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Saturday, 22 November, 2008

PLANETNOTION TELEVISION!

CAMERA-FOLK AND FILM EDITORS WANTED!

Planet Notion is looking for guys and dolls to film and edit features for its new TV channel, PNTV. Accompanying Notion to artist interviews, gigs, fashion shows, festivals and international events, you will be skilled, passionate and full of ideas about how to produce shit-hot video content. Camera-folk will be experienced and ideally have their own equipment, or at least access to equipment, while editors must be able to turn projects around quickly, and with stylistic flare. If you can both film and edit content, we would especially like to hear from you! These casual, unpaid positions would be ideal for those looking to develop their showreels, and to get the chance to travel, film major artists and top events.

Please email lucy(at)musichqmedia
(dot)com if you’re interested in getting involved, cheers!

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The Rakes Interview

The Rakes Interview

With all the cockiness and swagger of a wheeler-dealer in an East-end boozer, The Rakes emerged in 2004 to critical acclaim with their indie/rock/punk incarnations. Building a reputation for themselves on lyrics that the ‘kids’ can relate to - subjects including boozing, wenching and working in the dead-end nine-to-five - the East-London four-piece have found a niche close to the hearts of disillusioned youth nationwide. The Rakes are unafraid to vent spleen; highly-opinionated, arrogant and confident in their ability. Nobody is safe from singer Alan Donohoe, whose tongue’s as sharp as a Ramsey steak-knife; whether it’s rival bands, legendary poet laureates or Irish heart-throb Colin Farrell; the man attacks like a lion after one too many Nelson’s. On the subject of heat-throbs and kings of the jungle, Donohoe sees himself as king of the swingers and a jungle VIP, who’s reached the top in both his profession and when it comes to pulling the ladies. The Rakes frontman caught-up with Planet Notion to talk asthmatic singers, romantic drunks and drinking tea. Ladies, down please! Words: Dave Dryden You explore themes associated with the mundanity of life and escapism from the nine-to-five. Do you think such angst is a subject that people can relate to through music? I think that when you write something it ought to have a certain honesty in it, so that people know that there’s something there that you mean. No BS. I find it grating when there are lyrics that try to be so profound and in the end don’t mean anything, just the writer trying to be deep or live up to some expectation that he or she has imagined. Just keep it real maaaan... You’re rumoured to be influenced by various literature… Are books such as George Orwell’s Down and Out in Paris and London and authors such as Charles Bukowski, an influence on your music, and do you think that kind of literature is as important and relative as it was when it first came out? I’ve read a fair bit of George Orwell, but only excerpts of “down and out...” and I’ve never touched Bukowski. I found the whole “I’m-an-outsider-and-no-one-understands-me” theme a load of crap. Leave that to the asthmatic Johnny Borell. I prefer Richard Dawkins and James Joyce. And I fucking hate LA. I think that the slave to the wage theme goes beyond that, that people get fucked and have a laugh, live a life of booze, bets and women, to forget about another days graft… would you agree with that statement and do you think it represents the attitude of society’s youth? It might represent an attitude that most people have but grow out of, as you can’t really keep it up for too long before you decompose, inside out. Then you realise that living in a hangover for a few years isn’t as good an idea as the romantic drunks would have you believe. It’s far more satisfying to have your head screwed on and do something productive. I read that Colin Farrell has “Carpe Diem” tattooed on his arm. What a cock. Okay, but do you still relate to those topics, that slant that comes across in your lyrics given the fact that your music has taken you beyond the whole theme explored in many of your songs… beyond the nine-to-five day job? I can still relate to them to a degree; I still get up in the morning, drink tea, and have stuff to do, but no longer feel the desperation of earning little money in a job that makes you feel like a lobotomised Jack Nicholson. You’re regarded as strongly for your fashion sense as for your music… How would you respond to those that believe donning brand-name clothing is against the grain of what your music stands for? I know what it’s like to earn just enough to pay the rent and bills, so if someone offers you work that means wearing a top you wore anyway for what was three months wages not so long ago, and you can sit there looking beautiful, then of course I’m gonna do it. We don’t all have the luxury of having millionaire parents to pay our bills, and now I can boast that I’m a rockstar aaaaannnnd a model. Ladies, down please! Our music doesn’t stand for anything, it’s just sound. Leave that to Rage Against The Machine. You get paid to do a festival, and you get paid to wear a top - give a shit. What can we expect lyrically from your next album? Will the same themes be discussed as on previous albums, and if you’re branching out to discuss new topics where has the inspiration come from? I don’t know… We’ve written about three or four songs already and they’re mostly about sex. Tell us about your live performances… pretty manic affairs. Some bands prefer the studio-work to performing live and see it as a chore. What’s your feeling towards playing live and recording in the studio, and any tales of debauchery to tell? You get bored of both (touring and recording) after a while. Tales of debauchery? One time, I ate three bananas in a row - before midday! Pretty hardcore… What about the download boom that seems to be spreading it’s tentacles around the world at the moment - what do you make of it? Do you think that vinyl and CD are ever going to die a death? Brendan Lynch, producer extraordinaire, has a theory that the musical purists will stick with vinyl, as it’s an analogue representation of the real recording -the closest you’re ever going to get to really being there, and MP3’s will proliferate due to their convenience and because everyone’s got an iPod. But, I mean, a Sony Walkman and CD’s will disappear. Radiohead releasing ‘In Rainbows’ in the manner they did was a pretty bold statement. What do you make of rumours that record companies will become a disposable commodity? Funnily enough, our record company just got pulverised by a Goliath major record company and we’ll be moving home onto a smaller “independent” label soon. I think even if you have the technical ability to record music yourself and know how to publicise it so you can let a lot of people know of your stuff, you still need a record company; If only to take you out for the odd free drink and meal. I’d be interested to know the last time Radiohead all got taken out for a free meal. It’s likely that they have people sorting out the whole project, which in a sense is like having a record company. I doubt Mr. Yorke coded the whole website and engineered everything; band’s need to focus on the music and delegate the boring stuff to a lower minion. It’s likely that only a band as big as Radiohead could get away with releasing their album like that. Finally, any plans for the future and anything you want to add? Our plans are to release a third album, tour Australia, learn “Fur Elise” on piano and insult more bands. The Rakes are currently promoting walkmanproject.com – a new interactive site which lets you collaborate with musical talent from across the world, by mixing up different musical components to create your very own multi-instrumental track, which you can then download for free. www.walkmanproject.com

tags: | the rakes | alan donohoe | george orwell | charles bukowski | richard dawkins | more...

Metronomy Interview

Metronomy Interview

Splice a dog with a cat and chances are you’ll emerge with a creature that runs in circles; sleeps, wakes-up and runs in circles. Simple logic. Metronomy have built a reputation for themselves on simple logic. Very simple logic. Produce the kind of music that you love, hold precious, dear and have a passion for and chances are that others will feel the same. The self-professed “electro-garage” outfit, led by Joseph Mount, have had their talents recognised by the new Sony Walkman Project, collaborating on a short film where Joseph describes the process behind his music. The Walkman Project is a website allowing those with a Metronomy-like-passion for producing and mixing music to do just that; share it with people worldwide and even mash-up some of their tunes. If the excitement of the Walkman Project wasn’t enough, Metronomy also have new album ‘Nights Out’ due for release in March. Taking a breather from his heavy schedule, Joseph caught-up with Planet Notion to discuss Chas and Dave, the musical tastes of old Devonshire folk, and Dystopian Sci-Fi films. Metronomy have gained a reputation for their remixes… why do you think it’s important to bridge a gap between electro and other forms of music? I never thought it was necessary to bridge that gap. If it seems like I try to bridge it then that's a by product of what I do. I've only ever made the music that I feel excited about making. I've been influenced by all kinds of music throughout my life. I don't just listen to electro and I don't just listen to guitar bands; I guess I'd be misrepresenting myself if I just made standard electro or pigeon holed myself into any particular genre. The Walkman Project offers people the opportunity to blend different songs and musical components together… and you use MySpace to release exclusive material as well. How important is the internet becoming to the future of music? I think the internet is already incredibly important. People don't find out about music in the same way as they used to, nor do they listen to it in the same way. Although I've given away exclusive tracks through MySpace I still think it’s very important to own music and albums as physical objects... I think it would be a very sad thing if Vinyl and CDs disappeared for the sake of people freeing up a bit of living room space. But on the strength of the internet in the current music scene, do you think CD and vinyl will ever die a death? Or are they still an important commodity? I really think young people might be missing out if they don't own CDs and Vinyl, because I remember how important records I loved felt and looked. I'd listen to ‘Road to Ruin’ by The Ramones, look at the cartoon on the front, and constantly read the tiny amount of writing on the back. I still have that record now and it means so much more to me than any mp3 ever could. Although you can't see it, music is a physical thing; it moves through the air, vibrates your eardrums and effects the way you move. Things like Vinyl, CDs and album artwork can add a tactile quality to music which mp3's can never offer. Would you say that all forms of music have the credentials for remixing? For example, would you ever consider mashing some classic blues, say, John Lee Hooker, with a modern twist… or maybe remixing some Chas and Dave? I'm not sure there's much someone like me can bring or add to a John Lee Hooker song. You just need to look at that Moby record to realise what a waste of time it might be. One mans modern twist is another mans bland, home makeover program, mosaic. Chas and Dave might be good for a laugh though. Tell us about your film work for the Sony Walkman Project website… what’s it all in aid of, for those that don’t know, and what’s your role within the project? In the film I wanted to show a little bit about how I write my songs and how I do it in quite an unconventional way. I'd like to think I might inspire people to give stuff a try themselves. The one amazing thing that technology and the internet can offer at the moment is a platform for young musicians to be heard, however experienced or inexperienced they might be. What were the influences behind first LP ‘Pip Paine (Pay The £5000 You Owe)’, and did the alternative crowd and hippy-chic residents of Devon’s Totnes have a major influence on the album? There are all kinds of influences behind that album. I was listening to all kinds of music at the time. Frank Zappa, Aphex Twin, LFO, Talking Heads, Les Rhythms Digitales and Kraftwerk are just some of them. But, Totnes did have a big effect on the record...maybe not in a positive way though. Totnes has a non-existent music scene; kids listen to drum and bass and middle aged folk listen to whale song. When I started writing music I was reacting against that as much as anything. You incorporate a vast array of instruments into your music. The saxophone being a prime example… Explain why and how the inclusion of different sounds from percussion, brass and keyboard improves Metronomy? I suppose it's a matter of opinion as to whether it improves the music or not. But it's just the way I do things really; in my opinion it adds texture to the sound and gives it more depth. Do you feel the band have progressed and improved since the arrival of Gabriel and Oscar as permanent members, and if so, how has their inclusion helped to shape Metronomy into a finer specimen? Gabriel and Oscar are an irreplaceable pair. Although I’m still writing the music alone I now feel more like I’m writing for a live band, and feel that Metronomy has become a band now instead of just me. Thanks to the boys Metronomy is now and are now a good, well traveled live band. When you consider the number of songs that have been remixed by Metronomy, from acts as vast as Britney Spears and U2, why is it that you’re rumoured to dislike having your own material messed with, and is there any truth to this claim? That sounds like internet talk to me. I will be having songs remixed on the forthcoming singles. Basically, I only like remixers that really care about what they're doing. I can honestly say that I have got really involved in all of my remixes. If I’ve not got anywhere with one I will tell whoever it is that I’m giving up. That doesn't happen that often. Having such a vast sound in your music, how would you describe it? Would you say that it’s electro-pop, for example? I think the favourite description I’ve heard is Garage Electro, by that I mean garage rock and electro. I think there's a DIY element to the music that's more in line with punk than most sheeny electro. However, I wouldn't deny that I think I’m writing pop songs. I'm just making the music that I’d like to hear, so it sounds like all kinds of things because I listen to all kinds of things. Your performance at the Reading festival received glowing press reviews, and was described as one of the highlights of the dance stage. Do you think it made many people more aware of your scope as musicians, and how was it to perform at one of the UK’s most popular festivals? Reading was an amazing day, it felt like such a big deal to play at. Me and the boys have all been there to watch bands before and to actually perform there was a dream come true. I'm happy that we were considered a highlight, especially as our live show seems to polarise people so often. I'm not sure if the live show really shows off our scope as musicians. I taught myself how to play keyboard and guitar and am not that advanced at either instrument. The things I write for Oscar and Gabriel don't show off their talents to the highest. For that you should see Oscar perform ‘Golden Skans’ on his Yamaha and Gabriel play some Level 42 with his massive thumb. What can we expect from the follow-up LP, due out in 2008? The album will be called Nights Out. It's due out in March and will be a much more concise record than the first. I've also started singing on a few tracks. Dystopian Sci-Fi films have been quite a big influence on the music, as have the many club nights we've played. Metronomy are currently promoting walkmanproject.com – a new interactive site which lets you collaborate with musical talent from across the world, by mixing up different musical components to create your very own multi-instrumental track, which you can then download for free. See more info please go to www.walkmanproject.com

tags: | metronomy | sony walkman project | joseph mount | nights out | more...

RZA Interview

“Ay yo the Wu is back, making niggaz go BO! BO!, like on Super Cat!” – Wu-Tang Clan Ain’t Nothin Ta Fuck Wit Wu-Tang Clan bring the multi-task myth crashing down like a large oak to a lumberjack’s axe. As well as being Mafioso hip-hop extraordinaires, members have had a tipple in fashion design, acting and writing screenplays. Ha-hey, blokes can do two things at once after all. The New York rappers have now finished work on their highly anticipated fifth album ‘8 Diagrams’, the title stemming from the lads love of 1983 Kung-fu hit Eight-Diagram Pole Fighter. The album features all the surviving members, as well as unreleased material from the late ‘Ol Dirty Bastard, and collaborations with other dust-funk luminaries such as P-Funk legend George Clinton and Q-Tip. On the subject of Kung-Fu, and with 8 Diagrams due out on December 10th, we caught up with Wu-Tang member RZA to discuss Afro Samurai, the Japanese anime project the rapper and producer worked on. With enough claret to fill Beth Ditto’s belly-button, mountains of action, and a musical score from the Wu-Tang legend, this is one bad-ass mo-fo of an anime film. Having produced the musical score for Kill Bill Volume’s 1 and 2, RZA is no stranger to writing film scores. The hip hop legend took time out to discuss his experience of mixing music with a love for anime. So RZA, what made you want to get involved with this film? I’ve always enjoyed animation, and always wanted to put my own stamp of music into a project like this; helping to bring the viewer through the story with the music I’d created. How did your approach differ in the studio, making music for a film rather than music to support itself? There is no real difference in the approach, only that one is going to vinyl and the other is going to film. The music still needed to be able to support itself without the visuals. Did you write the soundtrack in tandem with the film or after the film was completed? The music was created in tandem to the film. As they created Afro Samurai, I created, so that there was a harmony between both the music and the film. Would you or have you ever gone to the cinema alone? Yes, I enjoy movies and going to the cinema. Going to the cinema is my break from everything else, it’s a great escape. What’s your favourite film? That’s a hard one to answer; because there are so many films that I love. I can’t really say I have a favourite, there’s just too many that I like. Should all music be cinematic in the sense of generating imagery, or is it important for you to separate the audio and the visual? Music has always generated imagery, and that is before film, because music is story telling. And when it is created on a cinematic level the audio becomes important, meaning that people will pay attention more because the audio fits with the scene. When the scene is no longer there for them to view and they hear it again, they get it without the visuals, so there is a separation from audio and visual. If there was to be a film about the Wu Tang Clan, what genre would it be ? That’s easy, an action drama film, with me playing myself. Afro Samurai, film of the hit American TV series, is now available as a two disc Director’s Cut DVD, containing extensive extras including commentary on the voice recordings, the characters and creation of the original sound track. Afro Samurai, the story of a man’s quest to avenge the death of his father, stars Samuel L. Jackson, Ron Perlman and Kelly-Hu. Afro Samurai is priced at £19.99. 8 Diagrams, Wu-Tang Clan’s fifth studio album, is released on December 11th. Words: Dave Dryden

tags: | rza | wu-tang clan | 8 diagrams | afro samurai | eight-diagram pole fighter | more...

Plastic Little Interview

Plastic Little Interview

Britain . Buckle your doors; border your windows; weep into your tin of economy beans. It seems that Armageddon is upon us. We are a nation in continual fear; global-warming scaremongers shovelling paranoia down our gullets like a ten-joint marathon, not to mention crime rates and MRSA. Thank goodness help has reached our trembling shores… thank goodness for hip-hop quartet ‘Plastic Little.’ The transformation from national melancholy to happiness was long overdue and they have duly delivered. Take new single ‘Dopeness;’ one of the funniest hip-hop songs to have come out of 2007. Horrifying yet strangely engrossing – it’s a video you feel uncomfortable watching but can barely take your eyes off. Akin to snorting copious amounts of Ketamine and staring at a grain of sand for forty-hours… ‘Dopeness’ is the ultimate K-hole experience. Hip-hop has been turned on its head and spun violently around; a punch thrown equivalent to a circus clowns. They’ve made a scene high in macho-brutality into one of sex-fuelled testosterone, with hilarious consequences. Okay, so hip-hop has always featured a sexual allure and has always been… well… sexy. But ‘Plastic Little’ talk about screwing the way an old boy down the battle cruiser talks about football. It’s a passion; a fascination; think Russell Brand and times by four. The nature of their lyrics and their delivery has bridged a gap between bad-boy crews of the ghetto and middle-class geeks alike. A very rare thing indeed. The lads caught up to chat about big collaborations, genies in a bottle and sex with spreads following a blinding London tour. Stick a vulture in the same room as a toucan, and you can see the differences. But both have feathers and make shit loads of noise. What sets you guys apart from one another? What sets us apart? We all have bigger penis’ from one another. You’re a fun loving punanni loving bunch of fellas – which is apparent in your lyrics. How important is it to have a good time with your music? Very – having fun while you're doing shit is most important. You should have fun while you’re doing something you shouldn’t be doing… that’s our motto. You’ve bridged a gap – so to speak, between hip-hop shakers and indie-rockers alike. Is it important to have a fan base ranging from kids with attitude to Star-Trek fanatics? Very – it’s super important. It’s hard to make rap music that fans like, especially if you put out what you like – but something has to give at some point. We love the kids’ attitude towards music and life though. We have a thing for real socially awkward nerds – not cool geeks but real geek geeks, the ones that know a lot about music but are still gimpy; all good. Sex Pistols summed up a generations pent up frustration at the establishment and Barry White’s music was the epitome of love making. What kind of situations befit your music, and would you say the Plastic Little sound is good to make love to? Well if you don’t want an abortion when you wake up, then yes. Give us a lesson in history and where Plastic Little’s journey began. Ok we’re gonna keep it real simple - we started out in 2001 –in the summer of 2001, and just evolved like kids do over time. This was all pre 9/11 by the way, and then we just got loads of material after that. You paid homage to The Smiths with the cover to She’s Mature, are you a fan of the Manchester favourites, and do you guys have any guilty music pleasures? Guilty music pleasures? Hmmmm… we Love the Aladdin soundtrack… yeah, and Scatman. Oh, and the LFO summer girls – check it on YouTube. ( http://www.youtube.com/watch?v=NHuGG_FsC20 ) Tell us about Crambodia, and how it was to work with luminaries such as Ghostface Killah and Amanda Black. Surely there’s some tales to tell? Amanda is our home girl you know? She records that shit and nails it out – we knew her shit would be hot, and it’d be hot working with her. Ghost face? Having him on any track is dope! I had a poster of ghost face on my wall, from about 4 years ago, and I drew myself into the poster - so to have it on our track was, WHOAH! The hilarious video to Dopeness features male birth, a subject matter dear to my heart. I loved that Schwarzenegger film Junior. Where did such inspiration come from? To be honest we have a Crazy director who does all our videos called Ted. He just came up with this crazy shit and we thought it rocked. He was like I got this idea where you’re all giving birth to each other and all the ideology of that shit – it was deep. I’m curious to know how the giving birth effect was created. Were your ball sacks proudly on display and dubbed out in the computer room? If so, were the nurses actually fondling your manhood in the video? No, unfortunately not – they came close to touching though. Narr – I’m just foolin. The director made these vagina underwear shorts with hair and shit and we had to stick our heads through a giant-green screen vagina. All the red stuff you see was molasses and corn syrup and red dye. Many a man can hold their head up high and say that Dopeness is a tune that symbolises that Bruce Banner surge of energy we get when the female of the species enters the equation. Are there any particular stories relative to the track that you care to share? No... no tails on tour. No stories at all really – ‘Dopeness’ was just inspired. We just had this beat and a whole load of crazy ideas we all put together. We Like having sex just as much as the next guy, it’s just we get to rap about it. I guess we’re lucky mother fuckers. It seems you guys could probably make a sick beat out of anything put your way. Are there any music styles you wish to experiment with in the future? A touch of classical perhaps… or a sprinkle of country? To be honest I have a friend who wants to teach me how to sing opera… I’m gonna do it. What’s your opinion of the current hip hop scene? Do you think everyone should cheer up a bit? Yeah, why not? Calm down dawg - the world is always ripe with conflict – singing about it won’t change anything. That’s the thing right… the world’s always been the same. What does the future hold for plastic little? Is it wet and juicy, or dry and flaky? Wet and juicy baby– like having sex with marmite! Plastic Little’s debut album “She’s Mature” is available now: www.shesmature.com Words: Dave Dryden

tags: | plastic little | dopeness | shes mature | crambodia | ghostface killah | amanda black

Gallows Interview

Gallows Interview

Tackling social issues with all the ferocity of a rampant Rhino, Gallows are a band unafraid to raise the often controversial questions affecting today’s youth. From date rape to street violence, they deliver the answers through spilt claret, venomous spit, and an unflinching attitude not seen on the mainstream circuit since punk’s heyday in the seventies. The toast of South-by-Southwest, a storming show at Reading Festival, and a critically acclaimed debut album behind them; bass player Stuart caught up with Notion to lay bare head collisions with monitors, collaborations with Lethal Bizzle, and their growing reputation as the UK’s most exciting and interactive live band. · What influences beyond punk/hardcore are prominent in Gallows music and attitude? WE LISTEN TO ALL KINDS OF MUSIC AS LONG AS IT’S DEEMED GOOD BY US, FROM PHIL COLLINS TO DEADGUY. EVERYTHING INFLUENCES US. EVERYTHING, TO SOME EXTENT. ALL THE SHIT MUSIC AND ROCKSTAR CUNTS JUST INFLUENCE US TO PLAY HARDER AND WITH MORE PASSION. · In three words, what does your debut album bring to the current music scene? WAKE UP CALL. · In a world where Johnny Burrell can have a number one album, what state do you think the UK music scene is in? IT’S IN A SHITTY STATE AND HAS BEEN FOR YEARS. I DON’T LISTEN TO JOHNNY BURRELL’S MUSIC, SO CANT COMMENT ON THAT ONE, BUT THE UK MUSIC SCENE IS TOO SAFE. BANDS ARE HAPPY TO JUST BE CARBON COPIES OF ONE BAND THAT DOES WELL, OR TRIES TO SOUND LIKE SOME AMERICAN, WATERED DOWN VERSION OF A SUCCESSFUL BAND. NO ONE IS TAKING MANY RISKS THESE DAYS. · Though worlds apart, both draw on the depravity of a town - was Come Friendly Bombs directly inspired by the John Betjeman poem Slough? IN SOME WAYS YES. OBVIOUSLY WE LIFTED THE TITLE FROM THE POEM AND THE SONG IS ABOUT FRANKS EXPERIENCES OF SLOUGH. IT’S A FUCKING HELL HOLE, WHICH I THINK WAS BETJEMAN’S POINT TOO. · Your popularity continues to grow, having had a busy few months on the festival circuit. How are you responding to the mounting attention cast upon the band? WE JUST IGNORE IT AND GET ON WITH TOURING. THAT’S HOW WE RESPOND, BY NOT REALLY PAYING ANY ATTENTION TO WHAT GOES ON OUTSIDE OUR CIRCLE. IT’S NICE PEOPLE ARE LISTENING AND PAYING ATTENTION TO OUR RECORD AND SHOWS, THAT’S ABOUT IT. · You were the toast of South by Southwest – how important is it to you to break America? FAIRLY. WE WANT AS MANY PEOPLE AS POSSIBLE TO SEE OUR BAND AND THEN BE DISSATISFIED WITH THE MANY BANDS THAT APPROACH THINGS HALF HEARTEDLY. · After recording and playing live with Lethal Bizzle, do you have plans for any other collaborations? Are you interested in working with other artists, or does the collab simply stem from Frank’s passion for Grime? NOTHING PLANNED AS YET, BUT WE ARE OPEN MINDED ABOUT FUTURE COLLABORATIONS. IT WAS GREAT TO WORK AND TOUR WITH LETHAL BIZZLE, A REWARDING EXPERIENCE ENTIRELY. · You’ve been compared to the Sex Pistols and The Clash, because you’re songs confront social issues in a similar way. How important is it to tackle social issues such as date rape and violence through your music? IT’S EXTREMELY IMPORTANT TO US. IF YOU AREN’T SAYING ANYTHING YOU MAY AS WELL SHUT THE FUCK UP. WE’LL LEAVE IT TO OTHER BANDS TO SING ABOUT BEAUTIFUL GIRLS AND GETTING HIGH. DON’T GET ME WRONG, WE ALSO HAVE SONGS ABOUT PARTYING AND GENERALLY BEING DICKHEADS AT TIMES, MAKING BAD DECISIONS, BUT SOCIAL ISSUES, ESPECIALLY DATE RAPE ARE THEMES OFTEN IGNORED BY THE MAINSTREAM BANDS AS IT’S A TOUGH PILL TO SWALLOW. BANDS FROM THE SCENE WE CAME FROM IN HARDCORE, TACKLE THESE ISSUES IN THEIR SONGWRITING FAR MORE OFTEN. IT’S AN UGLY AND UNCOMFORTABLE SUBJECT, BUT SO IS PUNK ROCK. THAT’S WHY IT’S A BEAUTIFUL THING. · You could be said to have a confrontational attitude to your audiences - how important are the audience to your live experience? WE LEARNT VERY EARLY ON THAT A LOT OF AUDIENCES CAN BE APATHETIC TO THE BANDS IN FRONT OF THEM THAT THEY’VE PAID TO SEE. OUR CONFRONTATIONAL STANCE IS SO WE CAN’T BE IGNORED, AND LIKE US OR HATE US, PEOPLE HAVE TO LISTEN TO US. WE THROW A HUNDRED-AND-TEN PERCENT OF OUR BODIES AND ENERGY INTO OUR SHOWS, AND PEOPLE CAN AT LEAST SEE WE MEAN WHAT WE’RE DOING. I ENJOY SHOWS A LOT MORE IF THE AUDIENCE ARE RECEPTIVE AND FEED OFF OUR ENERGY AND LOSE THEIR SHIT, BUT WE STARTED PLAYING TO CROWDS OF KIDS WHO DIDN’T GIVE A FUCK ABOUT GALLOWS AND WE WILL CONTINUE TO IN SOME PLACES I IMAGINE. · Your performance at the Reading Festival was described by many as your best to date. How was it to play at such an esteemed event, and what made it so special? IT WAS GREAT TO PLAY THERE, IT WAS A MILESTONE FOR US AND WAS GREAT TO COME BACK TO A RECEPTION LIKE THAT AFTER BEING ON TOUR IN THE STATES FOR SO LONG. IT WAS MADE SO SPECIAL BY THE FACT A LOT OF OUR FRIENDS FROM OTHER BANDS WERE PLAYING THE SAME STAGE AND WE HAD OUR FAMILIES AROUND US ON HOME TURF. · What’s the story behind Frank’s head wound during the Stoke gig recently? KID GETS ON STAGE, SINGS ALONG WITH FRANK, FRANK LOSES FOOTING, FRANKS HEAD COLLIDES WITH CORNER OF MONITOR, FRANKS HEAD EXPLODES IN A CLOUD OF CLARET, FRANK GOES TO HOSPITAL AND GETS GLUED BACK TOGETHER. TOUR CARRIES ON AFTER A COUPLA DAYS. · Frank described the band as a hobby, and that being a tattoo artist was his ‘life and job.’ How do you think Gallows will be remembered when the band eventually call it a day? A BAND THAT PLAYED SOME COOL SHOWS, GOT SOME ATTENTION FOCUSED BACK ON UK BANDS AND MADE AT LEAST ONE GREAT RECORD. OH AND SOLD OUT BY SIGNING TO A MAJOR. · What can we expect from Gallows in the future, and are their plans for a second album? WE WILL HOPEFULLY STAY TOGETHER LONG ENOUGH TO RECORD A SECOND RECORD AT LEAST AND TOUR SOME MORE AND MAYBE, AS RIDICULOUS AS THIS SOUNDS, HAVE SOME TIME AT HOME FROM TOURING. BUT SO FAR, I’M ENJOYING IT, WE ARE A BAND OF BROTHERS AND THERE’S NOTHING BEEN THROWN AT US YET THAT WE HAVEN’T BEEN ABLE TO HANDLE OR SHRUG OFF. TOUCH WOOD. The Gallows debut album, Orchestra of Wolves is available on Epitaph Records. The lads Taste of Chaos tour hits UK waters on November the nineteenth, kicking off at Guildhall, Portsmouth, and closing at Brixton Academy on the 28 th . Words: Dave Dryden

tags: | gallows | johnny burrell | john betjeman | slough | orchestra of wolves | more...

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