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
Saturday, 13 November 2010
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
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
Wednesday, 25 August 2010
STEVE MASON
Static Art Gallery
Back to Bido HQ for a potential gem of a night: STEVE MASON, the driving force behind the Beta Band and surely one the most distinguished and accomplished songwriters Static has ever opened its doors to. Entering the stage to an appreciative crowd, Mason kicked off the show with sparseness and understatement, breaking the momentary silence afforded to him with the bareness of his voice alone. In fact, for the entirety of the first two songs this really was a solo effort, no band in sight just Mason, the stage and the audience. The effect of this ploy soon became clear however, as by gradually integrating the band into proceedings, Mason was able to showcase the layering of his song craft and emphasise the attention to detail that has made his brand of Electro-soul distinctive. Throughout his song writing career, Mason has in actuality been at his most poignant and meaningful when this attention to detail has been at its most acute. Perhaps never one for sweeping epics or contagious riffs, the beauty of the Beta Band was also the nuance.
Early on he brought out the quite brilliant (and one time Trigger Happy TV mainstay) Dr Baker, a song still sounding fresh and innovative over a decade on:- beautiful. Much of the rest of the set though was comprised of his newest material taken from spring's Boys Outside, an album steeped in lyrical melancholy, stemming from the turbulence in Mason's own life over the last couple of years. The fact that pain and misery are never entirely detached from inspiration and creativity is evident here. Offerings such as Understand My Heart are not only close to the bone in terms of their significance to their maker's personal life but also represent what is without a doubt some Mason's finest solo work. Title track Boys Outside has the melodic piano and funky beats of Beta Band number but offsets this with hauntingly inward-looking lyrics, but it works to great affect. Whilst there is a decidedly dark theme to this album, it still remains the closest he has come to revisiting earlier work but is also something of a return to form after the Black Affair project.
However, whilst this may not be a huge departure in sound from the Beta Band, Mason's ability to pen meaningful and innovative pop music still remains. But at the same time there is an inescapable feeling that the formula hasn't evolved enough and subsequently the music has lost a little of the edge and forward-looking perspective it once carried. Therefore Mason's difficulty may lie in attracting new listeners to his music, without them first being initiated into the Beta Band back catalogue. For those that have been with him all the way though, Steve Mason back in Liverpool was a more than welcome sight. Despite bemoaning Static's lack of lights, the man himself actually reserved praise for the 'Do-It-Yourself' local music scene. Highlight of the night? Mason going to town on an unsuspecting cowbell.
Pete Robinson
Static Art Gallery
Back to Bido HQ for a potential gem of a night: STEVE MASON, the driving force behind the Beta Band and surely one the most distinguished and accomplished songwriters Static has ever opened its doors to. Entering the stage to an appreciative crowd, Mason kicked off the show with sparseness and understatement, breaking the momentary silence afforded to him with the bareness of his voice alone. In fact, for the entirety of the first two songs this really was a solo effort, no band in sight just Mason, the stage and the audience. The effect of this ploy soon became clear however, as by gradually integrating the band into proceedings, Mason was able to showcase the layering of his song craft and emphasise the attention to detail that has made his brand of Electro-soul distinctive. Throughout his song writing career, Mason has in actuality been at his most poignant and meaningful when this attention to detail has been at its most acute. Perhaps never one for sweeping epics or contagious riffs, the beauty of the Beta Band was also the nuance.
Early on he brought out the quite brilliant (and one time Trigger Happy TV mainstay) Dr Baker, a song still sounding fresh and innovative over a decade on:- beautiful. Much of the rest of the set though was comprised of his newest material taken from spring's Boys Outside, an album steeped in lyrical melancholy, stemming from the turbulence in Mason's own life over the last couple of years. The fact that pain and misery are never entirely detached from inspiration and creativity is evident here. Offerings such as Understand My Heart are not only close to the bone in terms of their significance to their maker's personal life but also represent what is without a doubt some Mason's finest solo work. Title track Boys Outside has the melodic piano and funky beats of Beta Band number but offsets this with hauntingly inward-looking lyrics, but it works to great affect. Whilst there is a decidedly dark theme to this album, it still remains the closest he has come to revisiting earlier work but is also something of a return to form after the Black Affair project.
However, whilst this may not be a huge departure in sound from the Beta Band, Mason's ability to pen meaningful and innovative pop music still remains. But at the same time there is an inescapable feeling that the formula hasn't evolved enough and subsequently the music has lost a little of the edge and forward-looking perspective it once carried. Therefore Mason's difficulty may lie in attracting new listeners to his music, without them first being initiated into the Beta Band back catalogue. For those that have been with him all the way though, Steve Mason back in Liverpool was a more than welcome sight. Despite bemoaning Static's lack of lights, the man himself actually reserved praise for the 'Do-It-Yourself' local music scene. Highlight of the night? Mason going to town on an unsuspecting cowbell.
Pete Robinson
SHELLSUIT
DEAD COWBOYS
Williamson Tunnels
Although the DEAD COWBOYS don’t cite The Smiths as an influence, lead singer Dave Jackson does a mean Morrissey. The mannerisms and the swagger are all there even if the vocals aren’t a perfect match. Musically, the band have looked to the likes of Johnny Cash, The Fall and T-Rex for their inspiration. This may be telling too, as within tracks such as Relent and Neighbour in particular, there is an apparent fusion of decidedly British and distinctively American sounds. Taking the jingle-jangle of British invasion rock and the rhythmic sensibilities of Americana, there is plenty of interest here. This marriage of genres doesn’t seem to have happened by chance either, the band interestingly dubbing their style as ‘Unamericana’. A five-piece, the Dead Cowboys typically play guitar-loop heavy indie rock songs. Jackson, for his part, brings largely narrative lyrics rooted in the blues and this often gives their sound a certain melancholic intrigue. There other moments where their debt to The Fall is clear for all to see. This is quite possibly their biggest shortfall though. The guitar pieces, whilst melodic and contagious enough, seem to be trying to emulate the lo-fi, one level effect of Mark E Smith’s best work. Consequently, tracks occasionally bleed into one another, perhaps hinting at the limited scope of the band. They do have quality though and there is enough on show to make them one worth investigation.
Taking to the stage at nine-thirty, top-billing SHELLSUIT provoke a swift exudus from the bar. Attention is immediately drawn to the Liverpool foursome’s attire. Dinner jacket-clad, they enter with a smile and in the case of lead singer a dubious blonde hairpiece. On the face of it Lee Hurst in a wig isn’t all that appealing. But once the blonde mop comes off two or three songs into the set, it’s...erm...just Lee Hurst. Follicle-based jibes aside, this is a band creating genuine excitement at the moment and in the cavernous wonder of the Williamson Tunnels, there seemed to be a real buzz of anticipation. Taking a look at their website will tell you that Shellsuit aren’t just a band but a project, a concept even. Then there’s actor Budgie and poet Farquar under the Shellsuit banner, the latter introducing the band tonight by way of an anti-American rant. There is also a written mission statement of sorts, espousing multi-culturalism and pointing out the ludicrous nature of stereotypes. Musically, they are fresh sounding and vocally led. The songwriting itself seems purposeful and a little unusual. A common theme of sparse arrangements is complemented by subtle and pleasing guitar licks. Their strongest suit though, is the lyrics. They are a band with much to say. Dealing with issues such as patriotism and immigration and specifically in the excellent Iraqi’s In Shellsuits, the relationship between the two. Elsewhere, the subject matter becomes more introspective, Split Brain And The Whole Mind is a much more inward-looking affair. It may also be their most instantly memorable song, with a ruthlessly infectious tune and the mesmerizing repetition of the short chorus: ‘This brain’s got a brain of its own!’. Curiously, there are no obvious comparisons that spring to mind here and they certainly don’t lack originality, already demonstrating within these thirteen songs that are brimming with ideas. It’s difficult to say why but this band stand out, they’ve certainly got something about them. And this is one way of bringing the Shellsuit back.
Pete Robinson
DEAD COWBOYS
Williamson Tunnels
Although the DEAD COWBOYS don’t cite The Smiths as an influence, lead singer Dave Jackson does a mean Morrissey. The mannerisms and the swagger are all there even if the vocals aren’t a perfect match. Musically, the band have looked to the likes of Johnny Cash, The Fall and T-Rex for their inspiration. This may be telling too, as within tracks such as Relent and Neighbour in particular, there is an apparent fusion of decidedly British and distinctively American sounds. Taking the jingle-jangle of British invasion rock and the rhythmic sensibilities of Americana, there is plenty of interest here. This marriage of genres doesn’t seem to have happened by chance either, the band interestingly dubbing their style as ‘Unamericana’. A five-piece, the Dead Cowboys typically play guitar-loop heavy indie rock songs. Jackson, for his part, brings largely narrative lyrics rooted in the blues and this often gives their sound a certain melancholic intrigue. There other moments where their debt to The Fall is clear for all to see. This is quite possibly their biggest shortfall though. The guitar pieces, whilst melodic and contagious enough, seem to be trying to emulate the lo-fi, one level effect of Mark E Smith’s best work. Consequently, tracks occasionally bleed into one another, perhaps hinting at the limited scope of the band. They do have quality though and there is enough on show to make them one worth investigation.
Taking to the stage at nine-thirty, top-billing SHELLSUIT provoke a swift exudus from the bar. Attention is immediately drawn to the Liverpool foursome’s attire. Dinner jacket-clad, they enter with a smile and in the case of lead singer a dubious blonde hairpiece. On the face of it Lee Hurst in a wig isn’t all that appealing. But once the blonde mop comes off two or three songs into the set, it’s...erm...just Lee Hurst. Follicle-based jibes aside, this is a band creating genuine excitement at the moment and in the cavernous wonder of the Williamson Tunnels, there seemed to be a real buzz of anticipation. Taking a look at their website will tell you that Shellsuit aren’t just a band but a project, a concept even. Then there’s actor Budgie and poet Farquar under the Shellsuit banner, the latter introducing the band tonight by way of an anti-American rant. There is also a written mission statement of sorts, espousing multi-culturalism and pointing out the ludicrous nature of stereotypes. Musically, they are fresh sounding and vocally led. The songwriting itself seems purposeful and a little unusual. A common theme of sparse arrangements is complemented by subtle and pleasing guitar licks. Their strongest suit though, is the lyrics. They are a band with much to say. Dealing with issues such as patriotism and immigration and specifically in the excellent Iraqi’s In Shellsuits, the relationship between the two. Elsewhere, the subject matter becomes more introspective, Split Brain And The Whole Mind is a much more inward-looking affair. It may also be their most instantly memorable song, with a ruthlessly infectious tune and the mesmerizing repetition of the short chorus: ‘This brain’s got a brain of its own!’. Curiously, there are no obvious comparisons that spring to mind here and they certainly don’t lack originality, already demonstrating within these thirteen songs that are brimming with ideas. It’s difficult to say why but this band stand out, they’ve certainly got something about them. And this is one way of bringing the Shellsuit back.
Pete Robinson
Mike Crossey Interview, 8.8.10
Mike Crossey Interview, 8.8.10
Keith’s Wine Bar, Lark Lane
Mike Crossey sits back and sips gently at a coffee in Lark Lane’s Keiths. He comes across as modest, unassuming even, and within seconds of opening his mouth it is obvious that he cares about music. Really cares. Belfast-born and Liverpool-raised, Crossey currently splits his time between his London home and his south Liverpool base, near to the newly-renovated Motor Museum recording studio just off the Lane itself. The last few years as a producer have seen him develop something of a reputation within the record industry. It’s probably true to say that he has become seen as someone who can give a recording some life. He brings a rough feel to an album, perhaps even using the studio to bridge the gap between the live show and the packaged sound. Of late, Crossey has been particularly busy, putting in 15-hour shifts to lend his stylings to a number of different projects. One such project has seen him working with All Man Kind, an Australian band currently doing well in the states, who Crossey describes as sounding like early U2. Perhaps more enticingly though, the last five weeks, have been spent in Ray Davies’ London studio Konk working on the former Kinks front man’s new release, a compilation album of some the band’s more overlooked songs. This is obviously something he is excited about as he divulges some of the various guests working on the project. Davies is collaborating with Mumford And Sons (a band Crossey himself is keen on), Metallica and even Bon Jovi, amongst others. Although, it should be said the latter’s inclusion was revealed with at least mild disdain.
The subject soon moved on to an altogether gloomier topic though, as the state of the music industry as a whole was brought into question. When broaching the issue of digital editing and its overwhelming prevalence in the last decade, Crossey was refreshingly earnest with his diagnosis. He views the overuse of the technique as a ‘microwave meal compromise’ and stated‘record companies now, are looking to make everything cheaper and faster’. Quite a damning indictment, putting distance between himself and the major labels such as Universal. This also denotes a sort of ‘us versus them’ attitude from Crossey, ‘us’ being the pro-music fans, ‘them’ being the anti-music bigwigs. Cliched maybe but hard to deny. It also confirms what perhaps we already knew, that the big labels choose style over substance and are motivated by greed.‘The labels still don’t seem to be getting it and they wonder why the kids aren’t buying the CDs’ , ventures Crossey ruefully. As idealistic as this all may seem, he comes across as a bastion of hope for a moribund industry whose decline has been well publicized, if it doesn’t change soon anyway. If this is the problem though, what is the answer? Well, Crossey feels a glance at the past can reveal a lot. ‘If you look at previous decades, they are remembered for the latest technology that was around at the time. In the‘60’s it was panning, in the‘80’s it was digital reverb and the last decade it has been digital editing, and it’s been overdone. I think we will look back and laugh’. The idea of tinny speakers and frequencies being squashed to ‘nth’ degree in order to suit the iPod age may then, just be a phase. But can we be sure that the people writing the cheques will learn from their mistakes? Or will the record companies just become more determined to claw back the money they’ve lost, hemorrhaged through dwindling sales and a now unquenchable thirst for free music? Crossey feels they will have to change: ‘They spent too much and no longer make enough, so they’ll collapse in on themselves’.
So if the monsters will sleigh themselves, then the biggest challenge may be trying to win over the next generation of kids who don’t know what a good record should sound like. Again though, this comes down to an obsession with speed and convenience and not just in the context of iPhones and file sharing; the recording equipment itself often suffers. ‘The best equipment is the old stuff, ‘60’s microphones that aren’t made anymore but could cost you £50,000 now. So instead you get cheap ones from China. The craftwork just isn’t there now’. He’s no technophobe though and by the sound of it the newly-renovated Motor Museum is very much alive to technological innovations since Crossey took over the reigns in April. It’s all about the balance though, and the industry needs to look to the likes of this man and focus on quality. And quality alone.
Keith’s Wine Bar, Lark Lane
Mike Crossey sits back and sips gently at a coffee in Lark Lane’s Keiths. He comes across as modest, unassuming even, and within seconds of opening his mouth it is obvious that he cares about music. Really cares. Belfast-born and Liverpool-raised, Crossey currently splits his time between his London home and his south Liverpool base, near to the newly-renovated Motor Museum recording studio just off the Lane itself. The last few years as a producer have seen him develop something of a reputation within the record industry. It’s probably true to say that he has become seen as someone who can give a recording some life. He brings a rough feel to an album, perhaps even using the studio to bridge the gap between the live show and the packaged sound. Of late, Crossey has been particularly busy, putting in 15-hour shifts to lend his stylings to a number of different projects. One such project has seen him working with All Man Kind, an Australian band currently doing well in the states, who Crossey describes as sounding like early U2. Perhaps more enticingly though, the last five weeks, have been spent in Ray Davies’ London studio Konk working on the former Kinks front man’s new release, a compilation album of some the band’s more overlooked songs. This is obviously something he is excited about as he divulges some of the various guests working on the project. Davies is collaborating with Mumford And Sons (a band Crossey himself is keen on), Metallica and even Bon Jovi, amongst others. Although, it should be said the latter’s inclusion was revealed with at least mild disdain.
The subject soon moved on to an altogether gloomier topic though, as the state of the music industry as a whole was brought into question. When broaching the issue of digital editing and its overwhelming prevalence in the last decade, Crossey was refreshingly earnest with his diagnosis. He views the overuse of the technique as a ‘microwave meal compromise’ and stated‘record companies now, are looking to make everything cheaper and faster’. Quite a damning indictment, putting distance between himself and the major labels such as Universal. This also denotes a sort of ‘us versus them’ attitude from Crossey, ‘us’ being the pro-music fans, ‘them’ being the anti-music bigwigs. Cliched maybe but hard to deny. It also confirms what perhaps we already knew, that the big labels choose style over substance and are motivated by greed.‘The labels still don’t seem to be getting it and they wonder why the kids aren’t buying the CDs’ , ventures Crossey ruefully. As idealistic as this all may seem, he comes across as a bastion of hope for a moribund industry whose decline has been well publicized, if it doesn’t change soon anyway. If this is the problem though, what is the answer? Well, Crossey feels a glance at the past can reveal a lot. ‘If you look at previous decades, they are remembered for the latest technology that was around at the time. In the‘60’s it was panning, in the‘80’s it was digital reverb and the last decade it has been digital editing, and it’s been overdone. I think we will look back and laugh’. The idea of tinny speakers and frequencies being squashed to ‘nth’ degree in order to suit the iPod age may then, just be a phase. But can we be sure that the people writing the cheques will learn from their mistakes? Or will the record companies just become more determined to claw back the money they’ve lost, hemorrhaged through dwindling sales and a now unquenchable thirst for free music? Crossey feels they will have to change: ‘They spent too much and no longer make enough, so they’ll collapse in on themselves’.
So if the monsters will sleigh themselves, then the biggest challenge may be trying to win over the next generation of kids who don’t know what a good record should sound like. Again though, this comes down to an obsession with speed and convenience and not just in the context of iPhones and file sharing; the recording equipment itself often suffers. ‘The best equipment is the old stuff, ‘60’s microphones that aren’t made anymore but could cost you £50,000 now. So instead you get cheap ones from China. The craftwork just isn’t there now’. He’s no technophobe though and by the sound of it the newly-renovated Motor Museum is very much alive to technological innovations since Crossey took over the reigns in April. It’s all about the balance though, and the industry needs to look to the likes of this man and focus on quality. And quality alone.
Jude Waldman/Tiki Black/S.J.Downes/Jimmy Lightfoot,2.7.10
JUNKYARD JUDE
TIKI BLACK-S.J DOWNES-JIMMY LIGHTFOOT AND THE DISCIPLE
MelloMello’s fast-growing reputation as a hub for the disparate and fascinating wealth of talent
in the city rolls on. But this wasn’t an evening exclusive to artists in possession of a capital ‘L’ at the front of their postcode. With semi-compulsory consumption of organic beer, red-wine ring stains and vague scent of mahogany, MelloMello doesn’t lack charm as a venue and in-keeping with this, was an evening very much aimed at music listener ahead of the music dancer. First on stage were JIMMY LIGHTFOOT AND THE DISCIPLE’s comically aggressive ramblings. The disciples usually being plural in number, tonight it was just Jimmy plus drummer. However, by assuming a larger-than-life onstage presence including full-blown faux deep south drawl Jimmy was never in danger of lacking presence. Add this to the constant narrative to some of the most ridiculous song-writer’s fodder you’ll ever hear and you quickly come to conclusion that this is music much more about the fun, at the expense of musical pomposity. Taking songs titles such as Beach Perve and Dad’s Having A Sex Party as reliable indicators of what this project’s about, it’s probably fair to say that entertaining the crowd is high on the agenda. The style is a hybrid of sorts between country and hillbilly and comes across as gentle dig at a genre, although evidently one held dear by the artist. From here the night took on an atmosphere much more bespoked to the purist. Starting with the traditional blues of S.J. DOWNES, a man very much devoted to his love of 1920’s Mississippi blues. Although whilst his listed influences might include the likes of Blind Lemon Jefferson and Charlie Patton, vocally he brings to mind the distinctive calm of Nick Drake. Downes’s set was in fact something of an homage, celebrating the vast array of early blues talent, now oft-forgotten with the passing of time. To this end most of the songs are covers, beautifully replicated covers at that, such as Blind Blake’s Too Tight Rag, Blind Willie McTell’s Searching The Desert For The Blues and the aforementioned Patton’s Shake It And Break It. The precision that these renditions are delivered with is not lost on the crowd who sit quietly and appreciatively before what rapidly became a blues masterclass. Downes does visit other eras in his set too, choosing John Fahey’s Take A Look At That Baby to showcase his talents as a fingerpicker. Seeing such a masterclass of carefully selected covers, acting as conduits of expression, really whets the appetite for some of the man’s own work. The crowd were then encouraged to swap one man and his guitar for one woman and her piano in the form of TIKI BLACK. Manchester-based by way of Paris and Cameroon, Black offers gentle vignettes of highly emotional and deeply personal songs. A short set, comprising just five songs, this was a performance that really gave the impression of having been invited into the intimate surroundings of the artist’s rehearsal room, such was the introverted lyrical content. From opener Open Your Eyes to the french language Le Cinquieme Element these were sparse songs, making use of slow-building piano to accompany fragile and enchanting vocals. The former in particular, progresses with a haunting quality, exploiting a minimalist structure to great affect, giving it a power disproportionate to its quietude. Elsewhere, Free Like Smoke demonstrates that music can be just as much about the silence as the notes in between. There is obvious talent here and these are songs that tug at the heartstrings without ever giving the impression they were written purely to do so. Open Your Eyes contains the line: ‘do not hide in your cocoon’. Tiki Black would do well to follow this advice. Finally, there was headliner ‘JUNKYARD’ JUDE WALDMAN. Appearing on stage in checkered shirt with guitar and harmonica in tow, Waldman immediately looked to be flying the flag of his North American heritage. Musically too, he is very much someone in touch with his roots. Waldman’s pathway to Mello Mello stopped several times along the way at Americana, Hillbilly and a touch of the folk-blues. More than anyone, he brings to mind Seasick Steve, sharing a lyrical style rooted in poverty blues. This is evident in tracks such as Please Say Yes, whereas others such as Look Out Mama are perhaps a nod to Dylan. There are perhaps other contemporary styles within too as Waldman himself hinted at influences on this side of the Atlantic, namely John Martyn, to whom his record Coca-Cola And Silver Screens is devoted. Waldman himself did cut something of a subdued figure, perhaps owing to the acts before him running over time, resulting in a crowd dwindling in number by the time he made it onstage. Towards the end of the evening, like S.J.Downes before him Waldman brought out the covers. All faithfully and immaculately reproduced, Dylan’s All Along The Watchtower and Don’t Think Twice It’s Alright sparkled before tribute was paid to Martyn himself with an empassioned version Over The Hill. Coming off stage, he didn’t seem happy with the performance himself but his music certainly wasn’t lost on the crowd that remained. All in all, Mello Mello is becoming hard to beat for new and live music.
Pete Robinson
TIKI BLACK-S.J DOWNES-JIMMY LIGHTFOOT AND THE DISCIPLE
MelloMello’s fast-growing reputation as a hub for the disparate and fascinating wealth of talent
in the city rolls on. But this wasn’t an evening exclusive to artists in possession of a capital ‘L’ at the front of their postcode. With semi-compulsory consumption of organic beer, red-wine ring stains and vague scent of mahogany, MelloMello doesn’t lack charm as a venue and in-keeping with this, was an evening very much aimed at music listener ahead of the music dancer. First on stage were JIMMY LIGHTFOOT AND THE DISCIPLE’s comically aggressive ramblings. The disciples usually being plural in number, tonight it was just Jimmy plus drummer. However, by assuming a larger-than-life onstage presence including full-blown faux deep south drawl Jimmy was never in danger of lacking presence. Add this to the constant narrative to some of the most ridiculous song-writer’s fodder you’ll ever hear and you quickly come to conclusion that this is music much more about the fun, at the expense of musical pomposity. Taking songs titles such as Beach Perve and Dad’s Having A Sex Party as reliable indicators of what this project’s about, it’s probably fair to say that entertaining the crowd is high on the agenda. The style is a hybrid of sorts between country and hillbilly and comes across as gentle dig at a genre, although evidently one held dear by the artist. From here the night took on an atmosphere much more bespoked to the purist. Starting with the traditional blues of S.J. DOWNES, a man very much devoted to his love of 1920’s Mississippi blues. Although whilst his listed influences might include the likes of Blind Lemon Jefferson and Charlie Patton, vocally he brings to mind the distinctive calm of Nick Drake. Downes’s set was in fact something of an homage, celebrating the vast array of early blues talent, now oft-forgotten with the passing of time. To this end most of the songs are covers, beautifully replicated covers at that, such as Blind Blake’s Too Tight Rag, Blind Willie McTell’s Searching The Desert For The Blues and the aforementioned Patton’s Shake It And Break It. The precision that these renditions are delivered with is not lost on the crowd who sit quietly and appreciatively before what rapidly became a blues masterclass. Downes does visit other eras in his set too, choosing John Fahey’s Take A Look At That Baby to showcase his talents as a fingerpicker. Seeing such a masterclass of carefully selected covers, acting as conduits of expression, really whets the appetite for some of the man’s own work. The crowd were then encouraged to swap one man and his guitar for one woman and her piano in the form of TIKI BLACK. Manchester-based by way of Paris and Cameroon, Black offers gentle vignettes of highly emotional and deeply personal songs. A short set, comprising just five songs, this was a performance that really gave the impression of having been invited into the intimate surroundings of the artist’s rehearsal room, such was the introverted lyrical content. From opener Open Your Eyes to the french language Le Cinquieme Element these were sparse songs, making use of slow-building piano to accompany fragile and enchanting vocals. The former in particular, progresses with a haunting quality, exploiting a minimalist structure to great affect, giving it a power disproportionate to its quietude. Elsewhere, Free Like Smoke demonstrates that music can be just as much about the silence as the notes in between. There is obvious talent here and these are songs that tug at the heartstrings without ever giving the impression they were written purely to do so. Open Your Eyes contains the line: ‘do not hide in your cocoon’. Tiki Black would do well to follow this advice. Finally, there was headliner ‘JUNKYARD’ JUDE WALDMAN. Appearing on stage in checkered shirt with guitar and harmonica in tow, Waldman immediately looked to be flying the flag of his North American heritage. Musically too, he is very much someone in touch with his roots. Waldman’s pathway to Mello Mello stopped several times along the way at Americana, Hillbilly and a touch of the folk-blues. More than anyone, he brings to mind Seasick Steve, sharing a lyrical style rooted in poverty blues. This is evident in tracks such as Please Say Yes, whereas others such as Look Out Mama are perhaps a nod to Dylan. There are perhaps other contemporary styles within too as Waldman himself hinted at influences on this side of the Atlantic, namely John Martyn, to whom his record Coca-Cola And Silver Screens is devoted. Waldman himself did cut something of a subdued figure, perhaps owing to the acts before him running over time, resulting in a crowd dwindling in number by the time he made it onstage. Towards the end of the evening, like S.J.Downes before him Waldman brought out the covers. All faithfully and immaculately reproduced, Dylan’s All Along The Watchtower and Don’t Think Twice It’s Alright sparkled before tribute was paid to Martyn himself with an empassioned version Over The Hill. Coming off stage, he didn’t seem happy with the performance himself but his music certainly wasn’t lost on the crowd that remained. All in all, Mello Mello is becoming hard to beat for new and live music.
Pete Robinson
Diamond Rings/Picture Book/Organ Freeman
DIAMOND RINGS
Picture Book – Organ Freeman
Mello Mello
Calling your band ORGAN FREEMAN does denote a certain sense of fun and perhaps a light-hearted outlook on the world of music. Unless of course this is pure coincidence and these boys haven't even heard of the Andy Dufresne and his pal 'Red', never mind watched a mid-nineties crime-thriller starring Brad Pitt. But no, it seems the former is more accurate as the band spend the ten minutes immediately preceding the show blowing up loads of those balloons that have lights inside them and glow, before dispersing them into the crowd. The all-male group then marched on, sans-instruments to form an inward-facing triangle in front of the stage. Honourable mention should also go a this stage to the fact that they were kitted-out in '80's Gary Lineker/Alan Partridge shorts, white sports socks and what can only be described as crop-tops. So as far as fun goes, they were setting the bar pretty high and what's remarkable is that this energy and exuberance actually carried over into the songs. And what's even more remarkable is that nobody got hurt. A novelty act they may be but what are live music shows all about if not to entertain? Entertain they certainly did.
Entering the stage next were PICTURE BOOK, a three-piece of unusual geographical origin, hailing from Liverpool, New York and in the case of lead singer Greta Svabo Bech, The Faroe Islands. Seeming a touch nervous to begin with, the band soon found themselves and moved through the gears of their homemade electro-pop repertoire. Like Organ Freeman before them, they were also about the visuals and almost managed to be as busy to look at as. Their brand of synth groove is fairly sedate in essence however, certainly containing more of the 'morning after' than the 'night before'. The likes of Love Lane and All The Way have a lot to offer by way of chill-out, sunshine pop and through some strong basslines combined with Bech's soothing vocals, they have found themselves a musical identity. Where they do come unstuck though is when it comes to a 'plan B'. There is a feeling of the songs bleeding into each other, particularly with the penultimate and final songs Sunshine and Explosions and this does leave the performance feeling a little flat. Talented musicians they undoubtedly are though and it may simply be that they are in need of direction, torn, as they seem at the moment between their individual, varied musical loves.
Finally, it was the turn of Toronto's DIAMOND RINGS to take to the stage. This is one man with a lot of energy and some very tight clothes. Describing his own music as 'melodramatic popular song', you can add 'self-aware' to this list of descriptors. With a musical education sitting slap bang in the 1980s, Diamond Rings offer bouncy and often joyous-sounding pop with a slightly darker undertone. Interestingly though, a couple of the tracks in the middle of the set brought to mind Room On Fire era The Strokes both vocally and in the lo-fi beats of John O's synthesiser. What Diamond Rings does lack though is the strong vocals to really carry the limited support said synthesiser offers. On top of this although, the was melodrama it came in the form throwaway, often flimsy choruses. If this sounds like it was made in a bedroom at three in the morning, its probably because it was. John O has ambition, charisma and to some degree talent but he is sadly lacking in musical scope.
Picture Book – Organ Freeman
Mello Mello
Calling your band ORGAN FREEMAN does denote a certain sense of fun and perhaps a light-hearted outlook on the world of music. Unless of course this is pure coincidence and these boys haven't even heard of the Andy Dufresne and his pal 'Red', never mind watched a mid-nineties crime-thriller starring Brad Pitt. But no, it seems the former is more accurate as the band spend the ten minutes immediately preceding the show blowing up loads of those balloons that have lights inside them and glow, before dispersing them into the crowd. The all-male group then marched on, sans-instruments to form an inward-facing triangle in front of the stage. Honourable mention should also go a this stage to the fact that they were kitted-out in '80's Gary Lineker/Alan Partridge shorts, white sports socks and what can only be described as crop-tops. So as far as fun goes, they were setting the bar pretty high and what's remarkable is that this energy and exuberance actually carried over into the songs. And what's even more remarkable is that nobody got hurt. A novelty act they may be but what are live music shows all about if not to entertain? Entertain they certainly did.
Entering the stage next were PICTURE BOOK, a three-piece of unusual geographical origin, hailing from Liverpool, New York and in the case of lead singer Greta Svabo Bech, The Faroe Islands. Seeming a touch nervous to begin with, the band soon found themselves and moved through the gears of their homemade electro-pop repertoire. Like Organ Freeman before them, they were also about the visuals and almost managed to be as busy to look at as. Their brand of synth groove is fairly sedate in essence however, certainly containing more of the 'morning after' than the 'night before'. The likes of Love Lane and All The Way have a lot to offer by way of chill-out, sunshine pop and through some strong basslines combined with Bech's soothing vocals, they have found themselves a musical identity. Where they do come unstuck though is when it comes to a 'plan B'. There is a feeling of the songs bleeding into each other, particularly with the penultimate and final songs Sunshine and Explosions and this does leave the performance feeling a little flat. Talented musicians they undoubtedly are though and it may simply be that they are in need of direction, torn, as they seem at the moment between their individual, varied musical loves.
Finally, it was the turn of Toronto's DIAMOND RINGS to take to the stage. This is one man with a lot of energy and some very tight clothes. Describing his own music as 'melodramatic popular song', you can add 'self-aware' to this list of descriptors. With a musical education sitting slap bang in the 1980s, Diamond Rings offer bouncy and often joyous-sounding pop with a slightly darker undertone. Interestingly though, a couple of the tracks in the middle of the set brought to mind Room On Fire era The Strokes both vocally and in the lo-fi beats of John O's synthesiser. What Diamond Rings does lack though is the strong vocals to really carry the limited support said synthesiser offers. On top of this although, the was melodrama it came in the form throwaway, often flimsy choruses. If this sounds like it was made in a bedroom at three in the morning, its probably because it was. John O has ambition, charisma and to some degree talent but he is sadly lacking in musical scope.
Sunday, 13 June 2010
More from Liverpool Sound City, Saturday the 22nd.
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.
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.
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.
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