Greg, Stu, Richie and Cobo.

Describe your sound in ten words or less!

Our sound is a mix of anger, boredom, desperation and hope. 

What are the key influences on your sound?

Life.

Great name – both sweet and epic-sounding. How did you come up with it? 

We came up with the name because I kept having a recurring dream about a place where you can do what you want and be happy and have hope and belief. In my mind it looks like a Strawberry Ocean Sea, so that’s what I called us.

How did you guys get together?

We’ve all known each other a long time, so we’ve always been together. The band’s an extension of our friendship. 

You’ve put some free tracks up on your site – any more formal releases planned?

We’re also going back into record at the start of April and we’re gonna put the songs out as a single or EP. So listen out.

You can get these tunes for nada over at the band’s website with a wee sneak preview below.

There’s a few shows coming up too, including an appearance at Edinburgh’s Maggie’s Chamber on Saturday (ok, tomorrow) at 9.40 as part of the controversial Haddowfest, so if you’ve got your ticket sorted already you should pop along. If you don’t you’re missing out on sets by Broken Records, Laki Mera, Kitty the Lion and loads more. There isn’t even an obligation to see Razorlight, so go, aye?

There’s also:

April 8, Whitburn Welfare
April 23, Glasgow Classic Grand (part of Easter Fest)
May 28 Under the Moonlight, their own night at Stereo in Glasgow.

Until Spring

Album of the Week: Wild Palms – Until Spring

Wild Palms are a London-based five-piece who you might have heard a little about ahead of the release of their debut album.

The hype has thankfully been far from overwhelming – in fact, you might struggle to justify calling it hype, but warm words have circulating to extent that you could comfortably predict a bright future for the band.

Not everyone’s taken them to heart – one of the monthly glossies, in an otherwise decent review called them derivative. That’s a little harsh – for example, being Joy Division rip-offs didn’t stop Interpol making two of the best albums of the last decade.

Gloomy early eighties indie is a useful place to start in approaching Wild Palms, as slow burning opener Draw in Light is reminiscent of early Cure and CareTaker has some guitar noise that the Fall would be proud of.

Singer Lou Hill has a powerful voice, but with so many interesting things happening musically, Delight in Temptation is one of a handful of songs that would benefit from his vocals being lower down in the mix – where the drums are clearly meant to sound thunderous, they come across as being a little weak.

The percussion gets some better treatment on Carnations and the (Never-Ceasing-Ever-Increasing) Cavalcade with the former also having some huge sounding guitar. There’s a surprising nod to math rock on the reverb-drenched, many-parted epic Pale Fire and To the Lighthouse reels synths and falsetto vocals into the mix, while sounding like My Bloody Valentine meets the Bunnymen.

Wild Palms undoubtedly wear their influences on their sleeve but they’ve created an intriguing, occasionally fantastic album, brimful of ideas. Definitely ones to watch.

Tell me about the album recording process – how did it all come together?

We recorded the album in the studio that we built ourselves in north London. Gareth Jones and James Aparicio brought all their high-end equipment into a fairly make-shift space (we called it the pop-up studio) and everyone was up for the challenge of making the best album we possibly could with certain limitations imposed upon us; Until Spring is a record of us trying to go beyond those limitations or working with them.
 
There’s a lot going on on Until Spring – what influences have the various members brought to the table?

We wanted to make an album that was completely different from our live show because that’s what making an album affords you. We were listening to a lot of Radiohead, Asobi Seksu, Sonic Youth and TV on the Radio at the time. We wanted to create something that no-one would of expected of us, something subtle whilst at times grandiose.

I’m sensing some building momentum for the band. Not necessarily hype, but an increasing amount of warm words… excited about how things are moving? And what’s next once the album’s out?
 
There’s been some nice things said about us and some other not so nice stuff but that’s what it’s about, if everyone loved what we were doing we’d be doing something wrong. It all has to be taken with a pinch of salt, the good and the bad, but yeah we enjoy the way things are picking up. We’re looking forward to touring the album in the coming months.
 
I have to say you don’t sound like a band called Wild Palms should! How did the name come out and did you ever fancy playing surf pop or tropicalia because of it?
 
The name comes from a William Faulkner book, he used the image of dry palm leaves rustling in the night wind to symbolise violence and beauty so that seemed fitting for the music that we try to make.

You can watch the video for To the Lighthouse below.

A wee quickie for May Day Monday… and the last time I’ll mention T in the Park, not least because of the gracious comments made by Mr Geoff Ellis on the pages of this very website a wee while back, despite the ranting tone of my piece.

In that same blog, I had wondered out loud whether selling my T tickets and heading to Latitude instead would backfire with many bands still to be added to the T bill.

I needn’t have worried.

Both festivals announced some line-up additions last week and both were in keeping with my current feelings about my musical summer.

For Latitude we had the mighty Frightened Rabbit (yes, them again!), These New Puritans – producers of one of this year’s best and most menacing albums so far - and the blissed out School of Seven Bells.

There were a handful of others that I hadn’t heard of but this built nicely on an announcement earlier on in the month that included the Kissaway Trail, Tokyo Police Club, First Aid Kit and Black Mountain.

I’m doing my best not to get too annoyed about the involvement of those peddlers of saccharine shite that are the Feeling, but at the end of the day that’s one duff band out of 70+. Even if they don’t clash with someone decent there could still be fun to be had by turning up for their set with some empty bottles and a full bladder.

And T in the Park?

- Joshua Radin who’s having his album plugged via the medium of TV advertising. Sounds like American MOR dross.

- Unicorn Kid who I saw for about two minutes last year and couldn’t stand.

- Unfunny musical pranksters 3OH!3.

- Kids in Glass Houses for the emos.

- Eminem cronies D12. 

That’s the most recent announcement.

On the upside the Drums, Ash, Bunnymen and few other decent acts were announced. Hypnotic Brass Ensemble would also make for an intriguing spectacle, but it’s not enough to make me think again.

Lovely folkie Laura Marling and NYC experimentalists Yeasayer popped up too, but they’re already on the Latitude bill joining Dirty Projectors, Mumford and Sons and the aforementioned Black Mountain among the handful of bands playing both.

So that leaves a very short list of really good acts that I’ll be missing out on – The Cribs, Biffy Clyro (look I like ‘em, ok?!?), Broken Social Scene and Four Tet (and don’t bet against the latter two playing ‘you know where’). I think I can live with that.

But if you’re going to T, please enjoy it. I doubt a moaning muso like me will change your opinion on the whole shebang. But in my absence, make sure you patrol the wee stages for the up and coming, more obscure acts.

And please god stay away from Pete Doherty and Babyshambles, I wouldn’t want you to catch anything…

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