RIO

Que estará rolando com as cadelas - Alex Wright (former female wrestler)

It’s a warm saturday, you’re cruising in your Citreon C1 with a cupla shawties, doing doughnuts in the links car park on the sea front. After rollin’ around with your homeboys for several hours, listening to the most notorious hip hop tunes and visiting Whitley’s finest oriental cuisine, you decide to make a night of it.

Joe is prancing like a wild gazelle on the indie floor, most likely raging to the beat of some heavy Foals. Gaz is spotted duggying on the rap floor, chain round his neck, drinking champagne to 50 cent or something weird. Then there’s Wrighty, who can be found busting someones nose in the smoking area, after his second bottle of cherry VK.

That’s where Rio comes in – a tune about your mates going mental, acting like they’re at a Rio carnival, having the best night of their life. Of course most likely it ends up in PSB slurping on a lonely kebab, or splashing away your cash in Aspers. But before you hit rock bottom, and come back down to reality, you’re in Rio.

Rio has so far been played in Digital twice, and has been received fantastically with lots of praise – thanks everyone who has to the time to listen or download. There are no free downloads left unfortunately, however if you really want a bit of Rio, we can send you it via email. Thanks a lot to Jordan Riley who produced this absolute corker, we are very pleased with it… enjoy.

(In other words we have a gig this friday (15th Feb) at Queen Alexandra 6th form. Come on down, tickets are £3)

…

Look after yourself.
Look after the ones you love.

Death by Pub

Following the profound success of our gig at the Wooden Doll (thanks everyone for a great night), Lisbon travelled to Blyth’s The Willow Tree pub the next day. At a time where we, as a band, should have been fearing the predictions of fame and stardom that were threatened the previous day, it’s safe to say that the only thing we feared for, was our lives. Walking in to the venue alongside Joe, my amp in one hand and guitar in the other, I was full of optimism – this luxurious feeling did not last long. Greeted by what can only be described as an army of anger, we awkwardly shuffled through the door. Looking to our left, there stood a few microphones on their stands, and a solitary drum-kit – to our right however, sat 5 men, mid-twenties, grey shell-suits, built like stallions, humiliatingly staring at us over their half-full pints of lager. As Joe’s casual ‘aright?’ was aggressively stabbed in mid air by a deafening silence, we made haste towards the comfort of the stage. But just as we thought we were safe, one of the demons spoke out. It was apparent that we, with no spare hands, carrying amps and guitars through the narrow doorway of the pub, with no assistance, had not successfully closed the pub door behind us – therefore the treacherous blizzard outside penetrated the fortress of the devils inside. Their proud leader stood up, almost 7 foot tall, and growled “eh! close the f***cking door then!“, he then stamped the door shut with one terribly violent kick. It’s safe to say, at this point, that something happened in my pants that shouldn’t be described. We uncomfortably sat down, incapable of standing much longer on the blocks of jelly that were previously known as legs. As Joe whispered “shall we bail?”, realisation began to kick in. The night was now less of a gig, more of an episode of ‘Ross Kemp on Pubs’. When taking a seat after our lucky escape from death, we positioned ourself strategically out of sight from our pursuers, as to avoid eye-contact and physical conflict/murder. As Gaz and Wrighty finally arrived at the venue, after what seemed like several millennia, I finally began to feel more comfortable. Now if they attacked, they would probably go for Wrighty first, and I could use Gaz as a human shield which would delay my death by a few minutes. Then our manager entered. Glenn: the tall and wise. It was reminiscent of the moment from Lord of the Rings, The Two Towers – Aragorn bursting through the doors of Helms Deep, after everyone thought he had died, ready to help Rohan in battle. I think we all felt a lot safer now. Having a presence like Glenn in the building, with a 2 metre reach and Tae Kwan Do experience, was definitely a boost in confidence. As time went on, and the ‘PA guy’ finally arrived, the pub got slightly busier. A 40th birthday party at the back made the occasion slightly more cheerful, a definite improvement from the chilling hatred that lingered previously. We took our place on stage, ready to go, the music on the speakers stopped abruptly and I looked up. Huge mistake. The leader of the pack caught my eye, ready to strike, like a wolf in the night – I blacked out. Turns out we played a groovy show and the majority of the crowd enjoyed themselves – just a shame I can’t remember it.

New Sound

Imagine you’re swimming. Weightlessly swimming through gentle blue waters. You pause, suspended in an aqueous tropical paradise, as a Humpback Whale glides beneath you, accompanied by her young baby calf: Andrew. A soothing sound flows in a current around you, brushing through the coral reef that colours the ocean. The type of sound a mermaid would make, when receiving a back-rub from a highly trained octopus. Echoing through the deep, the sound enchants all. A group of jellyfish sway to the delicious sonic sigh, a passing stingray spins and swoops with relaxing joy – the baby Jesus spectates from a furry submarine, silently cruising through uncharted nature.

Discovered by musical explorer Jordan Riley, the sound, in reality, can be found as the pre-set on one of our newest guitar pedals – but let’s face it, that introduction isn’t half as captivating as first. Soon to formulate much of our constantly growing set, this ocean drenched sound is a new personal favourite of Lisbon. Echoing throughout the breakdown of our new recording, Rio, and soon to star in an oceanic instrumental, Riley’s sound will flood your ears very soon.

New Carnival

After their recent release of the devastatingly brilliant We Make Circles, I felt compelled to write about this indie-dance 3 piece.

Hailing from the west of England, Max Radford, Billie Foster and Bertie Crawley really have something special going on with their music. The drumwork is undoubtably paramount to the sound of New Carnival – comparing to the dance drums of Zulu Winter and even Two Door, that help structure and heighten music. Their bass heavy music, in combination with intricate pulsing guitar in the verses, climaxes with a powerful chorus – the use of synth adds beautiful depth which amplifies the passion in Radford’s captivating vocals. This fusion of tactics is reflected in the majority of their songs, culminating in some entrancing works of art.

The fan-favourite: You Can Call Me Thomas and the fresh We Make Circles really do exemplify the technical ability of this band. The standard of their music, best portrayed in their dark new tune, not only portrays the musical ability of the artists, but also illuminates the songwriting skill on exhibition.

The sheer audacity of their creativity is amplified through the discourse of their tracks, Radford’s sophisticated lyrics soften the heavy bite of their sound – licks like ‘back from where they came from’, fused with subtle harmonies, converge with the dark tone of their music to create something very unique.

In my opinion one of the most exciting young British bands currently surfacing, have a look for yourself.

We Make Circles – free download available

Gaz – What We’re Listening To. (LITTLE COMETS)

LITTLE COMETS

Combined with a sense of gritty determination and a sound that keeps on growing with maturity, Little Comets have established themselves as one of the freshest acts within British indie music. Their enchanting and inventive live experience has finally received the exposure it deserves. After watching the band’s evolvement from timeless classics such as One Night in October and Adultery, to their classy and mature Life Is Elsewhere, we now see the north east outfit as a fully fledged touring masterclass – at the peak of their excellence. 

More or less, our band has pretty much grown up with the colour and taste of Little Comets music surrounding us. Always a pleasure; always an influence. After discovering the elusive Little Comets back in 2008 (after a tip off from a very enthusiastic French teacher), myself and Gaz, in particular, absorbed the wonders of their musical art.

‘I hadn’t heard anything like it before. I think for us as listeners – or fans of music more like – it was a real step up from what we’d been listening to previously.’ Gaz informed me in an incredibly formal interview scenario. (Inside Dixy Chicken – local fast-food restaurant)

‘I was completely submerged by everything they did – I mean, they did everything right! They treat their fans well, they make good music, they share their music, they don’t take themselves too seriously – and they’re entrepreneurs too, so unique and inventive, which is why we’ve listened to them consistently for so long.’

‘It starts off, and we’re having a listen because our teacher told us to – then we’re scrolling up and down their myspace for hours on end, downloading everything they’ve ever produced and watching everything they’ve ever filmed. It was a trend of music – no one has came close to doing what they did.’

Little Comets did do everything right in my eyes - absolutely everything. They emailed you, sending the fans links to download their music, for free of course. In an industry where only the top acts make money through downloading, they instead turned to simply spreading the word of their compellingly addictive music. There was One Night In October, Joanna, Adultery, Lost Time, Friday Don’t Need It – songs that Gaz, myself and the rest of Lisbon could recite in our sleep. Combined with the band’s YouTube marketing intelligence (i.e busking their songs on Metros or in local super markets such as M&S), which gained more pride and support of the region’s best new band, their intelligent music persuaded us to experience a live performance.

2009, o2 Academy, Newcastle. Intrigued by the mass of string, webbed across the stage, supporting instruments and concoctions I’d never dreamt of before, I watched – paralysed by the excellent deliverance of their crowd-pleasing set. Everyone screamed every last ‘Joanna’, and everyone dived into the romanticism that Her Black Eyes provided. Almost 4 years later, that remains the best performance I have ever witnessed.

Just before their discographical career launched, Little Comets further amplified their independence and self-belief by snubbing industry heavyweights Columbia. After the band’s rejection to Columbia’s plea of constructing a more ‘poppy’ end-product, the two parted ways – coinciding with the release of their first record: In Search Of Elusive Little Comets.

Filled to the brim with their remastered, rerecorded classics, alongside more recent expeditions such as Tricolor and Mathilda, their first album offered a colourful and enthusiastic exploration of sound. Every song is a stand out song, each and every one: a favourite. However it is not until the past year that LC have really formulated their finest work.

With the growingly creative Worry E.P, including a personal favourite of mine: Waiting In The Shadows In The Dead Of Night, and their second full album Life is Elsewhere being created recently, the band’s songwriting capability has vastly improved through experience. Yet it is the release of Jennifer and Other Short Stories that really captures my, and Gaz’s attention. The explosive Jennifer is the single release from the E.P. It’s powerful chorus amplifies the beauty of a new-look sound. The spirited choir of voices portray a joyful and playful representation of change. The haunting vocals of Violence Out Tonight, correspond with the dark and deceitful lyrics that shape the song – yet the simplistic, almost cheery acoustic chord progression subvert negative connotations of the composition. This song is the best example of songwriting that Little Comets have to offer – meaningful lyrics are sometimes dismissed within the light-hearted tunes that are associated with the band, but this song demonstrates storytelling at it’s finest. Lastly is a new fan-favourite. A favourite of Gaz, a favourite of Lisbon, and a favourite of our friends. Bridge Burn is possibly the most stripped back, condensed creation from Little Comets to date. Despite being subversive of the densely fruitful music that the band are associated with, this song is a meaningful singalong – it’s catchy echoing chorus plants itself in the head and heart of the listener.

Little Comets are a prime example of determination within the industry. Their sound is legit, and their attitude is captivating. The best north east act for a long time. If you haven’t listened already, now is the time.

LISTEN TO: Bridge burn // Violence Out Tonight // Waiting In The Shadows In The Dead Of Night // A Little Opus // Semaphores On The Lawn // Joanna // Adultery // Lost Time // Bayonne

De La Funk – Music Video

This is the end product of many hours of hard graft. Thanks firstly to the magnificent Jordan Riley who produced this little demon for us – a massive thanks to Jonathan Bulloch, (our own) Joseppe Atkinson, Ashleigh Barnsley and Jackson Bell who created this video as their media project. Award winning asian actor Edward Pierce played a huge part in the creation of our music video for Funk1, alongside his co-star Ellie Legget who was equally stunning, however less asian.

Massive thanks to all our viewers, we’re making promising progress at the minute thanks to your terrific efforts.