Deerhunter are an ambient punk band from Atlanta. Bradford Cox is the lead singer of aforementioned band. We decided to go down to Deaf Institute and interview the man before Deerhunter’s gig for Now Wave, y’know, because they make bitchin’ music and what not.
JG: Is it important to be able to lose yourself in something as emotionally raw as music?
BC: I think so. I think it would help probably to vent emotions that people tend to suppress, so I would say yes.
JG: Do you think music is a good platform for honesty?
BC: I would replace the word ‘honesty’ with cathartic. Sometimes there’s no truth or falsehood, it’s more just raw. Honesty tends to relate to translation, whereas catharsis is just like, explosions.
JG: In today’s industry what current recording artists do you think set a good example to both new bands and bands trying to carve a path?
BC: That’s a good question, let me think on it. Er, I don’t know. I have so many different ideas about that. Sometimes I’m really into independents then other times I understand the need for distribution and there are several bands that have challenged the conventional approaches to that sort of thing. I don’t know that there’s a single band that I would say have laid the path for me.
JG: What is it about making music that you love the most?
BC: That’s hard to pinpoint, I mean I love everything about it. Music is such a primordial thing for me; it’s the most basic part of my existence.
JG: Do you think it’s important to be wholly serious about music, or do you think it’s better to be more open to jest?
BC: Oh definitely, I’d be the first to laugh at certain jokes, you know? I don’t think you can take yourself too seriously.
JG: Does your music possess a lot of private jokes?
BC: I mean I think more references, but yeah I think there’s a sense of humour there. In the artwork you know? There can be references. Sometimes they’re not even conscious, sometimes I realise later.
JG: What’s your favourite flavour ice cream?
BC: I don’t like sweets, isn’t that weird? I’ll occasionally have a little taste of something. My Mom didn’t really raise me to like sweets that much. If I had to choose I’d probably say a generic flavour like Cookies & Cream.
JG: When it comes to Atlanta, the city is able to boast a rich musical heritage, what is it about the city that enables it to birth so many popular musicians?
BC: Probably cheap rent. And a lack of competition. A lot of the time when you go to bigger cities it’s really competitive and people don’t really get to form their own identity ‘cause they’re competing with other bands.
JG: You mentioned the lack of “competition” then, are there any bands from Atlanta that you would recommend to our readers?
BC: There’s a band called The Balkans that are great, they’re real young, they’re still in high school. They have a great sound though.
JG: If you had the opportunity to spend the day with Jimi Hendrix or Jim Morrison, which would it be?
BC: Jimi Hendrix.
JG: Why?
BC: He’s not Jim Morrison. The only thing he ever did that was worth a shit was ‘Spanish Caravan’. He’s kind of like a skeezy beaver Jim Morrison. Couldn’t I just hang out with Neil Young instead?
JG: Finally, what are your thoughts on the weather over here?
BC: Interesting you should ask. I was just talking today about how much I hate the weather over here. I don’t understand why this geographical location hasn’t been vacated for sunnier climates. I hope that doesn’t make me sound rude?
To be fair to Bradford, the weather is shit over here. Deerhunter’s music is not. The man says it’s “quite OK” for me to stay and hang out backstage, but tells me he’s going to take a quick nap. I take that as my cue to leave and meander back up Oxford Road cursing the raindrops as they soak me to the bone, wishing that I’d taken Bradford up on his offer.
Monday, 29 June 2009
Friday, 12 June 2009
The chrome might be 'on it', but Telepathe miss by a hairs breadth...
When it comes to forming an avant electro pop duo, it would seem Telepathe have all the right ingredients. They’re both pretty sassy ladies from Brooklyn. They even managed to snare themselves Michael Sitek as a collaborator on debut album ‘Dance Mother’. Oh, and one of them is called Busy Ganges. Slick.
So why when watching Telepathe live does it feel like something’s missing? It’s certainly not the venue, The Deaf Institute is one of the few places in Manchester you can routinely rely on not to cock up a band’s performances with poor sound quality or a tepid atmosphere.
Maybe it’s the fact that the lights were turned right down, I assume to ‘create a mood’. All it did was see to it that you struggle to see the band thus making it very difficult to develop a rapport with their performance.
It borders on frustrating, because the band themselves have some brilliant tunes. ‘Chrome’s On It’ is a joy to watch live, with the drum machines and the rumble from the bass even causing the optics at the bar to topple over.
‘In Your Line’ is one of the stand-out tracks on the album, and that too transfers over to the live performance. Ganges and her band-mate Melissa Livaudais’ almost lackadaisical vocal delivery is a blessing on this track. The military drums saunter along hand in hand with the girls’ lyrics.
Not many people are aware of the decibel measuring device in the top right corner of the main hall at The Deaf Institute, yet for this performance it seemed to be the only consistent performer, with its levels perpetually in the red.
Unfortunately for Telepathe that wasn’t a good thing, as the performance at times was just a load of riff-raff and carried no real substance or weight.
On the track ‘Can’t Stand It’, the pair repeats “Oh you know it could be so much better”. This was a case of life imitating art. Telepathe certainly aren’t a million miles from being a fantastic act, both on wax and live, but when it comes to the latter some fine tuning is required.
Obviously we're trying to save a bit on energy these days, but surely it can't hurt to turn the lights up; or even on.
3 out of 5
So why when watching Telepathe live does it feel like something’s missing? It’s certainly not the venue, The Deaf Institute is one of the few places in Manchester you can routinely rely on not to cock up a band’s performances with poor sound quality or a tepid atmosphere.
Maybe it’s the fact that the lights were turned right down, I assume to ‘create a mood’. All it did was see to it that you struggle to see the band thus making it very difficult to develop a rapport with their performance.
It borders on frustrating, because the band themselves have some brilliant tunes. ‘Chrome’s On It’ is a joy to watch live, with the drum machines and the rumble from the bass even causing the optics at the bar to topple over.
‘In Your Line’ is one of the stand-out tracks on the album, and that too transfers over to the live performance. Ganges and her band-mate Melissa Livaudais’ almost lackadaisical vocal delivery is a blessing on this track. The military drums saunter along hand in hand with the girls’ lyrics.
Not many people are aware of the decibel measuring device in the top right corner of the main hall at The Deaf Institute, yet for this performance it seemed to be the only consistent performer, with its levels perpetually in the red.
Unfortunately for Telepathe that wasn’t a good thing, as the performance at times was just a load of riff-raff and carried no real substance or weight.
On the track ‘Can’t Stand It’, the pair repeats “Oh you know it could be so much better”. This was a case of life imitating art. Telepathe certainly aren’t a million miles from being a fantastic act, both on wax and live, but when it comes to the latter some fine tuning is required.
Obviously we're trying to save a bit on energy these days, but surely it can't hurt to turn the lights up; or even on.
3 out of 5
Wednesday, 10 June 2009
Some Say They Walk Alone
When it comes to The Horrors, it’s just as easy to dwell on the band’s controversial nature as it is their music. Seeing as it's all well documented we’ll just brush past it and in doing so focus on what was a brilliant live performance.
The band have ventured off into brave new worlds with 2nd LP Primary Colours, moving with gusto away from their garage punk roots and swanning into realms more akin to Nick Cave, Joy Division and The Human League.
The subterranean setting of Manchester’s Ruby Lounge couldn’t be more suited to their vampiric, hungover look. As they glide into ‘Mirror’s Image’ Farris Badwan flies forward, intending to drag the bewildered onlookers into his strange experimental world.
In keeping with the 2nd album, ‘Three Decades’ is next and catapults the rollercoaster down deeper, picking up torque in the process.
‘Sheena Is A Parasite’ and ‘Count In Fives’ also rear their spiky heads, appeasing those who’ve appreciated The Horrors open-minded approach to music since 1st LP Strange House.
‘Who Can Say’ is definitely the highlight of the evening. Farris’ ominous poise really brings the song to life. He utters “then I kissed her, with a kiss that could only mean goodbye” with a conviction that adds real authority to his words.
‘Sea Within A Sea’ gets a great response from a crowd who are so drenched with sweat they look as if they themselves have been for a dip with Ariel and chums. The bass line ushers the audience along as Farris’ vocals haunt their ears.
The song is very introspective. “Some say we walk alone” laments Farris, describing how he and his band “march into the sea” whilst others “stay firmly rooted in the shallows”.
The Horrors have definitely put themselves ahead of the curve with their 2nd album. Tonight’s performance demonstrates that the transition from studio to stage will be a seamless one. So let’s forget about all the accoutrement that comes with the band and focus on their music, because it definitely warrants acclaim.
4 out of 5
The band have ventured off into brave new worlds with 2nd LP Primary Colours, moving with gusto away from their garage punk roots and swanning into realms more akin to Nick Cave, Joy Division and The Human League.
The subterranean setting of Manchester’s Ruby Lounge couldn’t be more suited to their vampiric, hungover look. As they glide into ‘Mirror’s Image’ Farris Badwan flies forward, intending to drag the bewildered onlookers into his strange experimental world.
In keeping with the 2nd album, ‘Three Decades’ is next and catapults the rollercoaster down deeper, picking up torque in the process.
‘Sheena Is A Parasite’ and ‘Count In Fives’ also rear their spiky heads, appeasing those who’ve appreciated The Horrors open-minded approach to music since 1st LP Strange House.
‘Who Can Say’ is definitely the highlight of the evening. Farris’ ominous poise really brings the song to life. He utters “then I kissed her, with a kiss that could only mean goodbye” with a conviction that adds real authority to his words.
‘Sea Within A Sea’ gets a great response from a crowd who are so drenched with sweat they look as if they themselves have been for a dip with Ariel and chums. The bass line ushers the audience along as Farris’ vocals haunt their ears.
The song is very introspective. “Some say we walk alone” laments Farris, describing how he and his band “march into the sea” whilst others “stay firmly rooted in the shallows”.
The Horrors have definitely put themselves ahead of the curve with their 2nd album. Tonight’s performance demonstrates that the transition from studio to stage will be a seamless one. So let’s forget about all the accoutrement that comes with the band and focus on their music, because it definitely warrants acclaim.
4 out of 5
Monday, 18 May 2009
BBC Lost Knives review...
There are many pitfalls that can threaten to clip the wings of a fledgling band. Tonight, it seems, the musical gods are itching to throw a whole gaggle of them at the newly named Lost Knives.
Through no fault of their own, after only seven weeks in existence, the band has had to change their name. Taking that into account, they would be forgiven for throwing a hissy fit when stepping foot onstage 90 minutes after they were originally supposed to.
“Cheers for waiting for so long,” says joint vocalist Steven Mcinerney. The venue is unfairly empty, meaning the apology is heard by not nearly enough people. Oh well, their loss.
Ever the optimists, they proceed to press on and incinerate the humble gathering with ‘Cold Morning’. Joe Craig is the gentile assassin on the drums, rasping the skins with unassuming enormity.
The song is incredibly bold for a new band, yet there is nothing green about Lost Knives or front-man George Agan, the harbinger in the long black coat.
During their first outing, ‘Solstice’ almost fell apart. As the klaxon intro rings out, there is no trace of nervousness this time round. Mcinerney shines, swaying to and fro, completely lost in the moment. As the song closes, his voice strains, demonstrating a hunger not heard round these parts since ‘Stay Young’. This is so far removed from the laddish Gallagher brothers though; it’s more like The Strokes meets Guillermo Del Toro
We’re treated to new song ‘Nothing Relents’ next, with Will Clutton breaking out bass lines that would make Peter Hook grin like a Cheshire cat.
‘Out of Touch’ closes and is a beastly tune. It lulls in the middle, building up to a crescendo and injecting the kind of anticipation that would cause Alfred Hitchcock to sweat.
It’s remarkable to see how much they have improved since their first gig. If they carry on this way, they won’t be “our little secret” for much longer.
3 1/4 out of 5
Through no fault of their own, after only seven weeks in existence, the band has had to change their name. Taking that into account, they would be forgiven for throwing a hissy fit when stepping foot onstage 90 minutes after they were originally supposed to.
“Cheers for waiting for so long,” says joint vocalist Steven Mcinerney. The venue is unfairly empty, meaning the apology is heard by not nearly enough people. Oh well, their loss.
Ever the optimists, they proceed to press on and incinerate the humble gathering with ‘Cold Morning’. Joe Craig is the gentile assassin on the drums, rasping the skins with unassuming enormity.
The song is incredibly bold for a new band, yet there is nothing green about Lost Knives or front-man George Agan, the harbinger in the long black coat.
During their first outing, ‘Solstice’ almost fell apart. As the klaxon intro rings out, there is no trace of nervousness this time round. Mcinerney shines, swaying to and fro, completely lost in the moment. As the song closes, his voice strains, demonstrating a hunger not heard round these parts since ‘Stay Young’. This is so far removed from the laddish Gallagher brothers though; it’s more like The Strokes meets Guillermo Del Toro
We’re treated to new song ‘Nothing Relents’ next, with Will Clutton breaking out bass lines that would make Peter Hook grin like a Cheshire cat.
‘Out of Touch’ closes and is a beastly tune. It lulls in the middle, building up to a crescendo and injecting the kind of anticipation that would cause Alfred Hitchcock to sweat.
It’s remarkable to see how much they have improved since their first gig. If they carry on this way, they won’t be “our little secret” for much longer.
3 1/4 out of 5
Young Pretenders or Genuine Contenders?
With the weekend's boxing in mind, it'd be quite apt to compare the Ruby Lounge to Manny Pacquiao - both are small, compact little offerings, yet both certainly know how to punch above their weight.
Unfortunately for local band The Sticks, they, like Ricky Hatton, didn't really offer much. At best, they sound like a prickly Los Campesinos, although more often than not, their music seems better used as filler on a Kate Nash album.
Luckily, the next band on are definitely not also-rans. Baddies have acquired quite the reputation in their short existence and are tipped as contenders for 2009.
Stepping onto the stage in matching attire, similarities to The Hives are there to be seen. This comparison doesn’t end with aesthetics, as vocalist/guitarist Michael Webster channels his inner Howlin’ Pelle, whilst Juicebox-like guitars bang away during second song, Open One Eye.
Battleships portrays an incredibly tight band as the Southend natives break out bars that could dupe you into thinking you’d come to see an edgy B-52’s tribute act.
The set closes on Holler For My Holiday, demonstrating a passion most would struggle to muster in front of such a non-partisan crowd. In a time of synths and 80’s gimmicks, it’s nice to see four honest lads need only their instruments and wits to put on a good show.
Speaking of a good show, next up are Airship. These four messrs have been harkened to the the Pixies, but they’re less world-weary than that.
The kick drum reverberates around the venue for Spirit Party. Its bassline chips away at the audience and is perfectly juxtaposed by guitar riffs that hammer them. It’s a warm, Arcade Fire-laced song.
They close on Algebra, with front man Elliott Williams displaying amazing clarity. The song possesses that innate ability to lift the spirits, despite its borderline lethargic rhythms.
On tonight's showing, both Baddies and Airships are destined for popular, justified acclaim and might even make title contenders; The Sticks, on the other hand, were left floored in the first round and have lessons still to learn.
Unfortunately for local band The Sticks, they, like Ricky Hatton, didn't really offer much. At best, they sound like a prickly Los Campesinos, although more often than not, their music seems better used as filler on a Kate Nash album.
Luckily, the next band on are definitely not also-rans. Baddies have acquired quite the reputation in their short existence and are tipped as contenders for 2009.
Stepping onto the stage in matching attire, similarities to The Hives are there to be seen. This comparison doesn’t end with aesthetics, as vocalist/guitarist Michael Webster channels his inner Howlin’ Pelle, whilst Juicebox-like guitars bang away during second song, Open One Eye.
Battleships portrays an incredibly tight band as the Southend natives break out bars that could dupe you into thinking you’d come to see an edgy B-52’s tribute act.
The set closes on Holler For My Holiday, demonstrating a passion most would struggle to muster in front of such a non-partisan crowd. In a time of synths and 80’s gimmicks, it’s nice to see four honest lads need only their instruments and wits to put on a good show.
Speaking of a good show, next up are Airship. These four messrs have been harkened to the the Pixies, but they’re less world-weary than that.
The kick drum reverberates around the venue for Spirit Party. Its bassline chips away at the audience and is perfectly juxtaposed by guitar riffs that hammer them. It’s a warm, Arcade Fire-laced song.
They close on Algebra, with front man Elliott Williams displaying amazing clarity. The song possesses that innate ability to lift the spirits, despite its borderline lethargic rhythms.
On tonight's showing, both Baddies and Airships are destined for popular, justified acclaim and might even make title contenders; The Sticks, on the other hand, were left floored in the first round and have lessons still to learn.
Sunday, 10 May 2009
Lost Knives alternative review...
They’ve gone from Hot to Lost; pretty soon they’ll be discovered too…
You’re a seven week old band, playing your 2nd gig. What scenarios would you prefer to avoid? Having to change your name due to the fear of being sued? Falling foul of piss poor scheduling, seeing to it that you take the stage 90 minutes later than expected? Finding out your backing singer is Michelle McManus, who is stoned, hallucinating and thinks you’re actually a cheeseburger?
OK, so the final scenario is a little ridiculous. The first two unfortunately, have happened to the newly named Lost Knives.
You wouldn’t have guessed it judging by tonight’s performance. To say it was flawless would be to lie. There were problems, an errant plectrum and a snapped guitar string almost scuppered things, but all in all this was a tighter display than their first, nervous outing two weeks ago.
‘Cold Morning’ opens the set, introducing the band. Specifically front-man George Agan. His long black coat and lethargic movements liken him to a manic doctor from an old B-movie. The tune itself is laced with samples, dark riffs and sternum shaking drums.
‘Solstice’ informs those who don’t know, this band has two singers. Lead guitarist Steven Mcinerney demonstrates he isn’t a one trick pony with this epic undertaking. The song has real passion in it and shows a great deal of hunger.
Will Clutton demonstrates the ability to bash out a cracking bass line on ‘Nothing Relents’, which is quite apt given the ridiculously cool performance turned in earlier by Whitest Boy Alive’s Marcin Oz.
‘Out of Touch’ rounds things off with its eerie percussion and driven drums; the latter supplied by Joe Craig. These chaps are more than just a guitar band; the different samples and contraptions add another layer and definitely serve to separate them from some of the tripe on the radio. Expect to hear more from them in the future.
You’re a seven week old band, playing your 2nd gig. What scenarios would you prefer to avoid? Having to change your name due to the fear of being sued? Falling foul of piss poor scheduling, seeing to it that you take the stage 90 minutes later than expected? Finding out your backing singer is Michelle McManus, who is stoned, hallucinating and thinks you’re actually a cheeseburger?
OK, so the final scenario is a little ridiculous. The first two unfortunately, have happened to the newly named Lost Knives.
You wouldn’t have guessed it judging by tonight’s performance. To say it was flawless would be to lie. There were problems, an errant plectrum and a snapped guitar string almost scuppered things, but all in all this was a tighter display than their first, nervous outing two weeks ago.
‘Cold Morning’ opens the set, introducing the band. Specifically front-man George Agan. His long black coat and lethargic movements liken him to a manic doctor from an old B-movie. The tune itself is laced with samples, dark riffs and sternum shaking drums.
‘Solstice’ informs those who don’t know, this band has two singers. Lead guitarist Steven Mcinerney demonstrates he isn’t a one trick pony with this epic undertaking. The song has real passion in it and shows a great deal of hunger.
Will Clutton demonstrates the ability to bash out a cracking bass line on ‘Nothing Relents’, which is quite apt given the ridiculously cool performance turned in earlier by Whitest Boy Alive’s Marcin Oz.
‘Out of Touch’ rounds things off with its eerie percussion and driven drums; the latter supplied by Joe Craig. These chaps are more than just a guitar band; the different samples and contraptions add another layer and definitely serve to separate them from some of the tripe on the radio. Expect to hear more from them in the future.
Thursday, 23 April 2009
Bicycle Thieves are an indie five piece formed in November 2008. Their role call reads like this:
Tom Hammersley – Lead vocalist/Guitar
Ash Hopkins – Backing vocalist/Guitar
James “Jimmy” Feltham – Guitar
Jim Reynolds – Bass
Nick Pickering – Drums
Today’s port of call is Liverpool, the band’s base of operations. These two wheeled tea leaves are gaining momentum quicker than Lance Armstrong riding downhill. Steve Lamacq believes ‘Stop to Start’ is a “juggernaut of a track”. As we ‘effing love music, Dork mooched to Liverpool to interview them;
Is the band’s name from the Italian film, or the Pale Fountains song?
James: It’s the film, and the fact that Ash had his bike nicked the day we named the band.
What was the 1st album/single you ever purchased?
Jim: I think it was Baddiel and Skinner with ‘Three Lions’ in ’96.
James: Album wise, mine was Definitely Maybe, but I did buy Run-DMC’s single ‘It’s Like That’.
Being based in Liverpool, do you feel pressured by the cities musical heritage?
James: Obviously, you respect the band’s that have come before you, but you have pressure with every city. Liverpool it’s The Beatles, Manchester it’s Oasis, London it’s the Libertines.
Jim: In Wolverhampton you have Slade
James: You’ve just got to get on with it, you know?
When it comes to writing music, where do you draw your influences from?
Tom: Personal experience really, with a bit of romanticism thrown in. One of the songs is about when my mate hit me in the face, but that would only go so far, you have to add some depth really, and make it a big tongue in cheek.
Do you feel pressured by the industry attention you’ve been receiving?
Nick: Every step up seems very natural, it’s all come in its stride. I don’t think it’s beyond anyone what we’re doing.
Ash: I think the thing is we haven’t put any pressure on ourselves; we haven’t set ourselves a fixed template or anything.
Nick: I think it’s good as well that we’re up here, we can just get on with it like. It might be different if we were in London say.
If you could play any festival, which would you choose?
Unified response: Glastonbury.
If you were given the choice of headlining Glastonbury, or pulling Heidi Klum twice a week for the rest of your life, which would you choose?
Nick: If you told people you were ‘gonna headline Glasto, people would believe you. If you said you’d pulled Heidi Klum nobody would.
Jim: You might be able to do a duet with Seal though if Heidi Klum took a shine to you
With the magazine being called Dork, were any of you dorks in school?
Nick: I still am a dork mate. My bedroom hasn’t changed since I was six, I’ll leave you with that.
At that point, a mysterious character named Paul wanders over. The band tells me to “ask Paul a question about Bicycle Thieves”.
What colour best sums up Bicycle Thieves music?
Paul: Soiled Pink.
The band breaks into raucous laughter. I’m left feeling slightly bemused by what just happened and Paul saunters off to enlighten some other unsuspecting soul. Give ‘em a listen, then thank me later.
Tom Hammersley – Lead vocalist/Guitar
Ash Hopkins – Backing vocalist/Guitar
James “Jimmy” Feltham – Guitar
Jim Reynolds – Bass
Nick Pickering – Drums
Today’s port of call is Liverpool, the band’s base of operations. These two wheeled tea leaves are gaining momentum quicker than Lance Armstrong riding downhill. Steve Lamacq believes ‘Stop to Start’ is a “juggernaut of a track”. As we ‘effing love music, Dork mooched to Liverpool to interview them;
Is the band’s name from the Italian film, or the Pale Fountains song?
James: It’s the film, and the fact that Ash had his bike nicked the day we named the band.
What was the 1st album/single you ever purchased?
Jim: I think it was Baddiel and Skinner with ‘Three Lions’ in ’96.
James: Album wise, mine was Definitely Maybe, but I did buy Run-DMC’s single ‘It’s Like That’.
Being based in Liverpool, do you feel pressured by the cities musical heritage?
James: Obviously, you respect the band’s that have come before you, but you have pressure with every city. Liverpool it’s The Beatles, Manchester it’s Oasis, London it’s the Libertines.
Jim: In Wolverhampton you have Slade
James: You’ve just got to get on with it, you know?
When it comes to writing music, where do you draw your influences from?
Tom: Personal experience really, with a bit of romanticism thrown in. One of the songs is about when my mate hit me in the face, but that would only go so far, you have to add some depth really, and make it a big tongue in cheek.
Do you feel pressured by the industry attention you’ve been receiving?
Nick: Every step up seems very natural, it’s all come in its stride. I don’t think it’s beyond anyone what we’re doing.
Ash: I think the thing is we haven’t put any pressure on ourselves; we haven’t set ourselves a fixed template or anything.
Nick: I think it’s good as well that we’re up here, we can just get on with it like. It might be different if we were in London say.
If you could play any festival, which would you choose?
Unified response: Glastonbury.
If you were given the choice of headlining Glastonbury, or pulling Heidi Klum twice a week for the rest of your life, which would you choose?
Nick: If you told people you were ‘gonna headline Glasto, people would believe you. If you said you’d pulled Heidi Klum nobody would.
Jim: You might be able to do a duet with Seal though if Heidi Klum took a shine to you
With the magazine being called Dork, were any of you dorks in school?
Nick: I still am a dork mate. My bedroom hasn’t changed since I was six, I’ll leave you with that.
At that point, a mysterious character named Paul wanders over. The band tells me to “ask Paul a question about Bicycle Thieves”.
What colour best sums up Bicycle Thieves music?
Paul: Soiled Pink.
The band breaks into raucous laughter. I’m left feeling slightly bemused by what just happened and Paul saunters off to enlighten some other unsuspecting soul. Give ‘em a listen, then thank me later.
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