It is often said that it pays to be polite. Hell, we’ve probably said it on here a couple of times. What’s better than being polite? Well, quite simply the answer is being a dude, or at least having dude-like qualities that might render you such in the eye of whoever your beholder happens to be. London outfit Niteflights – a foursome according to one of several social networking site presumably under the band’s own control, yet for some reason we’re plainly seeing five whole dudes in most photos and video clips that we’re clapping our eyeballs onto – have the lethal combination of the following, which we have experienced first hand: we can confirm that they are polite; that they display dude-like symptoms; and further, they play some pretty sweet indie pop that would have us all dancing in the moonlight. In fact, it has already. Citations of greatness have come far and wide from the likes of radio heavyweights 6music and XFM, all the way to online big boys Drowned In Sound and Sweeping The Nation. Plus, they do a pretty good job on putting their own spin on some prolific cover versions and remixes/mashups. They also like to walk around Camden and into Weatherspoon bars on the lock wearing trenchcoats, a single leather glove and big chudsey grins. What’s not to like? We mean, not just as a band, but as REAL PEOPLE?
Niteflights – Paris 1919 (John Cale cover)
Niteflights vs. Cyndi Lauper/Cam’ron (ft. L’il Wayne) – What Women Want
Yet cover-band/masher-uppers extraordinaires, this band ain’t. An emalgumation between an outward expression for their love of minature keyboard noises and a lyrical notation that leaves a listener as impressed as it does leave them baffled, amongst several other unidentifiable entities that we can’t seem to put our spindly fingers on just yet, gives an essence of I Was A Cub Scout‘s finer moments, a flavour of Clap Your Hands Say Yeah, and a hint of The Divine Comedy. And they most definitely remind us of Clor, who, coincidentally, we are currently campaigning to “bring back”, which is to say we’re just going around to everyone who cares to listen that we think they should reform. What does this mean, exactly? We have absolutely no idea at all. What we do know is that the music is, at the most, the heroic indie sound that just might save the genre in the nick of time, and at the very least, as incidious as a guilty pleasure that you admit to digging every time you’re out on the proverbial razz. Compelling stuff, either way. Since releasing Marnie a little while back – a few months ago if we shake our Sunday night fatigue and actually focus on the extensive internet-based research we
should have definitely did undertaken – on our buddy’s label Euphonios, the band, as we may have mentioned before, have been the focus of much online chit-chat and played numerous shows hither and thither up and down t’land, and anticipation as to might what follow next has of course ensued. Judging by what has already surfaced, we’re assuming it’s gonna be prettaaaaaaaaay good.
So what the fackin’ fack is going the fack down? We have it on good authority (well, Sam from the band’s authority, which again we’re assuming to equate to the be-all-and-end of the matter) is that Niteflights are gearing up to 2012 by generally doing what all good bands are actually supposed to do; writing, recording, shooting the proverbial shit and getting their affairs in order. Not ones wishing to upset anyone’s or anything’s rhythm, and despite how angsty this notion of actually having to wait for good things to come to us makes us feel, we will all have to abide and make do with what we’ve been given so far, which really isn’t too shabby at all.
Niteflights – Coney Island 1912
Niteflights – Here Comes Tomorrow