Tag Archive: My Bloody Valentine


Bandcrush: Honey

We at the Tidal Wave of Indifference try not to think of ourselves as shallow, lazy people, but ultimately we are. And that can be a problem if you’re a band trying to get our attention.

Effort-free emails and cliché-ridden press releases often find us reaching for the delete button, even before we get to your list of influences, as there really are only a certain number of hours in the day to listen to music or blogs we can write, so quick judgements often need to be taken.

And we’re afraid that the name of the band is also taken into account. If it’s boring, generic or sometimes just fucking stupid, that can be a factor in how quickly we get to a band’s tunes.

Honey were one act falling into the ‘unremarkable’ category. It didn’t scream “LISTEN!!!!” at us, and we’re no great fans of the bee-produced condiment either. The band explain below why they’ve named themselves so, but mercifully it was a nice email that dropped and one that made all the right noises musically. Let’s face it, even a hint of the word ‘shoegaze’ gets us frothing.

We’ll certainly accept shoegaze as an influence on Honey’s debut EP Taste It And See. We’ll also give you the Verve’s shamanic groove and the woozy psychedelic pop of the recent Horrors album.

Counting Seasons and the anthemic Tang stand out from the EP, and new single Nowhere Floating is just as good and available to download for free from Honey’s Bandcamp page.

There’s music to listen to at the end of this post, but for now, here’s a word with frontman Nick Donnelly…

So who the hell are you?

We are a Scottish four piece called Honey. Which is three parts Glasgow, one part Linlithgow. I’m Nick and I do vocals and rhythm guitar. On bass we’ve got David Sloey, on lead guitar and melodica Gary Waugh and on drums Alan Duncan. We’ve been floating around Glasgow for the last year or so, playing our own blend of psychedelic/shoegaze nonsense.

Describe your sound in 10 words or less?

Ethereal and whistle-able psychedelia.

How did you guys come together as a band?

We’ve all known each other for years, Dave and Alan were in a band together and Gary and I were also in a band. Those bands ended and we formed Honey. It’s a pretty generic tale. We do wish we had a more interesting story to tell because we get asked this question a lot, but I am happy that it doesn’t include the words, ‘destiny’ or ‘meant to be’. As a general rule, bands who use these terms tend to be shite.

Are there are key influences on your sound we should know about?

Well I suppose the obvious ones would be bands like the Velvet Underground and My Bloody Valentine. Going a little more obscure I’d say CAN and Neu! have had a big impact on the way we make music. Broadcast has been a major influence since we first heard them a few years ago. I’d never heard anything quite like it before. I could go on but I’d be here all night so I’ll leave it at that.

What do you hope to do with Honey – any key aspirations?

We would like to be able to create music for the rest of our lives outwith the boundaries of time, money and reality.

What’s with the name – sounds very ambiguous!

Ambiguity was the reason we decided on Honey; I suppose you could even consider it androgynous too. We didn’t want a name with any particular tag or meaning. It is after all just a name, the music is what’s really important.

And is the name of EP also honey-related?

‘Taste It And See’ was a bit more thought out. It’s not related to the name Honey but it too was also intended to be ambiguous. It’s about trying and experimenting: drugs, art, literature, whatever takes your fancy. In this case, our EP.

What can we expect to see next?

For the rest of this year we will be gigging around Glasgow, we’ll also be back in for another recording. Early next year we will be looking to start touring around and seeing where it takes us. Musically we’re trying to push ourselves further in terms of different instrumentation new sounds. We don’t really know what to expect or how that will turn out but that’s the fun of being in a band.

I’ve namechecked some rotten final parts of well known trilogies in the name of this post.

Thankfully, the final part of my Freshair radio show actually wiznae too bad. Arguably the best and most professionally so far.

Thanks again to Kid Canaveral for their contribution and apologies to King Creosote & John Hopkins and Adam Stafford whose songs were played before we, ahhhh, pressed record.

Hooray!

And who knows, I might be back. Terminator Salvation wasn’t that bad, was it???

Anyway, I can’t seem to embed the damn thing so here’s the link:

http://www.mixcloud.com/Stu_Lewis/tidal-wave-of-dead-air-pt-3/

Beautiful Ground

Album of the Week: Something Beginning With L – Beautiful Ground

You know that rather wonderful feeling you get when you chuck on a new album and it feels so perfect, it’s almost as if it’s been written just for you?

Well that’s the feeling the Tidal Wave of Indifference got when we put on Something Beginning With L’s debut album for the first time.

We’ve gone on record many’s a time about our love for My Bloody Valentine and the multitude of bands that claim to be influenced by them. So we’re delighted that SBL (that’s what we’re calling them from here) follow a similar path, albeit with enough of their own identity to rise above being mere shoegaze copyists.

There are stacks of reverberating guitars, sweet melodies and subtle background blasts of noise throughout the piece and the band they arguably most resemble is Welsh ‘popgaze’ trio the Joy Formidable. Songs like Last Night’s Party, Hobby and One Knee Two Knee are awash with stunning female harmonies courtesy of twin vocalist/guitarists Jen Macro and Lucy Parnell and if this were a just world they’d be all over 6 Music like a rash.

They’ve got rock royalty credentials as well as they tunes. Drums have been provided on three songs by PJ Harvey collaborator Rob Ellis and members of the band have been involved with Graham Coxon, Charlotte Hatherley and Robyn Hitchcock.

Famous friends can bring recognition but they shouldn’t need them. Beautiful Ground’s 12 songs are concise and captivating, melodic and monstrous all at the same time.

If there’s a single issue to raise, it’s not even with their recorded works, it’s about the lack of a live drummer. Clearly, Ellis isn’t going to come out on tour with them but live they do lack a little percussive power, judging from their otherwise superb support slot with the Douglas Firs earlier this month.

But that shouldn’t detract from a very fine album indeed. The challenge for you now, oh reader and fan of fine music is to prevent Beautiful Ground from becoming 2011′s great lost album.

We caught up with bass and keys man Jon Clayton hots on the heels of their recent Edinburgh shows at Sneaky Pete’s and Avalanche Records as part of an Armellodie showcase.

It’s almost like this album was tailor-made for the Tidal Wave of Indifference – tell me a little about the writing and recording of Beautiful Ground.

Most of the songs from Beautiful Ground were conceived by either Jen or Lucy and then filled out and arranged by all three of us. We set out to make an album that sounded as good on tape as it did in our heads, even if we wouldn’t be able to recreate it exactly live. So, for example, we enlisted the help of some remarkable drummers, and there were lots of lovely toys in the studio, we probably played with all of them through the process of recording this album.

How was working with the legendary Rob Ellis?

Rob’s an excellent drummer and a great musician. He brought a different dimension to the tracks he played on. Although we’re obviously in awe of his talent, and were frankly a bit nervous of working with him, he was lovely, and comfortingly positive about our music.

Did you enjoy your recent trip to Edinburgh – your first as a band?

Yes, it was our first as Something Beginning With L. We have played Edinburgh before in other bands, but that Saturday around the Grassmarket was our favourite time in the city. Avalanche Records is a great place to spend an afternoon and it’s been really exciting to finally see some of our Armellodie label mates. In fact all the bands we played with this weekend were inspiring.

The band name’s a cryptic one. Is there a particular word beginning with L you have in mind?

Yes!

Damn, we were hoping to get some genuine insight with that question. Foiled! No matter, we’ll just have to assume it was the first one that popped into our heads which was ‘leeches’. An obvious answer, yes/ You can buy this fine piece of art over on SBL’s Bandcamp page and from actual proper record shops. And here’s a tune for you:

A few months back the Tidal Wave of Indifference took a look back at the career of Dundee’s Laeto, near legendary in the Scottish music sphere, but a band that had lain dormant until the surprise release of a third album late last year.

We’re not promising a series of ‘where are they now’-style features, but the Laeto release was swiftly followed by the surprise inclusion in Pendulum Man’s top ten 2010 albums of the third album by Amusement Parks on Fire.

Surprise, because we didn’t even know it existed.

The indie finger of fame can be a fickle beast. With a debut album out in 2004, Amusement Parks were being touted by that music weekly that everyone loves to hate (or hates to love in Tidal Wave’s case) alongside Engineers, Serena-Maneesh, the Radio Dept and the Morning After Girls as part of the utterly non-existent ‘nu-gaze’ scene.

Good old NME, utterly inventing music genres. But it would be difficult to deny that the mid- noughties did see a smattering of bands with a healthy reverb and feedback obsession rise to some level of prominence, emulating My Bloody Valentine, Ride and others that encompassed the shoegazing concept.

Shoegaze, nu-gaze, SEE!!! Those IPC sub-editors have to earn a crust somehow, eh?

Top of the pile had to be Amusement Parks though. As well as undoubtedly being the heaviest of the groups, they almost certainly were the best exponents of taking that simple pop hook and layering with a metric tonne of noise.

Amusement Parks on Fire 2011 (Michael Feerick far right)

Early momentum from the self-titled debut was built upon by the release of album number two, Out of the Angeles. MTV2 pounced on lead single, In Flight, an anthemic slab of distorted riffs. World domination beckoned.

Or did it?

Apparently not. The band all but vanished, bubbling back up briefly in 2009 for a short tour that took in Edinburgh’s Cabaret Voltaire with the imperious Gothenburg Address as support.

That third album – Road Eyes – recorded in California did eventually appear, just not in this country, hence our utterly bewilderment at it popping up in a ‘best of’ list.

Amusement Parks main man Michael Feerick spoke exclusively to the Tidal Wave of Indifference about what the hell went wrong:

“We spent the best part of a year and a half-ish working on the record, maybe longer. Though to be honest a fair portion of that time was spent procrastinating at shows in Silverlake and Echo Park and hanging out with friends! We took some time away from recording to go on tour with The Happy Mondays and Psychedelic Furs, which was kind of a bizarre line-up but quite fun, and we shot a couple of videos and did local LA shows and such.

“But anyway we tried out a lot of mixers and spent a relatively long time getting the master über-perfect and finally finished the album about this time last year.”

Sounds perfectly innocuous. What band hasn’t kicked back and had some fun while recording? What band hasn’t fitted in a tour or two, although maybe not all have had the dubious pleasure of playing with the Happy Mondays.

“I guess we were eager to get the album out in the US to coincide with the tour. It came out in the States and Japan in September, and we toured the US in support of it with The Boxer Rebellion” continues Michael.

“But by the time we were looking to set up a release here, with the nature of downloading as it is, it was really hard to interest a European label in releasing it here. It’s already been out freely available online for some time. So that’s the rather depressing reality of the situation I guess.”

Cover for the ill-fated Road Eyes

Depressing indeed and a problem many acts continue to face. But also hugely ironic for a British band who decamped to the States, having been unable to get an album named ‘Out of the Angeles’ released over there, to be faced with the reverse problem. Thankfully, Michael’s philosophical…

“We don’t feel especially victimised in any way, I’m pretty sure we’ve all downloaded some commercial media at some point without providing the requisite level of financial restitution. I actually feel sincerely appreciative and lucky to have been able to make the albums we’ve made. To have the necessary amount of money to do so is a pretty rare commodity now.”

Amusement Parks on Fire have been beset with problems in recent years but Michael and the band – completed by Daniel Knowles, Peter Dale, Gavin Poole and Joe Hardy – are looking to the future as much as they are happy to talk about the past. With some misty-eyed nostalgia, Michael can’t put his finger on the initial inspiration for the band (“I was such a different person back then!”) but is clearly excited about what could happen next: “We’ve been taking it in various directions and having fun with the different ways it could go. I’m not even sure that what I or we do next will be under that name or be something totally new. It’s quite a fun point to be at, but also rather scary!

“Right now we all tend to be at various corners of the world a lot of the time. We all have different musical and artistic endeavours we’re working on. I’m doing some acoustic shows which are really fun; I’m enjoying the subtlety and intimacy of it.”

So are we looking at the end of the band?

“Artistically it’s simultaneously liberating and strangely bewildering to have made three records you’re really proud of. I feel like they’re very different and situational, but give each other context and so, as a whole, the Amusement Parks thing feels kind of complete.”

That’s clear not a definitive “that’s it” but it’s evident that minds are definitely wandering. So there’s never been a better time to revisit (or indeed) catch up with their music.

For a taster, here’s a track from each of their albums.

As a wee footnote, when we were searching for the Road Eyes cover art, the album seems to now be freely available on Amazon without any hint of it being an import, which is how Tidal Wave got its copy. A small victory at least.

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.

Thank god the Liquid Room is back in business.

While the Glasgow scene is awash with multiple medium-sized venues, Edinburgh has suffered badly since the fire of 2008 that did for this local institution. Coupled with the closure of the Venue earlier in the decade, it’s meant that attention has been almost completely focused on the West of late.

It’s hard to see where else in the capital could have hosted this showcase of Scottish music (the Picture House is surely too big and Cabaret Voltaire too small), so three cheers for its renovation and reopening.

So having thrown its doors back open for the Edge Festival in August, two of Scotland’s best bands have pitched up at the Liquid Room at the end of a short tour that’s probably involved a wee dram or two.

Errors are first up and look utterly at home on a slightly larger stage compared to the venue’s previous incarnation.

This year’s album Come Down With Me was a real treat and an obvious progression in sound, so it’s no surprise that their set leans heavily on newer material.

Bridge or Cloud is a nice slow-burning opener before the pacey Supertribe whizzes in. It’s a song that exemplifies what Errors do best – bouncy, twitchy electro, underwritten by some subtle guitar work.

Pic by Christian Storstein
Errors 12/10/10

It should evoke bouncing and twitching from the crowd but it seems like a subdued mob that’s in tonight with only a few tapped toes and nodded heads in evidence.

If they notice the lack of flailing limbs, to their credit, it doesn’t remotely get to them. And despite being entirely instrumental, sort-of frontman Simon Ward isn’t afraid to take the mic and lob in an amusing comment or two between songs, including a few pleas to ‘buy our stuff’, most notably the fantastically named remix album Celebrity Come Down With Me.

The problem with it being a remix album, of course, is that they can’t play anything from it, so they have to settle (!!) for rolling out a number of regular album tracks. Salut! France and A Rumour In Africa sound great and a pounding Pump rounds things off rather nicely.

And so to the Twilight Sad, nominally tonight’s headliners despite it being a co-headline tour. It was probably the right decision – a quick straw poll of other gig goers showed it was definitely this lot they were there to see and the band certainly didn’t need to encourage the crowd to shuffle forward unlike the opening act.

Like Errors, they also have a record to promote, but actually able to play something from it, opening with the epic title track from The Wrong Car EP. Sadly its impact is lessened by James Graham’s vocals being inaudible until halfway through.

Thankfully somebody upstairs eventually remembers to flick a switch, so by the time That Birthday Present roars in crashes in, Graham’s on-stage, on his knees, emoting is audible.

The sound remains muddy throughout, however. Perhaps their reputation as the loudest band in Scotland has prompted them to seek ear-shattering, MBV-esque infamy, but that approach won’t work in a small space like the Liquid Room.

Photo by Christian Storstein
The Twilight Sad 12/10/10
Like Errors, their set is dominated by more recent material. I Became A Prostitute is a wall of guitars and The Room, already creepy in its album incarnation, becomes a sinister squall live.
 
Graham, flanked by largely static bandmates, puts everything into his performance, howling vocals that seem to touch upon child abuse, alcohol and violence at regular intervals. His passion is such that the listener can’t help but wonder just how autobiographical these harrowing tales are. It’s disturbing stuff throughout.
 
After almost an hour of feedback and walls of distortion, the crowd are sent on their way with a deafening And She Would Darken the Memory (literally) ringing in their ears. It’s a shame that the sound undermines their performance but it doesn’t stop the Twilight Sad from being an intimidating live proposition.
 
Let’s hope that the Liquid Room hosts many more nights like this in the years to come.

S-M 2: Abyss in B Minor

Album of the Week: Serena-Maneesh – S-M 2: Abyss in B Minor

I’ve always considered Serena-Maneesh to be one of ‘my’ bands. Known to very few people in my wider circle of friends and liked by even less.

It’s listening to bands like this that have cemented my reputation as a pretentious music obscurist. It’s a reputation that’s probably well-founded and that I’m happy enough to carry, but that doesn’t mean I want bands like Serena-Maneesh to stay within my orbit only.

However, I’m not daft either. For example, album opener Ayisha Abyss – with its mumbled vocals, driving percussion and growly bass - is unlikely to be troubling JLS or Tinny Temper in the charts any time soon.

But just because you’ve recorded your second album in a Norwegian cave, never get played on the radio (not even 6 Music!) and that hardly anyone ever writes about you, doesn’t mean that you don’t deserve a bit of exposure.

2006′s eponymous debut was a fearsome proposition, with the bass-y rumble of Don’t Come Down Here and Your Blood In Mine in particular, reaching eardrum-worrying levels of volume.

There were quieter moment on there too and this belated follow-up is cut from the same cloth.

Hilma and Emil Nikolaisen’s tender vocals lend the record a little more subtlety, lending creedence to the My Bloody Valentine comparisons that the band have been repeatedly (but fairly) hit with.

Sufjan Stevens is apparently on here too, but I’ll be damned if I can hear him over the white noise.

Serena-Maneesh

Serena-Maneesh - my Norwegian valentine

Musically, like MBV, the album veers from the crushing squall of Reprobate! to the dreamier sounds of Melody for Jaana; Blow Yr Brains In the Mourning Rain (nice!) sounds like it could be the Stooges.

Honeyjinx is probably the best thing here, blending sweet melodies with howling feedback – but you can even hear guitar strings being plucked in the effects-heavy mix.

If there’s a complain to be made, it’s that it feels a little slight. It clocks in at around 37 minutes, not actually all that short, but features only eight tracks… I just felt that an extra track might have made it more of an event, particularly when the band have been away for almost four years.

No matter… it’s a great listen, and hopefully it’s not just me that’ll buy it. They’re on 4AD, a stronghold for unique indie bands, and that ought to give their profile a bit of a boost.

Their performance at Reading in ’06 was captivating and shamanic – would it be too much to ask for an appearance at Latitude this summer?

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