ETA summer 2011
ETA summer 2011
21st Century Breakdown
15 May 2009
by Raziq Rauf
While 2004’s 12 million-selling, generation-defining American Idiot was timed to perfection – released at the height of anti-Bush confusion – the appointment of the righteous and celebrated Barack Obama last year suggests Green Day should have much less to rally against.
04 May 2009
by Raziq Rauf
When it comes to hot British bands upon whose shoulders apparently lies the weight of the world, they don’t come much hotter than Gallows. Lauded and damned in equal measure, Grey Britain is the most important record of their career.
A million words have been written, spoken, spat and shat about the Watford punk rockers signing to a major label plus other non-punk-associated endorsements as well as the relative disappointment of their debut, Orchestra Of Wolves compared to their live show. It doesn’t matter. As soon as this record came into existence, none of that mattered.
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All or Nothing
Warner Brothers Records
30 June 2008
by Pete Lockey
It isn’t a surprise to discover The Subways featured on an episode of teen show The O.C. What is a surprise, going from the sound of the band, is that they hail from leafy Welwyn Garden City, more famous for a mad Lord burying his Ferraris in his garden than generic MTV Bratcore bands.
In the week that Welsh rising stars Kids In Glass Houses release their debut album, Smart Casual, they take the time out to talk to Robin Sparkles about biding their time and then signing to a heavy metal label.
September 2006. A bunch of little-known UK acts are set to support some US emo types deep in the depths of Camden Town. There was a group of angry young men from Watford called Gallows, and then a double Welsh suckerpunch of The Blackout and Kids In Glass Houses.
It felt like there was something special happening; like magical wisps of stardust in the air. Well, maybe not quite, but it was a great gig.
From there Gallows went on to sign to Warner Brothers for a fuckload of money, re-release their awesome debut album and continued tearing up venues across the country while The Blackout went on a charm offensive, releasing a mini-album and a full-length.
KIGH, on the other hand got left by the wayside. Sure, they had their moments of glory supporting Lostprophets and Paramore as they toured their E-Pocalypse EP incessantly, but they never really broke out. Now, it looks like it is finally KIGH’s time as the five Valley boys prepare to release their debut album, Smart Casual.
“That gig definitely had that turning point feel to it. That was the first time we played London properly. I remember being really nervous. I don’t remember much of the show but we got a manager and an agent sprung from that show so it was an important one for us,” says singer Aled Phillips of that fateful gig.
Watch the video to ‘Easy Tiger’
“It felt like we were taking a long time to get an album out, but it felt like we were waiting to be in the strongest position we could be in. We were hungry to get where they were, but we didn’t want to rush it and release something that was half-baked either.”
That decision to bide their time worked well. The band – completed by guitarists Joel Fisher and Iain Mahanty, bassist Andrew Shay and drummer Phil Jenkins – spent most of 2007 on the road, writing and courting labels who were chomping at the bit for them.
Roadrunner Records eventually won that battle and athough the metal stable seems an unusual choice for a band with the powerpop tendencies of KIGH, Phillips thinks it was the right decision.
“They were willing for us to carry on doing exactly what we wanted to do and them just support us, so it was an ideal deal for us.”
Label in place, it was time to record their full-length, which they did towards the end of last year. The resulting album is 12 tracks of eclectic, melodic emo-rock that follows on in the tradition of Lostprophets. It’s a debut that crackles with the electricity of a band teetering on the edge of something very exciting, and KIGH couldn’t be happier with it.
“It’s the album we wanted to write. We have no regrets with it. It’s a lot more mature and varied than the EP, the album has a lot of different influences which we were keen to explore.”
Watch the video to ‘Give Me What I Want’
The broad-base of musical tastes that the five members have keeps things interesting. “That’s definitely come across clearer than it ever has before, because we all like completely different bands,” explains Aled. “Phil’s really into his pop, me and Ian have always been into hardcore and Joel likes Radiohead so when it comes together, it works quite nicely.”
It also means that they dodge pigeonholing, as their catchy, hook-laden, sing-along anthems sit comfortably between the intensity of Gallows, the screamo leanings of The Blackout and the pop-punk of Paramore – they can (and will) collect fans from all corners when on the road.
So as KIGH venture out on their headline tour, things are all good in their camp. So where do they want things to go from here? The ever modest Phillips ponders, “Things have never taken a massive leap forward so we’ve always had time to get our heads around it. So as long as we’re slightly bigger than we are now, as long as things aren’t going backwards and we’ve maybe seen a bit of the world, we’ll be happy.”
Well, it may have taken them a bit longer than their peers to get here, but we have a sneaking feeling that with Smart Casual as their secret weapon, the only way for them is skyrocketing upwards.
Smart Casual is out now on Roadrunner Records
Orchestra Of Wolves
In At The Deep End Records
25 September 2006
by Raziq Rauf
This is surely the best thing to have come out of Watford since John Barnes. This is Gallows’ debut album and it is fucking brilliant.
Orchestra Of Wolves is an old-school punk rock-fuelled hardcore monstrosity that is topped off quite fantastically by Frank Carter’s unholy story-telling racket. Plus, it’s all quite unmistakeably British.