123 S. Walnut St
Bloomington, IN, 47401
Doors 11:00 PM / Show 11:59 PM
This event is 18 and over
Watch & Listen
Since starting out as school boys, this five-piece band has become notorious for stealing every stage with the outrageous, jaw-dropping performances that have become the Shame signature. Their riotous two-year journey has included gate-crashing a Glastonbury stage, supporting The Fat White Family, Warpaint and Slaves, performances in Europe, Austin Texas, a nomination for best new artists at the prestigious Anchor awards, headlining their own UK tour and releasing the double A-side single, Gold Hole/The Lick and follow-up, Tasteless.
Formed in the playgrounds of South London, Steen met guitarist Sean Coyle-Smith at primary school. They got together with guitarists Josh Finerty and Eddie Green at secondary school. Charlie Forbes –the drummer – was at nursery school with Green. Bonded by their precocious taste in music (one of their first gigs was supporting their hero Mark E Smith of The Fall) during their A level years they were hanging out at Stockwell’ s Queen’ s Head – unofficial home to The Fat White Family.
“We were sucked into this alternative world which just crystallised everything we thought about” says Steen. “There were drag queens and jobseekers; people who’ d been in bands, like Alabama3, The Ruts, and the bassist from Stiff Little Fingers – this older generation of people and they saw a kindred spirit in this little group of schoolkid runts.”Along with the Queen’ s head crew, The Fat Whites inspired and mentored them. “In a sea of mundanity the Fat Whites were exciting and dangerous,” says Steen. “It was like watching chaos explode in front of you.”As their foothold in the South London scene grew, Shame instigated the daredevil club night, Chimney Shitters and creating a politically outspoken, DIY ethos reflecting a punk spirit in today’ s world.
“We are not puppets. Everything we do, we do ourselves,” says former Camberwell student, Steen. “From our songs to our clothes to the artwork for the singles, T-shirts, and fanzines. It’ s all us. We are about creating a movement - it’ s all our blood, sweat and tears.”Shame’ s music is controversial, challenging, political and often unprintable. Visa Vulture (written two years ago) is a vicious indictment of Theresa May wrapped up in a happy love song. ‘ Gold Hole’ is a satire of rock narcissism, while ‘ Tasteless’ is about “Living in a world where nobody dares to say anything or do anything different.”.
But to be ‘ Shamed’ you have to see them live. Their appearance at The Great Escape last May so knocked out the editor of French magazine ‘ Les Inrockuptibles’ that he penned a two-page eulogy prompting a wave of Shamemania –a performance at Pitchfork Paris and on Le Grand Journal TV show in the slot usually reserved for the likes of Taylor Swift or Kanye West. A sign of how fast they are steaming their way to the top is this. Last year they gate-crashed Glastonbury (“It was insane, says guitarist Coyle Smith. “We got the directions wrong and ended up walking miles round the perimeter with our instruments before we found the right hole in the fence”) this year they have been invited to play by Billy Bragg on the Leftfield stage.
With a UK headline tour under their belt, 40-odd festivals this summer, their first album is being produced by Local Hero, aka Dan Foat and Nathan Boddy best known for techno music and work with James Blake. “As soon as we met them, it clicked,” says Steen. “They had ideas that a stereotypical person producing a guitar band might not necessarily think of. And we never want to be predictable. We always want to do something unexpected.”
Hey, what's this? Well that, my friend, is the newest album from The Gotobeds, entitled Blood // Sugar // Secs // Traffic. It's their second full-length LP and their first for Sub Pop. Whoa, whoa, please slow down. I'm already completely lost. What you just said sounded like a stream of complete gibberish. Okay, I'll lay it out for you and if you have any questions could you yell them at me? SOUNDS GOOD. The Gotobeds formed vaguely around 2009 in Pittsburgh and play a mutant strain of rock music that is often filed under punk, indie rock, or 99-cent discount bin. WAIT, THE GOTOBEDS? I HEARD THEY WERE KNUCKLEHEADS! Only if the knuckle is the part of the human body that contains the brains. Much like their previous releases on underground stalwart labels like Mind Cure and 12XU, this new album artfully slips intelligence and experimentation into a dying art form. It's a harder feat than you'd think.
And sure, their live shows have often been compared to an "all night party where I feared for my life and the lives of everybody in the five block radius," and their recorded output is akin "to the sonic manifestos of four men deprived of human love and raised on beer and Swell Maps, Mission of Burma, and old Fall records." But what you get with The Gotobeds, delivered in spades on this album, is smart, noisy rock with just the right amount of stupid.
FAIR ENOUGH. SO HOW'D THIS GET MADE? It was recorded in bursts over several months of 2015 in their friend My War Matt's basement in Pittsburgh. Unlike previously, the songs were conceived and recorded in blocks, which resulted in a more experimental feel. But this is no chin stroking curate's egg. You like loud, double guitar leads? OF COURSE I DO. WHO DOESN'T? You're in luck, because this album is carpeted with em, thanks to Eli Kasan and TFP. On a song like "’Bodies,’" it sounds as if you've walked into the biggest Guitar Center, but, you know, not terrible. Keeping it all locked down is the rhythm section of drummer, Cary Belback and bassist, Gavin Jensen. They allow the downright prettiness of a song like "Red Alphabet" to shine, and the lyrics on the anti-sexism thrash of "Crisis Time" to punch through.
THIS ALL SOUNDS WONDERFUL, IS THERE ANYTHING ELSE I NEED TO CARE ABOUT? Eh, probably not. Except that Tim Midyett (Silkworm, Bottomless Pit, Mint Mile) and some bum (Protomartyr) are featured as guest vocalists on "Rope" and "Why'd You," respectively. Also, I'd be remiss to not mention the fact that the band's live show is a testament to the cathartic nature of speed, skill, repetition, noise, and red stage lights. If you don't believe me, ask the bands they have played with, like Total Control, Tyvek, or The Replacements. Also, they rep Pittsburgh harder than anyone possibly could and come off better for it...which is saying something.
I THINK I UNDERSTAND. BLOOD // SUGAR // SECS // TRAFFIC IS THE GREATEST ALBUM SINCE THE LAST GOTOBEDS RECORD? Yes. Now please stop yelling.