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This section will hold some reviews about us. Thanks to everyone who has written about us so far, we appreciate it!
Gigwise ReviewAh to be young and directionless again! Agenda less, diverse and sublimely lo-fi, ‘Do You Come Away' hints at so many things. While the listed influences of Sonic Youth and My Bloody Valentine certainly carry, there’s so much more going on. There’s the vagueness of Suede with the buzz line guitar lead of early Placebo. It’s as pleasing as a warm alcohol rush to the head. Yet continuity is important. This single would be a glory piece of early 90’s revivalism if ‘Glass’ hadn’t been so half arsed and mindless. Even if that was supposed to be the point, it suggests Falling Out Of Cars are still more amateur than art rock geniuses.
Time Out - London - Review of Do You Come AwayA feast of stinging feedback, droney, disembodied vocals and driving, mantric rhythms. Imagine if Creation hadn't bothered with signing Oasis. They'd be putting out records like this and still praying for a new My Bloody Valentine album.
Dead Fox FanzineFalling Out Of Cars take their name from the novel of the same name by Jeff Noon, a sprawling Mancunian tale about a parallel universe involving drugs and noise - lots and lots of noise. To say it's an apt sobriquet for the band would be an understatement. With big swirling guitars and veiled vocals, Falling Out Of Cars convey a sound caught somewhere between ennui and elation, depair and celebration. The band's debut single 'Do You Come Away' sounds like Ride at their greatest with Iggy at the controls, or where Kevin Shields should have taken My Bloody Valentine had they have stuck it out long enough to live in this post-9/11, world-recession-here-she-comes-we're-all-fucked, epoch. It's angst-ridden and angry, vile and vicious, but at the same time contains an undercurrent of hope and the feeling that everything's going to be okay, we're all going to get out of this together, you'll see. As the days get shorter, the breeze cooler and the harsh English winter ever nearer, it's music this good, this fitting, that will get some of us through. by Jimmy McGee
David Devant / Mr SoloIf they were a car, they'd be a 2001 Ford Mondeo Estate.
The Guardian"Noisy, looped guitars"
Mark BartonAnyhow where were we - ah yes - Falling out of Cars. Tasty stuff this demo type thing is - no titles though a peak on their my space site leads us to believe track 3 is called 'Glass' and track 2 'do you come away'. Falling out of Cars craft resplendent collages of effects laden fluorescent cosmic groove that's sumptuously immersed in shimmering showers of fuzzy felt dream pop. Track 1 is a sub three minute blissed out sonic sculpture that basks in slow burning swirls of feedback drenched ether haze softly treated to the tender sheen slices of softened psychedelic that lies somewhere between the out there glacial orbits of Workhouse and Coastal. 'Do you come away' is your archetypical shoe gaze groove much loved by those Club AC30 dudes more rock orientated on this occasion framed with layers of buzzing feedback and fazed echoed vocals that's more Ride than MBV in stature. Best of the set though is the aforementioned 'Glass' - sounding not unlike (in terms of production quality) the cathedral-esque sound that braided much of the late 80's 4AD back catalogue this magnificently chiming carnival of shade wearing psyche pop takes its cue from 'Script' era Chameleons and has it re-sprayed as were in a silken 60's lysergic hue by the Green Pyjamas who sugar coat the proceedings in a vibrant kaleidoscopic west coast pastiche. Damn it's good. Check the bands my space site and hook up to the best thing they've committed to tape to date the ethereal 'Loveless' era MBV meets late 60's John Barry 'outlet'. Stunning.
Neil White"it sounded good for the first 3 minutes then I couldn't hear anything after that"
TuneTribe featureNormally we wouldn't endorse falling out of cars, but when it's the name of a great overdriven pop band such as this one, it's difficult not to... Superbly-named London quartet Falling Out Of Cars employ oceans of guitar and ethereal vocal melodies which bring to mind the likes of My Bloody Valentine, Ride, Mogwai and Spacemen 3.
Lost Music ReviewI confess to knowing very little about Falling Out Of Cars. I found this EP through the band posting about it on their My Space page. They've made the 3 track EP freely available to download. So that's what I did. And here's what I made of it all.First up is 'Do You Come Away'. Which is a really fine example of droney noise pop - not dissimiliar to My Bloody Valentine in their 'Isn't Anything' guise - not as full on guitar-wise as that maybe, but the intent to streamroller you into submission is still there - through pounding bass and drums. I like. After the sonic assualt of the opener comes 'Gallery' a nifty sub velvets ballad - which comes bathed in buzzy guitar - this is fine sounding drone pop song. The final song is 'Walking On Glass' - which sounds like a heady mix of the first two songs - buzzing gutars and thumping bass combine with a catchy little tune to end the EP on a high. What a way to start 2007. Lovely stuff.
Review by Ben McLees of Earth Loop RecallHaving been to young at the time to really appreciate the shoegaze/psychedelic scene of the late 1980's/early 1990's [I was born in 1979], yet retrospectively adoring bands like Loop, Levitation, MBV, Thee Hypnotics, etc - getting to see a band doing it in 2007 is a bit of a treat for a shitty Tuesday night in Landan Taaaan.This band comes with a bit of history to which I'm personally linked, but which I won't go into here too much. All I will say though, is that despite liking the band's track on their myspace page. I went into the gig expecting little other than cuntish behaviour, musical incompetence and incomprehensible noise. I came away from the gig happy in the knowledge that I'd been reliably misinformed. But to the gig: It was at 93ft East, 2 minutes walk from my current favourite hang-out, The Big Chill Bar. So, a Guinness in the BCB to set me up, and onto 93FtE. Falling Out Of Cars opened the night, which was just as well seeing I'd been at work since 6am, and my tiredness-induced agoraphobia had started kicking in. Speaking to guitarist Ash pre-gig, I was able to watch the gig with the band's ethic fresh in my mind: Have Fun, Have Fun, Have Fun, Make A Joyous Noise And Have Fun Making It. It's the same as me, incidentally. Why get onstage and be a miserable cunt? Why get onstage and sing and play like you've just wet the bed/yourself? Why get onstage just to be apologetic for being onstage? Why get onstage at all if you're not up there to enjoy every second and decibel to the maximum degree? Why? Anyway, I digressed there. [Must be this Leffe stuff] FOOC [reads like a Mancunian profanity] are a band with no evident I AM THE FRONTMAN type, which means you watch all four of them constantly. Kris [in a Nirvana t-shirt] plays the very same Les Paul Studio as I do, and takes the lion's share of vocals. He looks a little like Terry Bickers, but fortunately minus the velvet shirts. He sings in that floaty psychedelic way over the slowburn opening track, somehow doing so in a higher orbit than the twice-DD-3'd guitar stage-right. They play 'Glass' and 'Hypnogogic' [both on the band's Myspace], both tracks much more realised live than on the recordings. They play a 4th track, fuck knows what it was - which was like one of those lovely mellow acid trips that you never *really* want to end. They then play a track which is [allegedly] improvised from start to finish; I don't buy that at all, these fuckers have probably practised this one more than the rest of the set combined judging by the way it ebbs and flows, all four band members in wigged-out tandem. The set ends with an old track, 'Do You Come Away', Kris singing the song with far more 'Grrrr' than on the recorded version, before the song ends with a 3 minute meltdown which sounds not unlike a Harrier Jumpjet pummel-fucking you in the Cranium. And then they were gone. They were followed by a band who sounded AND looked so wrong that had I stayed around much longer than the 1 1/2 songs I managed to tolerate, I would've behaved in a rather controversial manner. I hope Falling Out Of Cars continue to practise the Have Fun ethic, and produce more recordings which do more justice to their live sound and performance. I was impressed, and very much so. A welcome rescue from wirey, spotty cunts like The Arctics, wailing histronic panto bands like Muse, and twee 'even my mum likes this song' dogshit like S*** P****l. I'm looking forward to the next FOOC gig. And for a cynical, hard-to-impress shithead like me, this is some statement.
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| © FALLING OUT OF CARS 2007 | MySpace site: Click here | MAIL: info@fallingoutofcars.com |
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