Notes from the Underground: An introspective on Sad Shields

Sad Shields may not be pioneers in the frantic noise-pop they produce, but putting a name to it helps.

The last twelve months have made Sad Shields; but not in any mind-altering sense. They have been created just like Frankenstein’s monster. All the pieces matched and they aligned to make the crazy beast that is. This has to be said because nothing has drastically changed to the members of the new-age pop-group; the only event of significance may have been their formation. The kinetic, subterranean stage performance they have crafted is something that could only be natural. They don’t need to come pre-packaged with instructions to rock-out; it is in their DNA.

                If you asked them where the roots spread out, it wouldn’t be surprising to listen to a spun-out yarn of eyes meeting across dark streets and teen compulsion. In reality, where they might be influenced by the riot grrl sound of the 90’s, they are not in the business of reviving it. However, although they are situated very much in the present, it seems the twenty-first century has been reluctant in taking notice until now. As lead singer, Laura Wolf, explains: “We all knew each other through being in other bands, playing together, and being into the same stuff so it seemed logical to play music together”

Aaron Batley, guitarist of the band elaborates; “I’ve been in bands with people who had no particular interest in doing the band or were distracted from doing it. Sad Shields are quite different. Having been friends for some time before we started, we all know what we want from this band and from each other”.

                Being a band that has formed out of such looseness, it comes as a surprise to learn that such a group comes equipped with manifesto sensibilities. Forming in 2007, Sad Shields came attached with contacts and friends such as Lovvers, Elapse-O, Corey Orbison and fellow Portsmouth based band You’re All Smiling Now But We’re All Turn Into Demons. After spending copious hours in bars watching and appreciating these bands, the Shield’s guitarist put a name to the network of artists who lit-up the pubs and small venues of our cities; known now as the Pop Underground.

                The band continues by saying that “the idea of the pop underground isn’t meant to be confined to just one place or time. I just use it to make friends with bands I like and to “summarise” the bands we play with. We’re all so different from each other that you can’t pin a label on to us. i.e. “grunge”; “punk”; “riot grrrl” etc. We all seem to be bands that like to write pop songs in our own way, shape or form”.

                The Underground is starting to sound like a fundamentally Southern showcase, which isn’t the case. Manchester band Vile Vile Creatures and Liverpool-based Puzzle share affiliations with Sad Shields and the Underground lot. However, as Laura says: “I don’t think we’re in a scene, but there are bands like Epideme and Demons and Elaspe-o that we play with a lot but we’re all very different from each other. Just united by friendship! Oh, and the general toilet circuit”. From this it is obvious that it is the deep love for music that has brought these bands together: listening to Sad Shields and company speak about their music and others is an enlightening experience. When they listen to a new band, it will be their mission to let you know about it. Just in case they aren’t shouting loud enough, expect a Pop Underground compilation within the year with tracks being donated from bands across the country.

                So you may know about Sad Shields, the probability is unlikely. You may not even know about the Pop Underground, but the chances are you would have heard of one of the bands they love and want you to know about. Then again, it is not something you can reproduce: its’ biological groove they’re talking about.