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Lambert, bassist/co-vocalist Titus Brown and everybody’s soon-to-be fave new drummer Jim Crook moved to Atlanta in neighbouring Georgia in 2004, attracted by the bohemian state capital’s liberal atmosphere (It’s the New York of the South) and a fertile music scene that has spawned the likes of Deerhunter and Black Lips.

They all kind of new each other back from Tuscaloosa, Alabama but they have never really spoken until they all randomly and unintentionally met at a show years later and hundreds of miles away in Atlanta at the Earl.
They call it faith, since they were soon jamming in whatever basement they could find.

All the Saints came into existence a year later, their moniker inspired partly by an old Verbena song and partly by an outsized fleur-de-lys saints symbol which a tramp had spraypainted gold and sold to the nascent combo at one of their early gigs. “It’s kind of a tongue-in-cheek fuck you,” laughs Lambert, he and Brown having been raised as strict Christians. “We in the very, very heart of the Bible Belt but there’s nothing ‘all the saints’ about our music!”

Lambert, a committed Anglophile, was turned on to My Bloody Valentine, Ride and the Jesus and Mary Chain by an indie radio station his elder sister used to tape in the early ‘90s - these influences are clear in the band’s dark and distinctly English-flavoured shoegaze aesthetic.

 
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