Shame at bars, punjab and gibberish for the first album ‘praise song’
Reality is strange – a series of events from birth to death. Shame singer Charlie and he (Charlie Steen) didn’t claim that this process was wise, he just from not behave flame out heat.it, scrawled in hoarse sing: “my nails without trim/my voice is not the best” have heard/and you can choose to hate me, but I give af * * *. ”
Shame, a five-man post-punk band, appeared in the south London squatting scene, with a few square eye singles and bands like the fall, cable TV characters rewired punk. The band’s debut album, “the song of praise,” is the most beautiful and ugly punk synthesis; The forefather who takes a bow and spit, but is confident enough to reveal the nerve with a certain grace and surprise. This is a vampire bat (” trial “dust and puppet (” Jin Kong”) and smile happily of teeth (” concrete “, “boring”, “irony”), but also contains a rooted in the gentleness of the despair, like “a Leeds pull or touch” close to “” (slide and Oasis folk had a similar feeling, and were on a motorcycle). Charlie Steen pandered to the great challenge of the band, roaring and humming.
Guitarist Eddie Forbes and the lead singer and he together to write the story behind the every songs, song praise the bar at the top of the practice of space, from the beginning, with the adolescence and “dark, twisted love story” to leave at the end of the album.
1. “blow dust”
This is one of the last tracks we wrote before recording, when we temporarily moved to a different rehearsal room (Fortress studio in east London). Eddie put forward an improvisation that made everything we’ve explored ever darker, so we’re all keen to explore it further. From the tools, this for us or a wildcard, we welcomed, because it gives us the opportunity to explore some we haven’t thought of more complex and more sinister. When the song began to form, Steen’s lyrics and voice began to add to the darkness of the orbit.
For us, this song is a blank stage for recording/making. In wales, Locke’s anfield record, we found the Harper (the legendary Leeds prodigy) technology, with more experimental electronic sound, bring to the place where we want to track. It’s strange to think that we don’t even think it’s going to be documented in the end, but we’re happy that we can put it there. Finally, it was an obvious opening for us.
The first time we played this song was in the great escape of Brighton, and when the band started, it was a catalyst. In the green room of a bar, Josh came up with what was the choir. The song had been on hold for a long time before we started working, but after playing back and forth between Eddie and Sean (Coyle Smith), the song began to form.
We solved this one before we had a few instrumental personas. When we recorded it, we had five people who were vocalizing at the end, which gave us the kind of vague, angelic ending we were looking for. By the way, this song is also the first release of our new brand, Dead Oceans.
3. “a rizla”
This is The oldest song we have ever recorded on this record, and it was written in The summer of 2014 at The Queen’s Head in Stockwell. We thought it was good for some reason.
The lyrics of Steen’s song are literally written in school textbooks, and you can listen to them. From a lyrical point of view, this song is a bit like the kind of despair and frustration that we experienced during the tragic adolescence.
About a year later, after the wise advice of our manager, reducing the horror of the introduction, the song began to become more coherent. We tried to record the trajectory with different people, but none of them looked as good as we had hoped, which was a bit depressing. We continue to play this song in each show, including two in our first performance, performance – at the last time we try to play the songs before recording an album, things began to appear suddenly, we turn it into a form now.
“Licking” was named as “unnamed band members entered a strange drug induced mental state, and for ten minutes, it seemed as if they could only lick.”
Next up is The “The Lick”, our first global release in May 2016, and our best friend Mica Levi, who is now in rehearsal space. The name of this song comes from in the same studio was a long night of an unknown band members entered a strange drug-induced mental state, less than ten minutes, it seems to only take “the. Lick. ”
This song is the birthplace of our written “the queen’s head”, one of four songs in the album, originally only eight minutes, Steen of stream of consciousness from speaking of disease of department of gynaecology to attack society on the relationship between the “irrefutable”. Name and/or be heard is a common theme in a song of praise: “I want you to hear my” about “concrete”, “I don’t listen to” on “a,” if you are the only one to listen to “lick”, I don’t want to hear.
“Tasteless” with “satire”, is the album’s two songs, including the elfin noise and quiet dynamics. Compared with other tracks, “Tasteless” is formed quite quickly because we are more focused on the rhythm section before adding anything else.
The song’s lyrics are pieced together from Steen’s many lost notebooks, piecing together different sentences. However, the basic message of communication is causing apathy in our society. It also has “I don’t like you better, when you’re not around”, 16 times in a row.
This song is the result of Josh and Steen being the only two members of the humiliation to practice, Josh plays the drum, Steen plays his music with a bass line. We were going to record the dolphin sounds, and finally we decided to have Josh running around in the studio, screaming in the microphone and creating a heaven accompaniment on this track. We seldom play it, but we occasionally bring it out for our encore song, especially when we are expected in the absence of an album when play – as we like an hour – love you Europe. It blows short and chaotic bubbles.
This song should be meaningless. The lyrics are nonsense. They have no deeper meaning, purely for our own amusement.
7. “Jin Kong”
Another piece is written in the exercise space on the head of our queen, actually in the same meeting with angie. “Golden hole” eventually became the first song we recorded with Dan Foat and Nathan Boddy in July 2016, and then we went to record the album.
We spent some time recording these (blessing Dan and Nath) before the rhythm section reached the desired effect. As the longest song we’ve ever played, we’re happy to see how this fits together. This is the second version of the song that we have released, every time for our growth.
“You can use more cowbells,” the band said after commenting on “post-friction” post-punk. We never object to more cowbells.
“Friction” is the last song we wrote before recording “the song of praise”, which was triggered by an improvisation made by Sean. Because our first song was “hairy weirdo,” and unfortunately we didn’t put the record on the record, so we were in the “Friction” here, we were. More cowbells can still be used.
This song is about the social and political issues that everyone in our environment in London is aware of, that we are making progress as a society. However, as we walk out of the London bubble and look at our friends around us, brexit, Donald trump and many other issues seem to suggest that we are moving backwards. Create a friction.
From the music, the song is very short, fast, takes a lot of stamina, because the guitar seems to have been on the brink of chaos, bass and drums in lower part, increased the abuse of the energy necessary to cause voice.
In the whole praise song, steen raises a lot of questions in the lyrics, and the “irony” is no exception. There are a lot of questions to ask, including “what are we most afraid of? “And” when you laugh or when you cry, do they hear you? Lyrical, this is about learning to embrace loneliness, and steen is still working hard, and feels that he needs to be surrounded by his own escape form forever.
The bone of the song is written only after the painful story of the lyrical content is written on the queen’s head. It was an album we never thought of until the producers Dan and Nathan heard it and insisted on including it. This song is probably the most sentimental for us, because a large part of it is written in Rockfields during the recording period, and because of its extremely high pitch, it can only be closer to the album.
It’s a dark, twisted love story. Whether it’s true or not, we’ll never know, but the story is about a teenage boy who falls in love with a girl who committed suicide. Delve deeply into the love that the man still holds for her, even after death.