This Love is Fucking Right!

Over the last couple of months the self-titled debut album of The Pains of Being Pure at Heart has received a fair amount of critical acclaim. I, for one, have been enjoying this record ever since its release early January. The record is passionate, fragile but above all heart-warming from start to finish. Nevertheless I always wondered if they would be able to come across just as affectionate in their live shows. Before headlining at the Windmill tonight they played an instore at Rough Trade this afternoon. As the crowd gathered I couldn’t help but notice the irony in the fact that the (brilliant) Vaselines re-issue cd was scattering through the store. Is it just me or has twee definitely revived? I’m not complaining, as spring is the perfect time of year to blow the dust off your Talulah Gosh, Shop Asssistents, Vaselines and Pastels records, bands that the POBPAH can be linked to. Even though the band is clearly influenced by the late 80s sound they have seemed to found the right balance, hence, creating a distinct and wonderful sound.

From the advent of the set my attention is drawn to the genuine joy the band seems to obtain from playing. Opener, Doing All the Things, which featured on their EP, is followed up by This Love Is Fucking Right. Powered by hooky guitar riffs and upbeat drums the song sets the tone for what is to become a great afternoon. Latest single Young Adult Friction is welcomed with an enthusiasm that is rarely present at London gigs. As landmark song Come Saturday refers to the formation of the band when they had yet to find a drummer “a wasted summer with no drummer, we're gonna stay in”. Stay Alive is equally great and captures the harmonious vocals and sweet keyboards that leave you restless for love. After playing new song 103 the set is rounded up by Everything With You, leaving me with a tremendous feeling of satisfaction.

The Pains of Being Pure at Heart has removed all my prior doubts about their live capabilities and left me with the knowledge that I will experience their album with even more pleasure from now on. Make sure you catch them at a small venue before it's too late:




2009 Tour Dates
5/16 - London, UK - Brixton Windmill
5/17 - Leicester, UK - The Musician
5/18 - Wrexham, UK - Central Station
5/19 - York, UK - The Duchess - tickets
5/20 - Glasgow, UK - Nice and Sleazy
5/21 - Leeds, UK - Cockpit - tickets
5/22 - Manchester, UK - Chorlton Irish Centre
5/23 - Bristol, UK - Dot to Dot Festival
5/24 - Nottingham, UK - Dot to Dot Festival
5/25 - Antwerp, Belgium - Trix - tickets
5/26 - Paris, France - Batofar - tickets
5/27 - Toulouse, France - Le Cri De La Moutte
5/28 - Montpellier, France - Rock Store
5/29 - Barcelona, Spain - Primavera Festival
5/31 - Ravenna, Italy - Hana Bi
6/01 - Milan, Italy - La Casa 139
6/02 - St Gallen, Switzerland - Palace
6/03 - Munich, Germany - 59 to 1
6/04 - Koln, Germany - Luxor
6/05 - Berlin, Germany - NBI Club
6/06 - Hamburg, Germany - Knust
6/07 - Utrecht, Holland - Ekko
6/08 - Amsterdam, Holland - Paradiso
6/09 - London, UK - Madame Jojos - Whiteheat
6/10 - London, UK - Cargo - Sold Out
6/11 - Oxford, UK - Jericho Tavern
6/12 - Cambridge, UK - Soul Tree
6/13 - Southampton, UK - Joiners Arms
6/14 - UK Isle of Wight Festival - Big Top Stage
6/18 - New York, NY - Cake Shop w/ Crystal Stilts

7/04 - Denmark - Roskilde Festival
7/05 - France - Eurokeennes Festival
7/10 - New York, NY - South Street Seaport
7/18 - Chicago, IL - Union Park - Pitchfork Music Festival
7/20 - Los Angeles, CA - The Echo % (All Ages) %
7/21 - San Francisco, CA - Rickshaw Stop (All Ages) %
7/23 - Portland, OR - Backspace (All Ages) %
7/24 - Vancouver, BC - Biltmore Cabaret (19+) %
7/25 - Seattle, WA - Capitol Hill Block Party

The Pains of Being Pure at Heart
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On All Fours

My first introduction to the Video Nasties goes back to early 2007. By chance I stumbled on a link to the infamous Southern Demo's and immediately fell in love. What struck me the most was the fresh yet fierce and direct sound of the band. Mainly due to the prominent sound of Jørgenson powered keyboards and instant hit-potential lyrics “I used to sing in the shower / I couldn’t get any louder” or “since I turned twenty my life’s become a Video Nasty”. However, strangely enough these songs remained largely undetected by radio frequencies. Hence, by the time I saw them live for the first time (late 2007) their sound had been driven into a more garage/punk orientated direction, hence, the Karl Blau EP. Despite my initial love for their more poppy sound, songs like Karl Blau and Devil seemed like exactly the right songs at the right time. Their show at the London Calling festival lacked most of the original Southern Demo's, but surprised me with some mind-blowing ‘new’ material such as Hearts & Bones and TV. Nevertheless it was one of their oldest songs that made this gig unforgettable. The grand 7 plus minute Teenage Celebration erupted from the speakers and infected the crowd with its epic brilliance like swine flu in a congested 6 p.m. central line tube.

After a six-month hiatus, in which I thought they had drowned, they returned with the release of the even darker sounding Albatross EP. Proving that their sound had again progressed gradually creating a more and more distinct own sound. Title-track Albatross is a short ferocious yet melodic song that is best experienced in a small sweaty live venue with amps turned up all the way to eleven. The last seconds of the song burst into an extravaganza of sound in which one cannot but freak out like a kid with ADHD on a trampoline. The b-side Heart and Bones is a little less vicious and expresses a more mellow side of the band. The low and mysterious vocals combined with delicate organ-like keys and elegant yet powerful guitar riff make this to be one of my favourite Video Nasties songs to date. The two other songs Break and Man took me a little longer to fully comprehend, however, after repeated listens they make perfect sense. Break and Man flow along the same heart broken line as Hearts and Bones, rounding up yet another flawless EP.

After at least two years of eager anticipation I was psyched to read, in January of this year, that the debut album On All Fours was recorded, mastered and ready for release in April. Unlike a few years ago, when one would go to record stores on release dates and spend the entire afternoon listening to new releases and discussing them with other people in the store, albums are now bound to leak on the net months in advance. This takes away most of the charm, but is the listener to blame? I’ve yet to find a person who waits two months to unwrap a present after receiving it.. In the end the music remains the same. The opener of On All Fours, HNB, an 'updated' Hearts and Bones, doesn’t mess around and launches the album straight into sixth gear. Other than the title the song sounds completely different from Hearts and Bones. The song is enhanced by shredding vocals, prominent drums and an amazing guitar riff that brings the song to a close. The latest single Jellybean unrolls into an anthem that should be played at every decent party. Old Flowers, which slightly reminds me of Break, flows perfectly into the closing chords of Jellybean. It is especially due to James Churcher’s vocals that this songs stands out, they’re mysterious and powerful but at the same time not afraid to encompass fear and emotion. From Old Flowers onwards the album switches into a slightly lower gear, unlike a lot of bands, Video Nasties manage to blend upbeat and slower rhythm sections without failing to hold the listeners attention. It is this diversity in sound that makes the band stand out. Due to the different layers in each song the songs on On All Fours should be regarded as sophisticated garage-rock songs that act like silent assassins, which will bound to catch you humming along without realising what has hit you. Conversation Dies manages to grasp the full potential of all the instruments, as the song slowly builds up the tension with haunting keys and gradually speeds up with ecstatic bass, drums and guitars.

Halfway through the record turns it up a notch with the opening chords of Albatross and the relentless sound of Stay Home creating a tension and urge to solo bedroom pogo, which I can barely resist. It’s the opening chords of Rolling that calm me down and send a genuine shiver down my spine. At the outset Rolling might seem like a straightforward love song, however it iss its less-is-more-attitude that makes this song stand out. The honest chords and direct vocals create an unadulterated feeling that would make this song the excellent pre-summer single. "maybe you have foundnd somebody new/ Well maybe I have too" Kaiser continues were Stay Home left off and is the perfect build up song to what remains Video Nasties’ most dynamic and epic song, Teenage Celebration. Through a filter of shredding distortion Teen Celebration launches into layers of reverberation, aggression, emotion and sheer genius that leaves you restless and evidently on all fours after 480 seconds.

In my mind Teenage Celebration was always the perfect closing song to the album, as well as it is to the live sets, however, the addition of Colours Bleed proves me wrong. The short and delicate song once again states the great diversity in vocals that only leaves you desperate to hit the repeat-all button as soon as it finishes. With eleven songs clocking in around 42 minutes I must conclude that On All Fours is one of the most solid and honest albums released this year. With a debut album and fully independent label in their hands it should only be a matter of time before Video Nasties conquer even more hearts and bones nationwide.

Video Nasties

Video Nasties - On All Fours


1. HNB
2. Jellybean
3. Old Flowers
4. Dead Again
5. Conversation Dies
6. Albatross
7. Stay Home
8. Rolling
9. Kaiser
10. Teenage Celebration
11. Colours Bleed
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