The Go! Team Proof of Youth

The Go! Team Proof of Youth

Bursting from the mind of Ian Parton, this UK band took everyone by surprise with their debut, Thunder Lightning Strike, and it’s absolutely manic sampling of various soul, rock and pop mixed with a healthy does of cheers, shout-outs and the catchiest choruses ever. It was an album of pure energy and kind of the ultimate high. Thus, this follow-up is under heavy scrutiny, and while this album still bursts at the seams with layers and layers of energy, it seems that the "wow” factor of the first has been lost a little. That’s not to say that songs like "Grip Like A Vice” or "Keys to the City” don’t make you want to move your ass and jump around but it seems the aural candy might be losing a little of its flavour. Still, Parton and company are working more as a band and that brings a fresher feel to the songs beyond the canned samples of before, and there are even exotic guests like Marina from Bondo Do Role and Solex providing much needed vocals, like on the fantastic "Fake ID.” This is still an awesome party in a CD but the threat of an expiry date may be looming.

Is the title, Proof of Youth, a theme to the songs on the album?
Parton: Not massively, to be honest. It’s more of a slogan. I guess I’m always attracted to action-packed, dynamic kind of stuff and that’s youthful by nature. But we’re not exactly a bunch of teenyboppers out of high school or anything like that. It’s more to do with trying to get as far away as possible from this idea of the singer-songwriter being this kind of really earnest artist, or trying to distance ourselves from contemporary indie where it’s all very self-important and wanky.

Is the Go! Team all about creating a good vibe or is there something more?
I really do hope that people think that there’s more, you know? I do. It’s got to be groovy in some way but at the same time, I like the idea of covering new ground, originality and experimental stuff. Things like how secretly different songs land up against each other, clashing instruments, songs taking a left-turn, song structures being a bit odd, and white noise. I kind of like the idea of building a wall around it that says we’re not fucking daytime radio fodder but that something more is going on. (Secret City)