Liverpool alt-rock / dance / punk / pop band the Wombats are about to release their second full album, called The Wombats Proudly Present…This Modern Glitch. (Yeah, I know, it’s a mouthful – but their first released in the UK was called The Wombats Proudly Present: A Guide to Love Loss and Desperation, so I guess they wanted to continue the trend.) There’s been a lot of hype surrounding this sophomore effort overseas. Three singles have already been released in Britain (“Tokyo [Vampires and Wolves],” “Jump in the Fog,” and “Anti-D”); they hosted a special album launch party at the tony Supper Club last week; and this week, the new album is currently riding high as this week’s Album of the Week on both Zane Lowe‘s evening BBCRadio1 program and XFM over there.
And on the whole, the hype is deserved. The proceedings start in style with “One Perfect Disease,” touching on a common subject for pop songs: being in a toxic relationship. In the light of the popularity of Phoenix‘s more dancey songs like “1901,” America should take a shine to this beat-perfect, synthy dance anthem. The mad beats continue into “Tokyo (Vampire and Wolves)”: the Japanese capitals seems a random choice for a title, but I’m not going to complain when something’s got an amazing groove. “Techno Fan” and “Walking Disasters” might not be stellar in the lyric department but again, the Wombats come through with catchy tunes.
Their current single in the UK, “Anti-D” (music video below), is unique with emotional violin and tender lyrics that might make you cry. (It’s based on lead singer Matthew Murphy‘s own addiction to anti-depressants.) It’s not hard to see this soundtracking a rom-com in the near future. Or perhaps the song after it, “Last Night I Dreamt,” which has surprisingly amusing yet incisive lyrics for a pop song: “I tend to cry in a room full of laughter / as the cheese finally slipped off of its cracker / I don’t know / I just prepare to let it go.” When the Wombats employ humor, it’s total win: in “Girls and Fast Cars,” Murphy insists, “I’m a man of simple tastes / no whiskey or caviar / what I feel is what I say / I’m not trying to be smart / I like girls…girls and fast cars!” before breaking out into a sweeping chorus.
“Jump into the Fog” seemed like a strange choice for first single; it’s not bad, but it’s slow and lumbers along – not exactly what you want to hear from a dance punk band. Of a similar vein is “1996,” which is, disappointedly, not as exciting as Neon Trees‘ “1983,” talking instead about “building telescopes” and “kissing with one eye on the TV set.” The guitar work is admirable though. The closing track, “Schumacher the Champagne,” comes in from left field compared to the whole of the album. It’s the heaviest track on the album and not designed for dancing; perhaps it should be viewed more as a grand parting shot? But even if you don’t like this song, you can’t ignore the well-crafted electronic indie rock/pop on the rest of The Wombats Proudly Present…This Modern Glitch. Yep, English electropop is alive and well – and as usual, excellent.
The Wombats Proudly Present…This Modern Glitch will be released in North America digitally on April 25 and physically on April 26 via Bright Antenna.
Track Listing:
01. Our Perfect Disease
02. Tokyo (Vampires and Wolves)
03. Jump into the Fog
04. Anti-D
05. Last Night I Dreamt
06. Techno Fan
07. 1996
08. Walking Disasters
09. Girls and Fast Cars
10. Schumacher the Champagne
Tour Dates:
May 31 – Bowery Ballroom / New York City
Jun 01 – Troubadour / Los Angeles
June 03 – Rickshaw (Popscene) / San Francisco
Influential Paris dance label Kitsune, winning the prize for being the first to sign now internationally-acclaimed acts Delphic, Two Door Cinema Club and La Roux (just to name three), and international label group Cooperative Music have extended their international license deal to include America and Canada.
On this new partnership, Kitsune founder Gildas Loaec has said, “For the past eight years, we’ve been sharing our passion for music through our now worldwide known Kitsune Maison compilations and singles. Two years ago we entered a label deal with Cooperative Music in Europe as to start developing artists and release their albums in the best way possible. The success that Two Door Cinema Club are experiencing now with nearly 200,000 sales just in Europe and a gold record in the UK is the perfect example that we made the good choice. This is why extending this label deal to the United States and teaming up with Downtown on top was a logical step. I’m really proud to join Downtown records, Josh Deutsch and his great team to develop Kitsune projects in the States and I feel that the collaboration between Kitsune / Downtown will create the perfect dynamic for our forthcoming Kitsune artist album releases [for] Is Tropical and Housse De Racket.”
So what exactly does that mean for us on this side of the Atlantic? Well ladies and gentlemen, this means Cooperative Music will be releasing Kitsune’s artists and compilations through its new understanding recently launched in conjunction with New York-based Downtown Records. The first release will be from Is Tropical, who you may know through their “Come Back Home” remix on Two Door Cinema Club‘s Tourist History deluxe edition (review here). The masked London trio will be releasing their debut album Native To here on June 14. For a free taste of Is Tropical, you can download their new single “The Greeks” for free from Kitsune‘s website here.
Two months later will be the release of the second album from French rock / pop duo Housse de Racket. The 11-track album, called Alesia, was produced by superstar producer Philippe Zdar, who has worked with Phoenix, Two Door Cinema Club, and the Rapture. Kitsune is pretty famous for their dance compilation albums. Both of these acts contributed tracks to the 11th Kitsuné Maison compilation album The Indie Dance Issue, to be released in the States on May 16. Keep your eyes and ears open for more from this exciting business partnership.
Melbourne’s synthpop act Cut Copy have released their third studio albumZonoscope, recorded over several months, in their hometown and then mixed by Ben Allen (Deerhunter, Animal Collective and Gnarls Barkley) in Atlanta. The album was released on Modular Recordings on February 8. With their fame being stabilized by their second album, In Ghost Colours, released in 2008, the new album has been in the making since the comedown of their second album. Zonoscope is in the same ballpark as LCD Soundsystemand Phoenix, but throw in some 70s and 80’s, with just a dash of tropical summer beats.
The band, being around about a decade now, is very ambitious in the sense that they devoted a 15 minute block to the song “Sun God.” The song is one of the more immediate tracks in the sense that it has a more distinct sound and an entire minute of the mantra: “You’ve got to live, you’ve got to die, so what’s the purpose of you and I?”Then the song is swept away into a spiraling instrumental until the end of the album.
Though in that ambition, it could alienate those who were looking for a continuation of In Ghost Colours. Especially with the stark contrast from 30-second fillers that filled In Ghost Colours to the abstract instrumentals that divide the tracks, giving the listener a flowing album and something that wasn’t expected. These could easily be mistaken as flukes instead of the miniature bits of genius they are.
Even in the small bits of chaos throughout the album, the band’s soul is in every note that they hold on to and every lyric that frontman Dan Whitford sings is a dazzling soft silky tone that also hides a bite. The band has it all for sound, upbeat kaleidoscopic synths, soothing vocal hooks, tropical percussions, bouncing disco beats and a Caribbean vibe. The album in itself is a melting pot of all of these ideas with the same shimmer that led to the band getting to where they are now. “Take Me Over” is a brilliant display of almost all of these aspects, and with the catchy hook: “take me over, take me out, through the jungle, through the night, to paradise,” it is one that can be instantly loved. “Where I’m Going” is an explosive festivity of a rock ’n’ roll core with kaleidoscope synth. It explores a new place that the band has yet to go and a possible hint into where they could be going.
Zonoscope is the most pure form of Cut Copy and their boldest effort to date. It is something new and the band has been consistently making new music and pursuing new territories. Also, keep in mind that the childish mindset that was seen in In Ghost Colour is still there at the core, but has started along the path of maturity and is shown through Zonoscope.
Track Listing:
1. Need You Now
2. Take Me Over
3. Where I’m Going
4. Pharaohs & Pyramids
5. Blink and You’ll Miss a Revolution
6. Strange Nostalgia for The Future
7. This Is All We’ve Got
8. Alisa
9. Hanging Onto Every Heartbeat
10. Corner of the Sky
11. Sun God
Northern Irish indie rock trio Two Door Cinema Club will be re-releasing their debut album, Tourist History, in an expanded, deluxe format in mid-September in the UK. The first CD will be identical in tracklisting to their UK debut album.
The second CD will be a collection of their favorite remixes, including the Cassianremix of “What You Know,” the winning entry of a remix challenge the band issued to fans in June. Also to be included is a 1-hour documentary filmed by Babysweet chronicling the band’s travels and gigs around the time of Tourist History‘s UK release in March; you can watch the trailer for the documentary below. The deluxe package will be released on 20 September in the UK by Kitsune Maison.
CD 1 Tracklisting
01. Cigarettes in the Theatre
02. Come Back Home
03. Do You Want It All?
04. This is The Life
05. Something Good Can Work
06. I Can Talk
07. Undercover Martyn
08. What You Know
09. Eat That Up, It’s Good for You
10. You’re Not Stubborn
CD 2 Tracklisting
01. Kids
02. Undercover Martyn (Everything EverythingRemix)
03. I Can Talk (French Horn Rebellion Remix)
04. Come Back Home (Is Tropical Remix)
05. Undercover Martyn (JupiterRemix)
06. I Can Talk (Moulinex Remix)
07. What You Know (Cassian Remix)
08. Come Back Home (Myd Remix)
09. Something Good Can Work (Ted & Francis Remix)
10. Undercover Martyn (Softwar Remix)
11. Something Good Can Work (The Twelves Remix)
Tour Dates
Oct 07 – Warehouse Live / Houston
Oct 08 – Loft / Dallas
Oct 09 – Austin City Limits Festival / Austin
Oct 11 – Mercy Lounge / Nashville
Oct 12 – Loft / Atlanta
Oct 13 – Norva / Norfolk
Oct 14 – First Unitarian Church / Philadelphia
Oct 18 – Agganis Arena / Boston*
Oct 21 – Webster Hall / New York City
Oct 22 – Black Cat / Washington, DC
Oct 23 – Club Hell / Providence
Oct 24 – Le National / Montreal
Oct 25 – Phoenix Concert Theatre / Toronto
Oct 27 – Lincoln Hall / Chicago
Oct 28 – 7th Street Entry / Minneapolis
Oct 30 – Bluebird Theatre / Denver
Nov 02 – Henry Fonda Theatre / Los Angeles
Nov 03 – Belly Up Tavern / Solana Beach
Nov 04 – Slim’s / San Francisco
Nov 05 – Hawthorne Theatre / Portland
Nov 06 – Neumo’s / Seattle
Nov 07 – EMU Ballroom / Portland
* supporting Phoenix
Equally as important to the Lollapalooza experience as the time spent in Grant Park is the time spent at the Lollapaloozaafter parties. With the additional official and unofficial shows after it’s lights out at Grant, Lollapalooza becomes a 24 hour experience, three days of the week as festival goers pour the park’s gates into various clubs, venues and hotels throughout Chicago.
PopWreckoning made it to a few of the after shows. Friday, it was off to Belve Nights: a party at the Hard Rock Hotel that’s popular amongst some of the more VIP Lolla attendees. It helps that this Belve Night featured a DJ set by Matt and Kim and performances from acts such as Neon Trees and Hockey to draw out a big crowd.
Neon Trees were an act that had already blown festival-goers away during their Lollapalooza set earlier that day. The act already seems to be following hot in the footsteps of similar band, The Killers. They continued to own the stage as the singer prowled the stage. The set was a brief five songs, but the band left the audience hungry for more.
Hockey followed Neon Trees with a pop rock set that was just a teaser for the even more energetic set they’d deliver in Grant Park the following day. Beginning with current single, “Song Away,” they band also played some new material and older tunes such as “Too Fake.” Hockey had their set cut short at Lolla 2009, so it was great to see them living up Lolla 2010 with extra performances.
Saturday night, PopWreckoning ventured out on the CTA to a free show at the Bottom Lounge. This show featured a couple of amazing local acts and a few national acts – free for those who had RSVP. Gotta love free.
Though energy was waning quickly for many at this point (a long day walking the grounds at a festival spanning a park that’s over a mile-long will do that), each of the pop rock bands, The Spinto Band, Skybox and Jukebox the Ghost, brought a fun quirkiness to their tunes and a contagious enthusiasm. The Spinto Band even divided the audience up into three parts to be a train at one point. Odd, but fun:
Skybox:
Jukebox the Ghost:
Sunday, PopWreckoning returned to the Hard Rock Hotel for another Belve Nights. This evening, Glassnote was bringing the best of its roster.
Among the performances was Mumford and Sons. This UK act is already being praised as one of the best Lolla acts in general and one listen to their harmonies, funky bass lines (upright bass lines, no less!) and heart-wrenching lyrics, it’s easy to see why. “Little Lion Man” is a good place to start for those unfamiliar with their tunes.
After Mumford, it was the crooning, experimental rock band The Temper Trap. Many are familiar with them for “Sweet Disposition,” which was on the “(500) Days of Summer” sound track. And while that song is indicative of some of the other fantastic, rollicking-guitar riffs they produce, it doesn’t really do them justice. Although, perhaps it is better that way because then audience members are extra surprised when the singer pours water on a tom drum and beats a spray of water and heavy beats midway through the set.
Perhaps the highlight of this evening was when Mumford and Sons returned to perform with The Temper Trap. It was like everyone at Belve Nights was a part of a big family: the band, audience members (both VIP and average folk) and even the staff on hand that night. It was extra special when Glassnote’s founder even came out and echoed the sentiment. What a perfect way to end Lollapalooza….well almost. There was a one final treat. Lollapalooza headliners and Glassnote members, Phoenix, though tardy to the party due to another aftershow performance, closed out the night with a DJ set. What a way to end 2010!
It’s been my experience that the 9:30 Club in Washington is not the ideal place to see a dance band. Or maybe I have been going to the wrong shows? Monday night the club played host to the first night of Montreal electro-funksters Chromeo‘s Business Casual Tour. One look at the keyboard stands – women’s bare legs with red heels – should have immediately told you this was going to be an unusual gig.
The first of two opening acts was New York City-based Telephoned, a duo comprising of the mustachioed Sammy Bananas (that’s got to be a stage name, surely?) on turntables and electronics and the prettily coiffed Maggie Horn. It turns out Horn is a local D.C. girl, so the duo had plenty of friends on hand to cheer them on. The two take popular songs and give them their own spin. I’m not really a fan of the songs they “spun” – to give you some idea, their set included mishmashes of Rihanna‘s “Rude Boy,” Yeah Yeah Yeahs‘ “Runaway,” and even their tour host’s, Chromeo‘s, “Night by Night.” Not really my thing, but there were plenty of people on the floor who disagreed. At one point, I was nervous as a man in a Don King outfit got into an argument with a girl who is a big fan of Telephoned as the two discussed their merits (or lack thereof). People: whatever floats your boat, to each his own, etc…
The second opener was Holy Ghost!, a band near and dear to my heart. Having seen them in June play to their fans at the U Street Music Hall, a venue specifically designed for dance music, I did not have high hopes for the 9:30. First there was a problem with the bass levels. Then there was a microphone wire problem. All in all, I have to say Alex Frankel (lead vocals / keyboards / additional percussion), Nick Millhiser (drums) and their two backing band members on guitars and synths did an admirable job despite the technical cock-ups that weren’t their fault. When it came time for “I Will Come Back,” all those equipment issues were forgotten as gig-goers gave themselves over to the beat. In the coming months and years, this will become every bit of a dance anthem as “Hold On” did for them at the start. Trust me. Dance bands often have too much in the way of exciting lighting going on around and behind them, and in the case of Holy Ghost!, less is definitely more. They didn’t have an elaborate stage set-up with them on Monday night, and they didn’t need them.
Holy Ghost! Set List
Say My Name
Hold On
It’s Not Over
Static on the Wire
I Will Come Back
New song (title unknown)
But Chromeo was who everyone had come to see at this sold-out show. My knowledge of them was limited to “Night by Night,” which had a very sexy promo video released last December. Appropriately enough, the focus is on the dancing. I knew they had two members – David Macklovitch (Dave 1) on guitar and lead vocals and Patrick Gemayel (P-Thugg) on synths and talk box – but assumed live they had to have more members, like Holy Ghost! Wrong. Gemayal had so many synths, even I lost count. For several songs he also wailed on bass, something I really appreciated. Macklovitch may be “the cute tall one” but Gemayel is the master onstage. Something I found strange: most of the duo’s songs are short, not what I would have expected for a dance band. It’s too bad they haven’t found more mainstream commercial success.
At the start, I wondered why Macklovitch was wearing sunglasses. Um, we’re in a dark nightclub, what gives? With a guitar, he had the opportunity to move around more than his synth-playing counterpart. I quickly learned that the sunglasses were to shade his eyes from the powerful light show that was going on directly behind the two of them. There was enough wattage on the 9:30 Club stage to land a jumbo jet. My eyes hadn’t been through such a workout since the Phoenixshow at Constitution Hall in April. They granted us a short reprieve with “Momma’s Boy,” a tender but funny ’80s-sounding song that begins with keyboard effects and Macklovitch’s sweet vocals.
“Fancy Footwork,” the title track to their 2007 album release, had a bass effect so strong that I could feel the insides of my face vibrating. Not kidding. I tried holding on to the barrier, thinking this would dampen the effect. No such luck. Between this, the strobes, and the dancing-induced claustrophobia (including people’s limbs in your body and face), it was not a comfortable situation. Definitely not for the faint of heart. But if you’re in the mood for cutting a rug and don’t mind moments of temporary blindness, this would be the show for you. And good news for Chromeo fans: they do preview songs from their new album coming out in September, Business Casual.
Tour Dates
Jul 29 – Bowery Ballroom / New York City*#
Jul 29 – Love / New York City (afterparty / DJ set)
Jul 30 – House of Blues / Boston*#
Aug 02 – Capital Music Hall / Ottawa*#
Aug 03 – Phoenix / Toronto*#
Aug 05 – Majestic Theater / Detroit*#
Aug 06 – Lollapalooza / Chicago
Aug 06 – Official Lollapalooza Afterparty / Chicago (DJ set)
Aug 07 – First Avenue / Minneapolis*#
Aug 10 – Flames Central / Calgary*#
Aug 11 – Commodore Ballroom / Vancouver*#
Aug 12 – Showbox Market / Seattle*#
Aug 13 – Roseland Ballroom / Portland*#
Aug 15 – Outside Lands Music Festival / San Francisco
Aug 16 – House of Blues / San Diego*#
Aug 19 – Twilight Concert Series / Salt Lake City
Aug 19 – W Lounge / Salt Lake City (afterparty / DJ set)
Aug 20 – Ogden Theater / Denver*
Aug 24 – Stubb’s / Austin*#
Aug 25 – Palladium / Dallas, TX*#
Aug 26 – Cannery Ballroom / Nashville*#
Aug 27 – Masquerade / Atlanta*#
Aug 29 – Hollywood Bowl / Los Angeles^
* with Holy Ghost!
# with Telephoned
^ with the Chemical Brothers and Yacht
Lollapalooza is an intense experience, but a fun one. Should you manage to find energy after already having spent 12 hours listening to music in downtown Chicago’s Grant Park, then it’d be in your best interest to continue the festivities with official Lollapalooza afterparties.
Friday shows include MGMT, Cut Copy with Dragonette, The Walkmen with Warpaint, Edward Sharpe and the Magnetic Zeros with Freelance Whales, Wild Beasts, and Rogue Wave with Gamble House.
Saturday shows are The National with The Antlers, The Black Keys with the Morning Benders, Minus the Bear with Miniature Tigers, Blitzen Trapper with Avi Buffalo, The Soft Pack with Royal Bangs, Wavves with Harlem,Gogol Bordello, and Precision Guided Musicians featuring Hot Chip (live),Rusko, Steve Porter and more.
Sunday ends with Phoenix with Toro y Moi and HEALTH with Chandeliers.
Tickets for the after shows go onsale Friday, June 25 at 10 a.m. Get them here.
It was the final day and it was already sweltering hot before noon. This didn’t stop Bonnaroo goers from making the best of their final day though.
I began with Japandroids, a garage rock duo playing over at This Tent. For only two guys, they had a very large sound and I really liked how they switched lead vocals between the guitarist and the drummer. This was a good way to start.
Next, I went to a band that completely contrasts Japandroids: Calexico. These sleek rockers were joined by some friends from Spain on some brass instruments. The resulting sound was like a more mainstream mariachi band. It was the perfect soundtrack to the summer sun beating down on the crowd.
What’s Bonnaroo without checking out a few good jam bands? We headed over to the What Stage to watch of Australia’s John Butler Trio deliver some of their folky jams before the lady we were really dying to see this day: Regina Spektor.
The adorable pianist is bubbly and charming as her gentle voice skips into the upper octaves, but then Regina takes you by surprise: “Fuck. That’s not how this song goes. I don’t know how you all do it: a whole day in the sun. My mind is just a fuck puddle.” Only Regina can make cursing sound so polite. Then again, perhaps that cursing isn’t such a shock if you think about the content of somehow her songs, “Someone is fucking to one of my songs,” just one of a few examples I can think of.
Punk rock was a popular theme of the day: Against Me, Dropkick Murphys and Rise Against were all performing Sunday. Punk music is really dependent on the energy level of the show, and with the high temperatures, I was worried these bands might take a hit. That worry was unnecessary because these bands tore it up. Against Me, with new member Franz Nicolay, even wore their leather jackets as they sang out their vein-popping energetic set. Dropkick Murphys was like a big party with the multi-instrument band filling up the stage with accordions and guitars and strings. Raucous and fun.
Against Me! by Joshua Hammond
Dropkick Murphys by Joshua Hammond
Dropkick Murphys by Joshua Hammond
In between the two punk bands, Josh caught the classic rocker John Fogerty before joining me for the self-described geek rockers: They Might Be Giants. They’re goofy, but brilliantly so. They’ve been around for quite some time and just released some new great material, perfect for any aspiring scientist. I was kind of surprised by how many of their songs I knew, but didn’t realize was them. Yet another fun set.
After that it was time to watch a few Grammy-winners. Country artists Zac Brown Band was first up over at the What Stage. I’m not a fan of country music, but these guys are pretty easy to get into to with their speed-demon riffs. My personal favorite moment of the set was their cover of “The Devil Went Down to Georgia.” It was a nice moment for their violinist to show off his chops.
Phoenix, as far as the indie Bonnaroo fans were concerned, was Sunday’s headliner and as the Parisians tore through an intense rock set not just of the new Wolfgang songs, but songs from their entire repetoire, they kind of did steal the show. There were times when singer Thomas Mars‘ voice sounded a bit hoarse and worn from their constant touring, but even with that, the crazy guitar riffs and big drums made up for it.
Dave Matthews Band was Sunday’s official headliner. I think I owe these guys an apology. I had kind of written them off as a frat band with boring tunes, but in actuality, they are fun and the band has plenty of personality. They do deserve success for their long jams. It was a bit bittersweet to watch them play though. It was surprisngly great to enjoy them, but sad to see their set signal the end of the fest.
Another Bonnaroo over. Despite the lack of surprise collaborations and guest stars, this was a stellar year with solid performances. Though my aching feet are thankful it’s over, the rest of me can’t wait to see what the next year will bring.
I recently had a chat with guitarist Sam Halliday of up-and-coming Irish indie rock/pop band Two Door Cinema Club. The band was in New York City to do requisite press before getting ready for two shows in the city. Sam tells me about how much they enjoyed Austin (and their tasty food in large quantities) and the music festival experience, and we talk about their debut album Tourist History and their promo videos. Read on.
Mary Chang, PopWreckoning: Hello Sam. So how are you guys, where are you guys at the moment? And what are you doing? Sam Halliday, Two Door Cinema Club: Yeah, we’re good. We’re presently in New York City at our hotel in Manhattan. We have a bit of promo today, then we have a show in Brooklyn tomorrow and at the Bowery Ballroom on Wednesday. MC: So how are you enjoying New York? Is it your first time there? SH: No, it’s my third time. But the other guys [guitarist/lead singer Alex Trimble and bassist Kev Baird], it’s their first time. We arrived at about 2 a.m… MC: Oh wow…! SH: Yeah, and we went straight out to, sort of, go see Times Square. They’d never been here before so… MC: Excellent. So I guess you’re the globetrotter of the group then? SH: Yes, I guess, yeah! (laughs)
MC: So let’s talk about your debut album, Tourist History. I’ve been playing it a lot since it came out. It’s really fantastic. If you had to explain what you sounded like to an American who’d never hear any of your songs, how would you describe it? SH: Um, I think it’s not quite rock music; it’s not quite indie music; it’s not quite electro music. I think if you’re open to any type of music I think you might like it. It’s very accessible. You know, it’s a lot of upbeat [sound]. And you know, I mean, we love it, we think it’s a great album. We think it’s for everybody. We loved bands likeDeath Cab for Cutie, Modest Mouse and Bloc Party; they’re kind of the bands that we agreed on early. We love all types of music but those were the bands we bond over most.
MC: So your name…back in February I sat in on an interactive chat with the Gigwise folks the three of you did in London… SH: Yes! MC: …during which you replied to an English fan that it came from the Tudor Cinema near where you lived in Ireland. SH: Yes… MC: I’m sure everyone’s asking you about the band name on this tour and where it comes from. (Sam laughs) Have you been back since to tell the proprietor of the Tudor Cinema that his theatre is now famous? SH: We went back [to Ireland] before we kinda became a bit big, we went back and recorded like a music video, for “Something Good Can Work.” This was a couple years ago. Just a friend did it with us recorded it over there. We moved off to doing different things and we can’t see him anymore, sadly. And then we kind of did the official one. Yeah, we haven’t been back as a band. Yeah, it would be good to go back, I think.
MC: The three of you are from Bangor, in Northern Ireland, right? SH: Yes. MC: But I’ve heard that you now call London home. SH: Ohhh…I wouldn’t personally call London home. MC: Okay, so it’s a temporary home then? SH: It’s more of a base. I call it a base. We have a band flat there. You know, it’s great because it’s easy to get flights from Heathrow [Airport] and things, it’s just very handy that way. And honestly, we have our management there, and there’s lots of press people in London. So it’s a good place to have a base. But you go home and have friends and family in Bangor. MC: What has been your family and friends’ reaction to all that’s happened to you guys so far? SH: They’re very supportive and very happy, yeah. In my experience, my mum would always be on our Facebook page and our Twitter page, paying attention and telling me before I read it what people are saying on things, read reviews. It’s very exciting [for her] I think.
MC: So it sounds like you’ve barely been able to take a breath with all the relentless touring. You’ve been around Europe and then America with Phoenix, and now are in the middle of your first headlining tour of North America. From what I hear, your shows have been going down great with the locals and you’re selling out most everywhere, so congratulations on that. SH: Thanks. MC: What’s been your most memorable show so far this year? SH: (whistles) Well, it was only last week, but I think one of the real highlights was when we played in L.A. last week. You know, the Troubadour show? It’s just crazy, because it’s kind of our first headline show of America. Having been from somewhere small and having never played here, and we’ve never come here before. It’s crazy that how well we were received! It’s just amazing, feeling like we’ve “gone” somewhere! It was cool. Other than that, since the album has been released, all the shows, you know, have kind of stepped up in attendance and it’s really been amazing, because people know more of the songs and they sing a bit more, because they enjoy the album. The [album] launches were great in Belfast, in London, and in Paris.
MC: Great. Do you have a worst moment? Or any funny tour stories you care to share? SH: Ooh…um… (laughs) oh boy…you know, everything’s been great, really. It really has. Touring with Phoenix was a great experience, they’re lovely, lovely guys. It was so great to tour with a band that was much better and more experienced. You learn so much, in terms how they act, how they play their sets. I can’t think of any stories off the top of my head…I dunno! (laughs)
MC: Before coming over to North America, how did you prepare for your first-ever shows on this side of the pond? SH: Oh, I dunno, I guess we’ve been so busy! Over the past year touring all over Europe. So we were really excited to go somewhere new. It’s always really great to go somewhere new. It’s great to go to places you’ve played before, but it’s somewhere new. It’s just real exciting. I think we’ve been playing together for long enough that we’re confident in our live show – well, I am. So we weren’t too nervous about the show, we were more excited to play to new people. MC: I think it was Fearne Cotton’s Radio1programme in February when you guys did a set and a short interview…she asked you what you were looking forward to, and this was far, far in advance of you guys coming over here. And one of you said visiting Texas. I know you guys have been to Texas now, and you were in Austin. I read on your Twitter that when you were in Austin, Kev got a tattoo and you bought a guitar…? SH: Haha, yeah, that’s right. MC: So what did you think of Texas? Did it live up to everything you thought it was going to be? SH: Yeah, it was brilliant. It’s just so different. Everywhere in America is so different between cities and states. But Texas was really cool. We got to spend a couple days in Austin in particular. Great weather, being able to sit in our dressing room, outside, in the late hours of the night. Just kind of laid-back atmosphere sort of a city. Yeah, um, obviously Kevin got a tattoo…(I laugh)…of the cat’s eyes from our album [cover]. And then we went to a pawn shop. We wanted to do a kind of typical American thing and so we would go around to pawn shops and picked around. And we went and found this amazing old guitar. I really wanted to get a guitar from this tour, to kind of have something to remember it by, so it was a great find. MC: That’s cool. SH: And we had some great Texas barbecue. MC: How does it compare to the food at home? SH: Oh, there’s a lot more of it here! MC: (laughs) That’s what most people [from outside America] tell me! SH: The portions are, very, uh, large. MC: Yeah, sometimes they last for days, usually. SH: Yeah! We actually have a competition, it’s quite sad. We have a competition, because we knew your American food was very tasty and very big. So we have a competition to see…we’ve documented each other’s weights, so we’re having a competition to see who put on the most [weight from the tour]. Whoever puts on the most has to take the person who puts on the least out to dinner. MC: Oh, okay. SH: I know, not very rock ‘n’ roll. (both laugh)
MC: So I’ve had a look at your very busy summer schedule. You’ve confirmed festival appearances at Glasto[nbury] (England), Hove (Norway), Benicassim (Spain), Summersonic (Japan), and Reading/Leeds (England) among many others. You played Glastonbury for the first time last year…what are your feelings on the summer festival circuit? SH: Ah, they’re so much fun, it’s kind of great, because you see so many bands. Like, being on tour all the time, you don’t get to see that many, unless you they ask you to tour with them. But being at festivals is amazing because…especially at Glastonbury, we’re spending the whole weekend there, so we’ll get to see loads of bands, which will be cool. We’re real excited to be doing all the European ones this year, and Australia and Japan, because you know, last year we only did one outside the UK. It was amazing, it was our favorite last year. It’s called Riga in Latvia. It’s a totally different kind of vibe than the European ones. So it’ll be great to experience all those.
MC: So you have signed to the French label Kitsune Maison for your European releases and Glassnote Records here in America. How did the Kitsune people find you? SH: They were trying to put another one of their parties in Paris, and they were trying to find an up-and-coming UK band to bring over. And so a promoter in France told them about us, and then whenever they listened to us, I think they liked us a lot more than they thought they would, and [they] wanted to put out our single. And then our relationship just grew from there. And then they released our single and finally our album. It’s great. It all felt really natural. MC: What is it like being Irish on a French label? Did it seem weird that a British label didn’t come to you first, or another European one? SH: I mean, yeah, maybe it sounds a little weird. But for us, being from Bangor, we weren’t really connected to the London music scene all that much. We’d only played in London a couple times before we signed the record deal, and it’s just…it’s don’t really have a connection with that sort of scene. For us, we feel apart from that, just as much as we feel part from the Paris music scene. And they seemed like the right label for us, we didn’t want to go with a major label, and they were really passionate about working with us. MC: Have you been able to hang out with the other UK bands they’ve signed likeDelphic and La Roux? SH: Well, we got a chance to tour with Delphic back in October in the UK. Yeah, we really hit it off with them, they were really great guys, into the same, similar stuff. So we formed a little friendship with them. We’ve seen them a few times since, they’re fun. Can’t really think of any other people…Kitsune is really good with DJs and things, some great people have remixed our stuff through Kitsune. That sort of thing.
MC: Going back to your debut album, Tourist History, is definitely one of my fave releases of 2010 so far, I really love the album. Loads of fun, poppy, peppy, and brilliant. How long did it take to record everything and put together? SH: The one thing we do, once we write a song, we would demo it ourselves, and kind of get it to the point where it’s not the best recording, but we know where all the parts are, of what we’d want to be in the song. So we had this whole album demoed ourselves, and then it was about getting to a studio and doing it professionally, you know, getting a producer’s point of view and things, and trying different things like. So then we went to the end of June then we finished tracking by the end of July, and it took a month to mix the album. Once that was finished, we had some further mixing done with Philippe Zadr [the producer of Phoenix's albums United and Wolfgang Amadeus Phoenix and a member of French house duo Cassius] in his studio in Paris, and for the songs that might be singles. It was great getting people’s different perspectives on our music and we respect their work, so it was amazing.
MC: Your promo videos. The “I Can Talk” video was actually the first videos of yours I ever saw. It was so frenetic, Alex’s head was coming off, clothes were flying around…whose idea was that? SH: That was a French team called Megaforce, that was from a suggestion of Kitsune’s. They came out with that. MC: It’s a real cool-looking video! SH: Yeah, it was the first proper video. And we shot it in a really crammed chateau in Paris. MC: Yeah, I was wondering about that. Because it has a very old-fashioned dollhouse kind of feeling, almost. SH: Yeah, you don’t really see a lot of it in the video.
MC: A while ago you guys released a newish video for “Something Good Can Work” [watch video here]. In this new one, you guys are at a fancy resort, the forest, the desert, an amusement park. Where did you go to film all the scenes for it? SH: We got to go to Gran Canaria [the second most populous island of the Canary Islands], and everything was shot there. Yeah, they’ve got a little different kind of scenes there, they have forest, and mountains, and nice beaches and sand dunes and things. MC: Hopefully you got some vacation time in then? SH: No, unfortunately we were only there for 2 days. MC: Only 2 days? Golly. Well I hope you get to spend some time there in the future, because it looked so beautiful on screen. When I first saw it in March, I was thinking, “this is the perfect summer song.” SH: We wanted to capture that kind of sunshine, the summery feel with it.
MC: I have Steve Lamacq to thank for playing “Something Good Can Work,” a long while ago it feels like, on his 6music programme. I have my own strong opinion on the subject, but what are your thoughts on the BBC’s proposed closure of 6music? [In early March, Director General Mark Thompson of the BBC Trust announced that BBC 6music, along with the Asian Network, may be closed due to budget cuts.] SH: Oh yeah, it’s awful. I mean, especially because Radio1 is kind of being taken over by r&b and just bland pop tunes. There’s really not a lot of room for up-and-coming or not commercially appealing bands. So yeah, and especially because we got our first airplay on 6music, and without it we wouldn’t have gotten so much attention.
MC: Speaking of the UK, have you been following the general election while you have been in America? SH: Yes, we have been, just on the BBC News website. I’m not really too involved in our politics. MC: Any of you endorsing any particular political party? SH: I think this is the problem, I don’t think anyone wants to be in government. Completely. I think that’s the problem here. I dunno, I don’t really know too much about it. MC: Neither do I, but it was interesting watching everything unfold real time on the website. SH: Yeah.
SH: I’m being told I need to move on… MC: Okay, so one final question. Based on the crazy reception for your first tour of America, so when are you guys coming back here? SH: We’re going to come back in October. MC: Great. SH: Yeah, very soon. MC: Well, thank you so much Sam, I appreciate it, I know you’re very busy doing a lot of press. So enjoy New York and I will see you guys on Thursday [in Philadelphia]. SH: Brilliant, can’t wait! MC: Take care. SH: Thanks.
Two Door Cinema Club‘s debut album Tourist History is available now from Glassnote Records. The band has several more dates in North America before their first headlining tour of our continent ends May 17 in Toronto.
Tour Dates
May 11 – Bell House / Brooklyn
May 12 – Bowery Ballroom / New York City
May 13 – Johnny Brenda’s / Philadelphia
May 15 – Great Scott / Boston
May 16 – Salla Rossa / Montreal
May 17 – Wrongbar / Toronto
Phoenix have remixed Grizzly Bear. Well, kind of. Here’s what they actually had to say about their “remix“:
A long time ago Grizzly Bear asked us to remix one of their tracks, but we never found the boldness to mess with their beautiful songs.
So the other day we figured, maybe if we combine great things together (Grizzly Bear, Eno, chance), it would create something good.
So instead, Phoenix posted these two songs side by side and allow people to kind of create their own remix for them:
I N S T R U C T I O N S
1. Press play on either player
2. After an indefinite number of seconds, press play on other player
3. You can create your own mix by adjusting the volume on either player
4. If it’s good : enjoy, if it’s bad : try again !
To keep this site up and running, we reserve the sidebar for ads. In that case, put your ad here.
All that's needed is for you to fill out this lovely form.
All media content contained within PopWreckoning is meant to enhance reader appreciation for the art and medium. Please support artists you discover here by purchasing albums, attending shows and buying merch.
Contact us should you wish for certain media to be removed from PopWreckoning.
Concert Calendar
Nov 23, 2011
HaHa Tonka @ Recordbar, Kansas City MO
Nov 25, 2011
Thee Oh Sees @ The Granada, Lawrence KS
Liverpool alt-rock / dance / punk / pop band the Wombats are about to release their second full album, called The Wombats Proudly Present…This Modern Glitch. (Yeah, I know, it’s a mouthful – but their first released in the UK was called The Wombats Proudly Present: A Guide to Love Loss and Desperation, so I guess they wanted to continue the trend.) There’s been a lot of hype surrounding this sophomore effort overseas. Three singles have already been released in Britain (“Tokyo [Vampires and Wolves],” “Jump in the Fog,” and “Anti-D”); they hosted a special album launch party at the tony Supper Club last week; and this week, the new album is currently riding high as this week’s Album of the Week on both Zane Lowe‘s evening BBC Radio1 program and XFM over there.
Influential Paris dance label 
MC: Before coming over to North America, how did you prepare for your first-ever shows on this side of the pond?
MC: I have Steve Lamacq to thank for playing “Something Good Can Work,” a long while ago it feels like, on his 
