Idlewild put all projects on hold. The band announced the break on Facebook pinpointing lack of ‘demand’ for the decision. “At the end of this final part of the tour we will have played 40 gigs around the UK and Ireland in support of [new album] ‘Post Electric Blues’, which seems more than enough for some time,” wrote Roddy Woomble. “There isn’t the demand for our music that there was in the past, especially not outside of Britain, so it seems after this year it’s an appropriate time to take a break, a ‘hiatus’ or whatever you want to call it.” Scottish rockers Idlewild formed in Edinburgh in late 1995, originally comprising singer Roddy Woomble, guitarist Rod Jones, bassist Phil Scanlon, and drummer Colin Newton. A year of steady touring preceded the release of the band’s 1997 Human Condition label debut single, “Queen of the Troubled Teens,” which immediately found favor with Radio 1 DJ Steve Lamacq; the media exposure brought Idlewild to the attention of Fierce Panda, which agreed to issue their sophomore effort, “Chandelier” (their first record with new bassist Bob Fairfoull). A mini-album, Captain, followed on Deceptive in early 1998, and as word spread of their chaotic live shows, the group signed to Food to release Hope Is Important in late October. 100 Broken Windows followed in early 2001 with a subsequent U.S. tour early that spring. The next year, Idlewild issued The Remote Part. “American English” and “You Held the World in Your Arms” were massive hits in Europe, making the album Idlewild’s most successful album to date. While touring Europe in fall 2002 in support of their third album, founding bassist Bob Fairfoull was suddenly kicked out of the band. Guitar technician Alex Grant stepped in to fill his shoes for the remaining European dates. Gavin Fox (bass) and Allen Stewart (guitar) were added permanently to the band in 2003, just prior to the American release of The Remote Part in March. Warnings/Promises followed in 2005. Fox left the band the following spring and was replaced by former Astrid bassist Gareth Russell. Woomble made his solo debut with My Secret Is My Silence. It was released in the U.K. in July 2006. Idlewild’s fifth full-length album, Make Another World, was released the following year. It was their first release on the newly rejuvenated Sequel label.
Crafty London melody merchants The Molotovs have announced details of their debut mini album ‘And The Heads Did Roll’ released through Fierce Panda on the 5th October 2009. To Celebrate the band have released album track ‘In conversation’ as an exclusive track for bloggers and media to share. The band have also recently created a youtube channel. They offer a selection of video Continue reading →
The Von Bondies release their third studio album ‘Love, Hate And Then There’s You’ on Monday 4th May 2009. It will be preceded by the single ‘Pale Bride’/ ‘Earthquake’ on the 27th April. The album will be available on CD & download. The single as a 7′ and download. Both will be released through Fierce Panda. This deluxe Fierce Panda European release also comes with a bonus CD featuring five new tracks not available elsewhere. The Album Tracklisting is as follows:
1 ‘This Is Our Perfect Crime’; 2 ‘Shut Your Mouth’; 3 ‘Pale Bride’; 4 ‘Only To Haunt You’; 5 ’21st Birthday’; 6 ‘She’s Dead To Me’; 7 ‘Chancer’; 8 ‘I Don’t Wanna’; 9 ‘Blame Game’; 10 ‘Accidents Will Happen’; 11 ‘Earthquake’; 12 ‘Modern Saints’
The band, have come a long way since 2004’s smash album ‘Pawn Shoppe Heart’. Now in their ninth year together, singer-guitarist Jason Stollsteimer and drummer Don Blum, The Von Bondies’ other founding member, have taken their music to new places while holding on to the core values they’ve always embodied. ‘Love, Hate and Then There’s You’ picks up from the tighter, more nuanced sound of The Von Bondies’ huge 2004 hit single ‘C’mon C’mon,’. This is The Von Bondies with a renewed sense of purpose. In a sense, says Stollsteimer, ‘it’s a new band. You don’t want to avoid your history but it is a new direction. It wasn’t on purpose. It’s just where we were going.’ The roots of The Von Bondies can be traced back to the late ’90s—at one point Jason had a band called the Baby Killers—but things really began in earnest when Blum teamed up with Stollsteimer in 1999. The Von Bondies were born in 2000, and the first album, ‘Lack of Communication’, came the following year. ‘Raw and Rare’, a collection of live BBC recordings, followed in 2003, then ‘Pawn Shoppe Heart’.
Shortly before the album’s release, The Von Bondies will return to the UK for a series of dates.
They are as follows:
Thu 23rd – Kings College – London
Fri 24th – CAmden Crawl – London
Sat 25th – O2 Academy – Birmingham
Sun 26th – King Tut’s Wah Wah Hut – Glasgow
Mon 27th – The Ruby Lounge – Manchester
The band will record the live session at London’s legendary Abbey Road Studios, the home of The Beatles historic first ever satellite broadcast, and will feature live mixed graphics from world renowned digital artists D-Fuse.
3D glasses will be available from keanemusic.com, and all retailers with the 7′ of the new single ‘Better Than This’.
The audio from the gig will also be simultaneously broadcast live on-air on newly launched national station Absolute Radio and in it’s full 3D video glory at www.absoluteradio.co.uk.
Keane release Better Than This taken from the album Perfect Symmetry, on 16th March, through Island Records.
More about Keane.
Vocals: Tom Chaplin / Piano: Tim Rice-Oxley / Drums: Richard Hughes
Keane formed in 1997 at a Hastings Secondary School.
In 2002, following several years of experimenting and honing their sound, Keane decided that they needed to get out and play live. They booked two acoustic gigs, one at the 12 Bar Club, another at the Betsey Trotwood. Fierce Panda mini-mogul Simon Williams caught the Betsey Trotwood gig, and asked Keane to put out a single on his label.
They chose ‘Everybody’s Changing’, a sweeping, majestic ode to feeling utterly lost when everyone else seems to know the score, which was recorded for zero pence. “The recording session was a little rough and ready – the song was literally made in a room in someone’s house,” Tom laughs. “And we had to go round to a different house to mix it, because the speakers broke.” It would be difficult to find origins more desperately indie, yet ‘Everybody’s Changing’ sounded like a Number One chart hit before you even got to the chorus, and it immediately began turning heads. Steve Lamacq decided that it was one of the best singles in Fierce Panda’s entire history – not bad for a label, which housed early releases from Coldplay, Idlewild and Supergrass. He declared that Keane were “somewhere between a scuffed Coldplay and a frankly bewildered Beautiful South”, hammering the single on his show and eventually calling the band in for a session on BBC 6Music. Xfm were on the case, too, with Clare Sturgess requesting a session from the band, while a Sunday Times profile noted that Keane were responsible for “three and a half minutes of pure pop loveliness”. NME wrote that ‘Everybody’s Changing’ was “indisputably mighty” and compared Keane with “‘Kid A’-era Radiohead covering A-ha”.
What all these people spotted – and what the rest of the world will shortly find out for themselves – is that despite the reference points, Keane’s beguilingly beautiful music really isn’t like anything else that’s out there right now. “Our songs have universal themes and are emotional,” Tim nods. “People want emotion. But that seems like quite a rare thing these days. I don’t think there are many bands who are making music which actually means anything. There’s nothing to identify with.”
Things, at last, were beginning to gather pace. Keane’s first UK tour saw Tom, Richard and Tim performing at venues up and down the country to audiences of between five and 300 people. They didn’t look like many other bands – there was no guitarist, a factor which might send some purists screaming into the hills but, Richard says, really wasn’t a conscious decision.
By the time spring 2003 rolled around, the boys were out on the road again, and labels were already putting offers on the table. “All we were after was the opportunity to make the right record with the right people,” Tom shrugs – which is where Island stepped in. “We’ve never wanted to be a small, cult band,” Tom adds. “We want to get our music heard by as many people as we possibly can, because that’s why we’re making it.”
Throw in a startling appearance in the New Bands tent at the Reading and Leeds Carling Weekend, more plaudits for the boys’ second single ‘This Is The Last Time’. And, once again, it sounds like all the bands who’ve ever meant anything to anyone, but at the same time it only sounds like Keane.
“People often say that they wish they’d been around in the 60s,” Tom says. “But we’re happy just where we are. We love rock’s back catalogue, and now we’ve got a chance to add to it. After all, tunes never go out of fashion.”