Live/Album Review BULBS - On - Capstone Theatre, Liverpool

BULBS - ON Capstone Theatre, Liverpool

If you're looking for a catchy chorus or a 3 minute pop-blast, you won't find it here. But then, if you looking for a catchy chorus or a 3-minute pop song, then Bulbs are wasted on you. The Liverpool-based 5-piece were out on ceremony in central Liverpool's Capstone Theatre to launch their debut album 'On', this friday evening. Not only are there no catchy indie- kid-friendly choruses to be found here but there are very few lyrics whatsoever. Aside from the odd political aside or prophetic forefast on the future of robotics (Frankincensed), the band prefer to put confidence in their bolshie and adventurous guitar scripts. This is constructive rock at it's purest.

It would though, be overly simplistic to give the impression that Bulbs carve out only niche tunes for the initiated, for their main strength is actually the diversity of their work. There are strong influences that shine through though, the most prominent of these being King Crimson. Within numbers such as 'Switch' and 'USA' there is even a hypnotic groove that brings to mind the progressive metal of the Tool, who, incidentally, toured with King Crimsom at the turn of the millenium. On other numbers Bulbs flex their dynamic muscle and ability to change modes without losing their collective identity or style. In 'Illuminate' there is an inventiveness far enough away from traditional prog rock associations that comparisons with The Durutti Column would not be entirely out of place; Neil Campbell's almost flamenco-style picking not far removed from that of Vini Reilly.

The impression is, that this is a collective who value thinking about and working at their art. The construction of each track as an individual component part and the album as a whole denotes an attention to detail that invites repeated listens. It may also point to a slightly rebellious attitude to the digital world of downloads. They are an album band. Every choice also seems deliberate and purposeful. The album and the show both begin with the unerringly calm, slow build of 'Lament', it was crafted as an introduction. They are also a live band though and the questions posed by limited information in the song titles and small amount of spoken word within, are answered in part by the live performance. They have an element of mystery, which could never be solved by downloading a single track.

What this particular venue gave them, is the extra limb of a visual backdrop that small, bar venues would not allow. Sonny's thematic array of striking and arresting slides not only encourages the soundtrack/soundscape remit of the band but also lends context to the album, which aside from a couple of minor alterations is faithfully adhered to by this night's set list at the Capstone. If the visual elements hint at a certain attention to detail then it is probably also true to say that Bulbs do come across as students of music and there is a certain academic feel to their approach. This is most apparent in the relationship between Andy Maslivec's driving bass guitar and Neil Campbell's rhythm and lead which, combined, create an intriguing focal point for the listener. This is to be expected of band who have made the decision to take the emphasis off lyrical expression. What isn't expected though is the shifting way in which the two instruments compete and duel on numbers such as 'Switch', which sees a bassline frenetically bidding for freedom whilst Campbell puts away the melodic picking and brings out the axe! Whereas, on others such as 'Illuminate', Campbell's classical style comes to the fore but is delicately but tellingly complemented by Maslivec's brilliantly punchy bass. In the hands of others, these techniques may stretch a unit beyond it's scope but for Bulbs the contrast of the two modes only serve to highlight the impact of the other. For this reason, the only real way to appreciate Bulbs is to listen to the album the old- fashioned way; from front to back, start to finish. And in the right order.

Pete Robinson

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