John Wilson interview

You're now an annual highlight of the BBC Proms, which you played recently. How was the experience this year?
It's always the highlight of the year for us, really. We've played the Proms for the last five years on the trot and each year the audience gets more enthusiastic. The only problem is that this increases the pressure each year as the audience has higher expectations.

Is touring something you enjoy?
I love the tours because we get a chance to play in every city in the country and we get to meet people that can't come to London. Also, as an orchestra, we get to play so many nights in a row so it gives us a chance to get really into the music. It's a great atmosphere on the road – like a party.

Do you have any difficulties travelling around with such a big orchestra?
I don't have to deal with any of that – it's all up to the orchestra manager. The logistics of it are a nightmare, though. It takes a whole year to organise. Luckily, everyone in the orchestra is a pro – they all know what they're doing. We've only had one car crash into a ditch.

You're playing the Royal Concert Hall in Nottingham. Do you have any fond memories of the city?
The Concert Hall is generally reckoned by the orchestra as the best in the country. We had a survey between us and we all agreed it was the best. It's an amazing venue with an amazing sound. I don't know if the people of Nottingham appreciate that.

This tour coincides with the new album, Cole Porter In Hollywood. What is it that you appreciate so much about his music?
There are a handful of songwriters in the first half of the 20th century who wrote nearly all of the most important music: Cole Porter, Richard Rodgers and George Gershwin, just to name a few. I've always loved Porter's music because he's a very stylish, classy composer and he wrote all of his own words. Ahead of making this record and doing the tour, I had to look much deeper into his repertoire – not just at the songs I knew, but those that I didn't. His level of invention and craftsmanship is so high right through his entire output. So on this CD you've got the songs that everyone knows, but also stuff that's been neglected that shouldn't have been.

How important do you think these classic songs are to the Hollywood films themselves?
There would be gaping holes and no colour in the films without these songs. I think the songs are the most important elements in the films, especially the earlier films which are a load of songs strung together with witless plots.

How special was it to record the new album at Abbey Road?
I have to admit to taking it for granted because all of our records have been recorded in that studio and I've been working at Abbey Road for 20 years now. We work there because it's the best room in the world to record that sort of music. It's got perfect acoustics, it's not too big, we're in Studio Two where The Beatles recorded – it's incredible. I've even recorded there with Paul McCartney for the 20th anniversary of John Lennon's death, so I've got fairly strong feelings about that particular room.

Do you have a favourite track off the new album?
I really like the Overture from High Society because it's a bit of a workout for the band and I think in that one piece it captures the sound of that whole lost world.

On this album you've also worked with a number of vocalists. Does it become a different challenge once you incorporate a singer?
Yeah, you've got to be sympathetic to the human voice and you have to make sure they get the support they need.

You've already restored a lot of classic film songs for your orchestra. Are there any in the future you'd like to tackle?
There are so many. Every year seems to bring up a new project. Next year I'm going to start working on George Gershwin and all the stuff he did. There are more movies and restoration work than I could ever hope to do.

Was there a particular moment in your life which sparked this love for Hollywood film songs?
I loved all music from a very early age and I've never made a difference between a Beethoven symphony and a Fred Astaire song. So if it was good, I'd respond to it.

The Orwells @ Rescue Rooms [04/06/14]

If you can hear a loud crashing in the distance, it’s probably The Orwells. Fresh out of high school, the Chicago five-piece, ready to invade British soil, are hell bent on having a good time – and necking as much booze as possible in the process.

Carrying a reputation as one of the most frenetic live acts to hit the scene and on the back of their critically recognised Disgraceland EP, so much is expected from the band that it’s easy to forget they are merely a group of teenage, ragtag misfits.

Live tracks may come up short compared to their studio counterparts, but frontman Mario Cuomo’s mesmerising stage presence more than makes up for this. The singer constantly sizes up the crowd, lewdly waltzing around the stage.

There’s a dark, salacious undercurrent through the bulk of their output. Who Needs You has the riled lead singer spewing anti-American propaganda and shooting down “dear old Uncle Sam” while inciting unbridled chaos in the Rescue Rooms pit.

Songs like the provocative Dirty Sheets and Southern Comfort lyrically showcase a band embroiled in their rock ‘n’ roll lifestyle. The latter sounds like a brawl between The Strokes and The Ramones. “Give me a smile and then take off your pants” howls a hedonistic Cuomo as he drenches the crowd with beer.

The frontman slithers between his bandmates like Iggy Pop on a shot of adrenalin. This is extra fitting when the group finish their set with a rousing take of I Wanna Be Your Dog.

With a little refinery to their live show, The Orwells can be world beaters. In true punk fashion, Cuomo and co stick two fingers up to conformity, and providing they don’t burn out first, they are in for one hell of a ride.


Read more: http://www.nottinghampost.com/Review-Orwells-Rescue-Rooms/story-21192975-detail/story.html#ixzz33mQMW2IL

Albert Hammond Jr @ The Bodega [12/05/14]

You’d think taking a break from one of the most iconic indie bands in the world and strutting your stuff on the solo circuit is no easy feat. Tell that to The Strokes’ very own Albert Hammond Jr; who takes it all in his stride at a sold-out Bodega.

Dwarfing the stage with his five-piece band, Hammond Jr welcomes the Nottingham crowd with an infectious grin. This may well be the smallest venue he’s ever played, but he’s certainly ready to blow the roof off. The frontman and his leather-clad cohorts waste no time tearing through a set showcasing a body of fine solo work – crested by his latest EP, the superb AHJ.

It comes as a no surprise that the bulk of Hammond Jr’s hits have a familiar Strokes vibe to them. As the saying goes, ‘if it ain’t broke, don’t fix it’. 101 is a prime example of this – layering intricate riffs over raw vocals to orchestral effect. What does come as a pleasant shock, however, is the frontman’s commanding stage presence. Seemingly happy to shun the spotlight with his parent band, Hammond Jr is given a new lease of life when taking up the protagonist’s role.

GfC is an angst-ridden track, with Hammond Jr howling to a loved one over a searing guitar line. The band, never missing a beat, could be fittingly described as a hybrid of Thin Lizzy-esque guitar harmonies with immediate, thrashing garage rock.

Always the crowd-pleaser, Hammond Jr returns from a lengthy pit-stop to play an impromptu encore – featuring the night’s most tender moment in the form of Hard to Live in the City. Before saying a final goodbye to Nottingham, the band deliver an anarchic, feedback-heavy rendition of Rocket.

He may have had the world in the palm of his hand with The Strokes, but it seems like Albert Hammond Jr is content to go it alone.



Read more: http://www.nottinghampost.com/Review-Albert-Hammond-Jr-Bodega/story-21088693-detail/story.html#ixzz33ft5evfw

We Are Scientists Interview

Indie veterans We Are Scientists, comprising of Chris Cain, Keith Murray and Andy Burrows, are currently on a tour of the UK in support of their fourth studio album, TV En Francais. We caught up with bassist, Chris Cain, before their headline show at Rock City.

Are you excited to be in Nottingham?

Thrilled! I actually really do like Nottingham. We’ve had a few days off here in the past so we’ve gotten to know it a little bit. There are a lot of little spots that I’m into. I don’t know what it’s called, but there’s a little cafe on some church grounds that has a big mirrored disc sculpture – it’s awesome....

Is it the Playhouse?

Yeah, that’s it! Love that little spot – it’s nice for a quiet little coffee, or a brew. I also love your Cineworld.

How’s the tour gone so far?

Really, really well. I think this is our seventh show, so it’s still in the honeymoon period and we’re all still relatively healthy and have energy. It’s exciting to get back in front of people and play a proper, sizeable UK tour.

We love you here in the UK, but what’s your favourite thing about it?

A curry is a very high point for us. We don’t have much good Indian food back home, so British Indian food is a big, shining light in our sky when we’re here. Really, it’s the curry that differentiates the United States and Britain for me. Otherwise, they’re pretty much the same place.

What’s your curry of choice then?

I love very hot food, so I like a vindaloo or something similar. But if there’s anything on the menu I haven’t had before, I’ll definitely try it.

The new record’s just been released. Are you happy to finally have it out?

Yeah, it’s a great feeling. As soon as we can get the crowd to receive these songs as passionately as our other stuff, it will be very exciting for us.

Were there any particular influences or themes on the new album?

It’s not really our way to set out with a theme in mind. To some extent we tried that and failed with this record. We wrote nearly half an album that we wanted to sound really 90s, Lemonheads-y, but had to scrap it because it just didn’t feel like a We Are Scientists record. Lyrically, there’s been more of a direction with the album as it specifically deals with a relationship that Keith was in during its very final moments. The relationship ended shortly after we finished recording, but it was very much in turmoil while he was writing the lyrics. You get a clear sense about it with these songs. Previous albums’ lyrics have been more of a hotchpotch – one idea here, another one there.

What music have you been listening to recently?

Huge fan of the dudes supporting us: Superfood. I’m also a big fan of the band supporting us in Europe and the States: Paws, from Glasgow. There’s a Dublin called September Girls who are also really good. They play a kind of reverb, surf guitar that’s popular these days, but do it better than most.

After the UK, you’ll be embarking on a world tour. Are there any places you’re looking forward to going to?

We’re excited to play in Perth, Australia for the first time. It’s on the far Western side and we’ve never done anything but the East-coast there. We’re also playing a couple of spots in Spain that we’ve never visited. One of those is Bilbao. We love the country and I speak a bit of Spanish, so it will be really fun for me. We’re always trying to get more shows in Spain, but rock music doesn’t really sell a lot of albums over there. It’s a tough country to tackle, so you have to find a live promoter who is really interested in trying to set you up there.

Touring seems pretty non-stop. What do you do to relax and stop yourself from going crazy?

We like to watch a lot of shitty movies on our bus. If there’s a theme to our film festival, it’s low quality. We’ve been on a hunt for a Bad Boys 2 DVD and finally scored it today. Last night we watched Stealth. It features Josh Lucas operating at roughly standard for his career, Jamie Foxx seriously slumming it and Jessica Biel roughly where she should be. It’s pretty awesome.

You and Keith have an awesome relationship. What are your key tips for a blossoming bromance?

That’s a good question – never got that before. For me, I think it’s critical that you make a person laugh. It’s probably as important in a straightforward romance as it is a bromance. Laughter is a fantastic inducer of friendship. I would say it’s the foundation of mine and Keith’s relationship – far more so than music actually. We kinda don’t listen to the same music and don’t often have the same opinion of bands, whereas we’re pretty identical when it comes to what we think is funny. We used to go see a lot of stand-up comedy together.

Finally, how would you best describe your live show?

Our live show is high energy. It’s probably distinctive for how much we talk between songs. We do tend to blather away, often to the frustration of some portion of the audience. It’s hard to tell how many of them are quietly suffering. There are always one or two dudes who will shout for us to shut the fuck up and keep playing, but I take a lot of joy in thwarting that request!

I think we air more on the side of being energetic than being precise as live musicians. If we were to stand still and stare down at the ground, we could probably play our songs exactly like they are on the album, but we definitely prefer to jump around, fall over and make a lot of mistakes. That’s the kind of show I’d prefer to see as well.

Dan Le Sac vs Scroobius Pip @ Rescue Rooms [03/05/14]

As Scroobius Pip crowd-surfs from Rescue Rooms’ stage to the bar mid-song, knocking back a shot in the process, it will dawn on you that this is no ordinary gig. No, this is way more fun.

In the sold-out sweatbox, Pip is joined by his rhythmical cohort, Dan Le Sac. Their chemistry is beguiling and exemplary of a healthy band relationship.

Between songs, the pair natter with the audience – hooking them in with droll anecdotes and a palpable sense of charisma. This is no different when it comes to Pip’s lyricism; with the venue’s inhabitants hanging on to the bearded wordsmith’s every syllable.

It’s testament to an artist when their repertoire can evoke so many juxtaposing moods – something the duo do best. Stiff Upper Lip, a cut from their latest LP, Repent Replenish Repeat, is a visceral protest song reflecting the current Twitter generation. Spitting demonically over fractured beats, Pip is a man possessed.

Songs of a similar ilk hit like a firm uppercut, whilst also wrestling taboos such as drug use and suicide. Terminal, a harrowing piece of spoken word anchored by a pulsating track, is one of the night’s highlights.

Cult fan-favourite, Thou Shalt Always Kill, reveals the pair’s vivacious side. The duo’s electro take on the Ten Commandments is both amusing and infectious. Dan and Pip also maintain a boundless energy throughout – defying their gruelling tour schedule. In fact, they are the night’s pacemakers, slowly cranking the rowdiness up until the gig’s climax.

As the show’s final note echoes around the venue, the crowd are eager for more, but Dan Le Sac and Scroobius Pip have done more than enough.


Read more: http://www.nottinghampost.com/Review-Dan-Le-Sac-vs-Scroobius-Pip-Rescue-Rooms/story-21055209-detail/story.html#ixzz311qKn0Qj

Live Review: Band of Skulls @ Rock City [29/03/14]

Band Of Skulls are a no-nonsense kind of group. While many bands stutter – relying on flashy lights and theatrics – the Southampton trio thrive off nothing more than snarling guitars and explosive, killer riffs.

This is the band’s last date of their current tour before the imminent release of third album, Himalayan. New material like Asleep At The Wheel, although still largely foreign to the Rock City crowd, maintains an instantly familiar appeal synonymous with the band. This is down to their keen ear for an impeccable hook.

Adopting a brand of provocative blues rock inspired by the likes of the White Stripes and the Black Keys, there is a confident, arena-aspiring air to the band.

Guitarist and bassist, Russell Marsden and Emma Richardson, deliver delicious vocal harmonies entwined with piercing melodies on numbers like Bruises and I Know What I Am.

The band’s sucker punch of an encore is visceral, culminating with the euphoric Death By Diamonds And Pearls. At this point, the venue becomes a cesspool of gnarling feedback, orchestrated by Marsden’s exquisite guitar playing.

They may not be anything out of the ordinary, but Band Of Skulls prove you don’t need gimmicks when you’ve got good old fashioned rock and roll.


Read more: http://www.nottinghampost.com/Review-Band-Skulls-Rock-City/story-20881830-detail/story.html#ixzz2xTMN4Pf0

Live Review: Dan Croll @ Bodega [24/03/14]

At the tender age of 22, Dan Croll has already been tipped for great things – even receiving a nod of approval by Paul McCartney whilst mastering his trade at Liverpool Institute of Performing Arts. Last night, at a rammed Bodega, the Scouse musician proved all his critics right.

Following the release of debut album Sweet Disarray, this is Croll’s first ever headline gig in Nottingham. The bespectacled singer, however, takes it all in his stride.

Croll’s exotic, feel-good vibe takes note from Vampire Weekend’s twitching guitar melodies, while maintaining an afrobeat splendour reminiscent of Paul Simon’s Graceland. Compliment Your Soul’s triumphant and orchestral chorus rings sweetly throughout the intimate venue, capable of lifting the limpest of spirits.

Although being master craftsman, a lot of credit must be given to Croll’s backing band. The four-piece provide textured melodies and spot-on harmonies to perfectly accompany the lead-singer’s swooning vocals.

Home, an inoffensive ode to family life, is the night’s best received cut and induces a sing-along from the otherwise reserved audience. The song’s twee lyrics, politely asking you to remove your shoes at his door, cuts close to forgettable, landfill indie-pop, but is saved by a warm, stirring finale.

The night’s most impressive moment comes in the form of the immense From Nowhere. Here, Croll fires on all cylinders – delivering his most accomplished songwriting and a dynamic, electronic edge.

He may not be the finished article just yet, but if Dan Croll continues riding this current wave of success, greatness will surely be within reach.

Read more: http://www.nottinghampost.com/Review-Dan-Croll-Bodega/story-20849038-detail/story.html#ixzz2xTKmB0bK