Lyric interpretation of "Third Eye" by Tool

My understanding of the lyrics in the song ‘Third Eye’ by Tool

By Asher Kenton

Type of Article: Song Analysis

Please remember that ideas expressed in this article are only opinions. The lyrics are purposely written to be ambiguous in order to lead to many different interpretations. Here are mine.

To understand the ideas expressed by lyricist Maynard James Keenan in the song ‘Third Eye’ by the band Tool, we must first look at the band’s writing process, the wider social context of the period it was written in and its context within the Tool catalogue.

The song appears as the last track on the album Aenima. Thus it serves as an epic, 13 minute conclusion of all the ideas expressed on the album. This includes the discussion of the Shadow, the Anima and Jungian Psychology – the philosophies and ideas which form the backbone of the lyrics in songs such as ‘46&2’ and ‘Anema’. Also considered is the emotional conflict of ‘selling-out’ to make a record on ‘Hooker with a Penis’ and ideas of violence and conflict on ‘Pushit’. However, the main theme of this song is the idea of opening one’s “third eye”. The third eye is a metaphor for the expanding of one’s knowledge and creativity centres in the mind, as well as being the centre for spirituality and out-of-body experiences. However, third eye theory has a very physical basis; it is placed on the face, in between one’s regular two eyes as an extension to one’s seeing power (perhaps the ability to comprehend non-physical notions), this is where the pineal gland is located. The pineal gland is responsible for producing serotonin and melatonin, which not only regulate sleep patterns but are linked with the hallucinogenic and intense physical effects of certain drugs such as cocaine and LSD. Descartes referred to the pineal gland as “the seat of the soul”, thus highlighting its importance when considering issues of spirituality. The spiritual nature of the “third eye” is also supported by Hinduism, although Hindus cite the concentration of chakras between one’s eyes as the reason for our spiritual and creative properties. Hindus paint red dots on their foreheads to highlight this area’s importance. Thus there is a biological, spiritual and philosophical basis to the ideas that inspired the lyrics in ‘Third Eye’. Furthermore; these lyrics place a large emphasis on the notion of opening one’s own third eye in the search for spiritual enlightenment, an idea that will be explored in greater detail later on.

The album that the song appears on, Aenima, was released in 1996, meaning that it was written in the two or three years that preceded its release. This was a tumultuous time for music, the ‘grunge’ and ‘thrash metal’ movements were rebelling against the inflated glam rock scene of the 80’s, with bands like Metallica, Nirvana, Rage Against the Machine, Tool and many more attempting to create a more genuine rock sound which people could relate to. And while Tool’s music is complex and hard for many people to get into, they offered a more intellectual take on the stripped-back, power-tune approach of a band like Rage Against the Machine (who incidentally are good friends), while essentially having the same goal. However, they nevertheless achieved cult-status in the alternative rock and metal scene of the early-mid ‘90s. The scene of this time will have no doubt infiltrated their song writing, however, Tool create a very unique sound, and write music very much on their own terms. The album Aenima is considered by many fans as being their greatest piece of work, and is written in order to be considered as a single piece of art. Thus the lyrics in ‘Third Eye’ must be considered within their social context and their context within the album.

Another crucial social factor is the death of their great friend and legendary comedian Bill Hicks in 1994, whom the album was dedicated to. Hicks worked closely with the band, opening for them on a number of occasions, and they bonded over social and political issues as well as a mutual appreciation for mind-expanding substances such as Magic Mushrooms. Three samples of Bill Hicks’ routine are used at the beginning of the song ‘Third Eye’, which express the importance of drug-taking in the last few decades and contempt for its’ criminalisation, “it’s not a war on drugs, it’s a war on personal freedom O.K? Keep that in mind at all times”. The sentiments sampled here are thus referenced by the band and expressed in the words of their great friend.

A crucial issue to consider when analysing the lyrics of a band such as Tool, is that they firmly place music first, and lyrics second. The lyrics are therefore an attempt to match the mood and emotions of the music rather than vice versa. Adam Jones’ guitar part is played mainly on beat, in a 3/4 time signature. However, the guitar emphasises different beats at different times, leading each bar to lead on to each other, blurring the distinctions between each musical phrase. This gives the song a trippy quality, which is enhanced by the unique drumming style of Danny Carey, who manages to keep time despite moving into all sorts of duple, triple and quadruple rhythms, on top of the on beat 3/4 time signature of the guitar parts. At times he even moves into polyrhythm, playing lots of rhythms on top of each other. This simultaneously anchors the song, and progresses it forward, therefore influencing the lyrics of the song, as it served as the starting point. The trippy and visual lyrics of the song, “dreaming of that face again. It’s bright and blue and shimmering” match the feeling expressed by the other instruments by indicating a visual reference of something that could be real or hallucinated. Furthermore, the industrial guitar sound at parts of the song sound almost like a furnace, which is matched in the simple, yet brutal lyrics “Prying open my third eye”. This also portrays some kind of creation, be it personal or more wide-reaching, as may occur in an industrial factory. While this interpretation may seem somewhat far-fetched, it is important to remember the huge influence of the sounds of dreary industrial life of midland England on pioneering metal bands such as Black Sabbath, who in turn were a big influence on Tool.

A central part of these lyrics is Maynard’s attempt to open his own third eye through tripping on hallucinogenic substance DMT. These trips are known for a more intense trip than LSD and can last for days, even weeks. They have been associated with out-of-body experiences, life-changing moments and intense spiritual experiences. However, these lyrics are less focused on the specific nature of the trip (as later on expressed in the song ‘Rosetta Stoned’) but more with its life-changing characteristics and Maynard’s attempt to open his third eye. All members of the band have experimented with hallucinogenic drugs, and thus the song serves to express the impact this has had. The song builds into a crescendo, where the line “PRYING OPEN MY THIRD EYE” is sung/shouted/screamed repetitively. This idea comes from Bill Hicks’ claim that through mind-expanding substances one can “squeegee open” their third eye, and is the dramatic conclusion and resting point of this epic song. Many people actually consider the physical nature of Maynard screaming these lyrics (especially live) as being an attempt to not only literally pry open his own third eye but those of his audience as well.

In the rare ‘Salival’ live recording of this song, the Bill Hicks sample is replaced by one by Timothy Leary, “think for yourself, question authority…” Leary was a Harvard PhD and lecturer who conducted much research on the healing effects of LSD trips. He found that many criminals who had one LSD trip had such a profound life-changing experience that only 20% of them re-offended, compared to the standard re-offender rate of 60%. The band therefore reference another advocate of the values of hallucinogenic drugs, thus further highlighting the profound impact they have had on the band and many others in opening up levels of consciousness otherwise seemed incomprehensible.

At certain points in the song, the lyrics take on a childlike quality, “Come out to watch you play, why are you running away?” This may refer to the déjà vu nature of hallucinogenic trips, how they can bring back memories that have been buried so deep inside they have been almost forgotten. It is possible that these are repressed, painful memories which are stripped back during the trip and can be understood in a new light, perhaps leading to personal healing, “So glad to see you, I’ve missed you so much”. A Freudian analysis of these lyrics could suggest a primal desire for the unrequited love of one’s mother, and they could also refer to the desperate, dependant, and emotionally immature nature of childhood romances. Therefore, this verse indicates the basic human desire to be loved which is captured during trips due to the access to parts of the brain that were previously closed off, and memories that had been all but forgotten.

In summary, the lyrics of the song ‘Third Eye’ by Tool are inspired greatly by the profound nature of trips on hallucinogenic substances such as Acid, DMT and Magic Mushrooms. Furthermore they take on a deeper, more philosophical nature due to the impact these drugs had as serving as tools to open one’s third eye, and expand their levels of understanding, spirituality and consciousness. The song also must be considered within its social context and its place within the Aenima album. Moreover, the song (and the album) is dedicated to a great friend and comrade, and the ideas expressed within it are those that the band and Hicks explored together.

“Just About the Best Live Band on the Planet Right Now”: How Muse Rocked Wembley Stadium to its Very Core

“Just About the Best Live Band on the Planet Right Now”: How Muse Rocked Wembley Stadium to its Very Core

By Asher Kenton

Type of Article: Gig Review

As Muse embark on their 2^nd sell-out Wembley Stadium show this summer (their 4^th in total), after also headlining Glastonbury Festival this year for the second time, they are, in the U.K. at least, a band with nothing to prove. In front of 90,000 or so dedicated fans, Muse tore down a fully-packed Wembley Stadium with a stunning set, re-asserted their reputation as the best live act in the world.

After excellent support from Biffy Clyro and White Lies, the wait was finally over, and Matt Bellamy, Chris Wolstenholme and Dom Howard took to the stage. Preceded by protesters holding up signs declaring lyrics from the recent album such as, “They shall not control us”, “These wars cannot be won” “We will be victorious”, they plunged straight into new hit “Uprising”. While not to everyone’s taste, it set the scene for the politically charged theme of the evening, before moving on to the electric “Supermassive Black Hole”. New instant-hit MK Ultra, with its huge riffs, then began an evening full of moshing, enhanced with a breakdown riff borrowed from “Township Rebellion” by Rage Against the Machine. “Map of the Problematique”’s sensational effect-laden guitar intro drove the show forward, before the joyous, though fundamentally average “Guiding Light” gave the audience just a second to get their breath back. Before long however, they powered back into the huge riffs of “Hysteria”, charging around the stage while seemingly never out of breath. The band then sent the crowd wild with long-time fans’ favourite, the phenomenal “Citizens Erased”; the huge rising fifth guitar intro, soon given full depth by the band before the ecstatic chorus and introspective outro gave way to another hardcore fans favourite, the obscure B-side “Nishe”.

Stunning visuals were supported by the giant stage setup. Masses of giant screens made up adjacent walls above where the band stood. This was a visual treat, especially during songs such as “United States of Eurasia” and their unique take on the Nina Simone hit, “Feeling Good”. A central stage then rose up from the ground high into the air, allowing bassist Chris and drummer Dom to show off their skills, jamming on an “MK Ultra” riff before moving into “Undisclosed Desires”.

Mass sing-a-long then ensued during “Starlight” and the “Time is Running Out”, the latter inspired moshing and singing in equal measure. And just when it seemed as if the gig was coming to a beautiful close during “Exogenesis: Part 1: Overture” accompanied by a giant UFO with an acrobat attached to it as it moved around the stadium, the band inspired an exhausted crowd with more heavy-as-hell riffs during “Stockholm Syndrome”.

The best had been saved for the encore however, as front-man Matt Bellamy, wearing a silver sequin suit (and earlier a suit made entirely from LED lights), rode the rising central platform during the epic “Take A Bow”, controlling the 90,000 strong crowd with only a guitar and a microphone for company. Matt Bellamy then joined his bandmates to launch into guitar classic “Plug in Baby”; as the thunderous, rising riff filled the huge venue, the huge crowd responded in force, worshipping this juggernaut of a live act. Inaugural set-closer “Knights Of Cydonia” then ended the evening as fans were given one last chance to go crazy. Emerging battered and bruised but mostly just awestruck, the crowd filtered slowly filtered home after a 2 hour and 15 minute, 23 song, breath-taking show.

All in all, the stage show and visual effects were a joy to behold. However, it was Muse’s collection of roof-raising, guitar-riff laden super-hits, along with their showmanship that make this band just about the best live band in the business right now; an inspiration to younger generations and a lesson in how to combine an overblown and gigantic stage show fitting for such a large arena, with killer rock tunes. And while some of their new tracks are perhaps a step down from their best work, they allow the audience to catch their breath before it is taken away yet again by these three oh-so talented performers.

Another Reading Festival, A Very Special Show: How Arcade Fire Stole the Weekend

Another Reading Festival, A very special show: How Arcade Fire Stole the Weekend

By Asher Kenton

Type of Article: Festival Gig Review

When Montreal-based seven-piece art-rock band Arcade Fire were announced as Reading and Leeds Festival headliners back in March, the reaction amongst all but the cult bands biggest fans was one of uncertainty. Many people were actually wondering who they were and the general consensus was that they were not big enough to headline such a large festival. However, in the months that preceded the festival, many more fans listened to their music, learned to appreciate it and by August, they had a number one album and a sell-out arena tour. Although they had a relatively small crowd for headliners on the Saturday night of Reading Festival (due to competition from Pendulum, Bad Religion and Ash on other stages) the 40,000 or so who turned up were rewarded by an epic, spiritual and special Reading Festival show, one that no-one who was there will forget.

Arriving bang on time, Win Butler took a dig at the previous night’s headliners Guns n’ Roses (who had arrived an hour late on stage) by stating, “at least we’re punctual, right?” The band launched straight into “Ready to Start” from their latest album and then into the classic “Keep the Car Running”, to the delight of the crowd. Accompanied by stunning visuals, the chilling yet triumphant “No Cars Go” then summed up much of the night, encapsulating all that is good about the band: vast instrumentation, dark yet optimistic lyrics, beautifully harmonised vocals and ultimately unstoppable melody. So much so that as the song ended and the band went quiet, the thousands in the crowd continued to sing the lead riff together, as frequently happened during the gig in between songs; rarely has a field full of strangers felt drawn together so closely. The stunning set continued with the wildly chaotic noise of “Roccoco” which moved onto a slower rendition of new favourite “The Suburbs”.

The set included an excellent balance of the band’s three albums at typified by their movement from the visceral “Crown of Love” (Neon Bible) into the pulsating “Neighbourhood 1 (tunnels)” (Funeral). At this point, it was time for Règine Chassaigne to take vocal lead of the band in new song “Sprawl 2 (Mountains Beyond Mountains)”. Already a fans’ favourite, the track allowed Règine’s charming and cascading vocal to shine through; the crowd were transfixed by the trance-like and delightfully melodic nature of the song. Règine danced freely around the stage holding the crowd by her little finger and asserting herself as one of the most interesting and engaging female singers of the last decade, somehow exuding charm, grace and sexuality without falling into the trap of many exploited female rock singers. The band then moved into yet another stunning new song, the charmingly reminiscent “We Used to Wait”.

By this point, the audience knew they were soaking up a very special show indeed. However the real high-point had yet to emerge. Win Butler and co. threw themselves into “Neighbourhood 3 (Power Out)” and as this segued into “Rebellion (lies)”, the band built up one of the most incredible musical moments witnessed at Reading Festival. The end section of “Neighbourhood 3 (Power Out)” led into an orgasmic wall of noise as the audience stood and absorbed this aural treat. Gradually the chords from “Rebellion (lies)” were integrated into the wonderful noise, until the sound was stripped back leaving simply the bass guitar and piano playing the intro as this segue allowed the glorious “Rebellion (lies)” to shine through. The vocals then built up again during the verse before the audience helped the band sing the triumphant chorus. A simply spectacular piece of music that really has to be experienced to believed.

The band went offstage but were soon called back for an encore, completing their set with the thundering guitar chug of “Month of May” and finally, their greatest song of all,  the beautiful “Wake Up”. From the first opening of the grungy, stripped back guitar chords, to the eruption of the crowd singing along to the glorious, emphatic and powerful vocal line, into the innovative breakdown section, this song was yet another highlight of a superb set. As this very special show ended and the crowd began to disperse, it was this enchanting melody which inhabited the minds of thousands of Arcade Fire fans and onlookers who were humming it long into the night.

The Arcade Fire live performance itself was a joy to behold. Not many bands include a furious violinist, someone playing a synthesiser, an electric pianist and two drummers pounding away amongst guitar-driven orchestration. Although the male/female vocal harmonies are a treat, the band is not simply about the lead singers either, with every member showing their energy and passion throughout. Win Butler showed his gratitude for the fans, declaring, "It's nice to meet you! Look, we've never had a hit song, so I don't know what the fuck we're doing here, but until someone comes with a hook we're going to stay", before thanking the crowd for letting them share “Nirvana”’s stage, a humble moment from a band that well deserve the plaudits that they are attaining.

Despite Reading Festival gradually becoming more commercial in the last few years, this Arcade Fire performance was truly a booking of a great band over a large band. A big risk, one might say, but one that, for those who chose to see them at least, paid off and then some. For me, despite enjoying a superb weekend of music all-round, Arcade Fire stood head-and-shoulders above even legends such as Guns N’ Roses, The Libertines, Weezer and Blink 182. The atmosphere was stunning, as those for whom this wasn’t their thing were off seeing Pendulum, Ash or Bad Religion. However, for those who chose to witness such a special event, this show will not be forgotten in a hurry, and will no doubt go down in Reading Festival folklore. 

Axl Rose embarrasses himself further at Reading Festival

Axl Rose embarrasses himself further at Reading Festival

By Asher Kenton

Type of Article: Festival Gig Review

Although not the same as the original line-up, Axl Rose and co. were a much anticipated headline act at Reading Festival. They of course have loads of classic tunes and a very competent group of musicians. However, despite putting on a good show, great in moments, they were ultimately let down by Axl Rose’s ego. Although he is notorious for his his unprofessionalism, the festival organiser, Melvin Benn assured fans before the event that Axl and friends could not turn up late, otherwise they would not be allowed to play past the 11.30pm curfew. However, this didn’t stop them, Axl Rose, dressed like a cowboy and botoxed to within an inch of his life finally decided to walk on stage a full hour late, after many fans had already given up. Despite delivering a competent effort, their unprofessionalism and childishness undermined the whole performance.

Okay, so before I go into the details of Axl Rose’s behaviour let’s talk about the gig itself. Opening with “Chinese Democracy”, although not their finest work, set the scene nicely for the storming “Welcome to the Jungle”, a real classic which was a pleasure to hear live, despite some slight mis-timed pyrotechnics. Stellar classics “It’s So Easy” and “Mr Brownstone” came next; however as the gig wore on, one couldn’t help feeling that the elaborate stage show and pyrotechnics were compensating for, rather than adding to Axl Rose’s vocal performance. Although he still has one of the great Rock n’ roll screams, he appeared breathless a number of times throughout and often missed the opening syllables to vocal lines, as he just about managed to keep up. Furthermore, the endless guitar solos, although impressive, seemed a bit over the top, which is acceptable, nay encouraged if you’re Slash, not quite so much if you’re a hired session guitarist. Also the multiple-minute long piano solo before “November Rain” was just unnecessary. Therefore, the Guns N’ Roses show was pretty good, in fact classics like “Sweet Child o’ Mine” and “Nighttrain” were fantastic to hear live. However, one is ultimately left with the feeling that it’s not quite the Guns N’ Roses we know and love, as all but two of the original members have left, and Axl’s voice is fading.

Therefore, while the concert itself was enjoyable, Axl Rose’s attitude was not. The band finally arrived on stage at 10.30pm, an hour late, and a full one hour forty minutes after sub-headliners Queens of the Stone Age had departed. They give no apology, or even reason as to why they were late. Thus seemingly, Axl Rose just likes to keep his fans waiting, because he sees himself as that important. He has the ego of a man who has been told that he was a god, has had unlimited money thrown at him since he was nineteen years old and he certainly hasn’t grown up. As GnR came back to play an encore, the time reached midnight, the final sound curfew for bands at Reading Festival (the original curfew is actually 11.30pm). Thus, unsurprisingly the power was cut. This threw Axl into a tantrum, who staged a sit-down protest, swore about the organisers and promptly refused to play Leeds Festival (he ultimately backed down after he was faced with a massive lawsuit for breach of contract). Now, in an ideal world, bands would continue to play all through the night. However, this is England, and sound curfews for festivals have to be adhered to. If they are not, this could result in a festival being treated less favourable by local councils, and ultimately could result in losing its license. Therefore, the organisers were given no choice but to pull the plug, being forced into a difficult position due to a band deciding to come on extremely late for their performance. Axl Rose personally claimed on his Twitter page, “we feel at the very least the fans deserve an apology from those responsible for the nonsense” (implying the organisers). However, the only person responsible for this “nonsense” is Axl himself and his refusal to treat his fans with the respect that they deserve, and it is him who should be apologising.

In summary, while the gig itself was enjoyable, the whole thing was tainted by off-stage events. So much so that the whole thing seemed like a total shambles. These events, coupled with being boo-ed offstage at their own gig in Dublin just days afterwards, should signal the end of Axl Rose and support group shaming the bands tremendous legacy. However, Axl’s inability to sort his attitude out, and still wanting to exploit the band-name for every penny means that no doubt Axl will continue to embarrass himself and blemish anyone associated with him. Now we now why Slash and the other original band members won’t go anywhere near him.

Avenged Sevenfold produce a stellar tribute to their fallen drummer

Avenged Sevenfold produce a stellar tribute to their fallen drummer.

By Jamie Everitt

Type of Article: Album Review

After a somewhat disjointed self-titled album, Avenged Sevenfold took it upon themselves to produce an album that would emulate the quality of their previous work. This simple goal, however, hit a significant roadblock when the founder and drummer of the band, Jimmy “The Rev” Sullivan was discovered dead last December at the tender age of twenty-eight.

Although the Orange County boys had a nightmare of their own to contend with, they enlisted the services of the Rev’s favourite drummer, prog. metal legend Mike Portnoy, and were determined to put out the record they had started. The result of their effort is their fifth studio album, Nightmare, which proves to be an inspiring tribute to their fallen friend.

The first and most important thing to say about the album is that it doesn’t disappoint. With expectations from the fans and aspirations from the band members so high, it was important that even the smaller things stood out. In this respect, Nightmare sings a sweet tune; the cover art, for instance, is one of the best I’ve seen in recent times. Probably the most important thing for the band to achieve in this album was a demonstration of how much the Rev meant to them as a person and how much his passing has affected them. The Rev was also dearly loved by his fans, and the whole pantheon of emotions on display should allow the fans, as much as the band members, to come to terms with his death. From the wistful desperation portrayed in So Far Away to the rage expressed in God Hates Us, and Save Me, which feels like a call for deliverance, one can really get a sense of the grief surrounding the Rev’s death. If the lyrics are a little clichéd at times, the mood and sentiments are heart warming (or chilling- depending on your viewpoint). Fiction, a piano oriented song completed by the Rev mere days before his death, serves as the Rev’s swan song and a tender farewell to those that journeyed with him throughout his life.

Although Avenged Sevenfold are famed for their unique sound, it is interesting and encouraging to note the influence of some of their contemporaries on the record. Save Me has a very progressive feel to it and Metallica’s influence can be felt strongly in Buried Alive and So Far Away. These are coincidentally two of the strongest tracks from the album, with the former featuring a guitar intro that Hammett and Hetfield would be proud of.

If there is one criticism of the album it would be that although Nightmare is a very solid record and has a large number of great songs, it doesn’t quite match the heights reached at times in earlier efforts, notably Waking the Fallen and City of Evil. God Hates Us, whilst extremely visceral, can’t be compared to Unholy Confessions, and the epics, Victim and Save Me, are vastly inferior to I Won’t See You Tonight Part 1. This might not be completely down to the band members themselves, but perhaps a result of the constraints placed upon them by the nature of the album and their desire to record a fitting tribute to their friend. Avenged Sevenfold seem to produce their best (and most epic) music when they are given free rein to go absolutely nuts. Whilst Nightmare is a great album, it does not quite ride the crests and waves that were so evident in City of Evil.

Exciting Soundgarden news isn’t quite as exciting as first thought

Exciting Soundgarden news isn’t quite as exciting as first thought

By Asher Kenton

Type of Article: Music News

A new song by recently reformed grunge legends entitled ‘Black Rain’ was debuted on Zane Lowe’s Radio 1 show this week. Zane of course got very excited, however, the song is not actually new, but rather an unused take from the Badmotorfinger sessions. This is unsurprising though, as Zane is the most positive man on this planet and seemingly loves every artist to have ever existed (or to have got radio 1 exposure).

The song, although it sounds pretty good, is nothing mind-blowing. The riff sounds very Alice in Chains which is a good thing, but ultimately the song doesn’t carry you anywhere that special, the vocals are typical Chris Cornell, which is great to hear, but are perhaps a little low in the mix, and are a little repetitive. It’s also nice to hear Kim Thayil solo-ing again but ultimately this is an out-take which has been cut, and isn’t worth getting too carry away with. Of course it’s nice to hear news from the Soundgarden camp, and perhaps new compilation release ‘Telephantism’ will actually be good but it’s not the news we’ve all been waiting for: a Soundgarden Europe tour, now that would be something to get excited about!

2000 Trees Festival is a Breath of Fresh Air in a Commercial Market

2000 trees festival is a breath of fresh air in a commercial market

Written by Asher Kenton

Type of Article: Festival Review

Festivals nowadays are big business; bands get paid millions of pounds to play single shows and fans fork out hundreds to watch them. Not to mention the corporate sponsors having to pay  five or six pounds for a burger and 4 pounds for a pint of watered down, brand-name lager. However, at Upcote Farm near Cheltenham in Gloucestershire, a small and perhaps unassuming festival provides excellent music at a reasonable price (only around £50 for a weekend ticket), good food and drink and even a conscious effort to be as ‘green’ as possible. Headlined by Frank Turner and The Subways, 2000 Trees is a pretty remarkable affair.

Founded in 2007 by six friends who were sick of the corporate nature of mainstream festivals, ‘Trees (as it affectionately known) exudes a personal and friendly atmosphere from the head down. The organisers are a friendly group of people who do this for all the right reasons (they made big losses on their first few years) and only book bands that they like. The warm atmosphere is mirrored by the audience, who are the most friendly, outgoing and positive I’ve ever met at a festival, and the wonderful thing is, whereas if you make friends with a stranger in a crowd of 100,000 people you are unlikely to see them again, amongst just 4,000 or so you are likely to bump into them again. Furthermore, food, although expensive, is all locally sourced, most of it is organic and is the best I’ve tasted at a festival; freshly made pizzas, organic burgers and pieminister pies are amongst the favourite options.

Whereas most festival bars are named after whichever sponsor will give them the most money, at ‘Trees the two bars are named after the organisers’ favourite film The Big Lebowski (with the smaller bar named the Little Lebowski). Moreover, locally brewed cider Badger’s Bottom is a legendary aspect of the festival, and a must-try. At £3.50 for a 7.5% alcohol pint that tastes good and is easy to drink it sure goes down better than a £4 watered-down Tuborg. (Festival tip: just don’t smell it!)

The festival also has an excellent green reputation. The ‘Maker-green’ team help clear up and recycle as much as possible; all food and drink is locally sourced in order to fund the local economy and keep delivery carbon footprints down. Also, coaches are subsidised by £5 parking charges to reduce the amount of cars arriving. Furthermore, they only book bands from the U.K. in order to reduce the carbon footprint of tour schedules and aeroplanes.

While the budget for booking bands is nowhere near the size of larger festivals, the organisers do an excellent job, capturing an array of well-known and lesser-known talent across 3 stages, throughout the weekend. On Friday afternoon Maybeshewill got the party started on the main stage before Pulled Apart by Horses delivered a crazy and electric set before adoring fans. Jim Lockey then provided perfect cider drinking music in a packed-out Leaf Lounge. However it is the return of local favourite Frank Turner which caused most excitement. Having been forced to pull out of last year’s festival due to touring schedules, Frank Turner enjoyed a warm welcome to his “favourite UK festival” as he joined a number of his friends on stage throughout the day, including ex-keyboardist Chris TT. On this occasion, Frank and his touring band were given a well-deserved headline spot, which he used, despite the below-par main stage sound, to set the place alight. The most popular act at the festival, Frank Turner used his charm, honesty and wit to get the crowd singing along to his unique style of punk/folk in songs such as ‘Long Live the Queen’, ‘I Knew Prufrock Before He Got Famous’ and the ‘Ballad of Me and My Friends’. As the sun set, ‘Outdoor Type’ was perfect for this occasion and a devoted fan-base were also treated to new hits ‘The Road’ and ‘Try This at Home’ which showed that despite his recent surge is popularity, Frank Turner has got his feet well and truly on the ground. It is this honesty which means that his songs are so relevant to this selection of a few thousand people in a field in Gloucestershire. His joyous music is the highlight of a wonderful weekend, and is summed up by the spirited ‘I Still Believe’, which is enough to restore anyone’s faith in Rock ‘n’ Roll.

On the Saturday, Flashguns started slowly but showed significant potential with the excellently written ‘Racing Race’. Twin Atlantic played a thoroughly enjoyable set, reminiscent of early Biffy Clyro, topped off with a man in a chicken suit joining them onstage, dancing around and hyping up the crowd: a bizarre and memorable moment which sent the crowd wild. Instrumentalists 65daysofstatic then produced a sonically awesome set mixing heavy guitars with droning synthesisers and a mix of sampled and live drums. Bombay Bicycle Club were disappointing however; suffering from poor sound and only a few hits which can keep the audience engaged. This left The Subways to close the Saturday night. A slow start, again impacted by sound issues did not help, however, things improved with ‘Girls and Boys’ and got a bit crazy as lead singer Billy Lunn climbed up the side of the stage and jumped into the audience. The best thing about the Subways was the male/female harmonies, though one can’t help thinking they are only as big as they are because of gorgeous blonde-haired bassist Charlotte Cooper.  The band then got the crowd singing  their cheesy set-closer ‘Rock ‘n’ Roll Queen’ which was a nice moment well orchestrated by the band, but it felt like the weekend had already been stolen by the brilliant Frank Turner.

All-in-all a fantastic weekend, at a really cheap price, good food and drink, cool atmosphere and some great music, in a world where you inevitably feel ripped off when you attend a festival, 2000 Trees is a breath of fresh air, and I’d return in a heartbeat. 

Arcade Fire show the Kings of Leon how to make it big gracefully

Arcade fire show the Kings of Leon how to make it big gracefully

by Asher Kenton

Type of Article: Analysis

The success stories of Canadian based art rock group Arcade Fire and American southern Rock quartet Kings of Leon can be charted along a similar timescale. Both started out around the turn of the century (KOL in 1999 and Arcade Fire in 2003) and released successful albums on independent labels which gained them a medium-sized but intensely devout following. Both then toured relentlessly and gained a larger following, culminating in both of them sub-headlining the famous Reading and Leeds Festivals in 2007 (on different days). They have also both gone on to further mainstream success; attaining number one albums in the U.K. and getting the chance to headline Reading Festival on their next time around (KOL in 2009, and Arcade Fire this year). However, with regard to how they grew in stature, the two bands differ vastly. Arcade Fire’s most successful record, the recently released ‘The Suburbs’ is if anything a stripped-back version of their sound, yet with enough substance and bite to receive rave reviews from virtually every section of the media. Meanwhile the Kings of Leon’s latest record, the 2008 released ‘Only by the Night’, featured a depart from their garage Rock sound into something more accessible; hooky choruses and catchy lyrics gained them a lot more radio airplay, but isolated many of their early fans, and left them highly regarded by few musical institutions aside from perhaps the NME. Although achieving mainstream success after Kings of Leon (and arguably they still aren’t as big) Arcade Fire have done so on their own terms, a remarkable achievement considering the current trend towards more accessible tunes in pursuit of commercial gain which can be seen in the recent upsurge in popularity of Muse and Biffy Clyro to name but a couple of culprits.

            Kings of Leon’s success has come at a price. They themselves admit to disliking mega-hit ‘Use Somebody’. “I was embarrassed by it. I thought it was sappy. By the time it was finished, I was like, 'That's not going on the record...' But everybody was like, 'You gotta put it on there.' So we did." said lead-singer Caleb Followill (Access Showbiz 2009). Therefore, their success has been marred by their willingness to concede to commercial pressure. Brother and Bassist Jared Followill also concedes that their songs have been over-played, “I thought 'Use Somebody' was a good song, but it's hard to f**ckin' like it when you hear it 90 times a day” (Access Showbiz, 2009); this is an opinion shared by some of Kings of Leon’s longest-serving fans who didn’t enjoy Kings of Leon’s new sound. This feeling of dissatisfaction mirrored by the band and their long-serving fan-base all came to a head during the band’s headline set at Reading Festival last summer; a moment that should have been a peak of the band’s career and a highlight of the festival season. Many punters came to see Kings of Leon solely because they knew the bands two radio-friendly hits, ‘Use Somebody’ and ‘Sex on Fire’, thus the atmosphere was somewhat flat. This infuriated the band, who openly criticised the audience, "I thought this was supposed to be the loudest crowd in the world?" and later stormed off stage, throwing their guitars on the floor as they left. This left those fans who had mostly enjoyed their set, including their older songs, with a bitter taste in their mouths, to say the least. Although only partially their own fault, this was the result of attaining a more commercial sound: a delight for the record company, disappointment for their fans.

            While ‘Only by the Night’s success was fuelled by some positive reviews by journalists, others felt they had traded in their authenticity for cash. The New York Times claims, "There was a time, not long ago, when Kings of Leon made music redolent of garage rock and Southern grit, all snarl, wriggle and yowl. But while "Only by the Night," the band's fourth album, gestures vaguely in that direction, its sights are set on far grander vistas." (Mahalo – Only by the Night Reviews).  Meanwhile, PopMatters claim that Kings of Leon are no longer original but that ‘Use Somebody’ is just, “another run-of-the-mill mainstream indie amalgam”. Thus indicating that Kings of Leon have lost some of their charm and respect amongst musical institutions.

            The same cannot be said of The Arcade Fire, who are slowly but surely gaining the respect of critics throughout the world. The NME declares ‘The Suburbs’, “pretty much perfect”, while the BBC argue that,  “The Suburbs is their most thrillingly engrossing chapter yet; a complex, captivating work that, several cycles down the line, retains the magic and mystery of that first tentative encounter. You could call it their OK Computer. But it’s arguably better than that”. This on top of the praise received for former albums ‘Funeral’ which made it to number 5 on the Guardian’s top Albums of the Decade and ‘Neon Bible’ which came 4th in Rolling Stone’s albums of the year chart. ‘The Suburbs’ therefore seems to have cemented Arcade Fire’s position as one of the most respected and talked about bands in the world today.

However, unlike many bands, they haven’t searched out a more commercial sound but simply recorded the music they wanted to hear. The result is a more stripped-back affair than the dramatic and perhaps overblown ‘Neon Bible’ (2007). ‘Month of May’ alludes to the driving, guitar chug of Queens of the Stone Age while ‘Deep Blue’ sounds like The Beatles’ melodies fused with David Bowie’s ambition. Furthermore, ‘Sprawl II (Mountains Beyond Mountains)’ references Depeche Mode yet captures the alluring charm and grace of singer Régine Chassagne. This level of song-writing has led to widespread praise. The Guardian argues that, “The Suburbs' pleasures are subtle ones – the sudden lurch in rhythm that disrupts the drivetime rock dynamics of Modern Man, the delicate drift of Half Light I”. Far from search out success, Arcade Fire’s confidence in their own song-writing and ability to know where to use subtlety and simplicity are what is gaining them such respect and success. Lead singer Win Butler himself has stated that while he is usually is sick of the songs by the time an album is released, on this occasion he is only excited at the reception they might get. And this makes sense, for ‘The Suburbs’ isn’t an instant-hit album but rather one that grows on the listener over time as more is revealed upon each encounter. It’s also 16 tracks and over an hour long; hardly pruned into a commercial package like so many albums. This makes sense of course, as Arcade Fire are still with their original independent record label: Merge Records. Therefore, they have attained their success whilst keeping their artistic control and integrity well and truly intact. A remarkable feat in an industry that is so desperate to make a profit it is afraid to take risks or try anything new or unfamiliar.

Therefore, while the Kings of Leon’s success has come at a price to both the band and the audience, Arcade Fire have the world at their feet as they graduate from cult success to one of the biggest and most important bands in the world today.