Tag Archive: Interpol


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!

Slow Release

Album of the Week: Night Noise Team – Slow Release

Dark, 80s-influenced guitar indie was all the rage eight or nine years ago with Interpol’s melodic gloom making it the coolest thing EVER for about 18 months.

The wheels started to come off when Editors – having actually put out a quality debut album – subsequently started to hoover up record sales and celebrity wives and suddenly, chiming guitars and cracked baritones became utterly uncool again.

The sub-genre was clearly taking itself far to seriously and the arrival of White Lies was clearly the first sign of the apocalypse. So it’s time to look at this kind of music once more, and inject a bit of light into the darkness.

Whether Night Noise Team would admit to being influenced by any of the above bands is moot. Put simply, they do sound like them.

The combination of tight rhythms, sparse-but-stabbing guitars and Sean Ormsby’s deep tones (not to mention the name of the band) would all justify filing Night Noise Team in with other past-their-best, black suit-wearing, whining bastards we could mention. 

But here’s the thing – there are rays of sunshine scattered throughout Slow Release and equal comparisons could be made with classy Gauls Phoenix. Opener The Gift is doom-laden piece of guitar indie, try listening to it without your foot tapping to that juddering, funky bass. Put simply it’s not gonna happen. It’s irresistible.

Scratch the surface of this highly danceable music, however, and it won’t take you long to unearth a touch of woe. The lyrics speak of ‘the death of romance‘ and old single You Won mixes lyrics like ‘I knew you’d walk away‘ with its choppy guitar and bright synths.

Doors Are Closed (or ‘love is a false economy‘, negativity fans) is a similarly hook-laden affair and last autumn’s single Burning is a stomper.

The band mix things up a bit – synths very much to the fore on some tunes, others a bit more straightforward. There’s a handful of slowies too, but they’re definitely at their best when they get the heads down with only Drifting truly standing up to the album’s pacier numbers.

All told however, this is a formidable record. Polished, catchy and rocking, Night Noise Team have well and truly marked their territory.

Ulster-born frontman Sean Ormsby spoke to the Tidal Wave of Indifference last week.

It’s been a while since we last spoke, what have the band been up to?

It has indeed. We’ve been finishing off the album and rehearsing as a five-piece, playing some gigs round Edinburgh and saving up to pay for a PR onslaught.

How does it feel to get the album out?

As the title ‘Slow Release’ suggests, we took our time and made sure we were happy with everything about the album… so it’s very satisfying to put out something we’re totally proud of. The reaction’s been good so far with solid airplay and a Radio 1 Scotland Introducing session.

It feels like a diverse, multi-layered piece of work – what were you listening to as it came together?

Thanks, that was the aim. I was listening to the Villagers album, as well as Scott Walker, Beach House and Pony Club. Fabien was into Michel Delpech, Public Enemy, the Strokes, the Fifth Dimension and the Clash live at Shea Stadium! Common ground was Serge Gainsbourg and plenty of Phoenix!

Will you be taking the record out on the road?

Apart from a launch gig at Edinburgh’s Sneaky Pete’s (May 14), there’s nothing definite. We hope to play Glasgow soon and maybe tour in the autumn.

Slow Release is available on Bandcamp and other good download services. Here’s a blast of You Won for you:

Interpol

Album of the Week: Interpol – Interpol

Interpol

Let’s get one thing straight. I don’t enjoy trashing bands. It actually makes me sad when creative artists waste their talents in making records which fall into the uninspiring, boring or just plain shite categories.

It makes me doubly sad when I’ve previously had so much respect for the artists in question.

Interpol are the gloomy New Yorkers behind two of my favourite albums of all time – 2002′s Turn On The Bright Lights and 2004′s Antics. Both were stylish, moody and packed full of great tunes. As a live spectacle they were hard to beat and in wearing sharp suits and ties, they looked cool as fuck.

Album no. 3 Our Love to Admire was something of a let down, however, and I’m gutted to say their self-titled fourth continues their downward trajectory.

It’s not that hopes weren’t high, either. Lights, the free download punted out early this year, is classic Interpol – slowly building, icy guitars backing Paul Banks’ angsty croon. It’s about the best thing here, with much of the rest falling into the above three categories.

That’s not to say Interpol is a total donkey. Other bands – Editors for example – would  probably be very proud of this album, which starts well enough with Success and Memory Serves. A decent opening couplet, but it’s hardly Untitled and Obstacle 1.

If you can get over the self-parodying  title of Malaise (The Man I Am) it will start to make sense on around the ninth listen when a discernible melody finally emerges from the kitchen sink approach of throwing strings, piano and thumping percussion at it.

Perhaps by judging this band on their previous work, this review might sound more scathing than necessary. 

But Interpol should know better. This should have been a landmark album, but instead it’s packed with dreary slow numbers, particularly in the second half. At least final track The Undoing offers some salvation, capturing what the band are best at.

There’s no real signs of Banks’ more electronic Julian Plenti project having a positive influence on the recording process either, and much has also been made of this being Carlos Dengler’s last work with Interpol.

Live, he’s been replaced by a Secret Machine and Slint legend Dave Pajo. One can only imagine the possibilities if the slick-haired STD magnet had slung his hook a bit earlier and let these two in on the recording process. God knows, Interpol could use such fresh impetus.

You can listen to album highlight Lights below.

High Violet

Album of the Week: The National – High Violet

High Violet

A slightly late and rushed AOTW this week as I’m without my laptop just now.

The National’s fifth album has been blessed with universally excellent reviews, confirming their ascendency to the indie rock (sorry) big league.

They’re even headlining the Glasgow Academy in November, which is pretty amazing giving their humble beginnings, but reflects their ever building fanbase.

So is High Violet as good as they say? Yeah, pretty much.

I loved Boxer, and Alligator before it, and I’d rate this album as highly as those two.

It all kicks off with Terrible Love, which rolls in on slow, ominously building piano, distorted guitars and some frantic drumming, giving it quite a claustrophobic feel. It’s awesome, and honestly, I’m not sure there’s anything else here that betters it.

The opening track has a strong feel of a doomed, potentially tragic, romance (sadly I didn’t get a lyric sheet for further analysis) and the theme continues into the bleak Sorrow.

Clearly that song wasn’t going to be using the melody from the Birdie Song, but it’s particularly morose even by National standards. Anyone’s Ghost is musically cheerier but lyrically similar. You really have to think that anyone Matt Berninger may have broken up with lately should be feeling a little creeped out.

The National’s secret (well, not that secret actually) weapon is of course Berninger’s jaw-dropping baritone.  Coupled with their NYC background, it earned them some ill-founded Interpol comparisons in their earlier days, but aside from marked musical differences, Berninger is also a much cannier lyricist than Paul Banks.

His tales of lost love, missing home (Bloodbuzz Ohio) and a smattering of politics (notably Fake Empire from Boxer as used by Obama, but also Afraid of Everyone on this record) are deeply poetic and I’d view him as one of the most underrated frontmen of our time.

Musically, the Dessner and Devendorf brothers bring it all together brilliantly with Terrible Love, Afraid of Everyone and Conversation 16 being the best tunes here – melodic, distinctly American and heartfelt.

I love this record and I’m delighted that it’s a good as the hype suggests.

Something tells me that the National’s time has come.

PS Want an opposing view? Have a look here. I don’t agree, but it’s amusing nonetheless.

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