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Live4ever Presents: GANGS

Live4ever Presents: GANGS

Posted on 17 Oct 2014 at 5:09am

Who?

Johnny: “I play the drums, Jordan is our bass player and lead vocalist. Dan and James on guitars.”

Where?

Jordan: “We’re all from Tallaght, south Dublin.”

How?

James: “I’ve known Johnny all my life, Johnny went to school with Jordan, and Dan is a friend of a friend. We were all into the same stuff – same music, clothes – so it made sense.”

Dan: “We all wanted this for a long time. Two years ago we got together and decided to give it a proper go.”

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Live4ever Exclusive: 'The United States Of Kasabian'

Live4ever Exclusive: ‘The United States Of Kasabian’

Posted on 06 Oct 2014 at 7:28am

 

The biggest week of the biggest year in the decade since Kasabian released their eponymous full-length debut happened this past June, a week bookended by a massive hometown gig at Leicester’s Victoria Park and a triumphant headlining slot at Glastonbury.

They’ve since reduced their scope, playing a few weeks of shows in the United States ahead of the US release of their latest album 48:13′.

Victoria Park saw the band – singer Tom Meighan, guitarist Serge Pizzorno, bass guitarist Chris Edwards and drummer Ian Matthews – perform to 50,000 people; Glastonbury, including its live feed, was even larger. But as is often the case, a tidal wave which crushes the British Isles is often reduced to a ripple along the shores of America.

Oasis, who Kasabian have often lazily been compared to, were playing Madison Square Garden by the time they imploded in 2009. Arctic Monkeys have seen their stock rise over the past several years, playing large arenas in primarily support slots but looking like they belong there. Yet Kasabian, with their natural bluster and genre-mixing canon, should be even bigger. Instead, they’re selling out Boston’s Paradise Rock Club (capacity: 933) and New York City’s Terminal 5 (capacity: 3,000), and absolutely killing it.

View full gallery from Terminal 5 show

It’s been tough for Kasabian in America, an often deflating experience that’s had little to do with an inability to connect with the audience; the problem, as Meighan and Pizzorno see it, has been with the people in the States who they feel should have been working harder to get the word out.

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Live4ever Presents: Medicine Men

Live4ever Presents: Medicine Men

Posted on 03 Oct 2014 at 5:52am

 

Who?

Ian Mackinnon (vocals/guitar)
Mick McGeoch (keys)
John Boyle (bass)
Mark O’Donnell (drums)

Where?

All based in Glasgow but Mick hails from Stranraer and Mark from Mallaig.

How?

We met each other through mutual friends really. A couple of us had played in a band before this and decided we wanted to change the way we did things, and that’s how Medicine Men came about.

Live4ever's Essential Listening: The Tracks Of 2014...So Far

Live4ever’s Essential Listening: The Tracks Of 2014…So Far

Posted on 23 Jul 2014 at 5:01am

Live4ever has already showcased well over 200 breaking artists during 2014, and now we’ve dipped back in to New Tunes Guide highlights, track reviews, Presents features and video premieres to revisit just 25 of the many brilliant tracks to have passed through our radar section so far this year.

Live4ever’s Essential Listening is here to share, not preach! An interactive celebration of rock and roll where your favourites can contribute. Make sure your stand-out tracks of the year so far get a deserved mention by leaving a comment below.

 

Live4ever's Essential Listening: The Albums Of 2014...So Far

Live4ever’s Essential Listening: The Albums Of 2014…So Far

Posted on 01 Jul 2014 at 6:07am

We’ve had veterans dipping into the solo world, seasoned mainstays releasing some of the best work of their career and, always most excitingly, brand new bands unleashing truly impressive debuts. 2014 has been undoubtedly another strong year so far, and Live4ever has once again picked out just a handful of albums for us all to revisit and reflect on as an all-too fleeting summer homes into view.

The variety is striking; from the ‘true joy and genius of great punk music’ found in OFF’s ‘Wasted Years’, to the ‘haunting, tragic air’ of ‘I Can Learn’, and the majestic under-the-radar first release from Vikesh Kapoor which dispays ‘the real America, its majesty and pride never so honestly depicted’. All this and much more is waiting in the latest edition of Live4ever’s Essential Listening series.

Live4ever’s Essential Listening is here to share, not preach! An interactive celebration of rock and roll where your favourites can contribute. Make sure your stand-out albums of the year so far get a deserved mention by leaving a comment below.

Live4ever Presents: ...And The Hangnails

Live4ever Presents: …And The Hangnails

Posted on 27 Jun 2014 at 9:59am

Never underestimate the power and potential of a lo-fi garage-rock-revival duo; to do so would be foolish if listening to …And the Hangnails‘ latest gem ‘You & I’.

A tune about wrestling with yourself, combating the uncertainties you face when that glance in the mirror is unsure of what’s casted back. Combine those ideas with loud, guttural guitars and a bombastic drum explosion, and the results are quite magnificent.

Blues, Fights & Piracy - The Wanton Bishops @ SXSW 2014

Blues, Fights & Piracy – The Wanton Bishops @ SXSW 2014

Posted on 04 Jun 2014 at 9:45am

‘’We don’t have a record label’’ says Eddie Gossein. ‘’Well, maybe we don’t need one,’’ replies Nader Mansour.

This is The Wanton Bishops. A duo that, despite delving into new and unorthodox ways of promoting and publishing their music, are fascinated by the old-school blues roots of the delta. This untainted sense of tradition has given them a new outlook on how the music industry operates. They’re a garage-rock revival couplet with a brain wired for the present, while their fingertips and hearts bleed with a love of the past.

'Unless you’re trying to change the world, what’s the point?' - iTCH @ SXSW 2014

‘Unless you’re trying to change the world, what’s the point?’ – iTCH @ SXSW 2014

Posted on 28 May 2014 at 10:50am

Never one to shy away from combining politics, punk and hip-hop iTCH, the former frontman of The King Blues, is currently supporting the campaign for his debut solo album ‘The Deep End’, released on March 24th this year through Red Bull Records.

As a street poet and suburban punk by both day and night, the LP predictably sees iTCH showing no reluctance or resistance to propagate his message of peace, love and anarchy amongst the people, the proletariat. At the 2014 South By Southwest Festival, we managed to catch up with the sharp-suited and equally sharp-tongued musician; starting our chat by looking at the nature of the music industry as it is now, in the 21st century. Get ready for iTCH to show just why he’s one of the most passionate and compelling artists around today.

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'It's Punk But Not As We Know It' - Radkey @ SXSW 2014

‘It’s Punk But Not As We Know It’ – Radkey @ SXSW 2014

Posted on 23 May 2014 at 1:12pm

What is punk nowadays anyway?

Just a throwaway tag for any band with pointy, gel-encrusted hairdos, and trousers that refuse to say hello to a faraway striped-socked ankle? Or anything just that bit too quick, that bit too loud, to be labelled ‘indie’? What is indie nowadays anyway..? Probably best to leave that for another time and place.

If what first started rushing out of the doors of New York nightclubs, and from an expanding London pub scene in 1976, came shuddering to a miserable end before it was barely out of nappies, its most famous protagonist staring into middle distance on a dank San Francisco stage, feeling cheated by the world, then surely there can’t be any authenticity left, nearly four decades on from an untimely demise.

Well, Missouri brothers Dee, Isaiah and Solomon appear to be navigating that particular problem by coming up with a new definition all of their own.

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Slaves @ SXSW 2014: 'Dubstep killed guitar music - but it's coming back'

Slaves @ SXSW 2014: ‘Dubstep killed guitar music – but it’s coming back’

Posted on 20 May 2014 at 7:48am

The easy way to describe burgeoning garage rock duo Slaves would be to lump them in as another guitar and drum combo that either sprouted up from the seeds of the White Stripes’ expansive post-millennial influence, or flowered under the arena-ready dominance of The Black Keys.

In this case, that simply isn’t true. Whereas the beginnings of those two groups were both steeped in reconfigured blues riffs, the sort of energized racket that Laurie Vincent and Isaac Holman are unleashing as Slaves is undoubtedly more Sex Pistols than Son House. Throw in the fact that Holman handles the lead vocals whilst also standing behind a skeletal kit with no kick drum, and any comparison to early-aught revivalism suddenly becomes as antiquated as Jack White’s coffee maker.

Hailing from the South East England county of Kent, Vincent and Holman have refined their sound over the past four years into a tense mixture of damaged hardcore, pummeling proto-grunge and old-school British street punk. Vincent’s guitar lines are all equally thick and menacing, while Holman’s upright drumming style is as unhinged and heavy-handed as the desperate gasps that strain each shout-along chorus.

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