Sorry, actually not sorry. Ryan Adams’ 1989 cover album pretty much sucked. Now, I know everyone and their grandma have been talking about this album and everyone and their grandma seems to be in love with it, but really people?
While I enjoy Adams’ clear ode to Swift for what was an insanely amazing album on Taylor’s part, what I don’t understand is people’s obsession with Ryan’s album. I don’t see anything within it “revealing the sadness” of 1989 and I don’t hear what’s so amazing; all in all I just do not get it.
If I wasn’t already being honest, I don’t think this album makes any sense. Practically every cover on this album feels dragged out and showy. Not that I don’t agree with creative license but this is too much. On tracks like This Love and Out Of The Woods he sounds almost like he’s just talking his way through the song. On other tracks like; Welcome To New York and Style he becomes overbearing and makes it sound like he’s singing over the music and not with it. Also once we get to How You Get the Girl he sounds like Bob Dylan?
Listening to the album in its entirety made me feel like I was watching someone try to make the pieces of three different puzzles into one, it just doesn’t really work. The sound of this album had me confused to say the least.
This isn’t to say that Ryan Adams’ didn’t do anything right with this album either. Tracks like; Wildest Dreams, Blank Space, Shake It Off and All You Had To Do Was Stay he actually created something that I can say I liked and that I can say I expected from him. I think that if he made this entire album consistent with the sound he had on these tracks then I might have enjoyed it a great deal more, but he didn’t so here I am.
Although this was a cover album, I didn’t look at it that way. I tried to look at it as if it was it own separate musical entity because obviously the creative differences between Ryan Adams’ and Taylor Swift are vastly deviating. Also, in that respect I think it is fair that if you are going to listen to it don’t look at it as a Taylor Swift cover album and proceed to be upset that it doesn’t sound like her, I don’t at all think that is what Ryan Adams’ was going for in the first place.
So just to make sure everyone understands where my frustration is placed with this album, it is NOT placed in the fact that it doesn’t sound like Taylor. It is placed in the fact that even through I looked at it as a Ryan Adams’ album and tried really hard to like it, I just couldn’t do it.
To me this album felt scattered and unpolished and at some point while listening to it even a little bit anxious. Like I said at the beginning of this article sorry, not sorry to everyone and their grandma, I really didn’t enjoy this album.
Ryan Adams bleeds when he creates music. Okay, the enough with the melodramatics. The man himself have said “Never apologise for your enthusiasm” which arguably is a better way of saying he puts his heart out there, flawed and raw with no excuses. Despite 1989 being a cover-album, he bleeds Taylor Swifts’ songs as if they were his own. On this reinvention of songs, (rather than a simple cover album), mainstream pop meets introspectiveness from the introvert himself.
It has an obvious The Smith vibe which Ryan himself put forth. It was also released just a few days before September equinox which marks the start of autumn, and as the melancholic season begins to lay its iron blanket, it seems like the perfect fit.
One thing that has not gone unnoticeable is that he switched pronounce, which in 2015 is highly frowned upon — it is not the politically correct way to go about someone else’s songs. I’m willing to let that one slip since this is a more a reimagining of songs; as if Ryan is the male counterpart of these stories, singing them back to the girl who got hurt, something Taylor pointed out in the Beats1 interview.
‘Welcome To New York’ meets you with an intoxicating and emotional power. Ryan left New York for LA and got his life back together, and it seems as if this song is a nod to those old times, reminiscing but also very aware of both sides to the fairytale city.
I was on the road when a rock radio station spun a couple of these songs on release day, and I know I wasn’t the only one with a lump in my throat the first time hearing ‘Out Of The Woods’. There’s a hurt, there’s a deep and genuine wound in his voice that produces all the goosebumps you can physically get.
If a song can’t be stripped down to a very basic acoustic guitar version, then it is not a well-crafted piece of art. What is clearly evident is how talented Taylor Swift is as a songwriter. Behind the production and mainstream melodies, you find a true, old school artist. With Ryan’s style, the Swift fans are introduced to a different world of music and vversevisa.
The gigantic hit ‘Shake It Off’ has gently been taken down a notch while embracing the minor chords. There is a wonderful 80’s echo that turns the dance anthem into dejected story, gaining momentum and releases some built-up frustration at the end of it.
So pour yourself a cup of tea, get a blanket, and put on this autumn record and let yourself be fragile for a minute.
You might have heard the new single ‘Renegades’ from a Jeep car commercial. If you’re not familiar with the New York-based alternative rock band from Ithaca, you are most likely to be acquainted with them sooner rather than later. Let us make it sooner. In 2014, they reached the Billboard 200 with ‘Jungle’ featuring British blues rocker Jamie N Commons. Suddenly ‘Jungle’ was seen featured in commercials, remixed for Beats By Dre (featuring Jay Z), and as the soundtrack for the season two trailer for the Netflix original series, Orange is the New Black.
Despite what it looks like it wasn’t an overnight middling success, (for industry cloaks it probably was). X Ambassadors released their debut major label EP Love Songs Drug Songs in 2013, following up with The Reason EP in 2014 on KIDinaKORNER and Interscope records.
From here on there will be a lot of repetitive names in this article.
When founders John Janick and Vinnie Fiorello of Fueled By Ramen released Jimmy Eat World’s EP in 1998, it was the beginning of a shift in record labels involvement with their buyers. A couple of years later this tiny little band Fall Out Boy signed with them, and as we all know, the rest is history. Scene kids, emo music and a clear distinct sound was spit out of Fueled By Ramen, most notoriously Panic! At The Disco, The Academy Is…, Paramore and Vinyl Theatre. The older generations of musicians hated it, the teenagers loved it, and the industry saw a gold mine and are digging deep to this day. The record label is active with its audience, they speak their language and engage with them on a personal level. They are no longer the invisible man in a suit thanked in the band’s album booklet.
Give X Ambassadors a quick listen and most would not be surprised to discover they are signed to the same label as Imagine Dragons. The industrial-alternative style is theirs and theirs alone, but having both been produced by the London-based Alex da Kid, you get the gist. Besides the rock vibe, Alex has been in on productions from Jamie N Commons, to Dr. Dre and Eminem just to name a few. If we play the six degrees of separation game with those three alongside Imagine Dragons and X ambassadors, you won’t need any, because all of them have in some shape or form been featured together. Does it remind you a little of Fueled by Ramen? Let me put it this way, If there is a new Fueled By Ramen wave in the making, it would be wisely to place your bets on KIDinaKORNER and these hip hop/rock-vibe releases.
Alex Da Kid incorporates a raw and rusty industrial vibe to his productions, you can almost hear the concrete in the jagged guitars opposite the hollow jungle drums in X Ambassadors debut album, VHS. While you can draw many parallels, they are not Imagine Dragon’s half-brother. They’re lighter on their feet, arrangements attentive to Sam Harris on point vocal. The lyrical universe is firmer and rooted in inverted topics compared to Imagine Dragons, so I will let this be my final comparison.
If you see this band live, there is little chance of disappointment. These guys are already well on their way to becoming tour veterans. Having toured the entire summer non-stop, and having been past support acts for Milky Chance, Panic! At The Disco and Imagine Dragons, they know how to get each song out over the stage. There are seemingly few compromises made, and I dare to say Sam Harris’ voice sound even better live. Compared to the EPs, the album itself is leaning towards something of a concept album, including five interludes which are recordings from childhood memories that brings out a little soft nostalgic feeling in between the solid songs.
They are embarking on their own headline tour this fall, check out xambassadors.com/tour for details.
The Heirs are about to be your new favourite band. With their electrifying single ‘Alright Goodnight’ the brother-sister duo of Savannah and Brandon Hudson take on the pop world with flair.
Speaking about the track, Brandon has said: “We wanted to make something different, something groovy, but also something that could speak for itself and say more than the usual pop songs of today.”
I think they’ve done just that.
With an undeniable sonic resemblance to Foster the People, they will be taking the indie-pop world by the reigns.
Reflecting on their earliest memory of performing Savannah said, “One of our earliest memories performing together was, I believe, our first school talent show. I was in the 2nd grade and Brandon was in the 4th grade. I remember we covered some kid songs along with some originals and a year later, Brandon performed with his 5th grade band and they did a really cool rendition of “Come Together” by the Beatles and that ruled. When we were younger, we rallied up any kid musicians, making little bands, and we performed wherever we could, from talent shows to state fairs. We did them all.”
“We usually brainstorm on different concepts we create and then begin to visualize certain production elements that complement the ideas. It’s always a very relaxed but exciting process for us. We love being in the studio and creating. We are inspired by life in general.”
The duo was on America’s Got Talent back in 2013:
They’ve certainly come a long way on their musical journey, and I can’t wait to see where they go next.
The British band Brother & Bones kicks off their debut album with extreme velocity in ‘Kerosene’, with an almost Tom Petty-like ambiance exposed to Pearl Jam. Whether or not it is deliberate, they toss out the band’s previous acoustic folk vibes as heard on the last two EPs. The folk atmosphere is still there, but they lean towards a much more rock filled picture, and it suits them. What is still very clear is that singer Rich Thomas has one of the best vocals coming out of the UK in years, if not decades. Authority and delicacy ooze when he opens his mouth. He could be citing a phonebook and you would believe every word he sings.
Their reputation as a live act has fast been building for years. With supporting Bastille and Ben Howard, and being busy touring amongst themselves almost non-stop, (and more so than any other band at this point in their career), means that the expectations to deliver the atmosphere and live performance onto a full-length album were very high.
The self-titled album has a majority of new songs, except for ‘Raining Stone’, ‘To Be Alive’ and ‘For All We Know’ which all have been re-recorded and given a fresh rock sound to fit in. ‘Omaha’ is as dense and reckless as ‘Kerosene’, preaching (for the lack of better words) that “I’m all for a line in the sand / I’m all for the mark of a man / I’m all for one and one for something that’s worthy of all.”
Depending on what you as a listener define as the success criteria, there are more than just a few highlights. It is evident that they have been honing in on what is Brother & Bones lyrically as well as melodically. The draft or outline for their sound has been polished before their debut album and that is no coincidence. Most bands take the first two records to decode and enhance what their sound is as a unit, as a collaboration, but these guys did it beforehand, and with big majestic sounds and broad lyrics, that is an advantage. There is no sound-confusion to overshadow or take focus from what they’re trying to convey. This is especially present on ‘Everything To Lose’ halfway through the album.
The longest and in my opinion strongest song is saved for last. ‘If I Belong’ is just plain beautiful. It is grand, it is bright and it is gratified. With the words “They’ll string us up for living like we’re young / tie me to the sky I’ve just begun / until I feel the hours fall from my lungs / still keeping on / help me up if I belong.” Rich Thomas and the rest of the guys concludes what is an indisputably solid debut.
Brother & Bones embarks on a UK/European fall tour beginning next week. For more info go to brotherandbones.com
Whether you’re a die-hard fan or yet to experience him, you may well have heard of Frank Turner’s incredible prowess as a live performer. It’s not rare to hear musicians described by their fans as “even better live”, but in Frank’s case it really is true. His recorded tracks are already excellent, but they’re brought to a new, explosive life when Frank, often backed by his band The Sleeping Souls, as he was at The Hippodrome, break out their matching white shirts and black jeans and hit the stage.
This performance was a particularly special one for Frank and co., as they played past midnight into 7th August to ring in the release of their latest album, Positive Songs For Negative People, in perfect style. After some excellent support from “lyrical genius” Chas Palmer-Williams and Americana/folk-punk acoustic singer songwriter PJ Bond, Frank and the band burst onto the stage of the intimate venue with “Get Better”, the meteoric first track released from the new album, which got the highly-anticipating crowd fully pumped from the first chords.
The gig was, of course, a celebration of the new album release, and so the set list was full to the brim with almost every track from the new release. However it wouldn’t be a Frank Turner gig without a few classic favourites, and that’s exactly what came next in the form of the hopeful, patriotic “If I Ever Stray” and “Long Live The Queen”, a grief-ridden but beautifully spirited lament to a deceased friend. Beloved classics – all of which were from Frank’s collection upbeat, anthemic offerings, in keeping with the celebratory tone of the evening – often came sandwiched between new tracks (each and every one of which was as brilliantly written, gloriously performed and gratefully received as the next); after newbies “Demons” and “Josephine” came “Peggy Sang The Blues”, followed by fast-favourite “Glorious You” and top-tappingly rosy “Love Forty Down”.
Perhaps one of the best-received highlights of the night was “The Ballad of Me and My Friends”, a constantly firm fan favourite from Frank’s first album, Sleep Is for the Week, that he’s only recently started to perform again – to everyone’s joy – after several years of leaving it out of his set lists. And, of course, a night in a Frank Turner audience would never have been complete without “Glory Hallelujah”, the perfect singalong track “The Road” and the illustriously raucous anthem “I Still Believe”, of course featuring the tradition of the crowd sitting on the ground a leaping up into a dancing frenzy on drummer Nigel‘s cue. Accompanying these to close the show were “Mittens”, the latest, already hugely popular track to be released from the new album, and “The Next Storm”, a powerful song of hope and anticipation.
An encore quickly came, of course, opened with new track “The Angel Islington” and followed by three hugely popular older numbers; the slightly calmer “The Way I Tend To Be”, the fail-safe dance-inducing “Try This At Home” and the stridently vitriolic and effortlessly fun “Four Simple Words” to close the show on the ultimate high note.
This being the fourth of five Frank gigs I’ve attended, this show had an atmosphere like no other; Frank ran on pure happiness, joyful anticipation and adrenaline as the new album he was clearly (and deservedly) so proud of was released to the world, and the crowd were raised to ceiling vicariously through his elation. Every live performance by Frank is pure glory, but there was something so wondrously unique about this night in Kingston that made it one of the best gigs we, as Frank Turner fans, have ever witnessed.
There is new music from everyone’s favourite weirdo, Mac DeMarco. The mini-album Another One, (arguably more an “extended” EP), came out just over a year after the release of last year’s well-received Salad Days. The album is only 23 minutes long, and while all songs are definitively similar and done in a style where you cannot always tell them apart — something that would normally drag down on his grades — it works. Like fish fingers and custard, it would in theory be wrong but the final result deserves an A+.
The gap-toothed hybrid of Andy Samberg and Noa Deane (this has been an affectionate description more often than not), is known for the peculiar laid-back sounds. He is an eminent guitarist which scarcely comes across on the studio recording of this album. It is his live shows where his records and musings comes to live and roars. In the video for the title track he impersonates Michael Jackson while playing instruments on the water, all done in the homemade video style filmed with a potato. Although this isn’t his weirdest piece by far. Last year the singer songwriter’s private parts were on display in TOPS video for ‘Way To Be Loved’.
Another One is the soundtrack for the late afternoon barbeque on the beach with the kind of friends where your guards are down, or a humid road trip in the late summer evenings. There has always been an undisclosed honesty from Mac DeMarco. Straightforwardness paired with no regards for his surrounds and I mean this in the nicest possible way. Or, perhaps, it is with regards for what he loves and thereby delivers to the world, in a raw format.
On the final track ‘My House By The Water’ Mac DeMarco gives us his address and asks us to “Stop on by, I’ll make you a cup of coffee.” And if this is the soundtrack to a hazy afternoon in his company, my only complaint would be there are not enough songs. I am certain Mac would be a great host for a coffee or five.
10 Best Music Documentaries of the 21st Century so far…
Charles Bradley: Soul of America (2012)
Everybody loves a feel-good story. And this is one to truly warm your cockles. It tells the story of one Charles Bradley and his journey from working man of the American anti-dream to praised soul revivalist. For years Bradley struggled with poverty as he provided for himself and his mother, gigging as a James Brown impersonator. The film joins him just as he has started recording with New York based soul studio Daptone Records, and ends with its acclaimed release. His story speaks of suffering and hardship, but also the ability to overcome.
Searching for Sugarman (2012)
The story of singer-songwriter Rodriguez has now become the stuff of legend; an unrecognized artist of immense talent, a long forgotten relic of yesteryear whose recordings were surely destined to fall to the bottom of a dusty box in the back of a warehouse. Oh, bar the fact that he was actually a multi-million selling artist in South Africa. This documentary shines light on one of the most bizarre true stories in music; How an artist can remain completely unknown in his home country, whilst simultaneously becoming one of the biggest selling artists in another, and not even know it. The film itself unfolds in such a way as to keep you guessing throughout and is a great example of what documentary can be.
Muscle Shoals (2013)
A good documentary discovers a story that already exists but is largely unknown. In the case of Muscle Shoals, it uncovers the tale of one unsuspecting recording studio in the middle of nowheresville, U.S.A, which, behind the screen door, played it’s own significant part in sculpting modern music. Artists to have recorded there included Aretha Franklin, Etta James, The Rolling Stones, The Allman Brothers, Jimmy Cliff… The list goes on.
A film about the great Bob Marley the way it should be told. A well crafted documentary chronicling his life from humble Jamaican beginnings to Reggae/Rastafarian spokesperson for the world. It gives meaning to some of his well known songs and tells of his internal struggles as an artist and a family man. The impact he had and continues to have on global culture is incalculable and this provides good evidence as to why.
Dig! Is one of those ‘right places at the right time’ type of stories. Director/Producer/Writer Ondi Timoner found herself smack-bang in the middle of the perfect storm; two bands on the verge of something big. The Dandy Warhols went on to fame and fortune. The Brian Jonestown Massacre remained in the realm of obscurity. It became a case study into the inner workings of the music industry and what it takes (or doesn’t take) to crack the big time. Timoner stayed with the bands on and off for 7 years, collecting hundreds of hours worth of footage and the result is one of the greatest music documentaries of all time.
A must for any hip-hop fan old or new, Scratch is a crash course in all things hip-hop, covering everything from the Elements, to Turntablism, to Battling. It has interviews with everyone whose anyone in the hip-hop game, both past and present, including; Mix Master Mike, Afrika Bambaataa, DJ Shadow, DJ Q-Bert and DJ Premier. Its a great film not only because of its high-profile guest list, but because of its in-depth look at Hip-Hop which, broadly speaking, is a comparably young genre of music. If you’re looking to get fully immersed in the world of DJs and learn a thing or two, check it out.
A Band Called Death (2012)
2012 seemed to be the year for documentary makers to discover forgotten or underrated acts. Much like Charles Bradley and Rodriguez, the band Death never experienced any real success in their heyday. And much like Bradley and Rodriguez, they should have. Death were a Proto-Punk band out of Chicago formed by three brothers with an unrelenting ethos for making furious Rock n Roll with a mostly political stance. Sound familiar? Only, these boys pre-dated Punk. Had they been more fortunate with studios and label executives, they might have been more of a household name today.
End of the Century (2003)
You don’t get to be the pioneers of a genre and have a career that outlasts most marriages without one hell of a story to match. End Of The Century probes deep the story of punks, the Ramones; why they started making music, how they got their break(s), their rise to fame and their eventual collapse. The film also focuses on the unusually tense relationship between singer Joey and guitarist Johnny. It includes rare footage and interviews with the band and gives real insight as to what made them tick, and what made them explode.
20 Feet From Stardom (2013)
This is the previously untold story of the unsung singers behind some of music’s greatest performers. It shifts the lime light to the back of the stage to grant credit to some of the voices that helped create the sound of songs from the Rolling Stones, Sting, Bruce Springsteen, Stevie Wonder and Ray Charles. It serves as a reminder of the names and faces of talents that go largely unnoticed within the music industry, but that play a major role.
Beautiful Noise (2014)
Beautiful noise was no easy film to make. It began its first stages of production back in 2005 and was completed in 2008. Unfortunately, due to various legal and financial issues, the film sat unreleased for years until a Kickstarter campaign earned the project enough money to be distributed. Then there it was; a documentary that told the story of the often overlooked yet oh-so important Shoegaze movement of the early 90’s. The film focuses on three bands primarily (Cocteau Twins, My Bloody Valentine and The Jesus & Mary Chain) but explores the genre as a whole and discusses its vast influence on the world of music.
Lately there have been a mass of great music videos being released and to be honest I can hardly keep up! Here is a small snapshot of some of the amazing videos that have come out over the last week or so that you do not want to miss, and of course why you don’t want to miss them.
1. The Weeknd – I Can’t Feel My Face
It seems like every time I get in the car lately this song is playing, and thank goodness it hasn’t yet reached the point that the Weeknd’s previous hit “Earned It” did. I never fail to turn this song up and the video just took it right to the next level. Watching the Weeknd bust a move left me feeling some type of way, times ten, and I’m pretty sure all the people in this video felt the exact same way. Who knew he had moves like that? I’m not going to ruin the entire video because of course I’m trying to get you to watch it but, if the first half of this video left you feeling hot just wait until you get to the end.
2. New Found Glory ft. Hayley Williams – Vicious Love
For my second choice I ended up at New Found Glory’s video for “Vicious Love”, which features Hayley Williams the pop-punk princess/ lead-singer of Paramore. Now, New Found Glory is awesome to start but throw Hayley Williams in there and it becomes a match made it tattoo and hair-dye heaven. This video is pretty hilarious due to the way it pokes fun at people getting couple tattoos and it all just going to crap pretty much immediately. The fake beards are also a great touch just for fun because why the hell not, right? I very seriously wish I was in the crowd for this video and would like to formally invite New Found Glory to formally invite me into their next video. This song perfectly explains that not all love is easy, fighting is almost inevitable but it doesn’t mean you don’t love that person more than anything else in this world. But, it also does not mean you should tattoo you partners name on you forever, this video should be enough proof of that. If you still need convincing by the end, hit replay.
3. Disclosure ft. Sam Smith – Omen
I am pretty sure I can speak for a large percentage of people when I say I have been waiting for another Disclosure/Sam Smith masterpiece since “Latch” was released in 2013. I think I can speak for all those people again when I say that I was not at all disappointed by “Omen” or its video. If the club in this video exists in any form I would really like an invitation, yet somehow I think it is strictly reserved for Freddie Mercury reincarnates and Scarlett Johansson look-alikes. But lets be totally real here this joint looks like some kind of Great Gatsby fever dream and the lighting has Sam Smith looking super fine, but everyone knows he is super fine in general. I can’t wait for this song to hit the radio and/or my invite for this club to come in the mail.
4. 5 Seconds of Summer – She’s Kinda Hot
This song has a lot of people wondering is 5SOS is taking Green Day’s spot on the much loved pop-punk scene, and this video might have just nudged them closer into that position. This Aussie foursome has stollen the hearts of millions of girls (admittedly mine as well) and everything they release seems to get better and better. The video has some serious All Time Low vibes and the pop-art animation reminds me a lot of their own video for “Weightless“, which was released back in 2009 (and was also the anthem of life at the time). The 5SOS boys always look like they have one hell of a good time making their videos and it really comes through in this one. Although I’m not quite sure what is going on with the light up float contraption in this video, I can only guess that it is somewhat of an homage to My Chemical Romance’s “Welcome to the Black Parade” because that makes a lot of sense to me. One day I can only hope that I come home to 5SOS singing this song on my porch but, a girl can only dream.
5. The Lighthouse and The Whaler – I Want To Feel Alive
My last but not at all least choice for not to miss videos is, “I Want To Feel Alive” by The Lighthouse and The Whaler. This is one of the cutest music videos I have seen in a while and also Holland Roden has a staring role within it, so of course it makes me love it even more. For those of you that don’t know of Holland she stars in Teen Wolf on MTV (a show of which I am a devoted fan) and she burns it down every week with her insane amount of talent. But, back to the video. This video left me wanting to feel alive and I’m sure it leaves everyone else who views it the same way. It leaves a longing for every summer to be much like the video depicts, full of laughing, friends, fun, love and adventure. Yet at the same time it leaves you nostalgic for the summers and moments that you’ve already lived that consisted of all those things. This song is adorable, the people in the video are adorable, in general it is just a great watch that makes you feel things, so you know, watch it.
The five-piece band from Southend-On-Sea formed in their late teen years circa 2012 and signed with RCA Records already at the beginning of 2014. Which is a no-brainer really, given how fast they seem to have found their sound. Scratch that, they are their own sound. With the textbook of rock music only used on occasion as a mere guideline, the guys have created an atmospheric and distinct texture in their arrangement and songs, making you think you have discovered a band that has at least two full length albums in their back catalogue, given their seemingly experienced sound. Only they haven’t.
Nothing But Thieves consists of Joe Langridge-Brown (Guitars), Dom Craik (Guitars), Philip Blake (Bass), James Price (Drums), and the exceptionally talented lead singer Conor Mason, who most of all reminds me of a 1992 young version of (a less disturbed and drug-free) Joshua Homme, mixed with Matthew Bellamy’s vocal range. He hits the same high notes while making it look like a piece of cake, whereas the deep notes pull the listener into false security, never quite knowing where it take you.
‘Graveyard Whistling’ opened them up to praise from none other than Zane Lowe who spun the record on his 7-9pm timeslot on BBC Radio One. The EP with the same name came out during the summer. Since, they have had great airplay success with a number of songs including ‘Itch’ and ‘Band All The Music’, as well as a Maida Vale session with Annie Mac who took over when Zane Lowe left for Apple Music’s Beats1.
They have a deep seeded rock approach but “that’s the watered down version” if you ask them to pick one specific sound. Dipping into several genres along the way, with a clear direction of arrangements, there are endless number of possibilities, (on hopefully many future albums). This making their career and forthcoming debut album which is out later this fall, a highly interesting thing to watch. If the singles are anything to go by, the record is undoubtedly going to be diverse lyrically as well as melodically. ‘Wake Up Call’ is a stern indie-rock song with a jagged guitar riff, ‘Graveyard Whistling’ has a deeper melancholy feel to it and ‘Ban All The Music’ has a Queens of the Stone Age vibe, but the jagged guitar riffs comes through once more.
At the moment you can listen to an album preview of five songs on Spotify, as well as getting ‘Honey Whiskey’ when preordering from the deluxe album version. While we wait, you can still catch them live on several music festivals. Nothing But Thieves is a well-functioning live orchestra with a ferocity that you would not necessarily find on the band’s studio recordings. Since last summer there has not been many lazy days for the boys. Opening up for artists like Twenty One Pilots, Gerard Way, Darlia and George Ezra, it all culminated last month in Italy with their biggest show so far, being the warm-up band for none other than Muse.
Nothing But Thieves are playing Reading & Leeds festival at the end of August. Their debut album is released on October 16 and available for preorder now.