Friday, 25 November 2005

YOURE GOING TO PAY...and I mean seriously motherfucker

Everything is progressing at an extreme rate of knots, it’s been about 6 months since I left uni and in that time I’ve become a regular and praised contributor on a national music magazine, Zero Magazine and a regular with another fashionista (yuk) type mag Disorder Magazine as well as setting up my own local fanzine Under Magazine to the love and admiration of our local scene.

Journalism seriously fucking rocks I can’t tell you, and this is good fucking stuff. It's starting to take on a real form, a feverous take on new music, absolute dedication, driven with passion. There’s no fucking around here, no time for it, no time at all, it’s filled with grit and spice and will hopefully give you an insight to the band I’m covering.

I’ve attached a recent article I’m particularly proud of, perhaps if you like it you can leave a comment or something.

Anyway, a quick pic of the mag and I will say adieu maestro, until next time.

If you want a copy of the mag request on the website, i do send abroad.

Innocence Dies -

As the 21st century squeezes the last drops of innocence out of the body of youth it seems fitting that youth itself should be playing the backing track. Meet Kill The Young.

Tom, Olly and Dylan Gorman, three brothers in their early twenties who kick out a music that corresponds exactly with the disorientation and panic felt by so many young people in today’s stylised, fast paced, ultra exclusive and class divided as ever British culture. Not strictly a concept band, their thoughts on the loss of innocence and the corruption of youth comes from, as guitarist and lyricist Tom says, “The ability to take a step back.”

"It is more of having a strong point to put across rather than a political agenda” he continues. “It’s not as if we have had or, do have a specific idea saying, ‘this is what we stand for and this is what we are going to do’, because you can get stuck in a rut doing that sort of thing and we’ve always wanted to explore different avenues of music. The name was and still is to catch peoples’ attention, we do believe in it and what it stands for”.

That stance, portrayed by their name and their first single, The Origin of Illness, is full of the passion and gusto that the 21st century is kicking out of the young. Bassist Dylan elaborates on their perceptions, “It’s something we do feel strongly about but, it’s never something we’ve had to deal with personally because we’ve had such cool parents. We’ve looked at how all these kids are growing up so fast, so young. You see these people that are forced by way of financial situations or pressure off their parents, or whatever, into doing something they don’t want to do whether it is university or jobs. Kill The Young is that essence of youth being lost, because people aren’t able to do the things they want to do or enjoying youth”.

Let us not forget about the music, it’s rampant and eager, with twinges of everything from Echo and the Bunny Men to Smashing Pumpkins and Sonic Youth. Any band that has played together for over seven years and performed in excess of 300 gigs will have a bond, but add to that mix the fact these guys are brothers and there’s the definite possibility of something special being produced. “Dylan and Olly come up with more actual tunes and riffs than I do” starts Tom when explaining the writing process of this literal band of brothers.

“Once those are sorted though I’ll sit down and think and think. I’ll take a long time to write down what will articulate perfectly the idea I’m wanting to say. No one track is half hearted or rushed and they’re usually quite personal to me. We’re not specifically a concept band with a theme that we write the music around, I mean we have a point behind the name and such but I don’t think we set out to change minds. If someone takes something from the music then great, I think different people will put different interpretations on what we play.”

Dylan continues “None of the songs on the album are about love or anything like that, it’s all about Tom and how he feel’s, it is some very personal stuff which is often quite dark. The music isn’t so overly personal that people will be like ‘what the hell is he singing about though.’”

As we sit around a cold table in Manchester train station on a dark and typically wet night it might be easy to see why they’re perhaps the polar opposite to a band like the Beach Boys. There’s no sparkling 1960’s America here, just, as Dylan says, “People rushing to get pissed, who can drink the fastest and how much, you know, we do a bit of that ourselves, but that’s just the way life is in these small towns like the one we grew up in”. A bleak backdrop that has provided them with the fodder to create their raw and emotive music.

Finding this sound was not an easy feat, seven years of gigging and constant development though has landed them with a package they have the uppermost of confidence in. “Other people being in the band helped us grow as musicians and become stronger in the end, because we realised that it’s either going to be us three or it was not going to happen. We couldn’t have it any other way, it’s the key really, it’s probably why we’ve written so many songs” explains drummer Olly.

It has been more than just a brotherly connection and ability to pick up on each other’s smallest peculiarities that has brought them to this ignition ready point, their path brought them to legendary producer Dimitri Tikovoi. After being signed to Discograph records the company decided to bring in the producer, famous for his works with everyone from Placebo to Goldfrapp, to have a listen. “They flew him over from France to our tiny little practice room” begins Olly. “We played a few songs for him, chatted a bit and started on about the album, our ideas and how to bring them to reality. See, something that always evaded us with studio recordings was this great live sound we have, Dimitiri was really able to bring this out by getting us to play live but, in the studio so to speak. We had people brought in to play in front of, he got us playing all together to really bring out that energy and passion rather than us playing separately and then layering it. We loved it and really think it worked.” Dylan continues the description seamlessly, “…And although it maintains this raw edge and special feel about it, after we had done all the over dubs and polished up the guitars and things like that it does sound totally professional, it’s not too raw that it just sounds amateur”.

Now it seems they’re set, they have the money and people behind them to bring their impressive sound and keen attitude to an ever hungry public. Not a band to gorge on, no doubt they will be drip fed, whatever it takes just as long as they don’t fall off into nothingness, that would be a travesty.

---Kill The Young