Thursday, July 27, 2023

Fulvetta Interview

And were back in the room! Coming in hot, two interviews in two days! Back in January/February this year I decided that I wanted to put on a music festival, and more specifically a festival that focused on the growing shoegaze scene here in Ireland. And so, GazeFest - The Fest That Celebrates Itself was born. A two day, two city shoegaze festival, happening in Dublin August 25th and Belfast August 26th. I play in a shoegaze band called Virgins, so in a way its a selfish vehicle for me to get to play with all these amazing bands from all over Ireland/Northern Ireland.

One of those bands that I selfishly wanted to play with was Fulvetta. Since booking them for the festival we've already got to play together but I'm excited to bring them to Belfast. Instagram introduced me to Fulvetta with the annoucement of their EP 'Songbird', a three song EP that from the opening notes of 'Dynasty' just blew me away. A dense sonic soup, hooky song writing and the production was on point. After listening to the EP 3 or 4 times in a row I reached out to let them know I was a fan, I flirted, they flirted. It was special. I was excited to delve deeper into the EP with them and talk about the release of their new single 'Lampshade'.

Check out the interview below and grab tickets to GazeFest at the end.

I'll be doing a run of interviews with all the bands playing GazeFest so strap in and lets get gazy!!




Can you tell me what first inspired you to make music, what made you pick up a guitar, write songs and join a band?


AJ: I was 8 when I started guitar. For a few years I was quite apathetic about it, just playing because my dad wanted me to. I think when I was 11/12, I stumbled across the music video for “When I Come Around” by Green Day and it changed my outlook on music forever. For someone that age, three guys walking around town with insanely baggy 90s clothes and Tre Cools absurd hair - it was so cool and finally music that I resonated to. My taste in music changed a lot over the years, but I’d pinpoint that as being what inspired me to start and what really made me love music. As I grew up and my tastes in music evolved, it was apparent to me that I didn’t really have anyone to play with or even talk to about my kind of music. So an old friend and I signed up to this summer music course when we were teenagers, from then on I just continued playing in different bands. I played with Grace and Dylan on separate occasions too, until after many bands and many line-up changes, we ended up with Fulvetta. I wish there was an inspiring story on how I started writing music and singing, but I was a lead guitarist until I was 17 or so, we couldn’t find a vocalist for over a year so I said “Fuck it, I’ll sing if no one else wants to”. Regardless, I’ve grown to love it over time really.


What bands posters did you have upon your bedroom wall and what was the first album you ever bought and why?


After my whole pop-punk phase, I grew up listening to metal during my teenage years and that was when I started really expressing my taste in music. If I recall correctly, I had two Metallica ones, Ride the Lightning and Kill ‘Em All, a Slipknot one, and a Deftones one. I never had a record player growing up, I was the pirated mp3 downloads kid at the start before moving onto Spotify. I only got a record player last summer. It was the first time I was working part-time over summer too, and I had some hard-earned money. So I said to myself that if I’m going to get my first record with my own money, it better be a good one. The answer to that was frankly quite easy when I walked into the record store - “Loveless” by MBV.



Songbird came out in October last year, of which I was an instant fan. Can you tell me about how the EP came together, song writing process, where it was recorded and mixed and any particular influences you might have had for the record.


The three songs on “Songbird” were written just the same as any of our other songs really, even the unreleased ones. Just three songs we had written that we felt worked well together and sounded different, yet similar enough to sound like the same band wrote all three. At the time, the process mostly consisted of: I write the guitar riffs and song structure at home, the band finishes the song during practice, I write the lyrics - song done. We’re trying to step away from that linearity as a band, both Grace and Dylan are bringing in their own ideas and lyrics, and we’re writing the structures together. Actually, “If You Loved Me” was the first time we used Dylan’s lyrics. 


We recorded it and got it mixed by Dan from Darklands Audio in Dublin. Influences wise, there was nothing unconventional from what we normally look up to: Hum, Narrow Head, Smashing Pumpkins, Deftones, etc.. Hemispheres stands out from the rest as I was listening to a lot of Deafheaven at that time. A lot of their songs, especially off Sunbather, are 10 minutes or so long and they’re more of a musical journey than just a regular song really. I was trying to emulate that feeling when writing Hemispheres. Deafheaven are a band extremely close to my heart and theres little odes to them throughout the song such as the tremolo picking at the end. I think Dylan’s favourite songwriter is Matt Talbott from Hum, really introspective and emotive lyrics.


Can you tell us lyrically what your approach is, where do you take inspiration from or how do you approach lyrics for the tracks.


Dylan and I both split the lyrics, however I write the vocal melodies and Grace is in charge of all backing vocals. We probably work backwards compared to most other bands. Once the instrumental is finished, I create vocal melodies and either write lyrics around those or fix up Dylan’s lyrics and get them to fit.


Stylistically, we’re both a bit different too in terms of lyrics. All my lyrics are based on my own personal thoughts and feelings, what I say in a song is real. Everyday life is relatable. Dylan’s in the same boat, but hes a bit more direct than I am. I don’t like being upfront about it, I like to mask it in a metaphor, be ambiguous about it, or look at the story being told from the other perspective, often the cynical side. I also like looser song structures, whereas Dylan’s are a bit more upfront. In terms of inspiration, Chino Moreno of Deftones is my favourite songwriter, hands down. If you sit down and try interpret a Deftones song, 9 times out of 10 its actually about something completely different and I just find that to be extremely impressive. George Clarke from Deafheaven too, look beyond the screaming and what you can quickly see is his genius. His use of imagery is impeccable, you could read a Deafheaven lyric sheet as if it were a poetry book. Matt Talbott from Hum is Dylan’s favourite, his work is very emotive and introspective.





Your excellent new single 'Lampshade' just came out a few weeks ago. It sounds much more in your face than the EP while still retaining some of the gazier elements. Is this indicative of a grungier new approach to the Fulvetta sound akin to Narrowhead or Nothing? Can you tell us about the production and subject matter of the single?


The core sound of our band has always been the grungy, heavy shoegaze sound thats been so big in the States, so it’s not necesarilly a new approach per se. I’d say it's more of a case of us refining our sound and improving as songwriters and musicians, and also the fact that our discography was just crying for something with a bit of energy! We’re definitely diving deeper into the genre and I don’t think that’s necessarily a bad thing. The way I see it is, you can still be different from other bands while also being in a “scene”, music is a community at the end of the day. 


It’s not just a simple copy and paste formula though, we have our own quirks and I think we draw a lot more from classic shoegaze bands compared to a lot of the bands in this genre. The singing is shared between Grace and I a lot more in “Lampshade” and our newer stuff, the male/female duet is something you’d hear in Loveless or Souvlaki but its been lost lately. Layering too, theres multiple layers of the same vocal and the same guitar track to create a more classic wall of sound. 


Lampshade delves into the topic of pushing people away from you to protect them. You fear that whatever turmoil happening inside of you is going to sicken them too. However, at what point do you accept that this is the true you? That no matter what you do, and how far you push people away, it doesn’t get any better. Acceptance that nothing can be done, so everyone else may as well too.





The scene both north and south seems to be stronger than ever, is there anyone you’d want to shout out to?


It’s only recently that we’ve had the privilege to play with some great bands in the shoegaze genre! We opened for Wynona Bleach and Virgins a few months ago when they came down from Belfast, incredible musicians and also incredibly lovely people. Down here in Dublin, we’ve done a few gigs with Blue Slate now as the genres overlap, I’m a massive fan of their music and they’re a great bunch too. And lastly, they arent shoegaze or similar but Tonality and Insubs as they’re two bands we’re very close friends with, they’re good!


Whats next for Fulvetta, is there more music on the way, when and where are you playing next?


I can’t say too much but we’ve got some more stuff in the locker, ready to be out sooner than you think! Beyond that, we’re not too sure. We might record another EP or an album if we’re feeling ambitious next year, but we definitely want to do another substantial piece of work soon. We’ve got a few more gigs this summer, Fibbers on the 7th of August, opening for a fairly big math rock band Chinese Football on the 21st in the Grand Social, and of course the inaugural Gazefest in Belfast on the  26th. We’ve got some great gigs left and we’re thrilled. Beyond that, we’ll go back to gigging once or twice a month. 


And finally in the vein of Rob Gordon. What are your Top 5 favourite records.


Quite literally the most difficult question you could ask a musician out of all the questions!!!


Narrow Head - Satisfaction

Hum - You’d Prefer An Astronaut

Deafheaven - Sunbather

Dinosaur Jr. - You’re Living All Over Me

Sunny Day Real Estate - Diary


Fulvetta on Spotify

Fulvetta on Instagram
Fulvetta on YouTube


GazeFest Belfast

GazeFest Dublin

Tuesday, July 25, 2023

Goth Fight Cage


Well, it's been a minute. As I'm sure many were, this blog was started during lock down with the intention of helping to keep bands in the eye and consciousness of the now entrapped gig goer. And, again, as I'm sure was similar to many, many blogs. As things opened up again and life returned to normal blogs, online streams and YouTube channels of cover songs started to fall by the way side and dry up. Well, I've decided to resurrect the blog once again, it seems there are more and more inspiring musicians and bands now than ever before. First up for this resurrection edition is Goth Fight Cage.

Goth Fight Cage is not the latest money spinner spewed forth from UFC head honcho Dana White. Rather, Goth Fight Cage is the new solo project from Mark Holloway which despite the playful monicker is a project that acts as cathartic vehicle and outlet for Marks creative impulses.  New single ‘Optimism’ is a wry slice of indie rock that cries the question ‘where is all my optimism’?

With Mark as the sole member right at the core of Goth Fight Cage is a strong DIY ethic. Writing, recording, producing and engineering each track while simultaneously being the creative force behind videos, photos and artwork all comes from Mark. This makes Goth Fight Cage an intensely personal project. Recorded in practice rooms abusing long suffering amps, whispering vocal ideas in bedrooms at 5am, hiding from the imminent sunlight and using whatever mic he could lay his hands on all while trying not to wake the neighbours.

Mark sat down with me to spill on all things Goth Fight Cage

 


Photo credit: @ebonyalexandermedia

What was the impetus for starting goth fight cage?

Goth Fight Cage is a way for me to put out whatever I want whenever I want. I've been working on music for a decent few years now and like most musicians out there, I find myself sitting on tons and tons of ideas and demos. I really love the satisfaction I get from finishing something and putting it out there, so GFC is a way for me to work on my songwriting chops, try make a dent in the back catalogue and to just try and have a bit of fun with whatever I'm working on.

 

GFC seems like a very personal project as essentially you’re a one-man band, is the DIY ethic important to you, how much does that inform the look and sound of GFC?

It is definitely a personal thing with these songs being all me, though in certain ways the DIY thing is more of a means to an end. I enjoy messing with songs in general and I'm always keen to see what I can do just by myself. That being said, aesthetically, all the songs are being recorded in my bedroom or the occasional practice space with whatever gear I have on hand, and I kind of really like it - don't get me wrong, big crisp guitar sounds recorded in a studio by somebody who knows what they're doing are great, but I really think there's a charm to using shitty mics to annoy my neighbours and record the little long suffering amp in my room. 

On the visual end of things, I think I must have a metric fuck ton of pictures and bits of art I've made over the years that I've thought at the time would be cool album artwork - now I can actually use them! I guess overall, the suppressed dad instinct in me wants to be able to put something out and be able to point at it and go, "see that there son, I did that".

 


Can you tell us about optimism; how did the song come about, the song seems to speak to a listlessness and emptiness lyrically what’s the inspiration behind it?

Optimism started as a mess around with surfy sounding guitar tones and a slap delay sound, next thing I know it's 4am and I'm adding fuzz bass and whisper singing vocal ideas. It was also a different way of writing for me, and I had a lot of fun with it! The words are for the most part about a notion I have from time to time. I remember an old friend described me once as "happy-go-lucky", and I remember that sometimes and wonder to myself 'well what the hell happened?' There's of course nods in there to different times in my life since where that notion was really prevalent too.

 You write, record and mix all the music yourself are the any benefits or challenges you’ve encountered during this process; do you miss any input from anyone else or does it streamline the process?

This actually feels like a pretty natural extension to what I've been doing already. I've been making crappy little recordings since I started learning about recording, which led to some more concrete demos, which eventually led to "huh wouldn't it be funny it I just put this out?" - and then I did. 

 It definitely has its limitations though, I feel sometimes that I might be the most indecisive man in Ireland and here I haven't got anybody to bounce ideas off of or be like "yeah Mark that's shit, do something else". So, it's definitely easy to get caught up on minute details that probably don't matter. But like I said, a big part of all this is to keep learning and to keep the songwriting chops up, so yeah doing it by myself has its limitations but it keeps it interesting. Plus, who's to say down the line I won't take a notion to get some more  folks involved?

 

Who or what is a goth fight cage, where does the name come from, why did you go with that name do you think it allows you to do whatever you want under that name, do you think people will have a preconceived notion of what the music will sound like because of the name?

I AM THE GOTH FIGHT CAGE (kind of, not really, nevermind).

Okay so story time, I had been out for a few drinks as a young man is often prone to do, and after getting home and getting the kettle on in a vain attempt to dodge the inevitable hangover, I stuck this long ass YouTube video on to try and fall asleep to. It was of this group of guys that go around vlogging festivals that I used to follow. I have this hazy memory of one of the boys in the video telling this story about a festival back in 2011 maybe? Reading or Leeds or something, where whatever band playing was so shit that the crowd allegedly got bored and stole a load of the wire mesh security fences, brought them into the centre of the crowd, set up a ring and 'made the emos fight'. Now I cannot for the life of me find the video in question and I don't know if I'm even remembering the story 100% (I like my version anyway) but the mental image of that whole scenario, true or not, cracked me the hell up and the next day 'Goth Fight Cage' had appeared scribbled in one of my notebooks.

 I don't think the name is going to make anybody think I'm a goth band, if anything it probably sounds kinda goofy, but I'm kinda goofy anyway so I guess that's okay. Plus, when you Google it the only thing that comes up are Nick Cage memes...



Can you tell us about the video for Optimism, who shot it where was it shot, where did the idea for it stem from?

The Optimism video is its whole own story, it was shot by a friend of mine and fellow denizen of the greater Newry area, Con Coulter (Cloakroom Q.) as a favour. I had worked with him before on a live session for Fagash McCann and had a blast. We originally had this plan where I would get dolled up in a big yellow suit and just drive around Belfast and mess around, there was even gonna be my shitty little Peugeot and a beach involved, it was a whole thing. Long story short the universe conspired against us, all our plans fell through, and I was left with just the suit, so we ended up improvising and shooting the whole thing at this dingy student house. And it was a hell of a lot of fun!

 

You’re probably best known for your bass and drums duo Fagash McCann how does GFC differ from your other project?

Fagash is the lovechild of me and my favourite hot muscly drum man good friend Conall Stott, and most of the songs in that camp are written live in a practice room or a garage somewhere with that bass and drum lineup and tend to lean more to the heavy end of things. But life gets in the way as it often does with bands, and I like to keep busy in the meantime. I've always messed around with ideas outside of the bass and drums format and a lot of those ideas I'd like to make into songs, so here we are. Not to say that Fagash will never deviate, and there's definitely gonna be some fuzzy bass in GFC's future, but for now I think the two projects are fairly distinct from one another.

There was a precious EP released, can you tell us a little about that and does optimism represent a step forward or just exploring new territory?

So, I mentioned that before GFC, I was just making demos and recording ideas, and some of those ideas I felt were good enough to throw out into the void to see if they would on the off chance get any attention. I put together the As If I'd Forget EP and released them under "Holloway" and some people actually seemed to like it, which was nice. By the time I realised that I really wanted to do more self-releases like that I had also noticed that there are a lot of Holloway's on Spotify, so I figured if I was going to take this seriously, I'd need a name that stood out and thus GFC was born.


Can you tell us about what’s next for GFC?

 Optimism releases with a B-side cover of Freaks by Surf Curse, which will be cool. I'm sitting on a few other things in the same vein as Optimism that I'd like to get out before the end of the year too. After that I've got a few schemes but I'm keeping them on the DL for now. Live act? Who knows? Tin whistle jazz album? Maybe? Something recorded in a 2000 Peugeot 106 hatchback? Probably. I am excited though whatever I end up doing.

 

                                                     photo credit: @ebonyalexandermedia

Find Goth Fight Cage at:

Music | Goth Fight Cage (bandcamp.com)

Goth Fight Cage on Instagram

Goth Fight Cage on Spotify

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