I mean being with a bunch of boys can be… you know you are on the tour bus and you have to adapt and ‘be' on the tour bus and embrace all that life style, or you have to react and go even further the other way and be a real girl about it.
There he is, writing songs for Jamie Cullum and Sophie Ellis Bexter and the chick from Atomic Kitten and I was thinking, ‘what are you doing? You're Andy Partridge from XTC!'
Rosenvinge is definitely a chanteuse; her beguiling, heavily accented voice cracks and murmurs through a set of dark ballads and dreamy, somewhat folk-tinted introspective songs which sometimes remind me of Nico's vocal delivery.
We start with the Late Great Nikki Sudden laying down the sonic law with June Panic's Seeing Double. Ohia immediately return the compliment by covering Sudden's brilliant The Last Bandit. You get the picture.
I could listen to this kind of pumped up, chaotic blues all day. It's a riot.
It's interesting to contrast the two versions of Cars, the 2001 take being almost baroque in its rendition. Metal is also particularly kick-ass. (Can you call Numan kick-ass?)
With Western Xterminator they have taken a full step backwards into retro-rock territory, sounding not unlike a 21st Century Guns N' Roses, and at worst, Saxon. Herrema remains a maverick, an outsider in this tame, tame world, but she needs to let it all hang out.
Tracks dip and swirl, and seem to be happily ensconced in very organic changes of tempo and key.
The Maccabees have set out with an intriguing new concept and carried it off immaculately. There isn't a flaw on the album, which is a massive achievement for five scrubbers from the south coast.
If somebody came up to you and said, "This place is such a shit-hole"; you'd probably tell them to move or to shut the fuck up. But when somebody you don't know says it over a few guitar chords, you'll sing along with them with a big grin on your face. You've got to love that.
Our Christmas record was significant. John Peel flipped out and played it on daytime BBC and that was a huge thing for us. This one feels like we took a bigger chance and some people might not like it. That to me is satisfying.
Belgian Post-Rock didn't sound promising I have to admit. Still there was a picture of a silo and a cow on the cover
I'd prefer to keep people guessing.
We had to prove to ourselves that we wanted to make this kind of record. It was made in a studio situation that wasn't “live”. In the past we all played together. With this one we laid it down, part by part. And you can hear the space that ensued through the recording.
The whole way we live at the moment… I mean I hope we are typical of people our age. But you can't help but notice at present things like the media and politics and the environment; the whole way the upper echelons of the word works; its really scary to our generation and in some ways it seems to need fighting against, counter-defining for ourselves.
In some ways it's brilliantly bone-headed dance music, though you are always aware that the man creating this is a sharp operator sonically.
Of course we are out on a bit of a limb in Kendal, musically and culturally, so we encourage all our kin to exercise their will to be weird. Not in a contrived way. But us country folk have got a pagan duty to uphold… and dancing like a fool in an open field has never quite tallied with urban notions of nightclub cool… so why fight it?
You can listen to a bit of it and enjoy it a lot but after an extended play I started to feel a bit queasy… its like a nice cake; its alright until you have too much of it.
Oh hell, describe a kind of Gothic, Dark Folk album that is primarily instrumental and viola-led.