The Grates
Brisbane, Queensland, Australia | MAJOR
Music
Press
Although her first name conjures images of temperance and soft-spokenness, Patience Hodgson is a fucking punk goddess. As The Grates’ front-woman and vocalist, her name is known amongst fans as a paradigm of enthusiasm, energy and attitude. She certainly didn’t disappoint on Friday night.
We were warmed up by Guineafowl, whose set was peppered with poppy drums, indie face-paint, and echo-heavy, rakish guitar borrowed from The Edge’s songbook. A particular highlight was a tooled-up and pumped-up cover of Sia’s Clap Your Hands. For whatever reason, the air was unusually thick with bespectacled hipsters loafing around the venue, even for Oxford Art Factory. Perhaps it was the unbelievable amount of love that’s been heaped on The Grates by triple j since the release of their most recent outing, Secret Rituals.
Opening with the excellent Carve Your Name from 2008’s sophomore album Teeth Lost, Hearts Won, The Grates (minus one band member since their last album) exploded onto the stage. The song’s grooving, strutting bass was the perfect introduction to the band’s unique brand of upbeat and fun punk-pop. From here they moved on to Milk Eyes from the same album, whose punky leanings are complemented by a hint of old-school Britpop guitar, a la Pulp or Suede.
A particular highlight was their debut single 19 20 20, from 2006’s debut album Gravity Won’t Get You High. Here more than anywhere else, the influence of Blondie on Patience Hodgson is clear as day, and yet post-chorus the song descends into a choppy and grungy breakdown reminiscent of Sonic Youth.
The driving force behind the performance was Hodgson; both in her screaming and leaping whilst performing the songs, and in her bravado in between the tunes. Her stage personality is a juxtaposition of sassy and feisty mischief with a ‘who cares’ punk anarchy that combine to make her one of the most charismatic and endearing front-people in this country’s music scene. Praising Guineafowl, high-fiveing and waving incessantly, and cracking jokes about beer and blowjobs in between songs, she had the small but passionate crowd at Oxford Art Factory eating out the palm of her hand. Her Joan Jett-esque wails of “I don’t wanna change, but I don’t wanna be the same” on Changes off the new album were drenched in incredible fire and passion.
Towards the end of the set we were treated to an incredible rendition of my personal favourite Grates track, Rock Boys from their first album, before closing in a shower of sweat, tears and confetti. What was so incredible about Patience’s performance at this gig was her ability to keep the energy and intensity at such a high level throughout the whole concert ; the audience was scarcely afforded time to catch their breath before another leaping, shrieking, splashy-drummed punk anthem was blasted at us. We were even treated to a fully-fledged stage-dive and subsequent crowd-surf. Crowd-surfing! At Oxford Art Factory! I shit you not. It all added up to a masterclass of energetic performance, and one of the better indie gigs I’ve been to in a long time. - Fasterlouder
“Welcome to The Grates in audio 3D. You will not be disappointed.” - One A Day
"The more you listen to it, the better it gets" - Colosoul
"Secret Rituals shows that Patience and John are all grown up and changed
for the better. Whatever these secret rituals were, they worked." - The AU Review
“Their pop-punk riffs always provided the grunt behind the glitter, they seems
spikier now – and it works a treat.”
- The Brag, Album of The Week
“The Grates return with a harder, more concise sound on their third album.” - Sydney Morning Herald
“The energy is still there but the quality of their songwriting and the overall
sound has matured to help them delivery this pop-rock delight.” - The Courier Mail, Brisbane Qld
“Their triumphant third effort which will surely be in the reckoning for best
Australian album of the year.”
l - Sunday Herald Sun,
“The Grates finally bare their teeth – and they’re bloody sharp” - The West Australian
“Rituals is a rich collection of densely-textured indie pop that manages to distil
everything cool that’s happening in music into one seamless package. “ - Rolling Stone (Australia)
Discography
THE GRATES DISCOGRAPHY
SECRET RITUALS (CD)
Release Date: June 17th 2011
Label: Dew Process / Universal Music
Feature Singles: Turn Me On / Sweet Dreams / Like You Could Have It All
TRIPLE J FEATURE ALBUM OF THE WEEK
TURN ME ON HIGHEST PLAYED ALTERNATIVE TRACK THREE WEEKS RUNNING
TURN ME ON MOST REQUESTED ON TRIPLE J
ADDED ATD NOVA BRISBANE
ADDED LATE NTS NOVA NATIONALLY
ADDED TO THE LIST
ADDED TO GOLD FM NETWORK
PATIENCE ON TALKIN BOUT YOUR GENERATION
PATIENCE ON ROCKWIZ
VIDEO ADDED TO CH [V], MTV, RAGE, VIDEO HITS
TURN ME ON #1 MOST WATCHED MUSIC VIDEO IN AUSTRALIA ON DAY OF
RELEASE
TURN ME ON - #25 MOST WATCHED VIDEO (OF ANY GENRE) IN AUSTRALIA ON
DAY OF RELEASE
STEREOGUM TOP 7 MUSIC VIDEOS FROM AROUND THE WORLD
http://stereogum.com/717202/the-7-best-videos-of-the-week-
3/franchises/straight-to-video/
TEETH LOST HEARTS WON (CD)
Release Date: June 2008
Label: Dew Process / Universal Music
Feature Singles: Burn Bridges / Aw Yeah / Carve Your Name
Airplay / Clip Play:
Triple J (High Rotation & Album of The Week), Nova Network ATB, Channel V, MTV, Video Hits, Rage
GRAVITY WONT GET YOU HIGH (CD)
Release Date: 2006
Label: Dew Process / Universal Music
Feature Singles: Trampoline / 19 20 20 / Science Is Golden
Airplay/Clip Play:
Triple J (High Rotation), Alternative Community Radio (High Rotation)
Channel V, Rage, Video Hits Clip Play
Just Jeans TV Sync - Trampoline
TIL DEATH DO US PARTY (DVD)
Release Date: 2007
Label: Dew Process / Universal Music
Photos
Bio
Over the past 18 months, The Grates dug deep in their adopted home of the Big Apple. Establishing the routines, methods and procedures that would become their Secret Rituals, they set to work on their third album. It was a challenging but rewarding period for the band facing change and embracing a different perspective and writing style. Ultimately, these battles became a rite of passage to create a body of work that delivers on The Grates long-awaited promise.
After five years of touring the world with their first two critically acclaimed albums, Gravity Wont Get You High and Teeth Lost, Hearts Won The Grates decided to take a different approach to their new record. Previously weve always gone away and written and recorded our albums in a concentrated burst, says frontwoman Patience Hodgson. But this time we really wanted to live our lives while we wrote and recorded over a longer period.
And so Patience and guitarist John Patterson moved to Brooklyn and waited for inspiration to strike. For nearly a year. Woody Allen lied; their muse was not waiting for them with The Grates written on a piece of cardboard at JFK airport. When we first went to New York I thought that I was going to be so turned on by things, so inspired and able to write music as soon as we got there, and that everything was going to be easy, Patience says.
They had turned their lives upside down for the sake of music and it didnt work. At least not right away. So they rode their bikes through New York blizzards, ate too much Mexican, joined a food co-op to stalk Entourage star Adrian Greiner and longed for New York to give them an album.
The plaintive Turn Me On showcases Patiences ability to write fun, slyly sexual songs with a deeper heart. Its a plea to get something more out of the situation than there is. The pace of life in New York and starting from scratch creatively gave them a whole new lease on music. But it took a long time. We had an initial writing push that was really difficult, because we didnt have any of the (creative) rituals in place, John says.
Slowly new routines emerged, and through them new songs and a new type of songwriting. The pair found themselves trapped in the studio literally- by the ferocity of the North American winter and so started pushing in new directions, experimenting with feedback loops and vintage synthesisers. The Grates werent kidding when they titled their album Secret Rituals. And of those rites, the band are keeping mum. I think Id feel weird telling people some of the stuff we were doing, because at the time it seemed like it was such an important part of making the album, says Patience.
Once those little life ceremonies were in place, the band quickly found they were ready to tackle the album. The song Change provides a good indicator about The Grates new musical direction, and as Patience mournfully sings, I dont want to change/ but I dont want to stay the same, it is clear why the bands secret rituals were so important. That became the theme to the album, that song, says John.
Living in a new city wasnt the only challenge that The Grates had to face. When original drummer Alana Skyring left the band to pursue a career in culinary arts, Patience and John suddenly found that the band room had become a whole lot quieter. For me it was always really easy when we would write with drums, because I could always hide behind the cymbals at all times, says Patience. It was really, really confronting at the start because I knew that whatever I was saying and expressing was immediately being heard by John. There may have been the occasional day when Patience made John face the wall while they wrote together, but the shift to a sleeker line-up turned out to be a pivotal point in the bands development. I think it forced us to be more focused on the actual songs, whereas before we were thinking about how full they sounded when we just had two instruments, says John. But when there wasnt that space to fill, we could just focus on the songwriting.
And it certainly shows. Secret Rituals is a giant step forward for The Grates. There are still the infectious choruses, cheeky singalongs, and artfully addictive arrangements that characterised the bands first two albums, but nobody could accuse The Grates of being cute any longer. The bands latest effort is broader and tougher in scope, more stripped back and bold. While a common thread links the record together, marking an album that is unmistakably The Grates, the individual tracks explore new depths. Without the luxury of having six weeks to finetune her lyrics while Alana and John figured out the songs, Patience was forced to take a more direct approach to her lyric writing.
Everything had been hidden in metaphors on the previous two albums, she says. I dont exactly know how I started feeling confident but it was probably to do with being in New York and being out
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