TEENAGERS IN TOKYO
Blue Juice
Aussie BBQ, Heebie Jeebies
Shockingly, Heebie Jeebies' Saturday afternoon Aussie BBQ actually had the weather to match. Apt for no one more than Sydney-based BLUE JUICE. Actually sounding like a product of sunshine itself, this is good-time, funk-tinged rock aimed at bringing a smile to the chops and a stomp to the feet. Used to playing to bigger crowds in their native land than the 30-odd crammed into the Heebies courtyard, from the off they were alive with an enthusiasm befitting their style. They play songs that make it almost impossible not to move, their biggest hit Vitriol being the perfect example. Centred squarely on repetition of a shouty and oh-so-catchy chorus, this song doesn't leave you in hurry and would make an excellent access point for newcomers. In terms of accessibility itself, I was not alone in being turned onto Blue Juice by this gig. What did come to mind though was the fact that this is music for the 'here and now' or even the 'there and then', it was very easy to leave these songs behind once the fun was over. Perhaps this points to the fact the band lack the depth and the ideas to stand up to repeated listening. To this end, at no point would I consider the prospect of buying a CD. What can't be disputed though is that Jack Stone's boys know how to create a buzz. Immediately following Blue Juice were an altogether different proposition. One part Yeah, Yeah, Yeahs, two parts CSS and ludicrously stylish in all, this is a group that reeked of style over substance, on first sight at least. Fortunately for me and my rapidly warming beer, these fears were soon allayed. In stark contrast to the laid-back atmosphere preceding them, TEENAGERS IN TOKYO oozed the kind of cool that looks effortless but is in all likelihood cultivated. Yet, behind the groove and style of the likes of Peter Pan and Blackbones there seemed an underlying focus and application. Lead vocalist Samantha Lim even demonstrated a professionalism to go along with the those decidedly punk-edged vocals. She is an obvious asset to the band and seems to have the charisma to go with the talent but she is by no means carrying the band. In fact, with bouncing bass and sweet harmonies, the real excitement comes from the dynamic of the group as a whole. Now based in Shorditch, they also have an intensity which comes across like a mission statement ensuring that you're likely to hear more of them.
Sunday, 13 June 2010
More from Liverpool Sound City, Saturday the 22nd.
MORNING PARADE
O2 Academy 2
MORNING PARADE; a band of growing reputation, of an understated indie charm and a perhaps worrying, passing likeness to latter day Coldplay. They were also at the O2 Academy on a balmy Saturday night, entertaining a modest but appreciative crowd, in support of Sunshine Underground. They line-up as a 5-piece in the traditional sense, encompassing a keyboardist within the ranks and together play rock of a gentle nature. Their sound, though not likely to provoke a mosh-pit any time soon, is decidedly more upbeat than the aura of the band would suggest. Aesthetically, there is nothing remarkable about them; all jacket and jean-clad lads and it's fair to extend this to say that this isn't a show that will immediately grab the attention. What they do have though in songs such as Headlights are signs of potential. A slow-burner it may be but this one doesn't seem to dawdle like some of the others and within it the band seem to have found a formula for letting the subtleties of their ideas through. Accidents and Emergencies is another that evokes interest, simply through being a nice tune with a lovely sweeping chorus, giving further reason to believe that Morning Parade may be one worth further investigation. The problem they have though is that at times they do sound somewhat sparse and when this happens the melody suffers, as if they somehow don't quite make enough of the tools at their disposal.
O2 Academy 2
MORNING PARADE; a band of growing reputation, of an understated indie charm and a perhaps worrying, passing likeness to latter day Coldplay. They were also at the O2 Academy on a balmy Saturday night, entertaining a modest but appreciative crowd, in support of Sunshine Underground. They line-up as a 5-piece in the traditional sense, encompassing a keyboardist within the ranks and together play rock of a gentle nature. Their sound, though not likely to provoke a mosh-pit any time soon, is decidedly more upbeat than the aura of the band would suggest. Aesthetically, there is nothing remarkable about them; all jacket and jean-clad lads and it's fair to extend this to say that this isn't a show that will immediately grab the attention. What they do have though in songs such as Headlights are signs of potential. A slow-burner it may be but this one doesn't seem to dawdle like some of the others and within it the band seem to have found a formula for letting the subtleties of their ideas through. Accidents and Emergencies is another that evokes interest, simply through being a nice tune with a lovely sweeping chorus, giving further reason to believe that Morning Parade may be one worth further investigation. The problem they have though is that at times they do sound somewhat sparse and when this happens the melody suffers, as if they somehow don't quite make enough of the tools at their disposal.
LIVE PREVIEW
STEVE MASON
Static, 21st June
As a pioneer of the late '90s 'Folktronica' movement with his previous carnation and cult heroes The Beta Band, STEVE MASON's forthcoming show at The Static Art Gallery will do much to excite fans from across the Northwest. The Beta Band themselves are a group whose influence and importance to alternative and avant garde music should not be underestimated. From 1999's self-titled long play début, to 2001's Hot Shots II, through to 2004's swansong and personal favourite Heroes to Zeros, Mason deserves genuine credit for helping to shape the landscape of what's good about British indie today. Through the Beta Band he has a highly impressive and credible body of work which has not only received that mixed blessing of 'critical acclaim' but also bothered the album charts of the day to boot. Add to this as well the Three E.P.s Collection which many devotees consider to boast the band's best work. Since the band's demise in August '04, Mason has released work under various pseudonyms including King Biscuit Time and Black Affair but has most recently reverted back to his given name for the purpose of his new album Boys Outside, released in May of this year. Utilising the prowess of producer Richard X, the album leads with single All Come Down and is likely to feature at Static on the 21st. A gig for admirers new and old alike.
Pete Robinson
Static, 21st June
As a pioneer of the late '90s 'Folktronica' movement with his previous carnation and cult heroes The Beta Band, STEVE MASON's forthcoming show at The Static Art Gallery will do much to excite fans from across the Northwest. The Beta Band themselves are a group whose influence and importance to alternative and avant garde music should not be underestimated. From 1999's self-titled long play début, to 2001's Hot Shots II, through to 2004's swansong and personal favourite Heroes to Zeros, Mason deserves genuine credit for helping to shape the landscape of what's good about British indie today. Through the Beta Band he has a highly impressive and credible body of work which has not only received that mixed blessing of 'critical acclaim' but also bothered the album charts of the day to boot. Add to this as well the Three E.P.s Collection which many devotees consider to boast the band's best work. Since the band's demise in August '04, Mason has released work under various pseudonyms including King Biscuit Time and Black Affair but has most recently reverted back to his given name for the purpose of his new album Boys Outside, released in May of this year. Utilising the prowess of producer Richard X, the album leads with single All Come Down and is likely to feature at Static on the 21st. A gig for admirers new and old alike.
Pete Robinson
PREVIEW
PARAFFIN OIL SHOP
It might not be rock and roll to come from Widnes (Marilyn Manson screaming 'Heeelllooo Wiiidneeesss!!!' anyone?) but PARAFFIN OIL SHOP are doing it. Also, naming your band after a pub on Edge Lane, one of the very arteries of Liverpool, does sort of readdress the balance. Introductions first, the group consist of lead singer Daniel Pye, guitarist AJ Rathbone, bassist Kieran Joyce and Andrew Finney on drums. They are currently combining work on new material with extensively touring the Northwest and could be seen recently in venues such as Manchester's Moho Live and the Night And Day Café. Oh, and their MySpace page boasts having recently had their first ever pit at a gig. Moving on to what really matters though, the songs and the band have some obvious strong suits. They have solid material and Life For A White Light in particular stands out. It's melodic indie done well, engulfing the listener with an enticing guitar loop within thirty seconds and pushing on from there. Throughout the likes of Angel And Elephant, Traffic and Towers and Sky a keen sense of song-writing skill is evident and Pye's Brian Malko-esque vocals lend well to the narrative style of the lyrics. They grow on you too with repeated listens, being layered to good affect. Fans of Thirteen Senses and Shady Bard should certainly investigate further.
Pete Robinson
It might not be rock and roll to come from Widnes (Marilyn Manson screaming 'Heeelllooo Wiiidneeesss!!!' anyone?) but PARAFFIN OIL SHOP are doing it. Also, naming your band after a pub on Edge Lane, one of the very arteries of Liverpool, does sort of readdress the balance. Introductions first, the group consist of lead singer Daniel Pye, guitarist AJ Rathbone, bassist Kieran Joyce and Andrew Finney on drums. They are currently combining work on new material with extensively touring the Northwest and could be seen recently in venues such as Manchester's Moho Live and the Night And Day Café. Oh, and their MySpace page boasts having recently had their first ever pit at a gig. Moving on to what really matters though, the songs and the band have some obvious strong suits. They have solid material and Life For A White Light in particular stands out. It's melodic indie done well, engulfing the listener with an enticing guitar loop within thirty seconds and pushing on from there. Throughout the likes of Angel And Elephant, Traffic and Towers and Sky a keen sense of song-writing skill is evident and Pye's Brian Malko-esque vocals lend well to the narrative style of the lyrics. They grow on you too with repeated listens, being layered to good affect. Fans of Thirteen Senses and Shady Bard should certainly investigate further.
Pete Robinson
PREVIEW
THE RED SUNS
Managed by Deltasonic and hailing from both Liverpool and The Wirral respectively, word is that this is a band with a real future. Describing themselves as alternative, ambient rock, THE RED SUNS are indeed causing something of a stir in the northwest at them moment. In order to help that proverbial snowball take affect, they've really been covering some miles of late, including a jaunt up to the extremities of the Northwest to play at the Kendall Calling Festival. The band themselves consist of David Dowler, Warren Adjeriou, Matt Dowler and Jim Sharrock and are certainly a band who have a firm idea of their sound. Though perhaps a little reticent to cite their inspiration (their MySpace page list influences as simply: 'Only the finest'), fans of '80s Brit invasion rock pay attention though as there are definite nods to Echo And The Bunnymen, early U2 and perhaps even a dash of The Jesus And Marychain to be found here. Though quite where the 'ambience' fits in, its hard to say, maybe they're building towards that.
Pete Robinson
Managed by Deltasonic and hailing from both Liverpool and The Wirral respectively, word is that this is a band with a real future. Describing themselves as alternative, ambient rock, THE RED SUNS are indeed causing something of a stir in the northwest at them moment. In order to help that proverbial snowball take affect, they've really been covering some miles of late, including a jaunt up to the extremities of the Northwest to play at the Kendall Calling Festival. The band themselves consist of David Dowler, Warren Adjeriou, Matt Dowler and Jim Sharrock and are certainly a band who have a firm idea of their sound. Though perhaps a little reticent to cite their inspiration (their MySpace page list influences as simply: 'Only the finest'), fans of '80s Brit invasion rock pay attention though as there are definite nods to Echo And The Bunnymen, early U2 and perhaps even a dash of The Jesus And Marychain to be found here. Though quite where the 'ambience' fits in, its hard to say, maybe they're building towards that.
Pete Robinson
More from Liverpool Sound City, Saturday the 22nd.
MARRIED TO THE SEA
Old Rapid
Strolling down Seel Street on Saturday afternoon allowed one to take in the Sound City atmosphere and this was epitomised no more than by the Rapid Store roar of Liverpool's own MARRIED TO THE SEA. Combining a penchant for a saxophone with unusual and disparate influences (Leonard Cohen by way of The Replacements), they not only concoct a curious musical blend but also created genuine excitement amongst passers-by. Plying their trade with great zeal, they were helped not hindered by the novel experience of playing behind the shop front window which was once the front of hardware store Rapid. Behind glass but with speakers outside to bridge the gap with the audience, this created a kind of eerie Madame Tussauds-come-to-life, museum affect which played into the hands of the group's style. Sounding as they do at times, like the soundtrack to a David Lynch flick, this was performance that really worked, visually as well as aurally. Right place at the right time this may have been but it may have gone a long to finding the band a new set of genuine fans. In numbers such as Metropolitan and Quite A Spell there lay a dearth of nuance and the former in particular is reminiscent of The Horrors' Count In Fives. Consisting of Nick Duckett, Greg McCoy, Simon Turner and Sam Walkerdine, they've recently released E.P. Hello Digger and this may well be worth a little exploration to see whether this intriguing performance was more than a mere fluke.
Pete Robinson
Old Rapid
Strolling down Seel Street on Saturday afternoon allowed one to take in the Sound City atmosphere and this was epitomised no more than by the Rapid Store roar of Liverpool's own MARRIED TO THE SEA. Combining a penchant for a saxophone with unusual and disparate influences (Leonard Cohen by way of The Replacements), they not only concoct a curious musical blend but also created genuine excitement amongst passers-by. Plying their trade with great zeal, they were helped not hindered by the novel experience of playing behind the shop front window which was once the front of hardware store Rapid. Behind glass but with speakers outside to bridge the gap with the audience, this created a kind of eerie Madame Tussauds-come-to-life, museum affect which played into the hands of the group's style. Sounding as they do at times, like the soundtrack to a David Lynch flick, this was performance that really worked, visually as well as aurally. Right place at the right time this may have been but it may have gone a long to finding the band a new set of genuine fans. In numbers such as Metropolitan and Quite A Spell there lay a dearth of nuance and the former in particular is reminiscent of The Horrors' Count In Fives. Consisting of Nick Duckett, Greg McCoy, Simon Turner and Sam Walkerdine, they've recently released E.P. Hello Digger and this may well be worth a little exploration to see whether this intriguing performance was more than a mere fluke.
Pete Robinson
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