All Media Reviews Podcast #7: Modern Songwriters Pt 2

This is 14 mins long, with the new recorder which made it into an WMA file, lol. I had to convert that, but so be it.

I'm not sure if making them at a restaurant is the best process, but it was a 1st time/experiment.

I do want to try and make 1 of these for an Albums calendar. The thing I worry about is how long it does go (and requires me to make it), per how long some of the calendars are and how much I would talk about each album (obviously some may be awhile, while others very little).

I am in the middle, er, maybe 2/3 or more from getting through 6 of them which I anticipate publishing around the same time. So perhaps if not before then, I could plan to try doing 1 or more of those Albums Calendar Podcasts around that time.

Time permitting of course per January is looking rather busy at this point with concerts, doctor appointments and a trip to the Hollywood area.



Jim Matheos Andre Matos Colin Meloy Craig Minowa Janelle Monae Neal Morse Dan Moxon Amanda Palmer Mike Patton Yannis Philippakis Tomer Pink Mike Portnoy Jesse Ribordy Sheena Ringo Claudio Sanchez Robert Schneider Sufjan Stevens Timbre Mike Vennart Daniel Victor Brooke Waggoner Steven Wilson John Wright

Mew @ The Turf Club 8/13/17

Okay, so Mew returned to Minnesota for the 2nd time in nearly 2 years (Here's my review from the October 5, 2015 show in Minneapolis at The Triple Rock Social Club).

And for the 2nd time, I can say they blew me away. I think part of it is hearing many of the songs, namely the Frengers/Kites/No More Stories tunes, live, has this amazing ability to bring me NOSTALGIA.

And like the show in 2015, I couldn't help but blubber a bit, succumbing to tears. The videos (*Visuals*) add a lot. So dreamy, dark, twisted, and surreal. They get to escape into the music actually.

And I'm just going to add right here in the review:

A Feature Entry(s) and Video is long overdue about Mew. And certainly I doubt I'll be able to avoid among the anecdotes, the memories/images of a couple tunes. "Zookeeper's Boy" and how I always think of the Michel Gondry/Gael Garcia-Bernal film The Science of Sleep, which oddly, when I started writing in this blog in December of 2006, I recall writing a review or referencing it. Granted, I saw that movie at Lagoon Theater in September or October of 2006, so it was a few months before then. But the Summer/Fall of 2006 also was my Mew discovery period.

Also "Louise Louisa" I think it is off Kites, in recent years has hit me like a ton of bricks for some reason associating it with the experience of 1st meeting my wife at KFAI.

But hopefully those long-winded tales will be found at a near-future form.

back to this review. The new songs so work pretty well live. "Twist Quest"  and "Nothingness and No Regrets / Season" along with "Water Slides" from Plus Minus.

They just create such great atmosphere, I can't help but be swept up in what they present.

And for the 2nd time in 2 years, the band were gracious enough to hang around and chat with the fans here. Jonas, Johan Wohlert, Mads, Dr. (Nick) Watts, and Silas who I only got to speak to briefly as I was leaving. It was absolutely STORMING out though; per thankfully I didn't have a long trek to make from St.Paul. The band and some of the fans there, I feel for, like friends from Facebook Jared and his brother Matt (although Matt told me he now resides in Golden Valley, but Jared is from Austin, MN. Both of them I guess seeing their 1st Mew concert).

But the band were very down-to-earth, engaging like a couple of years ago. I spoke with Jonas about Prince even, and I just skimmed that review from 2 years ago, we chatted about Prince back then as well, lol. But also Kimbra. Per her guesting on Plus Minus, and Jonas guesting on The Golden Echo, I wonder if they could do a tour at some point together. If it happens, I would not be surprised. Kimbra I guess is in Japan right now, but she has a new album in the works, so who knows.

Anyway, I can't really say enough good things about last night, save for I am grateful they are still a band, making music and touring. I mentioned Oceansize, Pure Reason Revolution and Vennart to some of the fans and guys in Mew.  I can't find it right now, but there was an article around 2006 (or maybe 2007 or 2005) that mentioned Mew, PRR and I want to say Klaxons. Oceansize may have also been mentioned, but they were buzzed about on the forums with those 2. Klaxons?..never got into them.

but when I met Mike Vennart last April with Biffy Clyro, I mention both PRR and Mew to him and I thought he said 'Size did a gig or even a tour with Mew at 1 point.  But I look at the progressive band from Europe/UK from the last decade, and with PRR and Oceansize not around now, I am still grateful Mew is. I guess they ultimately had the most crossover appeal among those 3, for whatever reason.

More on this hopefully soon i.e. talking about my history and Mew's albums, etc. Since it is long overdue in a lot of ways.










(photos per Jared on the Mew fan group on FB)

In a Better Place
Special
The Zookeeper's Boy
Candy Pieces All Smeared Out
Satellites
Introducing Palace Players
Snow Brigade
Start
Twist Quest
Water Slides
Apocalypso
Saviours of Jazz Ballet
The Zookeeper's Boy
Carry Me to Safety

Encore
Nothingness And No Regrets / Seasons
Am I Wry? No
156
Comforting Sounds

Video: Meeting Mike Vennart @ Biffy Clyro+o'Brother 4/4/17 @ Turf Club

Some comments and a review of Biffy Clyro and o'Brother from last night at The Turf Club.

Great show as I mentioned there.

And I was very happy to finally meet in person Mike Vennart of Vennart/British Theatre and formerly Oceansize.

He's a really cool, down-to-earth guy, and it seems he's happy/happier with this gig with Biffy while still being able to make his own music.

He mentioned Biffy may be coming back in the next few months too, which i hope to see them and him again.

British Theatre - Mastery (2015-2016)

5/6/16 7:17AM

On bandcamp now.

Early impression: I naturally like a lot of this album. It kind of reminds me of the early OSI at points, with Vennart and Gambler's stamp on it. And it also not surprisingly sounds like some of the electronic side of Oceansize. Everyone Into Position and Home and Minor.



1. Blue Horror 05:01
2. The Cull 04:22
3. Dinosaur 03:39
4. The Coldest Of Shoulders 02:37
5. Capra 05:30
6. Newman 05:21
7. Cross The Swords 03:34
8. Gold Bruise 04:33
9. Thunderlips 02:20
10. Favour The Brave 04:28
11. Mastery 06:39


4/29/16 6:34AM
ALBUM STREAM

Of course I received an email with a download link per my Preorder (so if you did, you also can just do that).

Hopefully later today at work I'll be able to check this out. Big hopes!

1/27/16 6:17AM


"Mastery" drops on April 29th

Article which includes stream of "Newman"
 (and also comes with the preorder).

This sounds darker and almost industrial. From that article and Mike Vennart's blog (linked/copied and pasted below), it sounds like the stuff on this album may differ in some ways from the 2 EPs from a few years ago, which very well could be all for the better.

Mike Vennart's Blog Post
Applaud the mastery
January 2016
Hello and happy new year

I’m proud to announce the imminent arrival of the British Theatre record.
Gambler and myself started this band (i don’t like to use the word ‘project’) in the immediate aftermath of the breakup of the old band. We didn’t really know what we wanted to do, we were just happy that we were free to do it.

We released a couple of EPs in 2012, which, in hindsight, are clear exercises in self-discovery. You can kind of hear the conflict. In ‘Defeat Skeletons’ and ‘As The Leaves Are To The Limbs’ you can hear i’m longing to be in a band again. In the rest of the repertoire, you can hear that Gambler has other ideas. Consequently, it didn’t really work. But it was necessary.

The same happy obstacles that prevented any work on the ‘The Demon Joke’ were also in effect here, but tenfold. This was an album that i didn’t know what to do with.

After the two-year Biffy Clyro ‘Opposites’ tour, we reconvened, and looked at the material we wrote prior to the tour. Most of it didn’t measure up. We pretty much started all over again. We booked the Arctangent Festival to give us an enforced deadline.

This was a record that made me scared. I found it intimidating, out of my comfort zone and uneasy.
….all of which is why I love this record so much.

It’ll be available to pre-order on Pledge Music this week.

MV x


1/26/16 2:15PM
Stoked. More later probably, and I have to wait to put my order in at a non-public location (I'm at lunch right now).

But this record I could certainly foresee being awesome. Maybe as good if not better than The Demon Joke.

Download comes with a preorder.

Pledgemusic / PREORDER

Random Artist Feature: Oceansize (17 mins)

Another one, 17+ mins is kind of par for the course for these. I'd love to make them shorter, but at the same time I'd like to tell as much of my history and the band's history with each.

As for Oceansize, I need to pickup both Effloresce and Music for Nurses on Vinyl. The latter may happen soon. Self Preserved perhaps as well. And the Feed to Feed boxed set as I mentioned,

I always meant to write up a more in-depth dissection of their catalog, which I could still do someday, but time always is not on my side. That and desire to cover more ground and music, etc.

British Theatre - Cross the Swords [Single] (2014-2015)

Another of Mike Vennart's projects with Gambler, that is more electronic and post-rock of a kind.

New song is okay. Has that British Theatre element, that is distinguishable from Oceansize and VENNART in a lot of ways.

A new album is in the works per a lot of Mike Vennart's twitter posts and in a couple of interviews. Whether it is released in 2015 tho, I guess we'll see. I wouldn't assume anything, but it seems like a longer release of some kind isn't that far away.

VENNART - The Demon Joke (2014-2015)

6/26/15 6:33AM

Very cool animated video for Operate!


reddit AMA (Ask Me Anything) with Mike

6/15/15 10:56PM
Full Album Stream + another interview

6/9/15 6:47PM

General Public Preorder

Also a new lyric video for "Retaliate" a track like basically every song on The Demon Joke, has only grown better with time. Rather catchy and quirky.



http://altprogcore.blogspot.com/2015/06/intervista-con-mike-vennart-italian.html

(both in Italian and English).

Also it's probably worth passing along Altprogcore.blogspot.com was lucky to get to interview Mike and revealed some very good details about The Demon Joke, Oceansize and British Theatre, even mentioning that a BT album is in the works and very likely will differ even from the 2 EPs they released a few years ago.

You are also involved with Gambler (Richard Ingram) in the British Theatre project. After two EPs, are you thinking to creare a full length album? And, in your own opinion, what are the main differences between Oceanszie, British Theatre and Vennart? 

It’s easy to diffrentiate between my album and what British Theatre’s forthcoming album, but then I’d have to start revealing what British Theatre is going to sound like, and I kinda want it to be a surprise. Suffice to say, it’s gonna be very different…Very different even to the previous EPs... With regard to how it compares to Oceansize - the basis difference is that I’m calling the shots here, and I don’t need to crowbar 100 different ideas into one song just to appease everyone. I’m proud of what Oceansize did, but sometimes it was just a little too showy, too clever for the sake of it. 


6/1/15 10:45AM



5/31/15 1:45PM

Superball Music link (rel 6/22/15)



1 255                                   3:15
2 Doubt                               4:13
3 Infatuate                           5:10
4 Rebirthmark                    3:46
5 Duke Fame                      4:17
6 Don't Forget the Joker    3:54
7 Retaliate                          3:56
8 A Weight In the Hollow 5:39
9 Operate                            4:45
10 Amends                         3:33

42 min 28 seconds

early/brief (hopefully) video review in the progress..

5/27/15 2:18PM

loving a lot of this record. "Doubt" maybe being my favorite. 4-stars easily.

Here's a new live video:



5/21/15 7:57AM
Link/Story about new track "Don't Forget the Joker" new ballad.

A little simpler tune, but the emphasis on the lyrics makes sense. "Centre Piece" of the album lyrically, etc.



5/7/15 12:02PM


Stream the new and improved version of"Operate"

Some stuff in that article mentions the retail release date of The Demon Joke being on June 22nd per Superball Music.

I actually agree with Mike's understandably biased comments about Operate, as it is heavy and catchy. Will it reach a wide/wider audience than Oceansize's most accessible tracks? Maybe if it received the right amount of promotion, but of course to expect that would be silly.

Yep, 89.3, The Needle Drop, Consequence of Sound, Pitchfork, Sound Opinions, All Songs Considered, etc and their trend-rock consumers could and very well would go for Operate and the rest of this record, but I might suspect I'd have a better chance inventing my own kind of ginger beer than that actually happening.

Regardless, Operate might very well be the catchiest most melodic song Mike's ever written and it certainly only adds to the optimism for this record coming to the pledgemusic backers in only a few weeks.


3/24/15 4:59PM

"So. That’s why the album is called ‘The Demon Joke.'"

edit: a lot of details about the album and the title, and the background of the recording of the record, for those who pledged.

Album Art link






3/14/15 4:01PM

Not a ton of news, but per Mike's Twitter, the "Target" (or Goal?) was met within 5 hours I guess, lol.

edit: 5 HOURS, not days,

Also a new official Facebook Page was set up.

https://www.facebook.com/vennartvennart

3/6/15 4:48PM

http://www.pledgemusic.com/projects/11279

Just pledged and received immediate download of the track "Infatuate"
pretty nice.

Looks like the CD comes on May 25th and Vinyl June 15th.

Title? "Divert Crisis" or something else? S/T?.kinda doubt it.

Also unclear about the actual "Goal" percentage as they typically show on Pledgemusic Campaigns. Maybe there is none? it just says 80 days left.

1/11/14 9:24AM

Full length debut record coming soon. If you follow his his twitter page he's been talking about it for awhile. It looks like this record will be released on Vinyl too.

http://mikevennart.tumblr.com/

Divert Crisis

Having spent nearly 5 years keeping myself occupied - and having a little too much fun - playing guitar for the beautiful Biffy Clyro, I’ve spent an awful lot of time working out exactly what kind of music I want to make. I’m happy to report that my first ‘solo’ record is on the way. 
Those inverted commas are important - an old friend has been of invaluable help in pushing these songs up the hill. Countless sketches were made in posh hotel rooms in every corner of the globe, and some were then given focus and cohesion in the form of vocal melodies written by my former Oceansize cohort, Steve Durose. We’re kind of like a weird-rock Elton and Bernie. 
The record also features keyboards from none other than Gambler, former Oceansize guy and my partner in British Theatre. Drums were beat with exceptional vigour by Dean ‘Denzel’ Pearson. His playing is so good it’s actually kind of hilarious.
Upon the release of this full length album, I’ll be taking these songs - with these very men - on tour.
Expect announcements of shows as and when we’re allowed to reveal them.
It’s been a long journey, dreaming up even the impetus for much of this material. I’m glad i arrived at a point where i’m once again making music that i want to hear.
The record itself? It is a beautiful, noisy, fuzzy, epic, heavy, stupid, annoying, confrontational journey. It is fucking ace. 
I can’t wait to get it out there.

MJV

x

2/7/14 10:29AM
New song/single from ex-Oceansize frontman Mike Vennart. I have no idea if this is his focus now, more than British Theatre, or if this will be like Josh Benash from Vuvuzela, where Mike will still be active doing British Theatre music and work on his own solo music. Granted, we haven't heard much if anything from British Theatre for over a year, which is puzzling and might suggest this solo work of his will be more of his focus, along with playing guitar with Biffy Clyro live in Europe.

The song itself is okay. Not blowing me away, but it's not bad, and may grow a bit.

edit: I'm digging this song a little more now. It reminds me a little of the music from Self Preserved..

Significant Albums: Oceansize - Frames (2007)

This is an album I have enjoyed and held in very high regard for quite awhile. After struggling but eventually being won over by Oceansize in 2006, I had a ton of high hopes for this record. And it honestly, in no way disappointed me.

It has great flow to it song-2-song. The production is excellent. The songs seem to all have something unique about them, from a trademark, driving Oceansize riff, to the chaotic harmonies. Some of the best use of strings at times are included on Frames.

I guess this album could be regarded loosely as a concept album about the movie/movie-series Friday the 13th. I'd say, mostly the 1st movie from 1980, "An Old Friend of the Christies" is a blatant reference, along with the bonus track "Voorhees.

I think it is "Sleeping Dogs Dead Lions," specifically the really dissonant, mad chugging riff, where I always think of a scene from the 2nd F13th movie of the cop running through the woods being chased by Jason, holding a rifle.


-I for a while have felt this album was not quite as good as Everyone Into Position, but over time, I'd be kidding myself to feel that way. I see them as 2 different kinds of albums, but basically equal.

-The 1st 2 tracks "9/11 Commemorative T-Shirt" and "Unfamiliar" have a great crescendo together. There is just such a powerful emotion in the guitars and Mike Vennart's vocals, to the point I often wish Unfamiliar went on 3 or 4 more minutes.

-the closing track "The Frame" is so incredibly melancholy, yet hugely powerful and gorgeous..It's very Post Rock-like with the slow but gradual build an the enormous climax. It's one of the greatest closing tracks on any album I've ever enjoyed, and certainly 1 of the best Oceansize songs. The interval pattern that's repeated I always think-of with this album and the band. It's almost a celebration of Oceansize and the ending of the trip this record takes you through.

Trail of Fire, Only Twin and Savant all are songs that only get or got better with hearing this more.

I was thinking earlier, in 2007, I wrote a long winded album review countdown, but never finished the top 20 I recall. Frames finished #4 I remember right ahead of Fair to Midland and right behind Between the Buried and Me. But that whole group of albums, I never really got to elaborate that much on given I was so worn out trying to write up the rest of that list. This record is due some of that, so this sadly is maybe the 1st time I even wrote vaguely about it in some level of detail.

Oceansize, as I sensed even before they broke up, were a band who really were a cult band, that the cult loved dearly and so wanted them to continue making music. But they didn't make it viably financially unfortunately, unlike some of their contemporaries from the UK like Muse or Biffy Clyro.

This record and their others as well, likely could become a statement about music, progressive, heavy rock, post rock, etc..rock of some kind was like in the 2000's. And it may become their go-to release for decades possibly, if a reunion never happens. The fans, including the progressive rock scene, look to it the most that I've seen. It really put them on the prog rock map in fact.

I guess maybe the biggest thing about Frames is its continued significance beyond when it 1st came out, as it's the record I still listen to the most by Oceansize some 6+ years after it came out.

Biffy Clyro - Opposites (2012)

New single "Stingin' Belle"



I know this is not new *news* in that the single came out on July 31st, etc. And it appears they had up to THREE different potential titles for this new album, but Opposites, I guess is going to be the title. Release date? I saw 1 thing say August 11th, but obviously it didn't come out that day.

2009's Only Revolutions was good, but I didn't find as addictive as 2007's Puzzle. This new single is okay, the outro sounding like the best part. Biffy Clyro are one of those bands I still like, but doubt I'll ever love, so I don't know why I'd expect this record to blow me away.

I am curious if Mike Vennart of Oceansize/British Theatre actually played on it. I suppose it's unlikely given his schedule, but he is/has been a touring member of the band for quite awhile.

British Theatre - Dyed in the Wool Ghost [EP] (2012)

8/20/12 1:55AM

The whole EP now streaming/available to purchase, etc.





8/6/12 9:42AM
article here with a Soundcloud stream of the new track "As the Leaves Are to the Limbs."

Direct Link on Soundcloud


7/31/12 10:12AM


facebook post

We've just completed mixing our second EP. It's called 'Died In The Wool Ghost'. It will be with you soon. X

This supposedly won't be the only thing they plan to put out this year (or rather soon) as they have mentioned releasing a full-length,

edit: which according to a listing on rateyourmusic.com here shows it may be Self-Titled. But thanks to hearing directly from the group themselves here via twitter, that may not be the case.

rateyourmusic.com is a good source for information, which I admittedly use and contribute to frequently, but stuff like album titles, artwork, release dates are never 100% accurate. Although if they ever set it up even more so like Wikipedia, it would be much more easily edited (but they don't given the admins there restrict approvals and edits a fair amount).

Here's a few recent videos with I imagine some of the material for this EP and/or said debut full-length.





of course for those unfamiliar, this is 1-of, but likely the most attention-laden project coming from the Ashes of the end of Oceansize. It's rather Post-Rock like, but in a good way overall. The EP that came out earlier this year wasn't bad, but almost a tease. Hopefully more of this work will give us 'Size fans a better sense of what this project will be like.

Interview with Mike Vennart (ex-Oceansize/British Theatre)

I'm sure many folks have seen this, but also many who likely have not, as it only was just posted last week (on facebook at least)

It's not crystal clear, but at least he does explain some of what happened with the demise of Oceansize (and how Biffy Clyro compares).



http://www.undersong.co.uk/2012/05/15/dip-vs-mike-vennart

Mike Vennart is an incredibly talented and ambitious musician with an awesome back catalogue, but the future is also very, very exciting. He is the vocalist/guitarist for the now sadly defunct Oceansize, the live guitarist for Biffy Clyro, one of the most effortless cool men in rock and generally a bit of a legend. In a post-Oceansize world, he’s again working with Richard ‘Gambler’ Ingram on a new group, British Theatre. The first we properly heard from British Theatre came with the sudden release of an incredible three track EP in February this year, and since then it’s been a bit quiet. Here’s what happened when I caught up with Mike to talk about what the future holds for British Theatre

For the people that haven’t heard British Theatre, how would you describe the music you make?

I suppose it’s a kind of dark psychedelica, so far. We’re working in a primarily synthetic, synthesized medium. I’m still very much a guitar player, but I think texture, detail and atmosphere have always been my strong points so British Theatre is very much about that. We achieve that with, I suppose, a digitally altered version of often organic, natural sounds. Gambler is far more embroiled in abstract sound experimentation, and the recording and manipulation of acoustic, natural sound. At the end of all that, it’s usually my job to make it into semblance of a song.

You seem really excited and positive to be in the studio with Richard and working on British Theatre. How’s it all going?

It’s great. We work on initial ideas then swap drafts between ourselves via email. We don’t spend a whole lot of time together until there’s some serious work to be done. That said we do have a ‘jam’ from time to time. Just setting up a groove and playing over it so it’s still got that organic, spontaneous mentality to it.

Is there a release plan mapped out for British Theatre and if so when do you think we’ll be able to hear some more from you guys?

Not a map as such, but there’ll be a new EP out in the coming months with the album to follow a few months afterwards. As yet we’re totally DIY. We’ve been talking to a couple of labels but nothing makes any sense in that respect just yet.

When you first released the EP you seemed unsure about the idea of British Theatre performing live, but recently it seems you’re coming round to the idea. I would love to see British Theatre live, so are there any plans in the pipeline?

It’ll happen eventually. We’ve certainly got our eye on a couple of our mates to act as a rhythm section. It’s exciting, and personally I find it quite daunting working out how to pull it off, but Gambler assures me he knows it’s possible so it must be! I tend to think about things too literally in terms of the sonic reproduction of the record. I have to remind myself it’s not strictly necessary to do a gig that sounds exactly like the record. There’s likely to be some degree of adaptation. Should be fun!

Lots of young bands that I’ve spoken to name you as a major influence in their work, how does that feel?

They do? Well that’s just lovely. Now that I know that I’ll try and not write anything rubbishy.

Simon Neil mentioned last year that you’re involved in a project with him called Empire State Bastard. How’s that coming along?

It’s a tricky one because obviously Mr Neil is terribly busy with the juggernaut of relentless activity that is Biffy Clyro. Empire State Bastard will get its day in the sun and it will be a fucking shitkicker.

While we’re near the subject of Biffy Clyro, will you be rejoining them for their live shows this summer?

I shall. Of particular note is the Donington show, which I’m super excited about. Donington was the second ever gig I went to. My ma took me for my 12th birthday to see Iron Maiden. To this day, it remains one the most amazing days I’ve ever had. So to stand on that stage in front of 70,000 people and see that fucking big Dunlop bridge behind them – Fuck. It’s gonna rule.

With Biffy you’ve played arenas but with Oceansize you were (unjustly) playing smaller venues. How were the dynamics different; both within the band and towards the audience?

That’s a bit of a minefield. Firstly, it’s not likely that Oceansize would ever have worked as arena-botherers. The songs didn’t really lend themselves to that kind of vast ADD crowd who, let’s face it, if they’re not singing/moshing, are probably texting or buying hotdogs. That said, whilst Oceansize had no delusions of grandeur, there were those in the band that just weren’t up to the job.

Put it like this, when you watch Biffy Clyro live you can rest assured that they are pretty much stone-cold sober. They’re certainly not drunk, stoned, on downers or tripping their tits off on some new circuit-bent Chris Morris-esque tablet. They’re easy to play for cos they know how to play the songs and they play them correctly every single night. There’s an inherent trust there. There’s also a respect for their audience – they understand that their fans may have travelled miles, saved up money for tickets, planned their life around a show. It’s this respect for each other and their audience that has stood Biffy in good stead and it has helped take them to the top. That mindset has to be in place before you even consider a setlist. This respect and these qualities were, I’m sad to say, not consistent in the ranks of Oceansize.

Even if the opportunity had ever presented itself, Oceansize simply was not allowed to move forward. Whenever we had to step up to the challenge, the same fucking turd was on the doorstep.

Is there a worry that you’ll forever be know as ‘Mike from Oceansize’ or ‘that guy who plays with Biffy’?

I give not a toss. It’s nice to be known at all.

You were tweeting #LiesAboutVennart a while ago. What is the best lie you’ve heard or told about yourself?

I don’t think I’ve ever told any fibs about myself to be honest. Not because I’m some kind of saint, I just don’t really have the imagination or the inclination. I used to lie a lot at school. I used to have identical handwriting as my mother so I’d frequently write notes from her excusing me from P.E. or some unfinished homework.

You’re very passionate about music and in my opinion, live is where music comes alive. What was the last gig you went to and the best gig you’ve ever been to?

The last gig I saw was Graham Coxon as my friend Stuffy was drumming for him. I like Graham’s playing and his early solo records are lovely too. Always late to the party, I’ve just got into ’13′ by Blur too. It’s a damn shame that smack is so evil and damaging cos it sure as hell makes for great music!

Best gig I’ve seen? They usually come under the ‘lucky to have been there’ banner. So, Faith No More in 1992, Mr Bungle in 1996, Nine Inch Nails in 1994, Cardiacs at the Roadhouse in 1996… and of course Iron Maiden in 1988! There’s so many of them that I’ll never forget.

There are some incredible albums coming out this year. What albums are you looking forward to hearing?

I’m looking forward to the Liars record. I’ve heard a lot of the next Future Of The Left and it’s a belter. It’s maybe not cool to talk up someone I consider a good friend, but fucking hell, Andy Falkous is one of the greatest lyricists I’ve ever heard/read. The song ‘Failed Olympic Bid’ on their new record treads that fine line between the profound and the ridiculous, like most of his output. I think the body of work he’s produced between Mclusky and FOTL is vastly underrated. Future Of The Left should be at least twice as big as they are.

And now, the greatest interview question in the world. If you were a type of wood, what wood would you be?

Pine. Just cos it sounds needy and sweet.


With an EP, and album and the possibility of live dates on the way, things are looking good for British Theatre, and if their stunningly brilliant first EP is an indication of the direction they’re heading, then boy, are we in for a treat.

You can listen to/download the first fantastic EP from their Bandcamp page here.

Written by Dip on 06 May 2012

British Theatre - British Theatre (2012)

2/25/12 10:35AM

http://britishtheatre.bandcamp.com/releases



1. ID Parade On Ice 05:06
2. Gold Bruise 04:37
3. Little Death #3 (6th Gen Degrade) 04:05

released 25 February 2012



This sounds pretty sweet. I have no idea if this is just what they are putting out, or an EP/preview for a full-length. I guess it's the #1 release on Bandcamp today for what it's worth.


1/24/12 2:30PM

A couple of more samples/videos


Corpse from BritishTheatre on Vimeo.


Schizo from BritishTheatre on Vimeo.


1/12/12 11:42AM


This is the new project from "The Gambler" and I believe Mike Vennart (with some others?) formerly of Oceansize. Among the non-Oceansize projects, this may be the one to pay attention to the most. At least for 2012, as their Self-Titled debut album is expected to be released this year.
http://www.britishtheatremusic.com/

Some Videos there, which may or may not have Embed codes (they're not from Youtube or Vimeo obviously). When I have time, I'll try and look.
facebook post

Hello lovers. You can check my new project with Gambler out here.... www.britishtheatremusic.com .... We hope you're safe and well. Stay tuned for further updates.

British Theatre on twitter

Deerhoof live at the Triplerock Social Club 2/17/11

So I attended this show last evening in Minneapolis. I've never seen Deerhoof in concert, but have heard/read a lot of good, even superior things about their concerts (compared to their albums).

And I think overall, that belief makes sense. They had this great, fun energy about them for more or less every tune. I think that is what made their performance as interesting as anything.

Set list? I am not going to pretend to know song titles by heart or anything given I really only have listened to their 2 most recent records, 2011's Deerhoof vs. Evil and 2008's Offend Maggie to any moderate amount of frequency. But I'm pretty sure the majority of the songs came from those 2 albums since I did recognize probably more than half of the songs they played.

I guess my belief that seeing them live may inspire me to try and hear and digest not only those 2 albums again/more thoroughly, but of course the size-able back catalog they have.

Today I'm listening to maybe their most well-known lp in 2004's Milk Man. And the record that came before it 2003's Apple O'.

But I guess I'm still seeking their acceptance to view them at a slightly higher level. They seem to be still a dichotomy to me. Their songs often have these really cool parts, however they rarely last too long. They're almost like a prog band with a punk mentality. Let's come up with an awesome section, and chop it in half for the song.

Kiss Kiss are 1 band who kind of write music in that mind set I sense, except I guess their songs seem less of a tease. They wrap those ideas into whole songs more consistently.

But damn, Deerhoof have so gawd damn many songs with those little sections, I really think more effort on my part should be worth giving to really get a more accurate gauge on them.

Cloud Cult I can say recently I have done that with and thus far, has definitely been worthwile. I'm still in the process of getting to know many of their albums better, but I've given them more time and can say I view them and their whole catalog at another level now.

I think Deerhoof are primed for a similar breakthrough for me. And certainly finally seeing them last night helped.

The vocals namely are sort of the biggest hurdle. I like them, but they don't stand out extremely well on every song. The female japanese style with noisey, dissonant power-chords seems incongruous , but I really can't say it doesn't work. I think their singer's vocals can be looked at like many extreme/death metal vocal lines. They aren't the part of the music that grabs me, but every once in awhile they surprise me enough, that over time they become more enjoyable.

Satomi Matsuzaki, their singer is kind of brilliant in that way. I don't expect to like them, but with little time and taking them in enough, they have a tendency to be pretty good.

I suppose another report about my exploration into Deerhoof's older work should be in order if I have the time and remember to, likely in 2011.

I also can't forget, part of what I dig about Deerhoof is the guitar tones they use, which remind me at times very much of Oceansize. If you are an Oceansize fan, Deerhoof is one to check out. There's good reason why Mike Vennart is such a big fan of them. Also their drummer, Greg Saunier, just pounded his skins last night, kind of reminding me of Danny Seim from Menomena in some ways (or John Bohnam of Led Zeppelin who some have compared Danny to).

Oceansize - Self Preserved While the Bodies Float Up (2010)

7/5/10 11:47PM

Release Dates
US: 14th september 2010
UK: 6th september 2010
Germany: 3th september 2010

Cover Art


Some of the likely song titles

Part Cardiac
Oscar Acceptance Speech
Pine
Steven's Head
Spider Rico
Magpie Soup
A Penny's Weight (ex-To The Zoo)
Ransoms
Build Us A Rocket Then, You Rocket Building Cunt
It's My Tail

5/18/10 6:06PM






http://twitter.com/realoceansize

New album title. There's more info on it, from Mike Vennart on twitter and what not, which I guess I'll try and post here or in another entry.

It comes out in September.

I can't wait to hear it. Duh.