Reviewers: MMT & Phil.
Well, it’s been a quiet old Summer here on The Dudebox, but we’re back now – and planning on having a busy Autumn! Phil’s got tickets to plenty of national gigs, we’re hoping to get to far more local bands’ stuff, and there’ll be more reviews from under my bed too! So… what better way to kick things off than to have another of our regular looks at the best new(ish) tracks from the MySpaces of the Milton Keynes talent!
Sadly Re-Writing Destiny - who we dished out the coveted Dudebox Runner-Up Track Of The Winter gong to just a few short months ago – have split up, brilliantly citing “musical indifferences” as one of the reasons. Still, they were one of the better bands we’ve heard this year, so we listened to newish track “Coming Home” in tribute.
P: “I think they’re great.”
M: “Although we never saw them live, sadly. There’s a pattern to when bands break up, isn’t there? There’s a peak in the likelihood when I guess they’re 17, 18 and University calls, that’s the biggest peak. Then there’s probably a peak in their early 20s when they’ve all decided they don’t wanna do it any more, there’s probably another peak when people start getting married and having kids. And then if you get past all those hurdles, you’re good for life! And you can just carry on until you’re old.”
P: “My opinion of the song is clouded a bit by the fact I know it’s a bit like their swansong.”
Then we kicked on with some more local bands who haven't split up yet. Some have been on our radar a while thanks to the MonKeyVision Song Contest and/or the Monkey Kettle Stage at the Waterside Festival, some are totally new to us. Hope you might find something you like…
“HMW” by Dusque
M: “They were so great at the Waterside, that was one of the best sets of the weekend.”
P: "They were. It was an early set, so there wasn’t really anyone to watch them. But they were SO good. And I’m enjoying this now, but I preferred it live.”
M: “It’s good outdoors… festival… it’s mellow, and it’s…”
P: “They’re seasoned musicians.”
M: “This bit now is the kind of stuff I like… like ravey keyboard. I’m at a Trance Tent in Ibiza. And the sun’s rising. I’m in the Chill Zone.”
“No Place Like Rome” by Embrace The Tide
M: “Their singer is Chris Weaver who was in one of our Ludamus plays a few years ago (‘Zombies The Musical’). He’s got a few more tattoos in the meantime, of course.”
P: “Maybe if he’d never done ‘Zombies’ he’d never have ended up here.”
M: “Yeah, I did him a ‘Lead Singer Workshop’ as part of the rehearsals for that.”
P: “Some of these MySpaces look so professional…”
M: “And again, they’re really tight musically when you think of how young they still are.”
“Tap Out” by The Kranx
P: “He’s got a really good voice.”
M: “I know a lot of our mates really liked them at MonKeyVision, didn’t they? (reads from their MySpace) ‘it’d be sick to see you at one of our gigs’. I’m guessing sick means good in the young person’s vernacular…”
P: “They went down really well. A really energetic performance.”
“Recluse” (demo version) by Joshua Timmins & The Newborns
M: “What I… like about him is he seems to still embody that ‘I’ll just take my guitar and do a gig anywhere’ kind of spirit. You can imagine him with his guitar just going anywhere.”
P: “I like that, definitely. He’s got a nice easiness in front of the audience that I kind of envy. And there’s something about this song, and his songs… that he’s always REACHING for something.”
M: “There’s a crack in his voice a bit like Conor Oberst from Bright Eyes, but it’s kind of what makes what he’s singing work. And cos he’s young he’s good at all this technical stuff, look… he’s got a Twitter built into his MySpace.”
“Scar On An Empty Crusade” by Stabbed By Paranoia
M: “What really touched me about them was… not only have they got embedded YouTube footage of them practicing at school, but their Blog from July says ‘we’re still working on new material to complete our set. We have 3 songs and a 4th one nearly finished. We plan to make a 5th song after which will complete our set. so we can go book gigs!’”
P: “I like it. I like the complicated solo, they’re very technically proficient.”
M: “Fair play to ‘em. We should re-visit them when they’ve finished their 5th song.”
“Missing Helstone (Economy Groove)” by Harassing Anna
P: “I thought they played really well at MonKeyVision.”
M: “I think I like the spin-off acts (Tombstone Bullets and Bine The Peg) just as much though. But I like this track particularly, where they sound a little bit bluesy.”
P: “There’s something very retro about it. But I’d like it in a pub atmosphere, after a few pints.”
“Wolves” by Acacia Close
(during the first thirty seconds: Phil laughs in immediate response at the intensity of these 2008 Pitz Band Blitz winners, then both are silent. Then they read the advert for a new guitarist / singer. Phil decides not to apply. Then the song changes, gets less screamy, and they start enjoying it)
M: “It’s really well produced actually, innit.”
P: “It’s a real professional demo. I’m liking it now, actually. I think I’d really like them live.”
M: “There’s more levels to it than it seemed from the start. I like how from their Biog they seem keen to expand, not be ‘just’ a ‘Pitz Band’.”
P: “I can hear where the new guitarist / singer would fit in there.”
“First Light After” by Altersketch
P: “I thought their song at MonKeyVision was one of the best songs of the night, and it still gets stuck in my head.”
M: “I like this one. It’s more sort of… ‘Dark Indie’.”
P: “It’s Indie but it Rocks.”
“The Disappointment” by Rozism
M: “I’m not sure we can allow this to be track of the season, though it is excellent. But cos she’s from Northampton I don’t think she can ‘count’. Shona recommended her to me, and I think she sounds really impressive.”
P: “I always… when I meet people who are really really good musicians, I just want to hear something that makes me go ‘Wow! Where did that come from?’.”
M: “I love a world where people can make this sort of stuff in their bedrooms. That all across the world, people could be making this sort of stuff in their bedrooms.”
(Phil nods enthusiastically)
RUNNER-UP DUDEBOX TRACK OF THE SEASON
“Find And Replace” by Equinox
M: “They really really impressed me at the Waterside. They’re still really young, but I think their songwriting is deceptively mature. I mean, they’re clearly influenced by, like… Muse… Franz Ferdinand… The Killers…”
P: “They are, but there’s more than that. Seeing them live, I thought there was a lot of different stuff going on.”
M: “Their demo CD which was being handed round at the Waterside is one of the best local demos I’ve heard in the last couple of years, for definite. And they brought the biggest audience too, that was really impressive. Made us look good.”
P: “I like this a lot.”
DUDEBOX TRACK OF THE SEASON
“Cold Baked Beans” by Project Wolverine
M: “Describes himself here as… ‘the Bargain Bucket Billy Bragg’.”
P: “I really like this an awful lot. I think it’s great. It’s funny… I like the guitar work… the vocals are really good.”
M: “I like the lyrics. I can see the Billy Bragg comparison. I’d love to see him at The Cannon on a Thursday night. I think he’d go down really well. “Pub Politics” is a good song as well.”
P: “I like the fact it’s all a little bit punky too.”
M: "Good skills. He's the winner."
Saturday, 29 August 2009
Friday, 15 May 2009
Dudebox "Track Of The Spring"
Oh yes, MMT back again with another brief foray into the super-duper world of the Milton Keynes Music Scene And Their MySpaces. As we mentioned last time there’s literally hundreds of MK-based bands with MySpaces, especially if you factor in bands no longer going, so it can be a bit of a task sifting through. But hey – it’s a fun task!
And then when you stumble across something you didn’t expect to hear – like a rare “Classic Indie” sounding local band such as Final Clearance – it’s an extra-special treat! I can’t believe I haven’t come across them before – clever lyrics, sharp melodies, right up my street. They’ve even got a home-music video on their MySpace, just the ticket! Try “Lost” if you’ve only got time to listen to one track, it’s a folky-tinged stomper. But come on, who’s that busy? Listen to them all!
Plus you get those Classic MySpace DIY things, more “projects” than “bands” – f’rinstance this young lady singer-songwriter (J:TU.) clearly just records her own stuff, hopefully in a bedroom – I’m not sure if she even plays gigs, though she sounds ace! I even contacted her to ask if she wanted a Waterside slot, but she never replied – and it doesn’t look like she’s logged in to her MySpace for almost a year, so maybe she’s over it! Check out the multi-layered vocal-only track “Pick Me Up” though, or the wistful electronica of “Walking all over the world”. Very impressive indeed – though as they’re not that recent I can’t include them for this season’s Tracks. More than I have already.
So instead I moved on to Hiding In Reno who already seem to be one of the most acclaimed of the local bands “doing the circuit” at the moment. Not only are they Craufurd Arms regulars, they’re touring outside MK this summer with their sweet-edged metal-pop. Even going as far as ace seaside town Weston-super-Mare! Standout track for me is “Alone”.
Rise Inside are also doing really well, both locally and further afield – it’s not every MK band that get to headline the Pitz, especially within a year of their first gig! It’s heavy stuff, very much in “The Pitz Genre” (they’re actually managed by the main Pitz guy), but with a definite melodic edge that lifts them above many of their contemporaries. Listen to the bit about a minute in to “Born Defeated” where the thrashing and screaming stops and gives way to a gentle acoustic moment, or the aching harmonies on “Reach Further”. Light and shade. Good stuff! Definitely “ones to watch”, pop-pickers!
Cos if there’s one genre MK does well – especially if you’re a Pitz regular – it’s the deathier end of metal. Fell Silent have been around a few years now, but are doing well enough to be releasing a debut album this summer on a real life record label and playing “Metalfest III” this August in London. It’s a niche scene I suppose, but a loyal one if you’re in it. And you either dig it or you don’t, really. I do dig it, but particularly (as with Rise Inside) when the harmonious bits kick in, for example halfway through “Immerse”.
In this season’s WTF?? corner, I bring you Rebel Scum. They haven’t logged in for over a year, the site looks half-dead due to broken images, and they sound like a robot whose batteries are slowly dying mumbling over a porn bassline. Enjoy, though. If you can!
Of course now the MonKeyVision Song Contest is all done and dusted, I feel we’re allowed to big up some of the acts we had on the bill for that. The winning band, Harassing Anna have several side-projects, including solo singer-songwriter Bine The Peg who I’ve signed up for the Monkey Kettle Stage at the Great Linford Waterside next month. “My Mother’s Wishes” is the stand-out choon for me, loving the flute! They’re clearly a multi-talented bunch – and hope they’re having fun with their big red amp!
Another impressive sounding band from MonKeyVision were six-piece The Machinist, who feature Monkey Kettle acquaintance Tom Harv. They’re still a work in progress – MonKeyVision was their first gig – but judging by “Conformity” on their MySpace (which I think I might be right in saying was recorded by Tom on his own?) there’s plenty to come from them, it’s a breathtaking slab of proggy metal with an ice-cool solo!
And one more to check out – I feel a bit bad cos there were some technical difficulties at the start of his MonKeyVision set – is rock-tinged dance act Techno Sapien, who’s made good use already of the new MySpace song limit of 10 tracks! I think “Fields Of Silence” is my favourite, love the ravey synth sound. And talking of ravey synth sounds…
DUDEBOX TRACK OF THE SEASON
KIDS PICKED LAST – “Never Leave Me”
Okay, maybe there’s not a full version of this on their MySpace (for shame!), but the 80 seconds you do get should give you a good impression of what’s going on. Plus I bought their 4-track demo CD at MonKeyVision anyway, so I’ve got the whole thing. I dig these kids so much I even signed them up to headline the Monkey Kettle Stage on the Saturday of Waterside. I just love what the synth sound does to their particular brand of punky pop. Plus they’ve got laser beams on their guitars and they leap around all over the shop. I wish we were still young enough to leap around – my knees wouldn’t be able to cope with it. Fantastic – they make me excited about the future of music in MK!
And then when you stumble across something you didn’t expect to hear – like a rare “Classic Indie” sounding local band such as Final Clearance – it’s an extra-special treat! I can’t believe I haven’t come across them before – clever lyrics, sharp melodies, right up my street. They’ve even got a home-music video on their MySpace, just the ticket! Try “Lost” if you’ve only got time to listen to one track, it’s a folky-tinged stomper. But come on, who’s that busy? Listen to them all!
Plus you get those Classic MySpace DIY things, more “projects” than “bands” – f’rinstance this young lady singer-songwriter (J:TU.) clearly just records her own stuff, hopefully in a bedroom – I’m not sure if she even plays gigs, though she sounds ace! I even contacted her to ask if she wanted a Waterside slot, but she never replied – and it doesn’t look like she’s logged in to her MySpace for almost a year, so maybe she’s over it! Check out the multi-layered vocal-only track “Pick Me Up” though, or the wistful electronica of “Walking all over the world”. Very impressive indeed – though as they’re not that recent I can’t include them for this season’s Tracks. More than I have already.
So instead I moved on to Hiding In Reno who already seem to be one of the most acclaimed of the local bands “doing the circuit” at the moment. Not only are they Craufurd Arms regulars, they’re touring outside MK this summer with their sweet-edged metal-pop. Even going as far as ace seaside town Weston-super-Mare! Standout track for me is “Alone”.
Rise Inside are also doing really well, both locally and further afield – it’s not every MK band that get to headline the Pitz, especially within a year of their first gig! It’s heavy stuff, very much in “The Pitz Genre” (they’re actually managed by the main Pitz guy), but with a definite melodic edge that lifts them above many of their contemporaries. Listen to the bit about a minute in to “Born Defeated” where the thrashing and screaming stops and gives way to a gentle acoustic moment, or the aching harmonies on “Reach Further”. Light and shade. Good stuff! Definitely “ones to watch”, pop-pickers!
Cos if there’s one genre MK does well – especially if you’re a Pitz regular – it’s the deathier end of metal. Fell Silent have been around a few years now, but are doing well enough to be releasing a debut album this summer on a real life record label and playing “Metalfest III” this August in London. It’s a niche scene I suppose, but a loyal one if you’re in it. And you either dig it or you don’t, really. I do dig it, but particularly (as with Rise Inside) when the harmonious bits kick in, for example halfway through “Immerse”.
In this season’s WTF?? corner, I bring you Rebel Scum. They haven’t logged in for over a year, the site looks half-dead due to broken images, and they sound like a robot whose batteries are slowly dying mumbling over a porn bassline. Enjoy, though. If you can!
Of course now the MonKeyVision Song Contest is all done and dusted, I feel we’re allowed to big up some of the acts we had on the bill for that. The winning band, Harassing Anna have several side-projects, including solo singer-songwriter Bine The Peg who I’ve signed up for the Monkey Kettle Stage at the Great Linford Waterside next month. “My Mother’s Wishes” is the stand-out choon for me, loving the flute! They’re clearly a multi-talented bunch – and hope they’re having fun with their big red amp!
Another impressive sounding band from MonKeyVision were six-piece The Machinist, who feature Monkey Kettle acquaintance Tom Harv. They’re still a work in progress – MonKeyVision was their first gig – but judging by “Conformity” on their MySpace (which I think I might be right in saying was recorded by Tom on his own?) there’s plenty to come from them, it’s a breathtaking slab of proggy metal with an ice-cool solo!
And one more to check out – I feel a bit bad cos there were some technical difficulties at the start of his MonKeyVision set – is rock-tinged dance act Techno Sapien, who’s made good use already of the new MySpace song limit of 10 tracks! I think “Fields Of Silence” is my favourite, love the ravey synth sound. And talking of ravey synth sounds…
DUDEBOX TRACK OF THE SEASON
KIDS PICKED LAST – “Never Leave Me”
Okay, maybe there’s not a full version of this on their MySpace (for shame!), but the 80 seconds you do get should give you a good impression of what’s going on. Plus I bought their 4-track demo CD at MonKeyVision anyway, so I’ve got the whole thing. I dig these kids so much I even signed them up to headline the Monkey Kettle Stage on the Saturday of Waterside. I just love what the synth sound does to their particular brand of punky pop. Plus they’ve got laser beams on their guitars and they leap around all over the shop. I wish we were still young enough to leap around – my knees wouldn’t be able to cope with it. Fantastic – they make me excited about the future of music in MK!
Monday, 27 April 2009
SONIC YOUTH
Venue: Scala, London.
Reviewer: Phil
“The guitar guy played real good feedback and super sounding riffs, he had his mild mannered look on – man, he was truly hip!” In 1995 a 39 year old Lee Renaldo said exactly where it’s at and it’s almost too incredible to believe that Sonic Youth are still the hippest, coolest, most vital, most inspiring and wildest rock n roll band on the planet. But dude, seriously they are! They never sold out, they always kept it real! They were well on their way to middle age before they even signed to a major label! For 30 years they’ve surfed the cool of the underground: cutting their own little corner, crafting their work like art students, each album advancing them a little further forward, never looking back. They are no comeback band, they never left. They’re still right there, they know where it’s at... chasing the dream fifteen albums in and from the sound of the new material played tonight, the new record sounds to be as creative and groundbreaking as the last.
Thurston Moore casually walks out onstage in jeans and sneakers and a stripy jumper and grins mischievously at the audience. The interval music is still playing in London’s thousand-capacity Scala, the house lights are still blazing, and Thurston walks on, picks up a guitar and starts tuning it like he’s an unknown from a support band. The crowd erupts and I’m right there on the front row, hands on the railings. Thurston wedges a drum stick savagely between his guitar strings and starts playing the opening of She Is Not Alone. Kim walks on stage looking fabulous and calmly picks up her bass. Steve jumps behind the skins. Lee is the last on stage; he raises a coffee cup to the audience and grins the biggest grin imaginable as the band begins to play.
Bull In The Heather thumps a steady groove and demands a call to arms, Hey Joni bowls us all over like an express train pulling you right to the here and now. Tom Violence takes us down low and Schizophrenia pulls us right back up again. There’s time to reflect on The Sprawl and time still to Cross The Breeze. Thurston Moore crashes against the PA stack, leans out over the audience and plays a wild and mean guitar solo, his eyes looking up to the gods, lost in the Sonic maelstrom. The dude’s so close he almost takes my eye out with his guitar headstock and I have to move quick. Kim Gordon is ice cold and ice cool with the longest legs for five States, her face hidden under long blond hair as she slurs out her punk poetry. Steve Shelley pummels away at the drum kit while Lee Renaldo holds together some super riffs and steady vocals. He holds his guitar out over the audience as eager fans reach up to add their own biological textures to the beat. “Speak English dude…” demands Thurston as Lee stumbles to introduce his new song I’ll Be In Your Dream If You Be In Mine, another awesome rocker that continues to push the Youth’s Sonic art forward.
The band finished on Kool Thing and all would agree that’s exactly what it was. A very cool thing. Thirty years on and the band are still right there, making the music they love, they’ve never stopped to take count of the years, like that never really seemed important or part of the plan, to get caught up in some rock n roll cliché. Big grins all around from the band members, liberal use of the word dude, unassuming cool leaping all over the stage playing wild solos and totally grooving to their own unique sound. It was just that kind of gig, just that kind of cool, just totally awesome. The other band members are gone now and we’re left with Thurston Moore walking absently about the stage, wiping the mop of hair from his eyes, pulling on his guitar tremolo, winding switches on stomp boxes, kneeling over his guitar placed face down on the floor against the frantic mess of electrical cabling, reaching like an ironmonger up to the stack, holding his guitar high above his head, grinding the fret board against the edge of his amp…..
Awesome dude!
Reviewer: Phil
“The guitar guy played real good feedback and super sounding riffs, he had his mild mannered look on – man, he was truly hip!” In 1995 a 39 year old Lee Renaldo said exactly where it’s at and it’s almost too incredible to believe that Sonic Youth are still the hippest, coolest, most vital, most inspiring and wildest rock n roll band on the planet. But dude, seriously they are! They never sold out, they always kept it real! They were well on their way to middle age before they even signed to a major label! For 30 years they’ve surfed the cool of the underground: cutting their own little corner, crafting their work like art students, each album advancing them a little further forward, never looking back. They are no comeback band, they never left. They’re still right there, they know where it’s at... chasing the dream fifteen albums in and from the sound of the new material played tonight, the new record sounds to be as creative and groundbreaking as the last.
Thurston Moore casually walks out onstage in jeans and sneakers and a stripy jumper and grins mischievously at the audience. The interval music is still playing in London’s thousand-capacity Scala, the house lights are still blazing, and Thurston walks on, picks up a guitar and starts tuning it like he’s an unknown from a support band. The crowd erupts and I’m right there on the front row, hands on the railings. Thurston wedges a drum stick savagely between his guitar strings and starts playing the opening of She Is Not Alone. Kim walks on stage looking fabulous and calmly picks up her bass. Steve jumps behind the skins. Lee is the last on stage; he raises a coffee cup to the audience and grins the biggest grin imaginable as the band begins to play.
Bull In The Heather thumps a steady groove and demands a call to arms, Hey Joni bowls us all over like an express train pulling you right to the here and now. Tom Violence takes us down low and Schizophrenia pulls us right back up again. There’s time to reflect on The Sprawl and time still to Cross The Breeze. Thurston Moore crashes against the PA stack, leans out over the audience and plays a wild and mean guitar solo, his eyes looking up to the gods, lost in the Sonic maelstrom. The dude’s so close he almost takes my eye out with his guitar headstock and I have to move quick. Kim Gordon is ice cold and ice cool with the longest legs for five States, her face hidden under long blond hair as she slurs out her punk poetry. Steve Shelley pummels away at the drum kit while Lee Renaldo holds together some super riffs and steady vocals. He holds his guitar out over the audience as eager fans reach up to add their own biological textures to the beat. “Speak English dude…” demands Thurston as Lee stumbles to introduce his new song I’ll Be In Your Dream If You Be In Mine, another awesome rocker that continues to push the Youth’s Sonic art forward.
The band finished on Kool Thing and all would agree that’s exactly what it was. A very cool thing. Thirty years on and the band are still right there, making the music they love, they’ve never stopped to take count of the years, like that never really seemed important or part of the plan, to get caught up in some rock n roll cliché. Big grins all around from the band members, liberal use of the word dude, unassuming cool leaping all over the stage playing wild solos and totally grooving to their own unique sound. It was just that kind of gig, just that kind of cool, just totally awesome. The other band members are gone now and we’re left with Thurston Moore walking absently about the stage, wiping the mop of hair from his eyes, pulling on his guitar tremolo, winding switches on stomp boxes, kneeling over his guitar placed face down on the floor against the frantic mess of electrical cabling, reaching like an ironmonger up to the stack, holding his guitar high above his head, grinding the fret board against the edge of his amp…..
Awesome dude!
Thursday, 2 April 2009
KAKI KING
Venue: Jazz Café
Supports: Anna Calvi
Reviewer: Phil
Female guitar virtuoso Anna Calvi and her duo of co-conspirators (a drummer and a percussionist) utterly nailed the intimate crowd that had squeezed into Camden’s famous Jazz Café to see fellow female guitar virtuoso Kaki King do her thing. With Telecaster around her neck and in Russian tuning (she may be Russian, she spoke with an accent, I’m not really sure) Anna Calvi opened up the set with a huge reverb guitar solo. Her songs, about love and loss, capture images of sweaty nights in bars and shacks somewhere south of the Mexican border, of open roads across the desert and starry nights on Caribbean beaches, the smell of woodsmoke in the air. Her voice is powerful, her songs structured around blues chords and huge guitar solos drenched in deep south reverb and Latin flourishes. Think the rock and solid vocal delivery of PJ Harvey, the aching intimacy of Chris Isaak circa Wicked Game and yes, the guitar licks of Hendrix. High praise, but this is one unsigned act that really needs to be seen.
Kaki King; if you need to know more then look no further than here for the Dudebox review of her performance at the ULSU last year. The major difference this time round was that for much of the set she was joined on stage by drummer Matt Hankle and long term collaborator Dan Brantigan on synth, both of whom recently collaborated with her on her Mexican Teenagers EP. The entirely instrumental EP sees yet another stylistic shift for her with a much harder edge as she picks up the electric baritone guitar to explore the depths of hard rock and blues.
Kaki opened, kneeling over her pedal steel, gently plucking the delicate opening of ….Until We Felt Red. The synth whispered and the cymbals shimmered while the song built into an emotional frenzy of distorted chords before withdrawing back into itself. The opening three songs from third album Dreaming Of Revenge sounded much fuller with drums and synth, Kaki almost growling her vocals on Life Being What It Is, lost in her emotional break-up song while she plucked the guitar lines on her Ovation - but when she picked up her yellow baritone guitar it became clear the backing musicians were there to add muscle. Material from the Mexican Teenagers EP was played at near metal frenzy with power chords and crashing drums as Kaki moved into full on rock star mode, striking poses and throwing her guitar to the floor when she’d finished with it. “My mother must be so proud” she laughed, “having a rock star for a daughter!”
There were quieter moments of course; for a heartbreaking band performance of You Don’t Have To Be Afraid; and midway through the set when Matt and Dan cleared off stage for Kaki to run through some solo material including Magazine and Happy As A Dead Pig In Sunshine. And Kaki finished with a solo encore of Gay Sons of Lesbian Mothers performed on pedal steel with loops. Throughout Kaki’s guitar playing remained spellbinding, ingenious, creative and utterly defying expectations.
I’d love to review Kaki King objectively, I really would - but fact is she falls into a limited number of musicians I’m just utterly in awe of. I’m a fan, I’m right there. I’d like to say I could be objective but something in her music speaks so personally to me that it’s just impossible for me to do so. And I may not be the only one. After the guitar ferocity of Mexican Teenagers, the audience still fell utterly silent, hanging on her every word. She still didn’t need a microphone to speak to the audience and Kaki frequently looked slightly awed and surprised at her adoring audiences. At one such quiet moment, a man close to the stage cried out to her “marry me!”
Umm, no, it wasn’t me.
Kaki laughed and said “but you don’t even know me!” But Kaki’s is the kind of music that makes you feel like you do. In an interview when asked why more of her songs don’t have lyrics, Kaki replied that many of the songs express emotions she can’t put into words. This is the power of her music; she speaks poetry through her guitar, leaving you hanging on every note. Little surprise that when she stops playing it just doesn’t make sense to start talking, the audience expects to hang on every sound she makes.
After the encore she jumped off the stage and headed straight for the bar. Thinking about it now, that’s pretty logical really even if a thousand other performers would have headed for some backstage location. I patiently waited as half the room decided to say Hi. I wanted to be cool, I did my best. I told her I really dug the show, we hugged. Her music just means a lot to me, I feel like I already know her. You ask a rock star for their autograph - but you hug a friend, and that’s just the way it went down.
Supports: Anna Calvi
Reviewer: Phil
Female guitar virtuoso Anna Calvi and her duo of co-conspirators (a drummer and a percussionist) utterly nailed the intimate crowd that had squeezed into Camden’s famous Jazz Café to see fellow female guitar virtuoso Kaki King do her thing. With Telecaster around her neck and in Russian tuning (she may be Russian, she spoke with an accent, I’m not really sure) Anna Calvi opened up the set with a huge reverb guitar solo. Her songs, about love and loss, capture images of sweaty nights in bars and shacks somewhere south of the Mexican border, of open roads across the desert and starry nights on Caribbean beaches, the smell of woodsmoke in the air. Her voice is powerful, her songs structured around blues chords and huge guitar solos drenched in deep south reverb and Latin flourishes. Think the rock and solid vocal delivery of PJ Harvey, the aching intimacy of Chris Isaak circa Wicked Game and yes, the guitar licks of Hendrix. High praise, but this is one unsigned act that really needs to be seen.
Kaki King; if you need to know more then look no further than here for the Dudebox review of her performance at the ULSU last year. The major difference this time round was that for much of the set she was joined on stage by drummer Matt Hankle and long term collaborator Dan Brantigan on synth, both of whom recently collaborated with her on her Mexican Teenagers EP. The entirely instrumental EP sees yet another stylistic shift for her with a much harder edge as she picks up the electric baritone guitar to explore the depths of hard rock and blues.
Kaki opened, kneeling over her pedal steel, gently plucking the delicate opening of ….Until We Felt Red. The synth whispered and the cymbals shimmered while the song built into an emotional frenzy of distorted chords before withdrawing back into itself. The opening three songs from third album Dreaming Of Revenge sounded much fuller with drums and synth, Kaki almost growling her vocals on Life Being What It Is, lost in her emotional break-up song while she plucked the guitar lines on her Ovation - but when she picked up her yellow baritone guitar it became clear the backing musicians were there to add muscle. Material from the Mexican Teenagers EP was played at near metal frenzy with power chords and crashing drums as Kaki moved into full on rock star mode, striking poses and throwing her guitar to the floor when she’d finished with it. “My mother must be so proud” she laughed, “having a rock star for a daughter!”
There were quieter moments of course; for a heartbreaking band performance of You Don’t Have To Be Afraid; and midway through the set when Matt and Dan cleared off stage for Kaki to run through some solo material including Magazine and Happy As A Dead Pig In Sunshine. And Kaki finished with a solo encore of Gay Sons of Lesbian Mothers performed on pedal steel with loops. Throughout Kaki’s guitar playing remained spellbinding, ingenious, creative and utterly defying expectations.
I’d love to review Kaki King objectively, I really would - but fact is she falls into a limited number of musicians I’m just utterly in awe of. I’m a fan, I’m right there. I’d like to say I could be objective but something in her music speaks so personally to me that it’s just impossible for me to do so. And I may not be the only one. After the guitar ferocity of Mexican Teenagers, the audience still fell utterly silent, hanging on her every word. She still didn’t need a microphone to speak to the audience and Kaki frequently looked slightly awed and surprised at her adoring audiences. At one such quiet moment, a man close to the stage cried out to her “marry me!”
Umm, no, it wasn’t me.
Kaki laughed and said “but you don’t even know me!” But Kaki’s is the kind of music that makes you feel like you do. In an interview when asked why more of her songs don’t have lyrics, Kaki replied that many of the songs express emotions she can’t put into words. This is the power of her music; she speaks poetry through her guitar, leaving you hanging on every note. Little surprise that when she stops playing it just doesn’t make sense to start talking, the audience expects to hang on every sound she makes.
After the encore she jumped off the stage and headed straight for the bar. Thinking about it now, that’s pretty logical really even if a thousand other performers would have headed for some backstage location. I patiently waited as half the room decided to say Hi. I wanted to be cool, I did my best. I told her I really dug the show, we hugged. Her music just means a lot to me, I feel like I already know her. You ask a rock star for their autograph - but you hug a friend, and that’s just the way it went down.
Saturday, 14 March 2009
Dudebox "Track Of The Winter"
Reviewers: MMT & Phil.
At any one time in a City the size of our fair home, the number of ‘currently gigging bands’ runs well into three figures, going on local press and MySpace sites alone! Still... because of our commitment to covering local scenes and artists (in every genre), at various times over the last couple of months Phil and I have tried to convene with a laptop and a wireless connection in order to try and do a kind of “Milton Keynes Singles Review”. However, cos of MonKeyVision and my PC dying and a myriad of other excuses, it’s taken a wee while to get this off the ground. Therefore, instead of opening this (hopefully regular) series with a ‘Dudebox Track Of The Month’, sit back and enjoy the ‘Dudebox Track Of The Season’! Winter’s almost over, but the music never stops! ;-)
DISCLAIMER: These reviews were all carried out between January and February 2009, and as far as possible are entirely reviews of Milton Keynes-based acts. To the best of our knowledge. Also, we tried to steer clear of bands who’d applied to MonKeyVision. This time. Ta.
It turned out not to be an easy task. As far as I can tell, there’s no way of searching MySpace by “town”. Still, we persevered, blundering around at random looking for MK footage. Quite early on, we stumbled across a band called Nifty Fifty Cowboys who had a song called “If It Were Only Like The Movie” we liked:
P: “I’m liking this already… they sound enthusiastic about their music!”
M: “Something slightly Ska-y about it, in’t there?”
P: “It sounds a little bit like Wheatus.”
M: “I like this conversation he’s having with himself in the middle. Sounds really cool in a way.”
P: “If a mate of mine recorded this and then played it me, I’d be like, dude – that’s AWESOME. It sounds enthusiastic, it sounds fun...”
But then...
M: “So, just as we were liking it, there’s a notice on the MySpace saying it’s just one bloke, and he’s 'broken himself up' and he’s moved to a “serious site”, so we’ll go over there next..."
The new “serious site” where he’s an acoustic artist showed that he’s now based in Coventry – which kind of invalidates the whole thing anyway. Though the Nifty Fifty Cowboys were from MK. In 2007. Ahem. Back to the drawing board.
We turned up a band with the great name of Vomit Whores whose second track “Born With A Twat” makes me nostalgic for my teenage metaller years:
M: “They got a few Mohawks going on.”
P: “They don’t sound really happy, but they sound like they’re having fun playing this kind of music.”
But despite the browsing (and the wilful avoidance of MonKeyVision bands!) there was an easy choice to review: MK-based Silver Brazilians are receiving national coverage, so checking out their MySpace was a no-brainer. Our choice choon was “Kate Winslet”, also named “Coolest Song In The World” by “Little Steven’s Underground Garage”:
M: “Now, I’ve listened to The Beatles quite a lot, and that’s a spot-on Beatles pastiche.”
P: “I think it’s great, I love it.”
M: “A deliberately retro sound, but I like it. Accurate in it’s retroness... it knows what it’s doing. It still sounds cool, doesn’t it... still feels... Deliberate Retro Future Chic.”
We’re also keen to review other genres than guitar-based rock, so big up one time to Soul. His track “Come Down” was a genuine contender for Dudebox Track Of The Season, and “Broke” is good too:
M: “It’s funny that kind of... angry, dark songs are better for rapping somehow. Having said that, I dunno where you purchase a Gat in Milton Keynes? Maybe that shooting and tackle shop in New Bradwell.”
I think we can squeeze in one more before we get to the Winners - Our Man In The Bronze Age, who we’d seen live last summer at the Vicarage Party that me and Martin had also played at. No tracks stand out above the others on their site, but overall they're pretty darn ace anyway:
M: “When they came on at the Vicarage party, they were absolutely astonishing, and me and James, possibly – cos by then we were absolutely hammered – but we did sit there in stunned silence. It was proper dark by then and the lights were on them, and there was like steam rising, and it was pretty eerie. And at the same time great. And I think we decided they were the best band we’d ever seen in Milton Keynes. But that may have been the mood and emotion of the night.”
P: “I’m having trouble putting the set of events that happened that evening into a chronological order.”
RUNNER-UP DUDEBOX TRACK OF THE SEASON:
RE-WRITING DESTINY: “You’re The One (recorded live)”
We started off the review by arguing the toss between Summery Girl Punkpop vs Teenage Boy Emo bands. Phil waxes lyrical about some band he saw in Australia called The Spazzys.
M: “There’s a vague hint of Sixties girl groups as well, isn’t there?”
P: “Her voice is really good. I like the fact you can hear her accent. She sounds like a suburban punk.”
But then I make the mistake of mentioning Liz Phair and Phil’s away. Just a tip if you're ever in conversation with the man. Keep quiet on the Phair. ;-) Still, kudos to Re-Writing Destiny. We’re planning to check ‘em out live sometime soon.
DUDEBOX TRACK OF THE SEASON:
FELIX: “Back In Style (lala lepus remix)”
Admittedly, Felix aren’t entirely based in MK currently, but key member Lucinda Chua is a native, a member of ace post-rock orchestral combo The Holistic Cleansing Quintet who we frequently dug as Monkey Kettle Pitz Reviewers back in the day. Sadly unable in the end to compete in MonKeyVision, Felix were the sort of band Phil and I were after all along, and “Back In Style” is their finest MySpace track: a lo-fi vocal, wistful piano, subtle cello and even subtler “Twin Peaks” references. And then the beats kick in. You’re not going to hear a finer band round these parts often. So, basically, there’s an album, some kind of record deal, and a band The Dudebox is well into. Watch this space for more details, hopefully. Especially now we're getting the hang of this whole MySpace reviewing thing.
At any one time in a City the size of our fair home, the number of ‘currently gigging bands’ runs well into three figures, going on local press and MySpace sites alone! Still... because of our commitment to covering local scenes and artists (in every genre), at various times over the last couple of months Phil and I have tried to convene with a laptop and a wireless connection in order to try and do a kind of “Milton Keynes Singles Review”. However, cos of MonKeyVision and my PC dying and a myriad of other excuses, it’s taken a wee while to get this off the ground. Therefore, instead of opening this (hopefully regular) series with a ‘Dudebox Track Of The Month’, sit back and enjoy the ‘Dudebox Track Of The Season’! Winter’s almost over, but the music never stops! ;-)
DISCLAIMER: These reviews were all carried out between January and February 2009, and as far as possible are entirely reviews of Milton Keynes-based acts. To the best of our knowledge. Also, we tried to steer clear of bands who’d applied to MonKeyVision. This time. Ta.
It turned out not to be an easy task. As far as I can tell, there’s no way of searching MySpace by “town”. Still, we persevered, blundering around at random looking for MK footage. Quite early on, we stumbled across a band called Nifty Fifty Cowboys who had a song called “If It Were Only Like The Movie” we liked:
P: “I’m liking this already… they sound enthusiastic about their music!”
M: “Something slightly Ska-y about it, in’t there?”
P: “It sounds a little bit like Wheatus.”
M: “I like this conversation he’s having with himself in the middle. Sounds really cool in a way.”
P: “If a mate of mine recorded this and then played it me, I’d be like, dude – that’s AWESOME. It sounds enthusiastic, it sounds fun...”
But then...
M: “So, just as we were liking it, there’s a notice on the MySpace saying it’s just one bloke, and he’s 'broken himself up' and he’s moved to a “serious site”, so we’ll go over there next..."
The new “serious site” where he’s an acoustic artist showed that he’s now based in Coventry – which kind of invalidates the whole thing anyway. Though the Nifty Fifty Cowboys were from MK. In 2007. Ahem. Back to the drawing board.
We turned up a band with the great name of Vomit Whores whose second track “Born With A Twat” makes me nostalgic for my teenage metaller years:
M: “They got a few Mohawks going on.”
P: “They don’t sound really happy, but they sound like they’re having fun playing this kind of music.”
But despite the browsing (and the wilful avoidance of MonKeyVision bands!) there was an easy choice to review: MK-based Silver Brazilians are receiving national coverage, so checking out their MySpace was a no-brainer. Our choice choon was “Kate Winslet”, also named “Coolest Song In The World” by “Little Steven’s Underground Garage”:
M: “Now, I’ve listened to The Beatles quite a lot, and that’s a spot-on Beatles pastiche.”
P: “I think it’s great, I love it.”
M: “A deliberately retro sound, but I like it. Accurate in it’s retroness... it knows what it’s doing. It still sounds cool, doesn’t it... still feels... Deliberate Retro Future Chic.”
We’re also keen to review other genres than guitar-based rock, so big up one time to Soul. His track “Come Down” was a genuine contender for Dudebox Track Of The Season, and “Broke” is good too:
M: “It’s funny that kind of... angry, dark songs are better for rapping somehow. Having said that, I dunno where you purchase a Gat in Milton Keynes? Maybe that shooting and tackle shop in New Bradwell.”
I think we can squeeze in one more before we get to the Winners - Our Man In The Bronze Age, who we’d seen live last summer at the Vicarage Party that me and Martin had also played at. No tracks stand out above the others on their site, but overall they're pretty darn ace anyway:
M: “When they came on at the Vicarage party, they were absolutely astonishing, and me and James, possibly – cos by then we were absolutely hammered – but we did sit there in stunned silence. It was proper dark by then and the lights were on them, and there was like steam rising, and it was pretty eerie. And at the same time great. And I think we decided they were the best band we’d ever seen in Milton Keynes. But that may have been the mood and emotion of the night.”
P: “I’m having trouble putting the set of events that happened that evening into a chronological order.”
RUNNER-UP DUDEBOX TRACK OF THE SEASON:
RE-WRITING DESTINY: “You’re The One (recorded live)”
We started off the review by arguing the toss between Summery Girl Punkpop vs Teenage Boy Emo bands. Phil waxes lyrical about some band he saw in Australia called The Spazzys.
M: “There’s a vague hint of Sixties girl groups as well, isn’t there?”
P: “Her voice is really good. I like the fact you can hear her accent. She sounds like a suburban punk.”
But then I make the mistake of mentioning Liz Phair and Phil’s away. Just a tip if you're ever in conversation with the man. Keep quiet on the Phair. ;-) Still, kudos to Re-Writing Destiny. We’re planning to check ‘em out live sometime soon.
DUDEBOX TRACK OF THE SEASON:
FELIX: “Back In Style (lala lepus remix)”
Admittedly, Felix aren’t entirely based in MK currently, but key member Lucinda Chua is a native, a member of ace post-rock orchestral combo The Holistic Cleansing Quintet who we frequently dug as Monkey Kettle Pitz Reviewers back in the day. Sadly unable in the end to compete in MonKeyVision, Felix were the sort of band Phil and I were after all along, and “Back In Style” is their finest MySpace track: a lo-fi vocal, wistful piano, subtle cello and even subtler “Twin Peaks” references. And then the beats kick in. You’re not going to hear a finer band round these parts often. So, basically, there’s an album, some kind of record deal, and a band The Dudebox is well into. Watch this space for more details, hopefully. Especially now we're getting the hang of this whole MySpace reviewing thing.
Wednesday, 25 February 2009
MK Music Awards 2008
Here at the marvellous Monkey Kettle HQ, we like to regularly reward local arts “things” with our praise – and never more so than via the annual Monkey Kettle Awards. And as our tentacles have stretched further and further into the Milton Keynes Music Scene, we’ve encountered many great bands and musicians. Starting from the latest Awards (2008), Monkey Kettle is therefore proud to announce that the Monkey Kettle Award for Best MK Band or Musical Act will be sponsored by The Dudebox – officially the Music Arm of the Monkey Kettle… erm… multi-limbed organism.
Previous winners of the award for Best Band include the fantastic 75% Lip who won the first award back in 2001, teenage epic-rockers Neara, the legendary Jimi Volcano Quintet and two different bands from fantastic local musician Beanie Bhebhe: The Ideas and Modus Vivendi. So it’s an elite group to be amongst. And in the last twelve months we’ve seen some really really good local bands, many of whom are good enough to have won this coveted title. Honourable mentions must go to: hip-hop crew Raw Pride; precociously-talented young acoustic star Josh Timmins; mysterious concept-rockers The Road To Corm; the incredibly emotive cello-rock of Speeding Mellow; heartaching singer-songwriter Ellie Walsh; and genius ivory-tinkler Grahame Sinclair. However… there can only be one winner (and two runners-up). A difficult choice, but we made it.
Without further ado therefore, The Dudebox Award for Best MK Band or Musical Act 2008 goes to…
Rooh
"No-one knows exactly where he came from or how long he may stay. All we know is that three years ago Rooh hopped off the back of a freight train heading north and rolled into town, a guitar slung over his shoulder. The first time I saw Rooh play, he had the sunset slot on the main stage of Dudefest 2007. As the warm sun dipped below the horizon on an epic day of rock n roll, the entire field sat enraptured by his perfectly assembled blues tunes. Rooh plays like a seasoned bluesman from another time, people just don’t write music like this anymore. But there is no imitation in Rooh, he’s not copying the skills and ideas of the past, he’s adding to their canon. This is the real thing, music that could only come from watching sunsets across the desert from the back of a rolling train, with nothing in the world but a guitar in your hands and a song in your heart. Approached with honesty and modesty and delivered with cool and style, Rooh isn’t making things easy on himself, but this is the music in his heart and he’s staying true to it."
- excerpt from Dudebox Magazine - June 2008
The runners-up for 2008 are:
Alain Proviste
"French Semi-improvised Retro-Future Jazz Space-fusion. "I think that is my proper style," mused the 7ft French dude from behind a pair of impenetrable wrap-around shades. In one hand he holds a glass of red wine, in the other a hunk of bread and cheese. In the year since Alain Proviste first landed on our planet he's given us the inspired jazz of The French Troubadours alongside his own inimitable side project that melds impossibly groovy jazz to a kind of progressive constantly shifting ambient rock. Seeing him play the Dance Tent at Dudefest 2008 was a mesmerizing experience. This is music best absorbed in a dimly lit club and through a haze of smoke. Its just that kind of cool."
- excerpt from Dudebox Magazine - August 2008
The Stylaphonics
"Outside the club is a huge stretched limousine; its goth-black and there's a jacuzzi in the back. You know, just because they CAN! As we pull away from the red carpet, leaving a trail of paparazzi photographers running behind us - me sitting with my back to the driver with The Style and Ms. Danger coolly sitting on the back seat - I have to shout down the length of the vast vehicle to make myself heard. Anyone who grew up in the eighties and says they weren't influenced by The Stylaphonics is a liar; we all grew up wanting to play the stylaphone like The Style or dance in the school disco like Ms. Danger. Cool and enigmatic, The Style single-handedly made guitar playing uncool and stylaphone playing cool. Even keytar players couldn't compete when it came to getting the girls. In school it was pretty straightforward; if you were playing the stylaphone you were getting laid and it was all down to this band. Controversial from the start - if you only listened to one stylaphone based band last year then it really should have been this one, all the rest are just cheap imitations!"
- excerpt from Dudebox Magazine - September 2008
Previous winners of the award for Best Band include the fantastic 75% Lip who won the first award back in 2001, teenage epic-rockers Neara, the legendary Jimi Volcano Quintet and two different bands from fantastic local musician Beanie Bhebhe: The Ideas and Modus Vivendi. So it’s an elite group to be amongst. And in the last twelve months we’ve seen some really really good local bands, many of whom are good enough to have won this coveted title. Honourable mentions must go to: hip-hop crew Raw Pride; precociously-talented young acoustic star Josh Timmins; mysterious concept-rockers The Road To Corm; the incredibly emotive cello-rock of Speeding Mellow; heartaching singer-songwriter Ellie Walsh; and genius ivory-tinkler Grahame Sinclair. However… there can only be one winner (and two runners-up). A difficult choice, but we made it.
Without further ado therefore, The Dudebox Award for Best MK Band or Musical Act 2008 goes to…
Rooh
"No-one knows exactly where he came from or how long he may stay. All we know is that three years ago Rooh hopped off the back of a freight train heading north and rolled into town, a guitar slung over his shoulder. The first time I saw Rooh play, he had the sunset slot on the main stage of Dudefest 2007. As the warm sun dipped below the horizon on an epic day of rock n roll, the entire field sat enraptured by his perfectly assembled blues tunes. Rooh plays like a seasoned bluesman from another time, people just don’t write music like this anymore. But there is no imitation in Rooh, he’s not copying the skills and ideas of the past, he’s adding to their canon. This is the real thing, music that could only come from watching sunsets across the desert from the back of a rolling train, with nothing in the world but a guitar in your hands and a song in your heart. Approached with honesty and modesty and delivered with cool and style, Rooh isn’t making things easy on himself, but this is the music in his heart and he’s staying true to it."
- excerpt from Dudebox Magazine - June 2008
The runners-up for 2008 are:
Alain Proviste
"French Semi-improvised Retro-Future Jazz Space-fusion. "I think that is my proper style," mused the 7ft French dude from behind a pair of impenetrable wrap-around shades. In one hand he holds a glass of red wine, in the other a hunk of bread and cheese. In the year since Alain Proviste first landed on our planet he's given us the inspired jazz of The French Troubadours alongside his own inimitable side project that melds impossibly groovy jazz to a kind of progressive constantly shifting ambient rock. Seeing him play the Dance Tent at Dudefest 2008 was a mesmerizing experience. This is music best absorbed in a dimly lit club and through a haze of smoke. Its just that kind of cool."
- excerpt from Dudebox Magazine - August 2008
The Stylaphonics
"Outside the club is a huge stretched limousine; its goth-black and there's a jacuzzi in the back. You know, just because they CAN! As we pull away from the red carpet, leaving a trail of paparazzi photographers running behind us - me sitting with my back to the driver with The Style and Ms. Danger coolly sitting on the back seat - I have to shout down the length of the vast vehicle to make myself heard. Anyone who grew up in the eighties and says they weren't influenced by The Stylaphonics is a liar; we all grew up wanting to play the stylaphone like The Style or dance in the school disco like Ms. Danger. Cool and enigmatic, The Style single-handedly made guitar playing uncool and stylaphone playing cool. Even keytar players couldn't compete when it came to getting the girls. In school it was pretty straightforward; if you were playing the stylaphone you were getting laid and it was all down to this band. Controversial from the start - if you only listened to one stylaphone based band last year then it really should have been this one, all the rest are just cheap imitations!"
- excerpt from Dudebox Magazine - September 2008
Friday, 20 February 2009
"Everything Picture" : Ultrasound
(SONGS FROM UNDER MY BED – Lost Classics Rediscovered)
by MMT.
#2 – “Everything Picture” : ULTRASOUND (1999)
I happen to know - cos I’m one of those types - that the album I listened to more than any other in 1999 was a prog-heavy double LP by a third division Indie band (and I mean that in a good way!) fronted by a ageing behemoth. Introducing… “Everything Picture”.
Ultrasound are one of those late Nineties Indie bands that no-one seems to remember now. I suppose it was a long time ago. The main songwriters and focal points of the group were youthful bearded guitar-and-multi-instrumentalist Richard Green and the imposing figure of Andrew “Tiny” Wood, the twenty-stone, thirty-something lead singer. Initial press coverage often focused overmuch on the “anti-star” image of Tiny and less about the music.
They were signed to Nude in 1997, also home of the slowly fading Britpop front-runners Suede. And there are definite comparisons between the two bands – both contained “colourful” frontmen and both distilled Glam Rock influences through an Indie filter. But where Brett Anderson’s voice was arch and almost (?) over-camp, Tiny’s could be equally affecting, but could go further, cracking with keening emotion. And where Suede’s main weakness – their lyrics – prevented them from being a truly great band, Ultrasound shone. Suede’s lyric sheet read like a cartoon version of itself: “petrol sky beautiful trash slum dwelling sky high across the sci-fi city, you and I” etc. Ultrasound’s words are almost matter-of-fact, mundane but somehow glorious.
The opener, “Cross My Heart” eases you in slowly, but it’s the clarion call of “Same Band”, their debut single, which really grabs your attention. Joyous guitars, an uptempo wide-grinning stomp. This is not the closed-down music of the post-Britpop dad-rock malaise – this is music with wide horizons and big ideas. The cover art consists mainly of paintings daubed by members of the band. I don’t think Embrace ever managed that.
And if that was impressive, “Stay Young” ups the ante even further. Opening with a grooving organ pattern and distorted Gary Glitter samples, Tiny breaks into a truly anthemic paean to the beauty of rock n’ roll youth – “My advice to all you boys and all you girls is never try to be old / I wanna Stay Young” – which touches the heart while nimbly avoiding disturbing the contents of the stomach. This is where the Glam Rock heart of the album lives, but it conveys the fleeting tragedy and self-mockery of the genre rather than the tiresome stodge: “Gary Glitter’s gone to seed / so who will lead us now?”
The first side of the album (on tape anyway – yes, I still have tapes! Of course I do!) closes with the stormy “Suckle” and its “life is cruel / but I am kind” wistful petulance. And once the main body of the song dies down, with that particular storm raged out, there’s a new dawn of calm instrumental to take us to the interval.
My hunch – though it is only a hunch, based on the writing credits – is that the Glam influences came more from Tiny Wood, and the Prog angle more from Richard Green. The second side kicks off with my favourite track: Green’s “Aire And Calder”, a harmonic gallop through the world of canals in Yorkshire (??) which spirals off into a fantastic building solo and climax worthy of any overblown Seventies Proggers. But good. I don’t mean that in a bad way at all. And maybe that’s what the record-buying public didn’t buy into at the time: even as late as 1999, Prog still had the whiff of impropriety about it, though maybe now in 2009 it might have fared better.
The album carries on at this same high level: the sumptuously scrappy “Sentimental Song” swoops between highs and lows quite rightly recognising that “we all sing along”, and climaxing with a suitably catchy refrain of “la la la la la”s. “Floodlit World” is poppier, but with a weary ruefulness which I still find utterly charming. The jagged “My Impossible Dream” continues in the same vein of cynicism which partially (but never totally) kills the belief in romance and beauty. And then plays out with a tender organ awash with weird audio samples and clips from radio programmes and probably other places. One of the last samples, looping on and on is someone mumbling “maybe… just maybe” in a sad tone. It’s great.
The final (and title) track is another abstract mini-epic which descends into an orchestral whirlwind of screaming, groaning, snatches from previous songs on the album, and industrial strength feedback, though before that it’s also almost soul music at times. Astonishing. And a sad pointer at where this fascinating band could have gone next, maybe?
Because “Everything Picture” turned out to be the only album they ever released, but if you’re going to only make one album, you might as well make it a sprawling experimental double full of grandeur, poignancy and heart. Ultrasound split up in October 1999, the same year, and none of their subsequent bands have reached even this negligible level of fame and critical acclaim since. Funny old game. But seek it out, if you can.
LINKS
* http://members.tripod.com/~Skippingb0y/USfront.htm - An Ultrasound fan site which may not have been updated since 1999!
* http://www.youtube.com/watch?v=5RAY6wRow1c - an appearance of “Stay Young” on Jools Holland slightly stripped of the magnificence of the album version, but the closest you’re going to get on YouTube. “Floodlit World” is a slightly nicer song from the same show:
http://www.youtube.com/watch?v=Rk3GQ7c_ygE&feature=related
but missing the last minute sadly.
by MMT.
#2 – “Everything Picture” : ULTRASOUND (1999)
I happen to know - cos I’m one of those types - that the album I listened to more than any other in 1999 was a prog-heavy double LP by a third division Indie band (and I mean that in a good way!) fronted by a ageing behemoth. Introducing… “Everything Picture”.
Ultrasound are one of those late Nineties Indie bands that no-one seems to remember now. I suppose it was a long time ago. The main songwriters and focal points of the group were youthful bearded guitar-and-multi-instrumentalist Richard Green and the imposing figure of Andrew “Tiny” Wood, the twenty-stone, thirty-something lead singer. Initial press coverage often focused overmuch on the “anti-star” image of Tiny and less about the music.
They were signed to Nude in 1997, also home of the slowly fading Britpop front-runners Suede. And there are definite comparisons between the two bands – both contained “colourful” frontmen and both distilled Glam Rock influences through an Indie filter. But where Brett Anderson’s voice was arch and almost (?) over-camp, Tiny’s could be equally affecting, but could go further, cracking with keening emotion. And where Suede’s main weakness – their lyrics – prevented them from being a truly great band, Ultrasound shone. Suede’s lyric sheet read like a cartoon version of itself: “petrol sky beautiful trash slum dwelling sky high across the sci-fi city, you and I” etc. Ultrasound’s words are almost matter-of-fact, mundane but somehow glorious.
The opener, “Cross My Heart” eases you in slowly, but it’s the clarion call of “Same Band”, their debut single, which really grabs your attention. Joyous guitars, an uptempo wide-grinning stomp. This is not the closed-down music of the post-Britpop dad-rock malaise – this is music with wide horizons and big ideas. The cover art consists mainly of paintings daubed by members of the band. I don’t think Embrace ever managed that.
And if that was impressive, “Stay Young” ups the ante even further. Opening with a grooving organ pattern and distorted Gary Glitter samples, Tiny breaks into a truly anthemic paean to the beauty of rock n’ roll youth – “My advice to all you boys and all you girls is never try to be old / I wanna Stay Young” – which touches the heart while nimbly avoiding disturbing the contents of the stomach. This is where the Glam Rock heart of the album lives, but it conveys the fleeting tragedy and self-mockery of the genre rather than the tiresome stodge: “Gary Glitter’s gone to seed / so who will lead us now?”
The first side of the album (on tape anyway – yes, I still have tapes! Of course I do!) closes with the stormy “Suckle” and its “life is cruel / but I am kind” wistful petulance. And once the main body of the song dies down, with that particular storm raged out, there’s a new dawn of calm instrumental to take us to the interval.
My hunch – though it is only a hunch, based on the writing credits – is that the Glam influences came more from Tiny Wood, and the Prog angle more from Richard Green. The second side kicks off with my favourite track: Green’s “Aire And Calder”, a harmonic gallop through the world of canals in Yorkshire (??) which spirals off into a fantastic building solo and climax worthy of any overblown Seventies Proggers. But good. I don’t mean that in a bad way at all. And maybe that’s what the record-buying public didn’t buy into at the time: even as late as 1999, Prog still had the whiff of impropriety about it, though maybe now in 2009 it might have fared better.
The album carries on at this same high level: the sumptuously scrappy “Sentimental Song” swoops between highs and lows quite rightly recognising that “we all sing along”, and climaxing with a suitably catchy refrain of “la la la la la”s. “Floodlit World” is poppier, but with a weary ruefulness which I still find utterly charming. The jagged “My Impossible Dream” continues in the same vein of cynicism which partially (but never totally) kills the belief in romance and beauty. And then plays out with a tender organ awash with weird audio samples and clips from radio programmes and probably other places. One of the last samples, looping on and on is someone mumbling “maybe… just maybe” in a sad tone. It’s great.
The final (and title) track is another abstract mini-epic which descends into an orchestral whirlwind of screaming, groaning, snatches from previous songs on the album, and industrial strength feedback, though before that it’s also almost soul music at times. Astonishing. And a sad pointer at where this fascinating band could have gone next, maybe?
Because “Everything Picture” turned out to be the only album they ever released, but if you’re going to only make one album, you might as well make it a sprawling experimental double full of grandeur, poignancy and heart. Ultrasound split up in October 1999, the same year, and none of their subsequent bands have reached even this negligible level of fame and critical acclaim since. Funny old game. But seek it out, if you can.
LINKS
* http://members.tripod.com/~Skippingb0y/USfront.htm - An Ultrasound fan site which may not have been updated since 1999!
* http://www.youtube.com/watch?v=5RAY6wRow1c - an appearance of “Stay Young” on Jools Holland slightly stripped of the magnificence of the album version, but the closest you’re going to get on YouTube. “Floodlit World” is a slightly nicer song from the same show:
http://www.youtube.com/watch?v=Rk3GQ7c_ygE&feature=related
but missing the last minute sadly.
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