at The Masque, Liverpool, 20.20.10

Strange Death Of Liberal England
We Walk In Straight Lines - Larsen B
The Masque

THE STRANGE DEATH OF LIBERAL ENGLAND: proud owners of one the best monikers this side of iLiKETRAiNS actually had some real competition in the interesting-and-thought-provoking-name front tonight. First up, LARSEN B, a band named in honour of an Antarctic ice sheet, (with a nod to British Sea Power), which met its fate at the hands of pesky old global warming . A four-piece purveying affecting folk-indie, they are a small-town band hailing from Wheathampstead, Hertfordshire. They also pride themselves on not belonging to a scene and this does seem to come across in their array of expansive, slow building songs. There is something of the rural to them as well, evident in the quite lovely Marilyn: a melodic cocktail of rumbling drums and haunting and relentless backing vocals. On the evidence of this set, whilst they may not embarking on anything pioneering or ground-breaking as such, they do have strong, purposeful tunes that set them apart room the dirge of many of their contemporaries. There is something of the ARCADE FIRE about them too, structurally slow-building with oft-repeated crescendoing choruses.

Following on from Larsen B were WE WALK IN STRAIGHT LINES, an interesting proposition of a band who describe the own self-titled EP as: '...a furious smorgasbord of hollow vindication'. They're evidently a thoughtful bunch then and this self-deprecation and introspection seems to have stood them in good stead as they clearly have ideas and variety aplenty judging from this set. They've been garnering much attention lately too with praise rolling in from the likes of TOM PETTY not to mention a support slot with FIELD MUSIC at this year's Sound City festival. The likes of Field Music may indeed be the band's closest musical relative too. The two definitely share a certain urgency which is apparent in their live performances. They also have common ground in a beguiling desire not rest on their laurels. They come across as eager to impress and demonstrate an obsessive will to please the listener with an experimental sound and continuous changes of pace.
What also stands out though is their ability to convey several ideas in one song. This does, on occasion, result in competing sounds pulling in opposite directions or moments of inspiration becoming lost in the overall fuzz. However, by-and-large this approach works and leaves the listener wanting to go home and explore all these different musical avenues further.


And then came STRANGE DEATH OF LIBERAL ENGLAND to the stage, a live music event eagerly anticipated by many a local muso. Another band whose ability to bring something different to the stage has made them stand out as a 'one to watch' for a while (for this reviewer, ever since narrowly missing out on them supporting THE EDITORS and FUJIYA & MIYAGI in the spring). A five-piece, they are fronted by Adam Woolway and his emotive shrieks. As a singer this inevitably makes him an acquired taste, it should also be noted that he is a man of perplexing follicle arrangement. Woolway's unusual tones do add to urgency to TSDOLE's tunes though. Perhaps in a different outfit his style would be seen as a weakness, yet within the likes of Shadows from new album Drown Your Heart Again, it somehow seems very appropriate. The first thing that struck was that media comparisons to THE PIXIES may have been closer to the mark than was immediately apparent. This may be to do with the frenetic energy of the TSDOLE's live show, which gives them that fuzziness and edginess that worked so well for Frank Black's lot. They know how to put on a performance too, aided by affecting lyrics, there is much drama to their music. A five-piece with an obvious enthusiasm for performing live, they are the sort of band you really tune-in to and want to take seriously. Whether it's the lyrics or the music, both seem to carry a certain importance and the audience were listening intently at the absorbing presence before them. For all the seriousness of the content, amongst heavy themes of death and apocolypse, there is a sense of fun to the group and they rarely evoke boredom.
PeTE ROBINSON

Zanzibar, 29.10.20

TONE PUPPETS
Zanzibar

Having seen this band perform in the same venue a couple of months earlier, I sort of knew what to expect. That is, uniformly-logoed polo shirts, songs of a funky-pyschedelic disposition and a real feeling of a 1980s, baggy-era 'Madchester' flashback. This isn't to say though that the TONE PUPPETS are mere copycats and comparisons to the likes of Primal Scream and their ilk should be seen as complimentary. In songs such as Wicked Curse and Strange Signs, they expertly blend their apparent '60s influences too (for they do occasionally bring to mind the likes of The Doors and Led Zeppelin) with the chiming guitar loops not a million miles away from John Squire's melodic wizardry with The Stone Roses.

To this end, the band's sound isn't purely derivative by any means. In a sense they have a trump card in the form of a unique mixture of both Spanish and eastern influences which resonate through numbers such as Late Nights and Indian Kind. This brings innovation to their rhythms and may be behind some interesting and unusual song structures. This gives them a fresh sounding edge and serves to keep the listener guessing. Lyrically, they have plenty to offer as well and in this respect lead singer Mark Mulhaney does indeed have something of Jim Morrison about him. Using an upbeat and driven tempo to frame claustrophobic, obscure and sometimes haunting words, their set has an intrigue to it, leading one to think they perhaps a little more than just a good band.

They have swagger as well and although they don't particularly stand out visually, Mulhaney does have stage presence. Now the resident band of Zanzibar's The Lovely Job night, their distinctive sound ties the night together well and the night can be recommended as time well spent. This regularly spot has allowed Tone Puppets to hone their sound and a result they come over as a very tight and accomplished four-piece. I implore you to see this band if you get a chance, as they have the talent to play to bigger audiences and with any luck will be doing just that soon enough.
PeTE ROBINSON