Andrew McMillen, The Australian, May 16 ★★★★ ½
Back in August 2012, I described the second album from Brisbane band We All Want To as messy in the best way possible. While Come Up Invisible was a good record worthy of 3½ stars, there’s a lot to be said for cohesion, a trait that its follow-up, The Haze, demonstrates admirably. Energised by a couple of new band members, songwriter Tim Steward — whose pop pedigree was established with Screamfeeder in the 1990s — has put his formidable musical mind to a taut collection of 11 songs that err on the side of catchiness.
Central to the band’s appeal since day one has been its shared male-female vocals, and here Skye Staniford continues to contrast well against Steward’s distinctive delivery. Musically, the quintet is firing throughout, offering interesting melodies and rhythms aplenty. The Haze builds on the twin canons of pop and indie rock while sounding fresh and inspired. Lyrically, Steward draws on memories, nostalgia, change, regrets and wondering about the lives of others.
Party Girls, for example, is a frank examination of musicians who embrace hedonistic excess. It precedes Wish You Didn’t Go Straight, a curious narrative counterpoint that questions changing life priorities through the eyes of one of those same party girls. Staniford’s sole lyrical contribution is Remove the Arrow, a sober look at a failed long-term relationship.
In terms of sheer accessibility, it’s hard to overlook the melodic punch of second track The Deep End, which is among Steward’s finest work. Releasing three quality albums in five years is no small feat. We All Want To deserves acclaim.
Matt Coyte, Rolling Stone Aus, May 20th ★★★★ ½
Brisbane music scene stalwart Tim Steward (ex-Screamfeeder) says We All Want To set out to create a sort of soundtrack to the memory of teenaged summers, something they’ve succeeded at perfectly on their third outing.
The band fuse the pop-punk of Screamfeeder with a more mature sensibility (think the Replacements jamming with the Go-Betweens) to create beach blankets of sound that wash over you like breaking waves.
It’s the perfect summer record to see you through winter. The Haze’s opener, “Eileen Afternoon”, is undeniably youthful, while sounding firmly grounded in history, while “Party Girls” just sounds like a teenage riot. We All Want To have nailed it.
Chris Havercroft, Beat Magazine, May 20 ★★★★
We All Want To are made up of stalwarts of the Brisbane music scene, with the unmistakable voice of Tim Steward leading the way. The former Screamfeeder frontman is well versed in the power of crunchy guitars and memorable melodies, and these are again his stock in trade for the band’s third album, The Haze.
The songs on The Haze are shorter and more direct than previous We All Want To albums, with a tune such as ‘Everybody’s Damaged’ being a study in simplicity while ‘Young Love’ has all the verve and punch that should be plastered all over the airwaves. Steward has always been a great proponent of a memorable chorus with boy/girl vocals and ‘Road To Ruin’ is no exception. It’s not all a case of running things at breakneck speed, though, with Skye Staniford taking over vocal duties for ‘Remove The Arrow’ to deliver a smouldering beast.
The Haze is said to be the most difficult album that We All Want To have made, which has resulted in some lineup changes for future efforts. Making authentic, reflective records isn’t meant to be easy business, but The Haze is worth any anguish that may have met it along the way.
Noel Mengel, The Courier Mail, May 9 ★★★★
Put a guitar in Tim Steward’s hands — which seems to be most of the time — and he is always going to want to rock. That’s been part of his band Screamfeeder these past 20 years. We All Want To started life as a solo project but it grew into a band, and with the release of The Haze, it’s a band that’s now three albums into its career. Like Screamfeeder, WAWT rock, but perhaps in a more careful way, with extra focus on the pop melodies.
On The Haze, they crank things up to new levels of intensity, as heard in the opening notes of Eileen Afternoon. Steward’s guitar snarls and bites, a statement of intent if ever you heard one. The pop melodies are still front and centre — song after song of them; swooning delights like Everybody’s Damaged and the full-tilt Party Girls (“Hanging around with bands is going to spell trouble … You spend your 20s making a noise and trying to stay upright.’’)
WAWT have always made music for dancing and singing along, but even more so here with crunchy pop-rockers such as Young Love and Road to Ruin, which will be dynamite on the live stage. And just when you’re smiling along with the dreamy, summery feel of The Deep End, the guitars lift off to a new level of urgency. The Haze is right for the title, too, since most of the album seems bathed in a golden glow as it looks back fondly; innocent days, teenage love, lost friends and beach scenes are etched deep in its DNA.
Most of us have to grow up and move on — even the party boys and girls, a theme that’s explored further in the sublime Wish You Didn’t Go Straight, where Steward delivers one of his most heartfelt lyrics in a career that’s already littered with gems: “I heard you sold your skateboard, and I heard you got some new friends … I wish you didn’t get frightened and have to choose.” With the music matching the force of the emotions, the result is a power-pop classic. Like Buildings Collapsing brings in brass as Steward and Skye Staniford lock voices. Staniford steps up to take the lead on the extraordinary Remove the Arrow, a break-up song that starts out gentle and vulnerable before exploding into a chorus that will have you punching the air in delight.
WAWT have always found a way to regroup around the core of founders Steward, Staniford and drummer Dan McNaulty. Since this recording, they have brought in two new members for live work. With songs like this to play, the newbies are in for an exhilarating ride.
The Music: Everybody’s Damaged.
The new track brings a fresh sound to the Brisbane based band with vocals that are instantly recognisable from Tim Steward, which of course are complemented nicely by the familiar harmonies of Skye Staniford.
The mellow and mood driven song is an excellent return for the group, the first off the new album since their last record, Come Up Invisible in 2012.
Ben Mengel, Aphra Magazine, May 7, 2015
It is not uncommon for bands to endure long bouts of internal turmoil during the recording of an album. Strangely, these trying times can often lead to the creation of something remarkable. We All Want To have made no secret of the hellish nature of the studio sessions that eventually gave birth to their third long player The Haze. It is perhaps of little surprise then that the drama previously plaguing them has resulted in the band’s strongest offering to date.
Frontman Tim Steward, who has been a respected presence on the Brisbane music scene for a little over two decades now, has gone from strength to strength throughout his remarkable career. There is a consistency to his output through his numerous bands (Screamfeeder, The Whats) and his solo work (2006’s How Does It End) that is impressive, to say the least. The Haze is no different, offering up another strong batch of indie-rock gems that, as an added bonus, also possess a newfound maturity and depth.
The record opens in rather modest, unassuming fashion with ‘Eileen Afternoon’, a song that successfully retains the warmth and familiarity of this bands past material. ‘The Deep End’ follows soon after, initially sounding like a Nada Surf B-side before unexpectedly moving into heavier territory around the two minute mark. Elsewhere, bandmate Skye Staniford takes the vocal reigns on ‘Remove the Arrow’, a fragile, moody triumph that finds itself wedged between decidedly sunnier-sounding numbers ‘Road to Ruin’ and ‘Everybody’s Damaged’.
There’s a noticeable immediacy to each of the songs that, at first, is a little worrying. Why? Well, quite often, such instant gratification can prove to be a sign of trouble; that perhaps there is a hollowness to the music that will become increasingly obvious upon subsequent listens. Luckily, further investigation reveals The Haze to be a surprising exception to this all-too-common rule.
Above all else, the record has surprising staying power, thanks in part to its relatable overarching theme of slowing fading memories – the unavoidable pain that goes along with missing the people and places that at one time meant the world, but have now all but disappeared through the sad fog of time. Tracks like ‘Party Girls’ (‘Spent your twenties making some noise’) to ‘Wish You Didn’t Go Straight’ (‘I heard you sold your skateboard, and I heard you got some new friends’) express these sentiments beautifully, sounding at once full of hope, happiness and heartbreak.
There’s little doubt that over his many years recording and touring, Steward has seen some of his musical peers drop off and disappear into obscurity. When he sings ‘I don’t want to keep this going forever’ on closing track ‘Forever New’, there is a part of you that wonders if he himself may have ever considered hanging up his guitar as well. Let’s hope not. Steward, along with his We All Want To co-conspirators, are now at a point where they are able to channel their long-term personal and musical experiences into their music. More than anything else, The Haze offers absolute proof of just how beneficial this can be.
Pete Laurie, The Music, May 5
themusic say ★★★★
From the opening seconds of The Haze, it’s clear Tim Steward’s knack for seamlessly bouncing between screaming guitars and sweet melodies is as strong as ever.
A different beast to Steward’s long-standing band Screamfeeder, there’s a hint of shoegazing for increased vulnerability, but never at the expense of an edge. According to Young Love, “I am not the author of the story of your fate.” Steward might not see himself as the author of anyone else’s future, but for more than two decades, he’s been a great chronicler of what’s going on around him.
Ian Powne, 4ZZZ, May 6
Brisbane is blessed with an abundance of fantastic pop bands. We All Want To are one such band who, despite not quite being in the nation’s pop consciousness, could easily find themselves there. The Haze, their third album, further reaffirms their cause. In fact, if WAWT was situated in North America, one could imagine their songs ripe for a bigger audience.
Whilst We All Want To was initially a vehicle for Tim Steward’s songwriting, a man who achieved quite a considerable degree of songwriting stature in ‘90’s legends Screamfeeder, it has since become a much more invested membership. The band’s lineup has undergone a few changes over its lifespan, however the hot core of the group remains, alongside Steward, Skye Staniford and Dan McNaulty. Between the interplay of Staniford and Steward’s vocals and McNaulty’s signature drumming style, We All Want To has found its identity.
The Haze continues the story in fine fashion. Perhaps it’s a long bow, but one could compare the sound to Canadian supergroup The New Pornographers. There’s the unabashed pop songs, the sweet rock-out moments, the lush textures, the feeling that it’s not quite an American sound. The band as well boast at least two class songwriters in Steward and Staniford.
As for the unabashed pop songs, there are many on this album. Road to Ruin will have fans of anthemic pop hitting replay over and over. Everybody’s Damaged likewise has sweet guitar tones and melodic interplays that turn into earworms. The Deep End is that deep vein of dreamy songwriting that Steward has turned out time and time again, with those glorious touchstones of Swervedriver, to just name one reference point. One wouldn’t be blamed for asking Steward whether he keeps a dream diary: a lot of these songs seem to emerge from that glorious state of mind.
All in all, this is a very fine sounding album. Darek Mudge, who runs The Shed Recording Studio as well as playing guitar on much of this album, has done a really great job in capturing the spirit of the songs. It’s also interesting to note Wayne Connolly’s mixing input on this too, as he’s been responsible for making many an Australian guitar band chime in a particularly distinct way, for some time now. Essentially though, what we have here, is straight out, more of that solid gold Brisbane action. Long live the gluttony of riches in the Sunshine State!
The AU Review: Wish You Didn’t Go Straight
Brisbane’s We All Want To release their new album The Haze at the end of the week and, if we’re honest, the sound definitely conjures up the imagery you’d think of when you hear the words ‘hazy’, ‘summer’ and even ‘nostalgia’. Too often there are songs released that promise to evoke memories of those summers of youthful innocence or the dawns you’d witness as a teen on the beach after a night out (beach kids, you’re with me), but they don’t deliver the whole way. We All Want To do. The Queensland Album of the Year finalists have delivered an album of compelling and vibrant music, each track having its own identity. We premiere the band’s latest single, taken from The Haze, in “Wish You Didn’t Go Straight” – get a taste.
The song is described as capturing ‘the pain of moving away from the life you once had’, but this track isn’t dark and bitter or devastatingly melancholic. As the band says, it’s a story about moving on, growing up and watching some people you left behind lose track themselves.
“This song went through dozens of versions before it was presented to the band. The idea was a long time coming to fruition and a lot of ideas were binned along the way. You hear about your mates, the ones you used to do drugs with, drive drunk with, hang out in gangs and get in trouble with. Somehow they ended up getting it wrong, losing a decade, or two. A strange counter-point song to “Party Girls”, about someone who finally got scared off and took a step back, as seen through the eyes of someone else who’s still clinging to the old life.”
ToneDeaf: The Deep End
Having recently announced their brand new upcoming LP The Haze at Queensland Music Awards the band are now releasing the latest teaser from the upcoming record in the form of this killer single ‘The Deep End’.
Set for release May 8, We All Want To’s forthcoming effort will see a new and at once more powerful and more refined side to the band’s music.
While the release of their self-titled record in 2010 and 2012’s follow up Come Up Invisible were both met with critical acclaim in Australia and the US, including praise from college radio, The Haze promises to take on a more evocative, compelling and urgent sound, as the band progress further as both performers and songwriters.
We All Want To is the brainchild of legendary Brisbane songwriter and Screamfeeder guitarist Tim Steward.
With core members Dan McNaulty and Skye Staniford as well as a revolving door of other musical collaborators they’ve become a kind of sweet-yet-scuzzy, indie-rock super-group influenced by bands like Broken Social Scene, The Kinks and The Go-Betweens that feels oddly familiar, yet completely fresh and organic in their sound.
Lauren Katulka, Sounds of Oz, 29 May
We All Want To is one of those bands that nearly passed me by. I remember being directed to the Soundcloud of the single “Road to Ruin” a few months ago and being a bit nonplussed. It wasn’t a bad track, but it didn’t inspire me enough to earn a review. However, now that I can hear the track amongst the others on We All Want To’s album The Haze, I’ve changed my tune.
From the opening track, “Eileen Afternoon” I knew I’d judged We All Want To too quickly. I has such great spirit, like a cross between The Whitlams and REM. It put a smile on my face, and by the time “Road to Ruin” rolled around a couple of songs later I could hear it with new ears.
Sure, it’s not going to change the world but it’s damn good fun. Not that We All Want To are all about having a good time. “Remove the Arrow” is so touching. Tracks like this give The Haze the light and shade it needs. I also loved “Like Buildings Collapse,” with its dramatic crashing drums and soaring trumpets.
There’s a great energy about We All Want To. Reality TV judges would say the vocals are pitchy, and the fuzzy guitars aren’t going to be to everyone’s taste, but the songs are catchy as hell. They’ve got more hooks than my dad’s tackle box. I even kind of like their imperfections.
The Haze is light and summery, with fuzzy chords and easy harmonies. It’s a lovely antidote to the autumn chills we’re having, and when warmer weather rolls around it’ll make the perfect barbeque soundtrack.
Cordelia Woods, Rip It Up, 29 May
The third album from Brisbane’s We All Want To is a pool of memories (much like Dumbledore’s Pensieve) and a trip down memory lane to the life of an alternative personality who partied and “spent their twenties trying to stay upright”. Tim Steward’s lyric writing contains a gentle ambiance as each track tells a picturesque and memory-specific narrative, and he tells these narratives in an intimate way that feels more conversational than not.
Eileen Afternoon is nostalgic of warm afternoons with friends throwing a frisbee in the long grass. Steward’s gentle vocals add an invaluable character to the album, and in particular on Road To Ruin. Occasionally, his voice is a distant reminder of Morrissey’s swooning vocals – a warming familiarity.
Remove the Arrow, the confident album highlight and a clever play on words, slows things down a bit. Skye Staniford’s sensual and deep voice is almost intoxicatingly rich. So good that it would be nice if it appeared more frequently.
The Haze gradually transforms through different sounds and eventually, the band throw themselves and their listeners into the deep end to meet some unexpected harsher textures.
The Deep End features sleazy guitar riffs that encourage casual head nodding from all listeners, while Party Girl adds a cheeky hint of humour to the complex poppy-punk. The percussion deserves a gold star as it guides the rest of the instruments to a place of intimacy and power at the same time.
The Haze is a nice mixture of laid back and an adrenaline rush. It feels like it was produced naturally and without force and from this, it is easy to hear the enjoyment the band felt while making it. The quintet have a knack for producing mild punk tunes next to music appropriate for a lazy Sunday, without it seeming misplaced or too mismatched.
Very authentic, very satisfying and every bit as hazy as the album title may suggest.
Noel Mengel, Courier Mail, 13 June: GOLDEN HITS
Songs, memories, you never how they are going to come back to you, reward you, inspire you. Bands, too. I was thinking this at a show in Melbourne two weeks ago, with Tim Steward and his band We All Want To powering through their new album The Haze.
It was as explosive a rock set as I’ve seen all year. A number of the songs on The Haze are fuelled by memory, someone reflecting on all the twists and turns that led them to where they are now.
These songs look back on childhood, teen love, playing in bands, friends and lovers met and lost on the way. It’s not the songwriter stepping back and making something up: it all feels real, true, up close and personal. There are songs like Party Girls, with Steward reflecting on the ‘90s playing in Brisbane band Screamfeeder and taking their music out to the world, gleefully delivering lines like: “Hanging around bands is going to cause trouble’’.
The title The Haze refers to memories, summers recalled when “everything was shiny and golden’’.
Later Steward tells me the story.
“That first song Eileen Afternoon is about when I was a kid growing up in London,” he says. “You would go out on these beautiful summer days and the sun wouldn’t go down until late. It seemed to me there was an orange haze in the air. Looking back it was probably just pollution but it gave the summer that golden kind of quality.’’
There is a theme of reflection on (sometimes) simpler times and the people who moved through them: dreamlike memories (The Deep End); letters to lost friends (Wish You Didn’t Go Straight); beach scenes (Forever Now); reflections on what it took to get through to adulthood (Everybody’s Damaged).
“I certainly didn’t intend to write a concept album but a lot of the songs were written in a short period of time and these are the things I was thinking about,’’ Steward says. “I can’t be dishonest. I have to write from this standpoint of a guy getting older and looking back. When you are in your 20s you do things, form relationships, make decisions on the spur of the moment. These decisions and relationships can set up your whole life. It’s all so weird and random and I’m fascinated by that.
“Everybody’s Damaged is one of those lyrics that was kicking around for years. Every so often you go through the folders on your computer and go, ‘I remember that.’ It’s one of those slow-cooking songs on the back burner of the stove that finally gets there.
“It’s a simple message. Everyone has their things to deal with and you can look at them and not see all the complex stuff that’s going on inside.’’
Those kind of details, insights, layers, not to mention blazing guitars and cracking pop-rock melodies, are what make We All Want To such a good band, one that keeps growing and changing, now with three excellent albums to their credit.
Steward knows how lucky he is to have two such bands to play in, Screamfeeder, also still playing gigs, and We All Want To. The band has always featured the core of Steward, second singer and songwriter Skye Staniford and drummer Dan McNaulty, now with a new line-up with bassist Scott Mercer and guitarist Aaron Bool.
“Getting an independent record out in Australia takes a huge effort; it’s a lot of hours and expense but the response we are getting makes it all worth it,’’ Steward says.
“It’s great to get positive reviews but when friends who’ve followed your music for a long time come up and say, ‘These are the best songs we’ve heard in ages,’ that’s just as important to us. When people have seen you play 40 times or whatever and are so familiar with you, it’s nice that they love it.’’
Adrian Pedić, SomethingYouSaid.com, 10 June
The opening moments of The Haze set the pace nicely: “Eileen Afternoon” introduces the album with an irresistible riff, while the song slowly builds to its post-chorus release. It introduces listeners to the fuzz-driven sound that characterises The Haze, as well as the loud, live-sounding mix which makes the most of said fuzz.
What’s also immediately evident after the first track is that We All Want To always sound like they’re having fun – “Road To Ruin” is joyful in its undeniable cheer.
Even in the quieter, more sombre moments (“Remove the Arrow”), there’s a determination that prevents the album from slipping into malaise.
This shift in dynamic throughout The Haze also changes things up often enough that it doesn’t start to drag; however, given the tonal consistency of the album, it can sometimes bleed together at the seams, with the garage-rock sentiment being effectively well done, though at a certain point fatigue can hit – whether it be over-saturation of the genre or just the album.
However, the songs themselves are indicative of the strong song-writing of the band members. Given Tim Steward’s prominent contribution to Australian music (Screamfeeder, anyone?), it’s no surprise. Given that it’s We All Want To’s third release, it should be no surprise.
Yet the undeniable sense of feeling and place present within The Haze is nevertheless mesmerising. Essentially, the title of the album is also the most accurate description.
There’s irony to be found in that the album is a credit to an attention to detail and keen musical sensibilities. The titular ‘haze’ is not to be found in any form of lazy song-writing, but rather in superior craftsmanship that can evoke such a feeling with deceptively clever and thorough songs.
IT’S too late to stop now: just a few months after delivering blazing album Come Up Invisible, Tim Steward and friends in Brisbane band We All Want To are showing no signs of hiding or running out of steam with this equally high-grade eight-track selection. ..Steward’s razor-sharp rock ‘n’ roll philosophy ..the frankly jaw- dropping Mindless Damage, a power-pop tune complete with Townshendian-chord flourishes and a lyric to break your heart. Also ace: an acoustic version of Ramp Up the Bleeding, minus the volume but not the power. Courier Mail
Coming a mere seven months after their sophomore long player, this eight-track E.P. is the sassy sidekick to 2012’s outstanding Come Up Invisible and perfectly encapsulates the fervour and spirit within this collective. Led by indie stalwart Tim Steward (Screamfeeder) and co-vocalist Skye Staniford, We All Want To have presented No Signs as a transitional piece of work that showcases the best of an evolving band lineup. Reverbstreetpress.com
“Ramp Up The Bleeding” as a rock song is beautiful but in this minimal acoustic version the ache of the lyrics is amplified. I almost prefer this laid back version of the song and I want to hear Tim Steward croon more like this. No Signs is a vital companion to “Come Up Invisible”, you need to own this if you loved what We All Want To did on the album. It leaves me wondering what the band will do next. After hearing the amazing acoustic version of “Ramp Up The Bleeding” I’m left feeling that I’d love to hear more of that, but that is the beautiful thing about a band like We All Want To, they can do whatever the fuck they want because they are such accomplished songwriters. The future is a beautiful one for We All Want To and I look forward to hearing what happens with album number three. Heavy and Weird
The standout track by far is the opening number “Ramp Up The Bleeding” which is just a freedom run of the purest kind. Come Up Invisible is a flawless album from a band that is only just beginning ..you absolutely must own a copy of this album and then buy a copy for your mother and then your father and then for every single person you know Heavy and Weird
This is a band that demands your attention, but not with compromise.. Steward’s vocal and songwriting collaborations with Skye Staniford (push) the music into some deeply emotional territory.. Just add songs, 11 great ones, and you have one of the best records you’ll hear in 2012, from Brisbane or anywhere else. courier mail [pdf]
This is a completely sceneless record – sure, it gets loud, but it’s way too sweet to be part of any rock movement; at the same time, it’s far too raw to be claimed solely by folk or twee pop aficionados. It’s filled with the sort of smart, timeless and unpolished pop that never goes out of style scenestr.com.au
Combining the candid honesty of Frank Turner, the addictive pop melodies of The Naked and the Famous, and the haunting male/female harmonies of The xx, We All Want Toare, in a few words, bloody awesome. Do yourself a favour and buy, beg, steal or borrow this album. It is amazing. It is uplifting, charmingly unpolished and painfully honest. Review Score: 9.5/10 theaureview
We All Want To are in short really fucking incredible. They’re a band who can write glorious melodies, insightful lyrics & package it all together to create a sound that is both intelligent & fun. hotmenlookhotterinskinnyjeans
I have, for a long time thought Tim Steward wrote purely from intuition, and not by the rule book. Structures and tunes straight from his imagination and heart. The new WE ALL WANT TO LP is the best example yet of his big goofy imagination and pulse. Joyous, then aching, adolescent, then full blown empathy and care. From live shows I was lucky enough to be at, I thought, again, he’s part of something super special. Come Up Invisible trumps what I hoped for. Pure joy. Tim Rogers, July 2012
Words like epic and sprawling don’t do justice to WE ALL WANT TO’s beautifully written and recorded second album. Andrew Stafford, Pig City, July 2012
We All Want To are like teenagers released from a decade-long detention – bursting with energy and great ideas. They produce a smorgasbord of indie sounds that hint at dozens of influences without losing their own quirkiness.. There are tricks bands can play to fire people up, and then there’s just being too good to resist. Rave, March 2012
Earthy, emotional and sometimes heartbreakingly beautiful music that will restore your faith in the power of the long-playing record. Noel Mengel, The Courier Mail, July 2012
Loving it! Excited about new music finally! Other people love the velvets and big star more than me… And that’s a good thing cus we need it folks…
Scott kannberg / Spiral Stairs – Pavement, Preston School of Industry
We All Want To’s self titled album defies expectations, a deliberate attempt to confuse those who wish to dissect it, the message is ‘shut up and listen’. In a music world of image marketing and genre classification this is a pleasant surprise..
funny review on thedwarf.com.au
Not unlike Steward’s work in Screamfeeder, the record is defined by the ongoing struggle between evocative texture and meticulous songcraft – with the key difference of We All Want To prioritising the latter as opposed to the former.
Time Off – Album of the week 11/11/10
Either way, Steward wins: plainly, the dude’s quality control is impeccable, as I’ve still not heard a bad song attached to his name. In We All Want To, Steward has found like-minded souls with whom he can build upon an already outstanding career.
The Vine, album review Nov 2010
The Madmen. Screamfeeder. Solo work. We All Want To. Brisbanite Tim Steward is one dedicated musician, hopping from music project to music project. His latest creative outlet We All Want To sees the singer-songwriter pairing up with four other talented musicians to create energetic indie pop that has been labeled as Tim’s most ambitious work so far.
paper-deer.blogspot.com – October 2010
There are those bands in Brisbane that everyone knows about. The ones who gig weekend and week out, shamelessly self-promote and overcompensate for their general lack of any real musical talent. And those bands fall off the scene very quickly..
Collapse Board article Oct 2010
TIM STEWARD has released debut albums under local outfits Screamfeeder and The Whats as well as under his own name. MATT O’NEILL speaks to the Brisbane veteran about his latest band WE ALL WANT TO’s eponymous debut album..
Time Off article Oct 2010