Maybeshewill
| Maybeshewill | |
|---|---|
On stage at the Summer Sundae festival, August 2012
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| Background information | |
| Origin | Leicester, Leicestershire, England |
| Genres | |
| Years active | 2005-2016 |
| Labels | |
| Website | maybeshewill |
| Members | James Collins John Helps Robin Southby Jamie Ward Matthew Daly |
Maybeshewill were an instrumental band from Leicester, whose music is characterised by the use of programmed and sampled electronic elements alongside guitars, bass and drums.
Maybeshewill was formed by guitarists Robin Southby and John Helps whilst the pair were studying music technology together at De Montfort University in 2005. They released their first record Japanese Spy Transcript on the band's own label, Robot Needs Home Records in 2006 with Tanya Byrne on bass guitar and Lawrie Malen on drums. The four-track EP was well received by the press and attracted the attention of Nottingham's Field Records (also home to Public Relations Exercise) who released "The Paris Hilton Sex Tape" (taken from the record) as part of a split 7" single with Ann Arbor later that year. In August 2006 a re-mastered version of Japanese Spy Transcript was released in Japan on the XTAL label (also home to Yndi halda and You Slut!) which was set up specifically for the release by The Media Factory Group. Shortly after this release the band dissolved temporarily.
In May 2007, John and Robin began working with drummer James Collins (formerly a member of Fight Fire With Water) and bassist Andrew Jackson, along with a number of guest vocalists and musicians on an album entitled Not for Want of Trying. The record was released on Monday 12 May 2008 through Field Records, and was chosen by BBC Radio 1 DJ Huw Stephens as his album of the week in its release week. "The Paris Hilton Sex Tape" also featured on the cover CD of June's edition of Rock Sound magazine.
Thirteen months later on 7 June 2009, the band released their second album Sing the Word Hope in Four-Part Harmony through Field Records, with Victoria Sztuka taking Andrew Jacksons place on bass guitar. This was a heavier record which saw them continue to try to break away from the post-rock tag with which they are often labelled. The record was received well by both press and fans alike, but did receive some criticism for failing to depart substantially enough from the band's established sound.
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