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EADES - Live In Newcastle


Eades - Live in Newcastle

Eades’ sound is assembled somewhere within the shifting textures of rhythmic convulsions and low-fidelity rawness. It bounces with an after-hours hedonism. Lives on its wits. Snaps from the fingertips to the brain edges in a transmissible instant. Fidgety. Restless. Raw. Economical. Irresistible songs flecked with CBGB’s decadence. Offset by a Bukowski gutterball lyric. Laced with an appropriately dangerous, metropolis menace. Always delivered with fearless abandon. Most bands cram you with theory, but rarely show you how hard the pavements are.


Formed in 2020, the Leeds based five-piece released the exhilarating Microcosmic Things’ EP and a clutch of singles off the bat, piquing the interest of Manchester indie, Heist or Hit (Her’s / Pizzagirl / Brad Stank).Signatures inked, the group decamped to Bam Bam Studios – an ex-psychic palm reader’s work space that band members and producers Harry & Dan gutted and built out into a creative space. Sophomore EP ‘Abstract Education’ released to critical acclaim in 2021 with the likes of Fader, Paste, Brooklyn Vegan, The Guardian, The Independent, The NME, DIY, DORK, Clash, KCRW, Steve Lamaq (BBC Radio 6), Jack Saunders (BBC Radio 1) and Gemma Bradley (BBC Radio 1) all lining up to call themselves fans. It was a bracing snapshot of a band on a roll. Awash with the erratic rhythms of existence; a fever-pitch of tension and release. An uninterrupted pulse of fervent energy. Frenzied. Unrelenting. Made up of members from Far Caspian, Vraell, and English Teacher, Eades have a wealth of combined experience; from sharing stages with Wolf Alice, Sports Team, Jungle Giants, Working Men’s Club, Porridge Radio, Feet and Twin Peaks, to mixing Abbey Road sessions and producing Radio 1’s ‘Track of the Week’ for Daisy Brain.


“We went in to record a classic.” states lead singer and frontman, Harry Jordan of self-produced debut album ‘Delusion Spree’. As manifestos go, they don’t come more straight shooting. “Lyrically, we wanted talk about issues we’ve been going through without sounding like preachy dickheads.” adds guitarist Tom. The result is document of a group seizing a moment and making it entirely their own. In order to fully drink from the well of themselves, it was essential to have no distractions. A farmhouse in Mucker, Yorkshire Dales was selected as the location. “We had 15 days to convert the place into a studio and record 16 tracks.” The sense of urgency had a profound effect on the album, proving central to its authentic, energetic, immediate sound. “It also stripped us of the opportunity to add in any bullshit.” Dan adds, “after spending many hours together in a practice room, we figured the recorded content needed to emulate the energy we whipped up together in a rehearsal space.” Pathologically incapable of writing songs that don’t ramraid the brainstem, recording live only served to commit to tape the nervous system smash-n-grab that is an Eades show; justas one track teeters on the edge of falling apart, they gather it all in, only to threaten glorious collapse again on the next. Spontaneity bottled. “Being stuck in secluded place made recording the album a special experience. All sorts of in jokes and memories flood in when I listen back. I hope that that joy comes across.” observes Lily. “We played sardines and Dan made me wee myself by hiding in the fucking ceiling.” Harry recalls “We recorded ‘Voodoo Doll’ sat cross legged on the floor on 2am. After what had been a heavy night, we decided to let loose and jam. I was convinced laser beams were coming out my amp… turned out it was Lily playing the synth through an amp next to mine.”


Recording live as a full band was a deliberate gambit employed to lace the bedrock of each mix with a high-risk sense of urgency. With no room for error, the band had to put everything into each and every take. Dan recollects that one day during recording “we accidentally let 200 sheep into the back yard. A small gate was left open and they took their chance. I respect that.” A seemingly throwaway line, it’s symbolic of Eades’ attitude towards the process; either there are no sheep in the garden or 200. There is no in-between.


A pluralistic punch of new wave, art-punk, noise-rock, garage rock and 90s alternative, rarely does a band approach such a wide array of styles with equal proficiency. “Predictably unpredictable.” as Tom puts it.‘Delusion Spree’ cements Eades as one of the era's marquee groups and is characterised by a cool nonchalance, speed-balled over an amphetamine groove, all bound up in taut guitar work. The principle elements of Eades’ stylistic inventory. A soundtrack to the quarter-life crisis; the post-uni despondency soup of mental health, drug addiction, messy relationships, health anxiety and a yearning for less complicated times. The title track represents the fallout from the division of public and private self; on the one hand, outwardly addressing bad habits – while on the other, inwardly clinging to the cliffside of coping mechanism: “I hope my change in direction had shown that I’d meant it. Yeah, I wish I meant it” The record-scratch-paradox-plot-twist moment being that we are living in an age where cannabis, ketamine, LSD and mushrooms are being trailed to alleviate addiction and treat depression. “Like CBD was made for me. Oh, how it helps with my delusion spree.”


First single, ‘Reno’ is a situational story of someone who has given up on the ‘right way to be’ and goes out to deliberately commit arson in an attempt to ‘save’ the people around him from feelings of monotony or apathy. Told from three perspectives: witnesses to the event, the perpetrator and an intoxicated pub philosopher attempting to comment on the state of affairs in a way that sounds much more profound than it really is – the latter a satire of the lyrical clickbait of modern post-punk bands who insist on vapidly talking over a groove in an attempt to intelligently lampoon the zeitgeist ­– it also contains a character from Jonny Cash’s ‘Folsom Prison Blues’. “Did you hear he got shot down in Reno? The shooter had no reason but to watch a man die” report the general public during the second verse. “I liked the idea that the character in our song gets shot by Johnny Cash in Reno.” says Tom. The sense of territories being (re)discovered is an apt opening to an album which seeks to be filed under ‘modern classics.’ An album travelling at full speed. An album that hits the signal and shoots through the inside row of waiting cars.


‘Ever Changing’ jolts with all the nervous stop-start-system-fault-energy of a mid-twenties average-joe trying to navigate life choices, question friendships and micro analyse interactions; from droning conversations with self-absorbed arseholes, to the social frisson of a new friend that might be no good. It’s here that Eades pull off one of their best tricks: twisting post-punk alienation into a party commune. Early on, fun rented a place in the band’s sound. Then stopped paying rent and kept the key. It’s the rare alchemy of a group with heart, brains, an ear for a hook and one foot on the dancefloor.


📍 BOBIKS, Newcastle

📅 FRI, APRIL 15 2022

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