Royal Blood Performs “Shiner In The Dark”, “Pull Me Through”, “Trouble's Coming” & “Figure It Out” on BBC Radio 1 Live Lounge
British rock duo Royal Blood, consisting of Mike Kerr (vocals/bass) and Ben Thatcher (drums), appeared on BBC Radio 1 Live Lounge to perform “Shiner In The Dark”, “Pull Me Through”, “Trouble's Coming” and “Figure It Out”.
BBC Radio 1's Live Lounge will air a new performance every Monday through Thursday for the entirety of October.
Royal Blood is the seventh musical guest on the program. This marks their first performance in six years since 2017 on Live Lounge.
“Shiner In The Dark” and “Pull Me Through” are featured on their latest album “Back to the Water Below”, which was released last month.
The tracks were written and produced by Royal Blood. The duo worked with other producers on the previous three albums, but the new album is produced by the band themselves.
“Trouble's Coming” is the opening track on their 2021 third studio album “Typhoons”. The track was written by Royal Blood, and co-produced by Paul Epworth.
Royal Blood “Figure It Out” was released from their self-title debut album in 2014. he track was written by Royal Blood, and co-produced by Tom Dalgety.
- Mike Kerr explained about four songs.
“Shiner In The Dark” via Apple Music
“The drumming approach that Ben has is what makes him a unique rock drummer, because he's very well versed in classic hip-hop. He knows every single one of those beats like the back of his hand. That kind of low-rider drumbeat comes so naturally to him, and for me, it gives me a platform to dance over. This song was born out of the bass sound. I made that sound and was so excited about it. It just sounded so weird. It sounded so fizzy and wide and kind of piggish. There's something piggish about it to me and very groove-centric. It had some Typhoons residue to it. It was the first thing we wrote after Typhoons, so it feels like we've half slipped out of the jacket.”
“Pull Me Through” via Apple Music
“My style of piano playing comes from when I was a kid learning Beatles songs. The Beatles always used a piano at Abbey Road Studios called Mrs. Mills, which, at the end of the hammers, has pins put into it to give it a metallic, almost-harpsichord sound. The Beatles were always doing this kind of regal thing that I really love. It's classical and almost comically so. It was almost like that piano is constantly wearing a cape. We tried different pianos and different piano sounds on this song, and it just didn't gel the same way, so that piano sound became the glue that held this record together. It brought me back to being a kid and playing the piano.”
“It was the moment something started to click – where we started playing over those much more rigid dance beats. The breakthrough was realising that there was real common ground between that and what we'd done before. It's that AC/DC aspect: where the quality that makes the riffs seem so cutting is because of that beat. Although on the surface we were stepping outside what we'd done before, it didn't feel at all unnatural; it felt like we were returning to music we'd loved from the very beginning: Daft Punk, Justice, things that were really groove-orientated. It was all about the beat. It felt like familiar territory, but something we'd censored in ourselves.”
“Figure It Out” via Apple Music
“Again, this was a tune that was always in my back pocket. It was sort of written, or at least finished, live. It was always in pieces and the music was the bit that was always established. I never really knew what I was going to do on the vocals, so I would always ad-lib. I would just put so much delay on my vocals that you couldn't hear what I was saying because I never had lyrics. I would just mumble. That wasn't a rarity. We'd sometimes go out and play festivals with songs that weren't finished. The song gives up on itself after the second chorus, and just sort of goes off into this other thing. I realize now it's something we do a lot. It's almost like a signature move.”
- source : BBC Radio 1 Live Lounge