And So All Hail Bright Futures From Afar

One of the small UK bands that blew me away in my few years there was the utterly insane instrumental band And So I Watch You From Afar. First show was at the Good Ship in Kilburn, which would go down as first of only two good shows I ever saw there (the other gig I don’t remember, to be honest, although there was an Israeli garage band there once that slayed – again, can’t tell you their name…) I heard a track off what would become their debut self-titled record and dragged SM co-founder Paul to it – suffice to say we came away sweating blood and grinning maniacally. I went on to see them a number of times, supporting This Will Destroy You in Camden and a headlining show (I wanna say at the Lexington, but I'm not sure – man, I'm fuzzy today…), and their two records (Gangs came out in 2011) are strong, visceral slabs of aggressive, frenetic rock that nevertheless has its tongue grafted into the middle of its cheek.

Come 2013 and the Belfast trio are looking to make the biggest impact yet. Signing to Sargent House (which makes sense, seeing as likeminded noiseniks Fang Island and Adebisi Shank are on the roster) and are pushing their third LP, appropriately titled All Hail Bright Futures. Below are the first two tastes off the album. I will admit that these tunes don’t grab me by the scruff of the neck and throttle me with glee like they have in the past, but there is a buoyancy inherent in these tracks, because or even despite of the disparity in noise, that will have punters lathered up for the album’s release in exactly a month’s time today (it must be noted that these are new tracks without fiery guitarist Tony Wright, who left over twelve months ago to push a solo career…he was a true focal point of their live performances, so his darker yet mirthful performances may be the reason for the shift in tone). There’s nothing wrong with a sunnier disposition – as long as that vitality isn’t lost in the mix.



They haven’t relented on the gigs either, closing on 500 in total (which is an average of 2 shows a week since they started five years ago – heady stuff), and with stand-in guitarist Niall Kennedy in tow, the band are preparing an European assault come April – check below for where to catch them.

 Pre-order All Hail Bright Futures here.


 

Apr 02, 2013 - Winterthur, Switzerland @ Gaswerk
Apr 03, 2013 - Modena, Italy @ La Tenda
Apr 04, 2013 - Rome, Italy @ Traffic Club
Apr 05, 2013 - Conegliano, Italy @ Appartamento Hoffman
Apr 06, 2013 - Vienna, Austria @ Flex
Apr 07, 2013 - Munich, Germany @ Strom
Apr 08, 2013 - Amsterdam, Netherlands @ MelkWeg
Apr 09, 2013 - Berlin, Germany @ Lido
Apr 10, 2013 - Hamburg, Germany@ HafenKlang
Apr 11, 2013 - Luxembourg, Luxembourg @ Kulturfabrik
Apr 12, 2013 - Koln, Germany @ Gebauede 9
Apr 13, 2013 - Hasselt, Belgium @ Muziekodroom
Apr 15, 2013 - Paris, France @ La Maroquinerie
Apr 16, 2013 - London, UK @ Garage
Apr 17, 2013 - Bristol, UK @ The Thekla
Apr 18, 2013 - Birmingham, UK @ HMV Institute (Temple and Library)
Apr 19, 2013 - Glasgow, SL, UK @ O2 ABC
Apr 20, 2013 - Manchester, UK @ Manchester Academy 3

DIY Is Good - DIT Is Better

 

I came across the trailer for this documentary earlier this week, and have spent the consequent time trying to find out what the hell it's all about. Do It Yourself is a collective of youngsters based in Amsterdam who create new media and organise events, bringing together creative people who like and make honest and independent art. Yet the endeavour is to stress that this is global. Currently, their main project is a documentary [named, funnily enough, Do It Together]. It explores the life of independent artists who struggle to survive making music in a changing world, with a large number of DIY artists taking part, giving their opinions and ideas of where this medium is heading to, along with plenty of great live performances. The movie is focused on the DIY ideology and the artists' independence, today's music industry issues, copyright matters, young artists barriers, the experience that people have and new ways they find to spread their art.

Take a look at the collaborators: So far we have many artists involved in this film. To name some:
- Devo [US]
- Steve Albini [US]
- Flux Information Sciences [US]
- Shipping News [US]
- David Yow /The Jesus Lizard [US]
- Lite [JP]
- John Dikeman [NL]
- Adebisi Shank [IE]
- Hella [US]
- Julien Fernandez [IT]
- Polvo [US]
- Tera Melos [US]
- Giraffes? Giraffes! [US]
- Chevreuil [FR] - Deerhoof [USA]
- The Ex [NL]
- Knalpot [NL]
- Le Singe Blanc [FR]
- Boutros Bubba [NL]
- Petrol [RS]
- Parts & Labor [US]
- Aural [UK]
- Deformica [ARG]
- Pneu [FR]
- Aucan [IT]
- Dan Deacon - [US]
- Part Chimp [UK]
- Al Scorch [US]
- Nelson Can [DK]
- Hurtmold [BR]
- Gijs Gieske [NL]
- The Bulletproof Tiger [CA]
- Kit [US]
- Selfkill [TWN]

That's a mere fraction. With the documentary due out in March, the collective aim to conduct some workshops to teach people how to do audio engineering and lights at shows, to get people more involved in their respective DIY communities. I'm very keen to see how this progresses, and what local communities already in existence think of this. You can visit their website here, and by all means, leave your thoughts below. You can also email them here if you are interested in finding out more.

This is the first post about a band called Adebisi Shank

While Brendan spent the weekend in Paris getting cultral with Young Prisms' Friends For Now I spent the weekend in Glasgow, Scotland, in a dress.

Before you draw your own conclusions the dress in question was in fact a Kilt, I was at a Scottish wedding, being best-man is a tough gig. Writing posts is one thing but writing speeches is another. Anyway it was a great weekend except the trip home, snow kept us at the airport for an hour and a half longer than necessary, but I too had an apt soundtrack to take me far away from the troubles at hand.

Its often said that an album or band 'can take you to a different place'. I often find that certain albums achieve this effortlessly, they drag you, sometimes willingly, sometimes kicking and screaming, into their own worlds. Some albums on the other hand take multiple listens to unlock their hidden realms and some, as is the case with Irish Adebisi Shank's second long player, take a special set of circumstances to really show you the door to their own bizarre land of discovery.

Now I've been listening to Adebisi Shank's second L.P, conveniently entitled This Is the Second Album of a Band Called Adebisi Shank, on and off since it dropped way back in August, but its crazed twist of sci-fiesqe post rock never really stuck, but it did tempt, so I kept on returning.

So when I finally settled into my seat on the flight home from snowbound Glasgow, for some reason the album that I picked to take me away from the hells of air travel was Adebisi Shank's. I'm still not sure why I picked it, but in that moment I was off to a different world altogether, carried away by the strange meaty, twisted guitar riffs and thudding bassline, it was like diving head first into a 70s sci-fi space drama. You can almost picture crazied Japanese manga robots marching across time and space wielding laser guitars. Yeah sure, it was almost cheesy sounding at times, but this is travel music of the future and all of a sudden my budget flight was transformed into space quest 3000 from the planet post-rock.

This might have been an overlooked album of 2010 for me but given the right time and place it was spot on. This Is The Second Album Of A Band Called Adebisi Shank is out on BSM Records, try it sometime.

Adebisi Shank - International Dreambeat