King Cannons heading straight to the top

[dave-brown]

rubber band are still one of my favourite bands, and cheap for a reason aswell, fuck yeah. long live rotorua. but yeah king cannons played hamburg the other day. didnt go. the end

[Milky Pisswit]

shaved wookie fucking fuck hams.

jesus fuckkk...

[mike]

hey King Cannons are not a Hamilton band they are from Auckland originally dont blame the Waikato for that blame Auckland.

[mike]

hey King Cannons are not a Hamilton band they are from Auckland originally dont blame the Waikato for that blame Auckland.

[Fiction & Falsehood]

your fucking mate

[PertHJ]

Saw this at JB HIFI today



http://www.kingcannons.com/store/

Good on them for doing vinyl.

The album was playing at JB while I was there, fairly bland, but catchy enough I s'pose

[PertHJ]

Oh also, for the fans out there, they are playing the Powerstation on 10th August with The Transistors (Hamilton and Chirstchurch also) $26.50 + BF

[a lesser known matt]

a quick search yielded a download of this album. had a listen and pretty boring really. a couple of alright songs but generally nothing too much going for it. Still far better than what's on the radio but only if you're not listening to 93.8 The Sound. I also read something from an interview in which the singer said that springsteen would be into this album. I would be highly disappointed if this was the case.

[FC]

He claimed the boss would like HIS album? Fuck that is maybe the most pretentious thing I've ever heard.

[mmmm....good crack]

The sound rules.

[a lesser known matt]

He claimed the boss would like HIS album? Fuck that is maybe the most pretentious thing I've ever heard.

One artist in the whole world we would secretly like to dig Brightest Light?
If Bruce Springsteen could hear this record I’m pretty sure he’d like it.

[FC]

Jesus. Is that a question from an interview, or something they wrote themselves because Luke is a wanky arsehole?

[Lummoxgrinder]

The sound rules.

Too fucking right it does! Best radio station ever. Plays all the awesome stuff hauraki used to play before it became a the rock clone. Fuck I hate the grizzle/jaw rock played on the rock and hauraki. Their names don't even deserve capitalisation. Fucking hate it when I have to go a building site and they are listening to the rock it's just plain shit.

[Dead Kid]

The sound rules.

At first I thought you meant the sound on the King Cannons album. The importance of capitalisation.

[Fiction & Falsehood]

just thought this should be in this thread too.

to marvel at.

[Nathanael]

Mind just exploded.

[turk188]

So was the singer always a jerk to people in his previous bands or is it something he's developed in the KC?

[ghetto ninja]

Never known Luke not to be a dick.
Also was the cleanest punk ever aka not really a punk.

[mmmm....good crack]

He used to refer to himself as working class heh

[BigBadBazza]

The Bio on their website is fucking

Some bands talk their way into opportunities or use algorithms to feign blog hype. Others drag themselves up by the teeth.

In 2012, electrified soul-n-roll gang King Cannons arrive at their debut album, The Brightest Light, because tangled crowds of people shout their blistering choruses back to them in ramshackle band rooms. Because the band’s six members have fought poverty and hardship to stay together. Because there’s something to their songs that both reminds of rag street poets from days gone by and speaks the truth of everyday lives, heartache and boozy nights of the present.
To find the real beginning of King Cannons is to go back to the street corner where a ten-year-old Luke Yeoward struggled to wield the acoustic guitar handed down to him by his mother. With a hat at his feet, Yeoward played covers he’d picked up at home and school: Creedence Clearwater Revival, Neil Young and Cat Stevens, as well as primitive songs he’d written from the chords he knew.

As dusk set in, Yeoward would pack up the guitar and take his hat filled with coins down to the local music shop and empty its contents on the counter. One afternoon, after months of counting coins into the till, Yeoward walked out of that shop with an electric guitar and a practice amp to lug all the way home. His work had paid off, the way his father’s hours as a sawmill worker kept his small family under shelter.

It was with that guitar and determination that Yeoward started his first band at 13, going on to quit school and spend his nights hanging around dive venues while working days with his dad at the mill.

“I got my stripes through punk music,” Yeoward tells now as King Cannons’ imposing frontman and songwriter. “That’s how I learned to play, how I learned to write a song, with the punks I met and made bands with as a teenager.”
But it was also those punk bands that led Yeoward to an early musical crisis. With the money from his blue-collar labouring work going into bands that never made it beyond playing to their friends, Yeoward almost gave up on the lot.
“I was depressed and angry and I couldn’t figure out why I felt so sh*t all the time,” he says. “I wasn’t being honest with myself.”

At a screening of a documentary about rock icon Joe Strummer in 2007, Yeoward met guitarist Rob Ting and bass player Jonno Smith, and had a light-bulb moment. Just as Strummer had broken from his punk origins in The Clash to have a new musical outlook and career with The Mescaleros, Yeoward saw for the first time that he had new roads to walk.

“It was like a sign from the world that was saying: you can do something new and be yourself.” That night, Yeoward recruited Ting and Smith to a brand new project.

Flash forward a couple of years and the six members of King Cannons – all with the trademark crown tattoo, a sign of their commitment to the music and each other – had shacked up together in a very cramped house in Melbourne, Australia. Mattresses were moved to make space for living-room rehearsals that now incorporated sidling Jamaican percussion, honkytonk piano, deep-south gospel calls and the kind of anthemic melodies Bruce Springsteen kept in his back pocket as he paced New Jersey avenues.

With Yeoward’s bone-rattling yet unguarded voice at the fore, the band had become something altogether separate from what was happening around them, drawing larger crowds to their shows as whispers spread.

King Cannons’ self-titled EP, released in late 2010, showed what was on the horizon with live-recorded tracks ‘Take The Rock’ and ‘Teenage Dreams,’ the latter described by Yeoward as the most personal song he’d written up to that time.
On the lead up to the recording of the band’s debut album, Yeoward locked himself in the music room of his house and wrote every day for two months, landing the gang with over 50 tracks to work from. This time alone also had the impact of securing his lyrical vision for the record: for the band’s opening statement to the world, he would write songs for the grubby-faced friends of his childhood and the people who’d throw coins into his hat on the street. He’d write for the people he laboured with in the mills and worksites, and anyone who was fighting to make a better life.
And so begins one of The Brightest Light’s early hell-raisers, the massive shout through the industrial plains that is ‘Too Young’: “Sixteen, working in a factory/Breathing that dust five days a week…”

With Tom Larkin, drummer for the internationally known rock force Shihad, at the helm of the album’s recording inside Melbourne’s famed Sing Sing Studios, the intention was to capture King Cannons’ live sweat with the greatest production values.

“Whether it’s up-tempo rockin’ sort of songs or slower songs, our music is soul music,” Yeoward explains, “and if you try and record soul music in any other way than those people in a room together making that music, it just doesn’t translate.
“That’s how the six of us said we were going to make this record,” he continues. “It’s going to be performed in an honest way, and the songs are going to have integrity and, more importantly, when we’re in there doing it in the studio, our performance is going to have integrity. Otherwise it takes away from that basic ethos we forged right at the beginning.”
That ethos is what makes King Cannons the valiant underdogs of 2012 as their debut album is released internationally through Capitol Records/EMI.

Cringe. Write a book etc

[toothbrush]

that makes me feel ill.

[ghetto ninja]

Good grief.

[turk188]

I only counted the name Yeoward 16 times in that bio.

Give them a break guys.

[mmmm....good crack]

all true underdogs debut on capital/emi. Working class heroes Springsteen would dig.

[mmmm....good crack]

"acoustic guitar handed down from his mother" nigga that's just your mum giving you a guitar,don't cry about it

[turk188]

Yeah, the whole 'we tried to move to England to become big as NZ wasn't going to make us famous enough but it fuckedout and thus we claim it as working class hardship' story is very played out.

Also a band telling everyone how working class they are whilst having a heap of pro shot video clips, major label backing and having constant photoshoots where they're wearing Fred Perry shirts, immaculate hair and nicely shined shoes doesn't seem like they're getting by day to day.

[Cosmo Kramer]

just jumped in this thread at the end and read that bio....i HAD to look this person up after



are you serious?

[Cosmo Kramer]

ok, just read whole thread. wow

lol at comments to stu
lol at what luke said interview


so.... are these guys "punks" or not punks?

were they punks?

if they were punks why do they look like how they do now?

is that what punks look like these days?

Phil do you look like that?

[Nickelson the Third]

Never met the guy, heard the stories though. Rob was good dude back in the day haven't seen him for 8 years.

I find the hype really hard to swallow, but most things that need to be said about Luke and the Cannons have already been said here (especially the style factor), but there's one thing that stands out to me as particularly offensive:

Luke Yeowald works in a Sawmill for a few years back in the day, and here he is now talking up his working class heritage. I know you gotta talk shit up and push your image if your band wants to "drag themselves up by the teeth", but what about me and the thousands of people out there that have worked full time for years, and have still found time to play in bands, touring or not? I mean, Jesus Jones! This guy is wearing things preeeetttty fucken thin, especially when at the time, in his mind he was "Waisting my time away, working 9-5 every day" --- youtube.com/watch?v=AaMorFl9xKo

Good on them for doing it but the line is crossed, and there's no way back now with that much idle prattle and accompanying "highly fashionable" photo shoots.

[BigBadBazza]

I can't believe more people didn't just go and check out the website earlier to be perfectly honest.