“They’ll be one of the biggest bands in Britain. They’re pretty special, man…” - Noel Gallagher, Oasis
If We Can’t Escape My Pretty is the startling debut by the gang that was originally spearheaded by vocalist extraordinaire, Nic Armstrong (then billed as Nic Armstrong & The Thieves). The young band hit the road where they developed quickly into a democracy of four unusually talented songwriters and singers, hence the name change to IV THIEVES. Whereas the first album conjured the halcyon days of British blues and pop in the 60s, this new platter zooms toward the future in an explosion of rabble-rousing performances, outrageously versatile vocalizing and bulletproof songwriting. Nic, Shane Lawlor and Glynn Wedgewood all take turns at the lead vocal mic with poetic tales of crazy dreams, confusion, love, growing up and taking control. The first single, “You Can’t Love What You Don’t Understand” is exhilarating, ‘girl-be-damned,’ rockin’ power-pop. “Take This Heart” is a mighty plea for resolution. “The Sound And The Fury” is expert, three-part harmony on a song perhaps about the nightmare that life can sometimes be. If We Can’t Escape My Pretty is an album that screams to be heard. ———————
The back story of IV THIEVES is not your usual run-of-the-mill tale. Hailing from Newcastle-Upon Tyne and Nottingham (England’s capital of crime), the band emerged with formidable recordings and combustible live shows.
Traveling under the banner of Nic Armstrong & The Thieves they set about kicking the shit out of the music scene. We’re not sure how much damage was inflicted but some kind of impression must have been made as they played throughout the UK, Europe and the United Roads of America at the invitation of Oasis, Jet, Razorlight, the Raveonettes, the Bravery and Paul Weller, amongst others.
The songs Nic had written for The Greatest White Liar were reshaped, reworked and sometimes rewritten as four individuals merged into one group of IV THIEVES. Discoveries were made; all four could sing, allowing for some great close harmony work. And all four could write; first Shane, then Glynn, and finally Jonny were singing their own songs.
And from behind the cool, laconic, jacket shrouded Nic, a group of performers emerged. Jonny doesn’t sit still on his stool, he frequently stands up, driving the band on; Shane kicks and thrashes his way into the hearts of the girls in the front rows; while Glynn hunches down over his mic, smiling to himself at the antics and banter of the others.
After many gigs, thousands of miles, mountains of cans, bottles, cigarettes and joints they wind up in Austin, TX, their new home, where the locals have taken this itinerant bunch to their hearts. They get to work writing the remainder of what would be the first IV THIEVES album. Time seems to move twice as slowly during the day in Texas, as it takes twice as long to do anything when you’re sweating more than you can drink. But withstanding the blistering heat of Texas, they wrote nearly 30 songs for the album and, by the end of the year, were ready to go into the studio. The only other thing in the calendar was a December date at The Millennium Stadium in Cardiff, Wales where they were once again the guests of those hospitable Gallagher brothers.
Christmas had been replaced by pre-production, so by January they were ready to go. Afraid of what another bleak English winter would do to their minds and souls they decided to record in Austin Texas with producer Chris “Frenchie” Smith, who had been enamored with IVTHIEVES ever since he saw them tear up a venue in Austin. After what felt like a lifetime in the studio, they finally emerged with a group of songs that would become the album If We Can’t Escape My Pretty.
Whilst the debate raged about who should mix the record, the IV THIEVES joined The Pretenders on the road in the U.S. and aired a large chunk of what had only just been recorded. The result? One of the most exciting, well-received tours to date! During this time, Chris Sheldon (The Pixies, Foo Fighters. etc.), entered the frame as the mixer to finish the record.
Which brings us to now. So, what have we got? We’ve got an album that is effectively four different snapshots, from four different people of highly intense, personalised takes on the sound and the fury that is the 21st Century. Nightmares, stories, dreams and visions evoked by the four songwriters/singers, through striking voices, killer harmonies, and breathtaking song writing, from the in-your-fucking-face intense to the melancholic and serene.
