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Prior to the formation of Super Furry Animals all members had developed their talents and interests in other Welsh bands with no identifiable genre connection. Notably, lead vocalist and guitarist Gruff Rhys had played in a jangle pop band named Emily and a noise rock band entitled Ffa Coffi Pawb and alongside lead guitarist Huw Buford, bassist Guto Pryce, keyboard and synth player Cian Ciárán, and drummer Dafydd Leuan, founded Super Furry Animals. A techno group from the offset, the band soon adopted neo-psychedelic, progressive and experimental sensibilities, and began steadily writing and touring. After signing with Ankst, the Cardiff-based indie label, the band released their debut EP “Lianfairpwllgywgyllgoger Chwymdrobwlltysiliogoygoyocynygofod (In Space” in June 1995. Sung entirely in Welsh, the EP has been named as the longest-ever title for an EP and led to the subsequent extended play “Moog Droog” in October 1995.
Following a promotional tour across the UK, Super Furry Animals caught the attention of Creation Records' boss Alan McGee, who signed the band towards the tail end of 1995. To expand the band’s fan base Super Furry Animals began singing in English and Welsh, however came under criticism in their native Wales for doing so.
In February 1996 the group released their debut single on Creation Records, “Hometown Unicorn”, which peaked at No. 47 in the UK Singles Chart, and was name NME’s Single of the Week. A second single “God! Show Me Magic” followed in April ahead of their debut album “Fuzzy Logic” released in May 1996. The album earned signfical critical acclaim despite slow sales, peaking at No. 23 in the UK Albums Chart. After performing on the NME Brats Tour, Super Furry Animals released the singles “Hermann ♥’s Pauline” and “The International Language of Screaming” in July 1997. A month later arrived the album “Radiator”, which exceeded the success of its predecessor by reaching No. 8 on the Album Chart and earning even stronger reviews.
Super Furry Animals subsequently released the EP “Ice Hockey Hair” in 1998, which has been referred to by some critics as their finest record. Featuring the finely-tuned lyrical aesthetic of Rhys alongside progressive-beats and apt samples, the EP reached No. 12 in the charts and became a favourite amongst fans. The collection of B-sides “Out Spaced” arrived in November 1998, and marked the beginning of the band’s more experimental and ambitious phase.
Led by the single “Northern Lites”, “Guerrilla” was issued by Creation in 1999, encompassing the genres of glam and garage rock, novelty techno and indeitronica all on a single record. After an extensive promotional tour, Super Furry Animals released the acoustic album “Mwng” featuring songs entirely sung in Welsh and was commended in Parliament for keeping the Welsh language alive. The band signed with Epic Records after Creation's demise and released the albums “Rings Around the World” and “Phantom Power”, both of which charted with the UK Top 15. A remix album of “Phantom Power” entitled “Phantom Phorce” followed a year later in 2004 as well as the best-of compilation album “Songbook: The Singles, Vol. 1”.
“Love Kraft”, recorded in Spain, hit the shelves in August 2005, noted for its laid-back ambience and strong string section. Super Furry Animals subsequently moved to Rough Trade Records and released “Hey Venus!” in 2007 and “Dark/Days/Light Years” in 2009.
The band met whilst the members were studying at Cardiff University in Wales, in 2006, originally featuring Neil Turner (guitar), Ellen Waddell (bass guitar) and Ollie Briggs (drums) before later adding Tom Bromley (lead guitar), Gareth Paisley (lead vocals, glockenspiel), Harriet Coleman (violin, keyboards) and Aleksandra Berditchevskaia (vocals, keyboards, melodica, horn). They began playing live locally, gradually building enough popularity that they secured the opportunity to support Canadian supergroup, Broken Social Scene. Shortly after, the band signed to Wichita Records, releasing their debut single, “We Throw Parties, You Throw Knives” in 2007. Notable influences of the band include Belle & Sebastien, Modest Mouse, The Magnetic Fields and Pavement.
The band continued to write and record songs, eventually releasing the EP, “Sticking Fingers Into Sockets,” which was hen followed by their debut full length, “Hold on Now, Youngster…” in early 2008. Los Campesinos! then embarked on an extensive tour, stopping off in Seattle for a few months to record some new songs, which would go on to form their second record, “We Are Beautiful, We Are Doomed,” in November 2008. The band again went on the road, also touring in South America, before returning to the studio in Connecticut, US to record their third album “Romance Is Boring,” which was released in 2010.
After the album’s release, the band experienced several lineup changes, with Aleksandra and Ollie leaving the band, being replaced by Kim Paisley (Gareth’s sister) and Jason Adeline. Rob Taylor, a multi-instrumentalist, was also added to the lineup, expanding their sound. The band then travelled to Spain to record their fourth album, “Hello Sadness,” in 2011, produced by John Goodmanson. However, after its release, the band again suffered more band members leaving, with Harriet and Ellen both deciding to leave the band. Los Campesinos continued regardless, recording their fifth album, “No Blues” in 2013, which reached number 39 in the UK charts.
As the son of Ian Dury, Baxter Dury was surrounded by the hedonism of his father's difficult life yet also the musical magic that made Ian Dury such an incredible artist. Baxter was born shortly after his parents had left art college, being present for his father's various musical ventures, from Kilburn & the High Roads to Ian Dury & The Blockheads. As a child, Baxter struggled at school, being kicked out of several institutions before eventually leaving at 15, finding escape in the world of soul, jazz and funk.
Music was not an immediate pursuit for Baxter, before working in a watch shop and assisting with a number of indie films. It was not until nearing 30 that Baxter began to forge a music career, not long after his father's death in March 2000. Baxter travelled to Austin, Texas, US to begin recording songs, with the outcome being 2001's "Oscar Brown" EP.
Baxter returned with his album debut in 2003, releasing the visceral, folky, "Len Parrot's Memorial Lift," continuing this sound with his second, "Floor Show" in 2005. Bringing forth psychedelic influences into the mix, 2011's "Happy Soup" found Baxter greater success, finding critical praise with a sound reminiscent of Blur's Graham Coxon. His fourth record, "It's a Pleasure" arrived in October 2014, shortly after playing to a sell out show at London, UK's 100 Club.
Tanks, gigs in 5.1 surround sound, Welsh language albums, remixing, getting Sir Paul McCartney to chew celery on one of your songs....the word “experimental” was partially created to try and describe the various things Super Furry Animals have attempted in their varied career. Ever since the 1995 EP Llanfairpwllgwyngyllgogerychwyrndrobwllllantysiliogogogoch (In Space) SFA have been producing incredible psychedelic pop music that reached its peak with the perfect Radiator album in 1997. Since then the band has had hit-and-miss success with records like Rings Around the World (excellent) and Phantom Power (not so good) but they are always a fascinating listen thanks to singer and principal song writer Gruff Rhys’ unique take on the world around him. While the band might be on a bit of a hiatus since 2010, Gruff’s solo career is going strength to strength thanks to the same questing spirit which peppered his band’s output. Having seen the band a few times over the years, the hits just keep coming one after the other: from the epic soloing of ‘Hometown Unicorn’ through the noise and mess (under which is one of the century’s great pop songs) of ‘Hermann Loves Pauline’ to the epic show closer of the Steely Dan sampling ‘The Man Don’t Give a Fuck’ which eventually turns into a full-scale techno assault (when you hear that in 5.1 surround sound, your brain and ears can take quite some time to recover), it’s one of the giddiest gig nights you’ll ever have. And if your throat isn’t raw from hollering along to ‘The International Language of Screaming’ then you’re not doing it right.
I'm a huge fan of indie pop, so I was really excited to go to a Los Campesinos! show. The crowd was insanely energetic, supportive, and enthusiastic. The set included a mixture of songs from all of their albums, with a heavy focus on the newest.
A lot of people seemed to be smitten with “What Death Leaves Behind” and “Avocado, Baby” from the 2013 album, “No Blues.” I'll give in and say that they are okay songs, and I found myself enjoying them, but I haven't been able to force myself to take more than a mild interest in “No Blues.” However, the song that ended up exciting me the most is “The Sea Is a Good Place to Think of the Future” off of “Romance Is Boring” (2010).It's a little slice of violin-soaked perfection that sent chills through me. Going to the show made me feel like I was sitting at home and making a mix tape of the most depressing songs I could get my hands on. I noticed that the newest album seems to be more consistent than earlier ones, but I sort of liked how erratic their earlier work is.
In the end, I was very pleased with myself for spending money on the ticket. The performance was consistently solid, and I would definitely go see them again.
Ian Dury was a gifted lyricist, an enigmatic performer and when he sadly passed in 2000, he was described as ‘one of few true originals of the English music scene’. It’s clear when watching him live that his son Baxter Dury has inherited many of his dad’s talents.
Similar to his father, the focus of the show is on Baxter’s voice and if you listen closely to his faint yet dominant wisp you’ll be rewarded with some truly thought provoking lyrics. Baxter is an unhinged force on stage. With the slightly uneasy feel of watching a man on the edge of breakdown, the crowd daren’t look away. Baxter stumbles round the stage occasionally erupting with screams of anguish, a force of loose energy barley contained by the confines of the stage whilst all the while, his band play on, hammering down a steady post-punk rhythm and providing a stark contrast to the unpredictability of Baxter.
If you are prepared for a deeply unpredictable show, riddled with a dark humour and an engaging energy, make sure you check out Baxter Dury.