Showing posts with label Rock and Roll. Show all posts
Showing posts with label Rock and Roll. Show all posts

Tuesday, 17 September 2013

LAZY INTERVIEW #13: THE ORWELLS


← #12: CORY JREAMZ #14: CUUSHE →

Currently, recently and of late I have been having a small love affair with The Orwells, a five-membered band which is a rising punk rock star right now. There's a lot of interest in them. That's no surprise. Having released a debut album last year, one EP at the start of summer and another, Who Needs You, at the end of summer, this string of releases is catching the attention of everyone who has a penchant for the young energy of The Orwells' raucously raunchy music.

I went to go see them live last week, which was an experience that showed me their recorded songs - as good as they are - cannot match the furious frenzy of their in-the-flesh renditions. I really do recommend that you go and see them, if you can of course. It's something that injects the soul with the spark of punk spirit that The Orwells' crashing boom bang sound creates. It was fun. And on top of that, they were extremely kind enough to take time to answer the Lazy Interview questions. What gentlemen!



Who are you? Where are you from? What do you do?
 We're The Orwells, we're from Chicago, Illinois. We play rock n' roll music.

Why did you decide to start creating music?
 It was one of the only things we weren't horrible at. And it gave us something to do on the weekends.

How would you describe your sound? What makes you and your style stand out?
 Youthful. I think it's our energy that makes us different from the rest, when we play live, having a good time comes before performing well.

Is there a perfect time and place for listening to your music?
 When you just got suspended from school.

What inspires you most when writing a song?
 Thinking of being on stage with each other playing it to a crowd of people. Finding the connection between all five of us.

What is your most memorable musical experience?
 Hearing The Stooges' 'I Wanna Be Your Dog' for the first time. That song put the band on the path we're currently still venturing down.

What are your favourite three songs at the moment?
 The Virgins - Travel Express
 Ty Seagall - She Don't Care
 Bob Dylan - She's Your Lover Now

Who do you most admire in the music world?
 The Replacements.

In your opinion, what is the future of music?
 Rock n' roll will take over this planet again. Mark my words.

What's the future of your music - what do you hope to do next?
 Keep making different sounding albums. See how far we can push the walls to our box without breaking them.

What, aside from music, is most important to you?
 Family, cheese fries, and baseball.



In some ways, the most important thing that's said here is the word "youthful" - it's what they are most known for. But that's only in some ways. However, it is definitely something that makes them stand out. Their songs are bursts of irony, vents of frustrations, slightly morbid explosions - things that, more often than not, come from young minds. Putting that kind of stuff on a record is easy enough, but to play it with even more attitude, energy and aggression onstage - as if your life depended on it almost - is something that isn't easy to replicate every time. In that sense, they're very genuine.

It all seems to be about the live performances with these guys. They would prefer to have a "good time" over "performing well", but often if you don't think about performing at all, and just enjoy yourself, things go more swimmingly than you'd imagine. Simply by trying to have a fun time, trying to connect with each other, and always thinking of that live sound, The Orwells - in their muddle of youth as we all are - become more philosophical than they perhaps expected they'd be perceived: they are about the NOW. People may gloss over a band like The Orwells with a just-another-punk-band cynicism - for me, however, they put noise to all the wordless exclamations of our generation. Plus, cheese fries - or cheesy chips as we know them here in the UK - are very important.

As for their prediction of rock 'n' roll taking over the planet again... I've never really thought about that but, in a time where dance music is dominating popular music, the switch back to guitar-based music could be closer - and more angry - than you think. Watch out world.



← #12: CORY JREAMZ #14: CUUSHE → - - - - - - - - - - - - - - - - - - - -
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Saturday, 1 June 2013

SUMMER TWINS FORGET ME // I'M NO GOOD

Somehow, strangely, I have never heard of Summer Twins, or rather I had never heard of them until a few weeks ago. I saw their name, and photo, on a poster for a tour they were doing in Japan. I can't remember who was supporting on that tour, but it was probably someone I wrote about around that time. Anyway. That's just it: why are two girls, twins no less - Chelsea and Justine Brown - from California known more in Japan (presumption) than elsewhere? Strikes me as a little strange. But then again, didn't the Beatles try out their stuff in Germany first? I don't know.

In any case, Summer Twins are a duo (joined by an additional guitarist and bassist in concert) who make music with a doo-wop cheesy Americana 50s-60s feel, sometimes more rocky and up-tempo than others. It's melodic and romantic, cute and heart-wrenching, the kind of stuff that Best Coast would do minus the lo-fi and minus the distortion and less negativity. I think, anyway.

There are two songs from the Brown twins this time, both hot off the press and both from their upcoming Forget Me EP, out 4th June on Burger Records. I can start with the title track, 'Forget Me'.

With a pitch-bending, surf rock style guitar, the song begins and soon warps into a ballad with a catchy, toe-bopping guitar melody. The rhythm guitar echoes with nostalgia, as do the backing vocals and the main vocals themselves especially when they sing "I'm trying to forget you, so forget me" - it's magical stuff. Wobbly guitars stand in for tears as the drums beat a pattern around the emotion of the song.

It's definitely by-the-beach, drenched-in-sun kinda music, soaking retro Americana, big-bodied guitars and horn-rimmed glasses and pastel colours. All that. Next single from the EP, and the B-side to 'Forget Me' is the end of night sweetheart crooner, 'I'm No Good'.

From the beginning of this song with its opening lines "I'm no good / I'm no good for you..." it's clear what direction it's going in. It has such a cute doo-wop kinda sound, the vocals being somewhat more heartfelt than in the upbeat 'Forget Me', although it's broken up with a singular jagged break in the sound where the drums thump together with the guitars. The main guitar melody is a warbling arpeggio, backing vocals suitably softened like muted spotlights on a packed slow-moving dancefloor, everything in a 3/4 or 6/8 (whatever) waltzing rhythm, hands around the waist of an partner, prancing around the room. That's what this song is.

It's cute, I like it.

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Saturday, 15 December 2012

FLEETWOOD MAC OH WELL HAIM COVER

Not only is the original of 'Oh Well' by the immortal Fleetwood Mac - whilst Peter Green still fronted - an absolute belter and indeed one of my favourite Fleetwood Mac songs (though it's strange to say because it's such a different style to, let's say, 'Second Hand News'), it's also been done fantastically well by the quickly rising sister-act Haim as you will see in the video below.

In fact, you might have already heard them cover this song if you listened Zane Lowe's show on BBC Radio 1 earlier this week (they did a very nice 3-track session over at Maida Vale studios). You might want to have a look at and a listen to the BBC version because it's obviously better quality than this one, which has just been filmed from the crowd at a random festival. Hmm. On second thought, it's a little dismissive to say 'random festival', so let's get specific: it's at the Twilight Series 2012 on Santa Monica Pier. Imagine that!

So anyway, without further ado, I present to you Haim live with their cover of Fleetwood Mac's brilliant 'Oh Well'.

They do this song to virtual perfection, note for note and beat for beat, it's nearly exactly the same as listening to the original - complete with the quirky rolls on woodblocks. The song steams ahead, the trio of girls rocking out onstage and for the most part it reveals a side of Haim that certainly I didn't know existed: full-throttle rock and roll. I've yet to hear an original song that ploughs waters as turbulent as those of 'Oh Well', but I do hope they write something similar to this because it's pure brilliance. Of course, they give a song an extra dimension, mainly in the vocals department, obviously swapping male for female vocals that lend the song a... sensual swagger? Is that ok to say? If it is, then I'm going with that. If it's not, then it's just different in a 'female way'.

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