LA’s famous Emo Nite is coming to The Bomb Factory this June for the biggest party yet! Get ready to rock out (or cry (or both, we don’t judge)) to…Read More
Belle & Sebastian
Men I Trust
Sun, June 17, 2018
Doors: 7:00 pm / Show: 8:00 pmThe Bomb Factory
This event is all ages
Presented by KXT 91.7https://www.thebombfactory.com/event/1631954/
Part of their appeal is that Belle and Sebastian have always given the impression of being completely unaware that they are even famous. Emerging in the late nineties, they appeared to be both press and camera-shy, but also entirely self-contained; they seemed to have a secret, something built around books and films, and yet were happy to share the love, stopping just short of writing individual songs for their fans. And their fans, naturally, became obsessive, formed their own bands, started their own loosely affiliated clubs, radio shows and websites. A secret gang – who wouldn’t want to be a part of it?
But then again if you’re a band who works with Trevor Horn, Carey Mulligan and Norah Jones, you’re probably not content to lurk in the tiny shadow offered by a seven-inch single on Postcard. And if you end up on the soundtrack to Adam Curtis’s The Power Of Nightmares, or Todd Solondz’s Storytelling, as well as Juno, then there’s going to be more than a little grit and grain to your music than adjectives like “shy” and “fragile” might suggest.
They have worked with outside producers ever since Trevor Horn helmed Dear Catastrophe Waitress in 2003, plumping up their sound, pumping it full of light and air, and getting ‘Step Into My Office Baby’ unlikely but welcome repeated plays from Ken Bruce on BBC Radio 2. This suggested a sharp step away from the tape-swapping, pen pal world they had been thought to inhabit (of course they never had, not really). Tony Hoffer (Beck, Air, Phoenix) was hired for The Life Pursuit (2006) and Write About Love (2010). The latest album was recorded in Atlanta with Ben Allen (Deerhunter, Washed Out, CeeLo Green and Animal Collective) who convinced them to leave things more open-ended, less thoroughly thought-out in advance, leaving the producer and the musicians more space to be spontaneous. The result is playful, super-melodic, with lyrical nods to both their past and an optimistic future, and joyful jumps into new musical territories.
Belle & Sebastian have stood as something different right from the beginning. Let’s have a quick poke around the previous eighteen years. Debut album Tigermilk (1996) was the product of a Stow College music business class that drummer Richard Colburn was taking; just 1,000 vinyl copies were pressed. In spite of huge major label interest (immortalised on the track Seymour Stein on their third album, The Boy With The Arab Strap) they initially signed to the tiny Jeepster label, then later to Rough Trade and now have their first worldwide deal with Matador Records. The key to their appeal was a sense of community. Their self-curated Bowlie festival would evolve into All Tomorrow’s Parties; they became central to a nascent message board culture, and a US loop of labels and fanzines (even writing a song about one, Chickfactor) that adored their music, their stance, and their imagery.
In Britain they famously upset the applecart in 1999 by winning the “Best Newcomers” BRIT award through the votes of their fans, faced accusations of vote rigging, and in the process have got the backs of the tabloids up (sample Daily Record headline: “Belle Boy’s At It Again”). So, clearly, they’ve been doing something right.
The Bomb Factory
2713 Canton Street
Dallas, TX, 75226