 |
|
|
|
|
THE BEEKEEPERS
|
||
|
For full track listings of the albums and the complete catalogue available, you can check our SEARCH ENGINE in the Mail Order link at the top of the page. You can search by Artist, Track title or Format.
|
|||
|
|||
 |
|||
|
|||
| THIRD PARTY, FEAR AND THEFT
|
Jamie East - Vocals Gary Thatcher - Lead Guitar, Vocals Julian Berry - Guitar, Vocals Mark Simpson - Bass, Vocals Tree - Drums
To The Beekeepers 1997 looked pretty much like this; endless happy days spent in a van that looks uncannily like a monkfish watching 50,000 miles roll by and then coming alive at night to play over 100 shows; seeing the inside of every student union, indie club, spit-and-sawdust shit-hole and mud-soaked festival tent across the land; fending off hormonally-charged teenagers, thick-necked hecklers, and chancer guitar thieves; and celebrating on cheap lager after clocking their first bunch of glowing reviews in black and white. It was twelve months well spent. The band elbowed their way alongside Placebo, Super Furry Animals and 3 Colours Red at the top of the Indie Charts, scorched our TV tubes with Chartshow Exclusives, The Ozone & MTV, and rampaged across the airwaves, towing an ever-growing following of devotees along in their wake. And being almost constantly on the road, they've developed a formidable live reputation. Kerrang! described them as "Electrifying" on stage, immediately invited the band to play at their awards ceremony, and tip them in their Buzz Bands for 98. Aided and abetted in the studio by Marco "Ant Music" Pirroni, third party, fear and theft is a mini album containing just some of the early grenades of The Beekeepers' growing pop cache. Two of their early singles - Catgut, (the hen's-teeth split single released through Revolution/Jealous Records), and the maddeningly infectious Do You Behave Like That At Home? (which made Melody Maker Single of the Week), were the first releases to show they could make both brazenly energetic, adrenalin-charged punk mayhem and dirty great powerful pop songs. The aggression that helter-skelters through Killer Cure, Beau Peepshow and Second Skin is now showing signs of controlled restraint, after a court order. Inheritance, with it's tugging harmony and razor riffs, hits puberty and matures into a fully-fledged show-stopper. Meanwhile, Elsewhere and I Only Want to See You; Suffer are a sort of calm after the storm - rage melting to angst, onto which Eyeballed builds layer upon layer of impassioned, heavy-sweet guitars. third party, fear and theft documents their recent experiences; it could be subtitled "songs about girls we've met when we're pissed, and songs we've written when we're pissed about girls" but don't worry, it isn't. It shows where the band's roots lie and just hints at what's to come. '97 was about getting the word around, taking the music to as many people as possible and building up a hardcore, grass-roots support. On their own terms. They did that, gaining an amazing live reputation and a bundle of critical acclaim into the bargain. 1998 sees the boys finding time at last, to hole themselves up in the studio, write new material and lay down the tracks for their keenly awaited debut album. |
||
|
|||
| LUNAR
|
|||
|
|||
| DO YOU BEHAVE LIKE THAT AT HOME?
|
|||
|
|||
| KILLER CURE
|
|||
|
|||
| HOLD ON
|
|||
|
|||
| THE BEEKEEPERS HOME PAGE | |||
|
|||
