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“‘BLEEP’ is a grungy and impactful new alternative rock banger, Subterranean Street Society continue to showcase the raucous and expansive sound and the effortlessly charming and charismatic allure that they possess alongside it.” – Review on CLOUT
“Danish-Dutch outfit showcase their new album with this bold and driven indie-rock belter.” – Review on Mystic Sons
“This album is indie rock, but it definitely shows inspiration from the punk genre, adding to that rebellious charm that comes so naturally to each song. It’s a ride through a one-of-a-kind rollercoaster, bound to take you through ups and downs that allow it to feel so human and palpable.” – Review on Wolf In A Suit
“Across its twelve tracks, we get some keenly-observed stories taking place in the here and now, delivered against a backdrop of deliberately unnerving instrumentals. It’s modern folk in its purest form.” – Review on York Calling
For the purpose of my own curiosity I decided to dive into the archives and find out when Dutch-Danish rock band Subterranean Street Society and I started working together, and found out it was late February 2022 on their single ‘One And A Half Men Tent’. Two years and a few months later we finally met in person for the first time, ever. Somewhere over the course of our working relationship we’d started to talk about a UK tour, which just after Brexit seemed impossible. However, together, we made the impossible possible!
On Wednesday the 8th of May they arrived in the north east for two shows, after which they’d head to Manchester, Sheffield, London, and then Brighton for their last UK show of the tour. They started with a mesmerising completely unplugged set at Sofar Sounds Newcastle and headed to Mosaic Tap the next day for an amplified set supporting local outfit Earth Farm! Those two sets were at the same time a world of difference and exactly the same; captivating and more powerful then I’ve ever seen a band perform. It is their thunderous soundscapes and bloody honest, political lyricism that has made me stick by the band for the past few years.
By Celia Medina at Mosaic Tap, Newcastle
The band headed to Manchester for a show at Lions Den supporting Origami Tsunami and toured on to Sheffield for an instore at Record Junkee. One of our least favourite shows not solely due to the administrative nightmare it was in the lead up to the event… A show had been booked in with Kevin at Our Sound Music, who’d joined the team at Record Junkee as in-house promoter. The initial idea was always to make this a free instore and for the band to get the opportunity to sell their physical albums. We’d received a request from Kevin to make this a four band line-up, ticketed evening event instead and had of course said that that would work perfectly for us. Up until now that has been the last we’ve heard of Kevin… Eventually we were able to get hold of Record Junkee and they confirmed to make this once again a free in-store, but when the band arrived the shop was empty and management had locked themselves in their office. So much for a show in Sheffield…
Luckily things were only able to get better from there, with two Sofar Sounds London shows on the books, a fantastic line-up at The Dublin Castle in Camden, and a ‘hometown’ headline at The Folklore Rooms in Brighton! Ahead of the band’s before-last show in London we all enjoyed a wonderful meal together at Italian restaurant Goodfare which I would wholeheartedly recommend to anyone looking for a delicious Italian meal. We enjoyed The Dublin Castle with incredible bands Wakey Wakey Rise & Shine, Butterjunk, and Morning Tourist, and I fell head over heels in love with The Folklore Rooms and its aesthetically-pleasing venue and stage design. Local artists Soft Top and Arjun Nala supported the band which made for a night of incredible live music we won’t soon forget.
Booking live events, organising an international tour, and filling venues with familiar and yet unfamiliar faces is a full-time job. One born from passion when done by those with the right intentions, but costing so much time and energy. Even though I am already working on the next tour, it is still a thing I need to reflect on every time a tour ends; is this really worth it? Is it the best way to go for the artist I am working with? Even though an international adventure sounds like a dream, just booking the events isn’t achieving much just yet. Deciding if an international tour is right for you, is something only you can decide, and although advice from others can be helpful, it can also be damaging. You’ll have to keep in mind all individual tasks before you even get to play your show; your route, the cities you might be able to bring people in, the venues and or promoters you’re hoping to work with, the people you hope to attend your shows, the industry you’re looking to invite, the costs for travel, accommodation, and to feed yourself.
The first time myself and Subterranean Street Society spoke about a UK tour was around June last year, it took us nearly an entire year to organise, and even though I wouldn’t have it any other way and there are only so many things I would have done slightly differently, that’s something to keep in mind when looking to book your own tour. To reiterate; with a band as talented and with their hearts in the right place as Subterranean Street Society, I would book tours all year ’round if I could!
While the band’s previous albums were created during an extensive process, ‘BLEEP’ was written and recorded in one year. This time the songs were written with the entire band to focus on the energy of the ensemble. The result is an up-tempo folk-grunge album, the album release tour starts in March in the Netherlands, followed by a UK tour in May.
Single ‘BLEEP’ is the title track of the album and also the last song the band wrote. It was created in the studio and was recorded live on an 8-track tape recorder. The song is musically and lyrically tough, uncompromising and thus pushes the boundaries of comfort. ‘BLEEP’ mainly asks the question: “Who determines where the boundaries of freedom of expression lie?“
Singer Louis talks about ‘BLEEP’: “The title track from Subterranean Street Society’s upcoming album ‘BLEEP’ is a song about modern-day censorship in a digital age, where the big tech canons have taken total control of our public discourse. It retells a story about “Rocking In The Free World” by Neil Young, who removed his music from Spotify because he disagreed with Spotify podcaster Joe Rogan’s views on the COVID-19 vaccines. In this tragic-comic story, we are left to wonder where the line of free speech is drawn, who the gatekeepers of truth truly are, and if self-censorship will become the new cancel culture.”
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This song is an ode to the little overachiever inside all of us, about how easy it is to get stuck in the loop of “becoming” something or someone, instead of enjoying the old impossible “being” which the moment so famously advertises.
As a child of the 90’s lead singer Louis looks back: “Growing up, I remember being asked in school by grown-ups about what the plans for my future were, what did I want to become? When the obvious answer of a 12-year-old kid was a professional football player, I was told that this was not a serious answer, that I had to think about the bigger picture.”
‘Stop Trying’ is a commentary on the systems in which we place our lives. Is it worth fitting into or should we redirect our effort towards changing the framework first?
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On the 27th of October Dutch-Danish trio Subterranean Street Society released their new single ‘Focus On The Melody’, a song about the dying attention span of homo sapiens in the 21st century. The track is a raw garage rock track for fans of Amyl and the Sniffers and IDLES!
This rebellious garage rock track talks about the dying attention span of homo sapiens in the 21th century. After a ruthless rant on how the flickering screens are stealing the ability to concentrate, lead singer Louis gives up and instead invites the listener to sing along to a mindless hook. Essentially the song is posing one main question: “Why are we bombarding ourselves with flashing information whenever a dull moment enters our filled up calendars?”
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