Neutral Milk Hotel – AmeliasMagazine

Amelia’s Magazine | Interview: Washington Irving introduce new album Palomides: Volumes I & II

Palomides by Rebecca May Higgins

Why does the new album, Palomides, come in two volumes?
Before releasing Palomides, we’d primarily focused on touring for a while, so when we came to it, we thought it would be better to put it out in two parts over the course of the year. It has allowed us to tour a bit more frequently (which we love doing) and meant we’d always have something new to show our fans. We wanted to do something different from the norm, as it’s our first full record. It gave us the opportunity to put the songs in a certain context, which they may not have had if it was just an LP.

Washington Irving city

What prompted your decision to ‘revolutionise folk music’ when you were all back in high school?
Joe and I may have had lofty ambitions when we said that, (back when we were in High School) but it did ultimately give everyone a direction for when Washington Irving started. We wanted to write something modern that lifted the right things from traditional and folk music. The stories and mythology are what really makes folk music what it is, and we wanted to reflect that in what we did, Joe especially. The sense of melody was also important, as it helped us stick out to a certain extent in Glasgow and the surrounding area, there wasn’t as many bands doing the exact thing we were as we thought there would be. Part of it was to be noticed but also because music is about progression and it feels really good to take the old and make it new.

Washington Irving, Palomides by xplusyequals

Washington Irving, Palomides by xplusyequals.

Who writes your lyrics and can you tell us about any specific tales that feature on the album?
Joe writes the lyrics and I think occasionally the rest of us will chip in and get a few lines in. I’m speaking for Joe on this, so I might not get it dead on but… The title track has quite a tale behind it. It’s the story of the knight, Palomides, who was (in Arthurian legend) a Knight of the Round Table. His stories were not so well known and he was always a bit player in other people’s tales, so Joe took a liking to him and decided he deserved his own story. With Palomides, it’s an amalgamation of different tales that involve him hunting for the mythical ‘Questing Beast‘, a creature that looks a bit like a dragon and leopard mixed together. I won’t go any further with my explanation because you’ll just have to see for yourself (and I may take liberties and upset Joe)

WashingtonIrving_Palomides_album artwork

What was it like growing up in Oban, Scotland? Best and worst bits?
Oban is a quaint little seaside town, not necessarily dull but quite calm and peaceful. Myself and Joe met each other there and formed the first band we’d both either been in, really. We were terrible, and probably had an awful name, but it was thrilling and completely new to us.

Best bits? Probably the fish and chips, which are incredible.

Worst bits? There’s plenty to name, but it all comes from growing up there. When you grow up in a small seaside town and all you want to do is make music and play shows, it can become the antithesis of what you want. I can’t say much more because I’ll probably get a beating the next time I’m home.

Washington Irving by Novemto Komo

Washington Irving by Novemto Komo.

What were your early musical inspirations outside of folk, and where does the wall of noise in your music come from?
The Pogues were a massive influence on us, a great collision of punk and Celtic folk music. We wanted to do something similar to them but not necessarily with the same genres. We can’t deny the influence of Arcade Fire and Neutral Milk Hotel on us, also. Two bands that were and are so good at conveying a very deep underlying emotion in their songs.

Washington Irving lake

We love noisy shit, it’s just too much fun not to. We played for a long time in a loud and fast manner, but with mainly acoustic and clean sounding instruments, it was just a slow drawn out development where we needed everything to get, in the words of George Lucas, faster and more intense. There’s a very good reason that distortion is found in most popular music these days, certainly rock music. It speaks on several levels and it conveys something that tone and melody can’t always quite get across. Our live shows always revolve around a good bit of noise and it’s become part of who we are.

Washington Irving LOST

What next for Washington Irving in 2014?
We’re going to start recording some new music very soon and get back on the touring circuit for a while, I think. We might even release our two-parter as one lovely big package, if we’re feeling generous. Onwards and upwards, for certain. And louder and noisier, no doubt.

The album made me think of folk law but as a sort of mythical ‘Old’ Science… jumbling up several hundreds of years of discovery, collecting specimens on an expedition through rough, wild (and probably quite cold and wet) new terrain, voyages, sea shanties, studying the stars and perhaps a little alchemy. And of course, love.

Palomides: Volumes I & II by Washington Irving is out now on Instinctive Racoon.

Written by Amelia Gregory on Saturday November 9th, 2013 12:26 pm

Categories ,album, ,Arcade Fire, ,folk, ,Instinctive Racoon, ,interview, ,Knight of the Round Table, ,Neutral Milk Hotel, ,Novemto Komo, ,Oban, ,Palomides, ,Rebecca May Higgins, ,scotland, ,The Pogues, ,Washington Irving, ,xplusyequals

Amelia’s Magazine | An interview with The Raincoats as 1981 album Odyshape is rereleased on We ThRee

The Raincoats by James Shedden.

The Raincoats are an all girl band who formed during the late 1970s and split up in the mid 1980s. I was very little at the time of their original releases so unfortunately I did not discover The Raincoats until much more recently, online well into my adult years. The band had an exciting can do attitude that melded punk, see classical and reggae influences into spiky arrhythmic folk punk tunes that even today sound way more exciting than many current bands. They reformed in the mid 90s after a resurgence in interest thanks to gushing plaudits from Kurt Cobain and are now widely hailed as one of the seminal post punk bands. I catch up with founders Ana da Silva and Gina Birch as they gear up to rerelease their second album on its 30th anniversary.

Raincoats in Poland

Why did you decide to reissue Odyshape now?
ANA: This year is the 30th anniversary of this album. So, as we like anniversaries, we decided to release The Raincoats and Odyshape on their 30th… We remastered the albums for Japan and re-did the art work so it would sound and look the best possible. We now own the rights to them and, as they should be available, we thought we’d release them on our own label We ThRee. Both on CD and vinyl. They look and sound the best ever! Theyl also have a booklet and A4 sheet respectively with liner notes, lyrics, photos and a piece of writing from me on the 1st album and from Gina on Odyshape.

The raincoats odyshape
What does Odyshape mean?
GINA: The title was a pun on the odyssey of a body. The idea that a body could have an ideal shape and it if did, what happens when a body doesn’t live up to that ideal. It was at a time, when (as probably now) there seemed to be a body fascism. It was important for women to be this shape or that shape. Thanks to people like Beth Ditto, and hopefully The Raincoats, things have been broken down a little. Hair can be crazy, messy, outfits can be baggy or tight, inside out or upside down, we can be fat or thin, creative, playful, stylish and beautiful without having to subscribe to some fashion mag ideal.

The Raincoats1981
You formed the original band whilst still at art college… how did your studies in art influence how you made music?
ANA: Besides the obvious side of art work, I think we’re trying to do what art should do: create works that inspire other people, that question the status quo, that express ideas which come from our own minds and hearts and also works that look at the human condition and provide some comfort to the listener.

The Raincoats by Karin Soderquist.

Odyshape seems to owe as much to contemporary classical music as it does punk – was this something that inspired you?
ANA: We listen to all sorts of music so, intentionally or unintentionally, different things appear. I do like some classical music very much, like the Bach‘s cello suites, Erik Satie, some opera, etc. but I don’t think my playing sounds very classical…maybe you mean the violin which was played by Vicky Aspinall who is classically trained.

The Raincoats by Janette Beckman1981
The Raincoats in 1981.

You haven’t produced a new album since the mid 90s – what have you been up to since then?
ANA: I’ve been doing my own solo music and released an album called The Lighthouse on Chicks On Speed records. I’ve also been doing some drawings and paintings some of which I’ll be showing at the Pop Montreal festival, together with Gina’s videos and Shirley’s photographs. It’s really a great opportunity to show our art, visual and musical. It’s the first time we do this and are very happy and excited about it.
GINA: I have been collaborating with various musicians and artists and very involved in a project called The Gluts, (with two women artists) Also I have been playing solo, writing songs, making films, painting and, raising two children.

The Raincoats by Rukmunal Hakim.

Gina – you were an early fan of the craft revival – knitting on tour. Do you still craft and if so what?
GINA: I did knit on the first Raincoats tour, when I wore the jumper at the final gig… and then didn’t do any knittingfor quite a few years but have always liked to paint, draw, knit, mosaic, make films whatever. I have been knitting a lot in the last year or two and have made Raincoats inspired bags, and I have also been sewing banners with lyrics and messages on them.

The Raincoats by Kassie Berry.

Has Gina Birch’s film, The Raincoats, Fairytales, been completed?
GINA: The film is still a work in progress. It is an organic process it seems and hopefully will be concluded in the coming six months.

Baby Song performed live in the 80s

You will be playing your debut album live again at ATP this December – anything special in store and what are you looking forward to most about the Holiday Camp experience?
ANA: Just playing is a special thing, but we’ve played twice at ATP and really enjoyed it: swimming, meeting people, being able to choose amongst so much different music and the relaxed atmosphere. We will be playing the first album at Jeff Mangum‘s request but will play other songs too, not sure which yet.

The Raincoats perform live at ATP in 2010

Which other current bands do you enjoy listening to or watching?
ANA: I think P.J. Harvey‘s latest album is so good, so I enjoyed listening to it at seeing them live a couple of times. Also saw Portishead whose music I like but had never seen live and that was very good too. I was listening yesterday to Ponytail, Colleen, Electrelane, Neutral Milk Hotel, Louis and Bebe Barron, Jenny O in the car coming back from Portugal.

The-Raincoats-By-Barb-Royal
The Raincoats by Barb Royal.

What next for The Raincoats?
ANA: We’re doing a tour in the U.S.A. and Canada (New York, Washington, Chicago, Detroit, Toronto and Montreal) in September and ATP in December. And because of the re-release of Odyshape and those dates some interviews too… thanks for your part. Otherwise nothing concrete, but I’m sure other things will happen.

Only Loved at Night, performed live in 2009

Odyshape is rereleased in heavyweight vinyl and as a special edition CD on We ThRee records on September 12th 2011. The band will tour the east coast of the USA from 16 – 26 September 2011 and play Jeff Mangum’s ATP, Minehead on 3 December 2011.

Written by Amelia Gregory on Monday September 5th, 2011 11:23 am

Categories ,1980s, ,2011, ,album, ,Ana da Silva, ,Arrhythmic, ,atp, ,Baby Song, ,Bach, ,Barb Royal, ,Bebe Barron, ,Beth Ditto, ,Body Fascism, ,Chicks on Speed, ,classical, ,Colleen, ,December, ,Electrelane, ,Erik Satie, ,folk, ,Gina Birch, ,James Shedden, ,Jeff Mangum, ,Jenny O, ,Karin Söderquist, ,Kassie Berry, ,Kurt Cobain, ,Louis, ,Neutral Milk Hotel, ,Odyshape, ,Only Loved at Night, ,PJ Harvey, ,Ponytail, ,Pop Montreal, ,Portishead, ,punk, ,Rerelease, ,review, ,Rukmunal Hakim, ,The LIghthouse, ,The Raincoats, ,tour, ,Vicky Aspinall, ,Violin, ,We ThRee, ,WETHREE

Amelia’s Magazine | Music Listings November 23rd – 29th

In June 2009 Zoe Paul graduated from Camberwell BA Sculpture. Whilst at college Zoe participated in numerous shows around London from the group exhibition Factory at the James Taylor Gallery organised by Royal College MA Curation graduate Dean Kissick to ‘Between the Eyes’ at Coleman Road. Zoe Paul has recently been selected to participate in ‘Future Map 09’. Amelia’s Magazine spoke to Zoe Paul about her creative processes and the development of a sculpture from idea to creation.

What is it in particular about sculpture that interests you?

I am interested in the form and mass that is sculpture. I like the way we as humans relate ourselves to objects through their three dimensionalism. We are given the option to walk around and view the object from multiple angles and vantage points, clinic creating our own image from that object. We judge the object as being larger or smaller than human scale and this plays a large role in our perception of the object.

You have made numerous paintings, have interests crossed over from painting into sculpture?

I feel happier thinking in three dimensions and I have always felt more successful in making objects but I highly appreciate painting and drawing. It’s a very different way of thinking. I’ve done a fair amount of life drawing and painting; which I think has helped me to appreciate form.

I strongly believe in drawing, if not as a final out come, then as a practice to learn to see. I think as a sculptor it is important to learn to look at things and see how they work formally in order for you to understand them. I always think I can see things better after I draw from life because it forces me to look and not just glance. The art school in Athens I went to for a year before my degree in London provided amazing classical training. I definitely think it gave me a different perspective.

I am a bit shy to make paintings now because I feel like I expose too much of myself, but with sculptures I rely on the materials and the mass of the objects to defend themselves.

How do your sculptures develop through the design process?

For myself the making process is a vital part of how I develop an idea. I make a lot, a lot of which, doesn’t always work but I find the action useful. I try not to think of anything as a definitive piece, the process is important.

My work is frequently based around materials. By using impoverished materials I devalue the monumentalism classical sculpture holds. Making ‘Pythia’ was an incredibly labour intensive process. I relate the carving of the polystyrene armature and the precise measuring and cutting of each individual tile to the carving of ancient marbles. It was industrial and ordered. I made the sculptures imagining I was making an architectural fitting, similar to what classical sculptures were in their day. I also spent time in the British Museum taking photographs and working on these as drawings and sketches.

Do you start with an idea or a medium or are both equally important in your work. If this is a bit vague, I mean does the medium start the idea or does the idea influence the medium used?

I think the two go together, although I pay more attention to materials than I realize. I thought up ‘Sunset Island’ whilst in LA, I wanted to represent the crummy, grimy glamour of Hollywood with the cocktail sticks and the industrial fiberglass sphere. Materials make me think of ideas, my degree show work on temporal exoticism and classical Hellenistic sculpture developed from working with tiles, trawling the isles of hardware stores, and finding cheap marble effect ceramic tiles. This cheap marble effect alludes to the wealth represented by classical marbles.

Do you prefer to work entirely on your own as you are creating a sculpture?

I need to think and write by myself, but its really boring working alone. Now I’ve finished college, my studio is really small, crammed and damp. I miss being able to find someone to get a coffee with, when I want a break.

Sculpture is a social process, I didn’t really paint at college because of the open studios and I need to be alone to paint, its much more personal. Sculpture, however, requires banter. Conversely I pretty much had to make my degree show piece, ‘Pythia’ entirely on my own. The tile cutter makes such an awful noise I was as good as exiled out the studios at college.

Who or what are your artistic inspirations

My biggest inspiration was going to Los Angeles last year when I interned as a studio assistant for Mindy Shapero. College was OK but working for Mindy made me really hungry to make and to be an artist. There was so much energy and exuberance in the approach to life. I realized that I could do it if I wanted it badly enough.

I met amazing artists out there, like Thomas Houseago. He was so inspirational and had so much energy.

I can’t help being inspired by greats such as Picasso and Brancusi. Recently I have been reading about Rodin’s love for Greek sculpture as it conveyed the ‘ravages of the time’ in its ‘fragmentary aspect’. Rodin was a pioneer of the existential being conveyed through representation of human form, which he showed through his tactile figures.

My interest in classical Hellenistic sculpture lies in the history attached to it, ‘the ravages of time’, and the wars fought around it. Also the way sculptors repeatedly revert back to it as true sculpture.

I love museums, especially the old musty sort. They contain an exoticism: a longing for a bygone age. I am interested in fragmentary discovery and understanding history, therefore museums are exciting transient spaces full of mystery and discovery.

Do the paper drawings feed the physical process of making a sculpture?

The drawings are really beautiful. I started making them as plans for sculptures to understand the anatomy and form of classical sculptures. Really, they are just spruced up working plans, but I think that’s what’s attractive about them. I tried making sculptures directly from them but it was a complete failure so in a sense they are failures at working drawings. Again they were important for my process, especially as I was making work about existing work, it was important for me to understand existing sculptures.

I tried to convey the museum feel in them. Displaying the images like old school posters or crumbling educational departments in museums. As museums attempt to explain history, the classical sculptures I was looking at. They are objects, which represent an exotic bygone age, but essentially are just glorified rocks

What’s next for Zoe Paul?

I’m excited to have been selected for ‘Future Map 09’, a selection of a handful of graduating students from across the University of the Arts London, of both graduates and post graduates.

In terms of work I’m excited to continue my idea of temporal exoticism and the allure objects hold. I’ve been reading an amazing book about a shipwreck containing sculptures on their way to Rome during the Roman occupation of Greece around 70BC, discovered off a Greek island in 1900. The book delivers amazing descriptions of the sculptures being gnarled and eaten by the sea. I like the idea of these vast powerful sculptures rotting at the bottom with such history attached to them.

I would like to make more tactile works that show my process. I love the way Rebecca Warren’s figures do that.

Future Map 09 will be hosted by 20 Hoxton Square Projects and will run from the 25th November 2009.

Monday 23rd November, salve Lisa Hannigan, site Royal Festival Hall

Debut album “Sea Sew” came out this summer from Miss Hannigan and she is now touring to support this. The Mercury Prize nominated album includes singles “Lille” and “I Don’t Know”. She continues the tour in Manchester and Birmingham before a string of Irish dates leading up to Christmas.

Tuesday 24th November, Pyramiddd, Flowerpot

Previously known as something that isn’t suitable for publishing at this time of day, these punk/rock/pop/disco kids tick all the boxes. They are touring in the UK for the first time to support debut single “Medicine” which is out November 30th. As well as appearing at the Flowerpot tonight they will also play ICA with those Filthy Dukes on the 25th and Notting Hill Arts Club on the 26th of November.

Wednesday November 25th, The Puppini Sisters, Pigalle

Catch jazzy pop trio The Puppini Sisters at the peak of a 5 night stint at the Pigalle club. Album “The Rise & Fall of Ruby Woo” is out now on which Beyonce, The Bangles and Take That get the unique Puppini swing-stylee treatment.

Thursday November 26th, Musee Mecanique, The Luminaire

This Portland based posse come to London to treat us with their mellow indie folk tracks that feature on the beautiful album, “Hold Your Ghost”. These guys who have been compared to Neutral Milk Hotel and Beirut are tonight performing with Laura Gibson.

Friday November 27th, Silver Odyssey Experience, Secret Location

Fancy some Friday night stimulation? The Silver Odyssey experience covers all bases with Sounds, Sights, Smells, Touch, and Tastes to please. The techno teatime sounds come courtesy of Radio Slave and The Time and Space Machine. The secret location shall be revealed 2 days before the event.

Saturday November 28th, Cinammon Chasers, Master&Servant and Glover, Proud

Listing films such as “The Never Ending Story” as one of his influences, Cinnamon Chasers says . “I try to create music that gives me the vibe those classic films gave me as a kid”. Do you need another reason to go and experience this?
Electro act Cinnamon Chasers shall perform along side Master&Servant and Glover.

Sunday 29th November, Sophie Solomon, Purcell Rooms

Learning to play the Violin by ear from the age of two Sophie Solomon combines this with her vocal skills and merges a melody of styles into her music. The album “Poison Sweet Madeira” is her most recent offering.

Written by Rebecca Milne on Monday November 23rd, 2009 3:45 pm

Categories ,beirut, ,beyonce, ,camden, ,Cinammon Chasers, ,Filthy Dukes, ,Flowerpot, ,gigs, ,Glover, ,laura gibson, ,Lisa Hannigan, ,live, ,Master & Servant, ,Musee Mecanique, ,music, ,Neutral Milk Hotel, ,Proud, ,Purcell Room, ,Pyramiddd, ,Radio Slave, ,Royal Festival Hall, ,Sophie Solomon, ,Take That, ,The Bangles, ,The Puppini Sisters, ,The Time and Space Machine, ,“The Never Ending Story”

Amelia’s Magazine | An interview with Brighton based indie band Foxes!

Foxes! by Kathryn Corlett.

Foxes! are husband and wife team Adam Bell and Kayla Bell, joined by Al Grice and Matthew Thwaites. Together they create beguiling indie music accompanied by some great lo-fi visuals. Dance along to the sing along likes of Who Killed Rob? or exhilarate in the rolling rock of Oh Rosie. From the creation of their own record label, Big Salad Records, to their fun homemade videos, here’s a band doing it their way… Adam answered my questions.

foxes album artwork
Your new album was launched earlier this month, what has been the response so far?
Yes, it has been exciting and the response has been really interesting, we’ve had some very detailed reviews and writers seem to have found nice words to say and things that have made us think about our music and what we are doing. Releasing an album in January is quite a difficult task, as the press and retail outlets tend to be quiet in the new year. In that sense, I feel that we’ve started 2012 with something that will grow, I’m hoping the album will be heard by the right people and settle into something that is appreciated on a wider scale than we’ve known before, having existed as a DIY band for some time. I suppose what we are doing isn’t necessarily in line with the big popular sounds of today and so we do rely on keen eared enthusiasts to get the ball rolling and tell everyone to love us! Saying that, there’s good signs of progress already, with great press and some old fans coming out of the woodwork to show support, which has been lovely.

Foxes! by Gemma Cotterell.

Your music is a beguiling mix of twee indie and rockier vibes, what are your influences and would you say this is fair description? if not what would you prefer?
Well, the twee influence and tag which seems heavily associated with the band is an interesting one because none of us would say that we are big fans of that genre. Personally, the bands that influence me the most would be Elephant 6 Collective acts like The Apples In Stereo, Of Montreal and Neutral Milk Hotel, as well as Yo La Tengo, Weezer, The La’s, The Unicorns, The Flaming Lips and so on. I like the lo-fi aesthetic and the idea of writing a melody or phrase that catches in your mind and goes round and round, that’s an important thing to try to grasp and a great challenge, which I always find very rewarding. I like to think of us as a rock band who write pop songs that don’t necessarily follow the most expected path. I think there’s space to be both strange and popular, if you have good pop ideas, there’s so much you can do beyond the basic presentation of a song. As we tend to write communally, there’s four minds for each idea to pass through, which gives each song a chance to pick up a variety of styles before its finished.

The video for Oh Rosie feature some great animation, who did you work with for this, and what was the inspiration?
Kayla made the video with Gareth Harwood. They have a little animation and design company so making music videos for relevant bands always seems like a fun idea. Kayla’s artwork in general is focused around day-to-day life and it is the things she experiences in her immediate environment that she finds most inspiring (see www.mundaneappreciation.com for more of Kayla’s artwork). The video for Oh Rosie is filled with things from her bedroom. Dresses, stationery, things in her handbag, her hamster (Flash) etc., combined with direct references to other tracks on the album.

Foxes!
Photography by Emily Mary Barnett.

You recently relocated to Brighton, what was the lure?
We started as a three piece in Oxford back in 2005 and moved to Brighton after the summer of 2007. Kayla and our original bass player Dan were studying in Oxford and finished their courses that summer. We were drawn to Brighton by the past to some extent, as I had lived in Brighton during my teenage years, and Kayla had immediately loved it when she first moved over from Canada in 2001. It felt like coming home when we moved back, although Oxford was very good to us and we did love it there as well.

Foxes! by Zoey Hardwick.

You’ve also set up your own label Big Salad Records, what prompted this move?
It’s a combination of factors – ever since we played with the folks behind Fence Records when Kayla and I lived in St Andrews, I’ve been inspired by how strong the inspiration is when a group of people work together in a kind of collective. In Brighton, we know some very talented musicians and all of us seem to be involved in lots of projects, most of which never see the light of day and end up stuck on hard drives in people’s bedrooms.

Foxes
Big Salad Records was created as a way to encourage friends to get their music into the public domain and hopefully to build a similar collective to, say, the Elephant Six or Anticon labels in America. For Foxes!, we had worked with a few different labels, releasing singles and EPs but I think we reached the point where we just wanted the album out and felt we had enough contacts and experience to do that with the new label. I’m really excited about it and there’s some great things in the pipeline for Big Salad Records.

FOXES! by Lottie Pencheon.

What is it like working as a husband and wife team?
Well it can be intense at times, but usually it’s great fun. Recently Matt and Alan seem to bicker more than we do. I’ll always believe there’s something magical between us when we work together and it’s overwhelming sometimes to think what a great creative partnership we have managed to uncover. A lot of the new songs are more directly written about our marriage and the crazy times we have been through. We are going to record the second record later this year and try to bring it all together into one piece of writing, set to the backdrop of an aquatic drama. It could make or break us!

Who Killed Rob?

Where can fans catch you in 2012?
We currently have three gigs scheduled. The first is a headline show at Pavilion Theatre in Brighton on 16th February. Then we are back in Oxford for the first time in a while at The Cellar on 10th March. We are also playing a London show for Odd Box Promotions at The Wilmington Arms on 16th March.

The Panda Bear Song

Foxes! by Foxes! is out now on Big Salad Records.

Written by Amelia Gregory on Wednesday February 1st, 2012 4:03 pm

Categories ,Adam Bell, ,Al Grice, ,album, ,Big Salad Records, ,Elephant 6 Collective, ,Emily Mary Barnett, ,Fence Records, ,Foxes, ,Gareth Harwood, ,Gemma Cotterell, ,interview, ,Kathryn Corlett, ,Kayla Bell, ,Lottie Pencheon, ,Matthew Thwaites, ,Neutral Milk Hotel, ,Odd Box Promotions, ,Of Montreal, ,Oh Rosie, ,Pavilion Theatre, ,review, ,The Apples In Stereo, ,The Cellar, ,the flaming lips, ,The La’s, ,The Panda Bear Song, ,The Unicorns, ,The Wilmington Arms, ,Weezer, ,Who Killed Rob?, ,Yo La Tengo, ,Zoey Hardwick

Amelia’s Magazine | An interview with Brighton based indie band Foxes!

Foxes! by Kathryn Corlett.

Foxes! by Gemma Cotterell.

The Panda Bear Song

Foxes! by Foxes! is out now on Big Salad Records.

Written by Amelia Gregory on Wednesday February 1st, 2012 4:03 pm

Amelia’s Magazine | Interview: Washington Irving introduce new album Palomides: Volumes I & II

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