Reviewer: Phil
“Baffled And Beat”: LITTLE FISH
So I was planning an article called "Phil Recommends: Little Fish" on account that I've seen them twice live and loved them - and yesterday I got their newly released debut album through the post. Sadly though, I'm a little disappointed with the album, it just doesn't feel like it represents the guitarist / drummer combo very well. Live, imagine PJ Harvey meets The White Stripes with acres of massive guitar distortion. On record, the songs are there and so are the vocals, but they don't feel as good with all that massive guitar distortion reined in for a more polished, radio-friendly sound.
Only a couple of times do we ever get brief momentary bursts of that live sound I found really inspiring. Otherwise, for a guitar / drums White Stripes-style combo, the studio polished radio-ready album is also bursting with other instruments including a very prominent bass guitar running all the way through from a guest bassist that’s mostly mixed higher than the guitar! To make a comparison, on Amanda Palmer / Dresden Dolls records there are other instruments but they never outshine the piano and vocals, always complementing them. Here, the singer / guitarist is lost most of the time and as if to add insult to the attempt to make these songs radio-ready, there isn't a single guitar solo on the whole record despite their live show featuring big face-melting searing solos!
So… well, I guess I just reviewed it there! A great live show but I expected a raw, guttural snarl of blues rock and searing vocals, rather than a polished slab of subdued radio-friendliness. I may grow to like the record anyway, there are still those great songs and vocals, but without the snarl of the live show they feel a little empty and without the simplicity of the guitar / bass combo they don't feel half as impressive. One of those moments when I remember why I don't buy many new CD's.
A final thought: it was with some sinking feeling after listening to the Little Fish album through for the first time, that I read the liner notes and discovered the album to be produced by Linda Perry! No wonder a live act I thought really stood out among the crowd has ended up sounding like everyone else! Makes you wonder why breaking bands aren’t producing their own albums in the way the internet underground now seem to be in droves, and with studio quality sound that would embarrass Jack White. Ahh well…
“Transmitter Failure”: JENNY OWEN YOUNGS
Another new artist album I bought this year was by American artist Jenny Owen Youngs. Seeing her live before her album came out, she's a lone singer / songwriter who plays a combination of country and punk songs with quirky lyrics and when she rocks she beats real punk energy from her acoustic guitar. So just up my street! But I was disappointed to find the debut album turned out to be all recorded with a guest band, with all the energy sucked out of the songs and everything rolling out like a watered down Arcade Fire which I guess is rather like what Florence and the Machine must sound like if I got around to listening to them. I'm guessing another example of record labels turning exciting live acts into more bankable album sales.
But after all this negativity, what about albums released this year I have liked?
Phil Recommends:
“Crazy For You”: BEST COAST – Debut album from the California based trio, imagine Beach Boy’s tunes recorded in your basement with noisy shoe gazing guitars and a female vocalist. It really is that awesome!!
“Volume Two”: SHE and HIM – Another slab of sixties inspired tunes from the impossibly cool Zooey Deschanel. It’s more of the same on her and M. Ward’s sophomore album but that makes it no less wonderful.
And last but not least “Junior”: KAKI KING – Miss King goes rock n roll on her fifth album to stunning results with guitar work to melt your mind and a set of songs that just get better every time you hear them. Truly awesome!
Thursday, 26 August 2010
Monday, 16 August 2010
SUMMER ROUND-UP - MMT
Review: MMT
Before I get into the “Dudebox Track Of The Summer” review – which is coming soon, Scout’s Honour!! – I’d like to do a round-up of some of the various demo CDs, EPs and fully produced albums (yay!) that have been pressed into my hands (often in exchange for monies or our own CDs) at the gigs, festivals and open mics we’ve been at over the last few months. It’s been another great summer for MK music, and here’s just some of what we’ve been hearing around and about…
* * *
And where better to start than the Sno!Bar? Aficionados of the Milton Keynes Acoustic Open Mic scene will no doubt know all about the Sno!Jam Sunday nights up at the Sno!Bar in the XScape – and if so, I’m sure you’ll already have a copy of their recent collection “The Sounds Of The SNO!Bar (vol.1)” (a compilation of 12 of the regular acts who frequent their open mic night… hmm, gives me an idea!)…
The CD is bookended by tracks by Isabelle, the fabulous five-piece who also act as regular hosts of the Sno!Jam night, as well as putting on gigs down in Leighton Buzzard. And if you’re keen on the kind of laid-back / soulful / summery / folky / heartfelt acoustic singer-songwriting usually on show at any of their nights, you’ll dig this. Featuring Sno!Jam regulars such as Jon Kendall, Robin Grimmer and Social Resin, I think my favourite choon is the shimmering harmonies of “The Man Who Fell Out Of The Moon”, by Isabelle escapees The Trotsky Assortment. Though it’d be a crime to omit a mention of “Girl Nowhere” by the superb (and apparently “hobosexual”!!) Jet Lagged Jeff, another legend of the local open mic world. An impressive collection.
* * *
YC Olie’s “Miss Direction EP” is a surprise. Well, a surprise to us – we’ve only ever seen him at open mics like The Cannon or the above-mentioned Sno!Jam night, where we’ve kind of got used to hearing him delivering confidently tuneful acoustic gems (and his rousing Killers cover!!). But this six-track EP is a totally different kettle of fish – it’s a balls-out fully-electric pop-metal treat!
It’s actually interesting to hear songs we’ve heard played solo live become melodic punky anthems – “Same Old Girl” and “Miss Direction” turning into much bigger, wilder beasts. Bigger, but not necessarily Better, of course. Just Different – cos naturally I like the acoustic versions too! You can hear the occasional influence of genre masters (like Green Day - listed as such under his MySpace Influences) though, and addition of these extra layers, like the buzzsaw guitars of “Anthem For The Broken Hearted” or the handclaps on “Two”, are a revelation. I’m intrigued to see what might be next for this voyage into “full band” territory. Will Olie gather together a full gang of musicians and translate these songs permanently? I think if he did they would make in instant impact on the local scene, such is the joyful catchiness of the tunes. Watch this space, I guess.
* * *
I’d like to include a brief but heartfelt “Ladies From Not Far Outside Milton Keynes” section here too – quick shout-outs therefore to Rozism who came down from Northampton and headlined our July Monkey Kettle Open Mic night. I managed to swap some Monkey Kettle CDs for her “Sketches EP”, which contains several songs from off her MySpace. “Special Brew” is well worth a listen, though her live cover of “Smelly Cat” will live long in the memory. Likewise I should also big up Jammiesammy who came up to MK to play at the Poetry Kapow! at the end of July: there’s a definite buzz growing around her charmingly wry gems – if you’ve got a short attention span check out her anthem “Weirdo-eo”, but if you’ve got any heart you’ll play them all!
* * *
And last, but by no means least - Final Clearance. We finally – after much Dudebox enthusiasm over them in the past – got to see them live when we had them headline our stage (Stage 2 – aka the Monkey Kettle Stage!) at the Great Linford Waterside Festival in June. And I was lucky enough to get not one but two of their CDs – the five track “Window Cleaners Of Amsterdam EP” (2008) and last year’s full debut album "Teenage Dreamland".
I’ve tried a few times in the past to qualify just why I enjoy their sound so much. The best I’ve managed to do till now is: in a local music scene which is predominantly teenage metal acts, acoustic solo artists or ageing blues-rock covers combos, they don’t sound like much else. But let’s unpack that a bit…
They’re an indie-rock band, for sure – but with the added weaponry of piano-keyboard and violins in their arsenal. The violin in particular makes a difference for me – it adds an elegance, an emotion, an urgency to the sound. But the more I listen, the more I’m drawn to Tom Simpson’s voice as well. Rich and deep with the occasional crack of humanity, it totally suits the band’s songwriting, complemented well by the occasional female b/vox. And let’s not forget, they make their own music videos too (see their MySpace) – as far as I’m concerned, that shows they know what it’s all about! ;-)
What makes them equally exciting to listen to on compact disc is the quality of the recordings of those songs. Both CDs were recorded in a “proper” studio (The Lodge Studios in Northampton), and it shows. The sound is rich, well-mixed and allows the songs to come through… the spiralling lead guitar runs on “After The Scream”. The heartaching harmonies and the military rhythms in the middle of “She’s So Pretty”. Great stuff.
The full album (a year on from the EP) is slightly more rounded and mature, as you’d expect. FC have a poppy, occasionally folky sensibility but that doesn’t make them inoffensive. There’s a definite edge to their music and their lyrics which shows through regularly. Phil mentioned once when we were reviewing them before that he could hear a definite “Nineties indie” influence, and that’s not a million miles off. “Stupid Things” for example calls to mind The Wedding Present, of all people. And the piano-led "The Final Word" could almost be intelligent Britpoppers Gene. But better!
Standout tracks for me are the forlorn and beautiful “Circles Round You” (again, the violin! I’m clutching at my heart) and the bouncy “She’s So Pretty” from “Teenage Dreamland”; and “Started A War” and “Naïve Child” from “Window Cleaners…” – this last I absolutely love – it’s fast becoming one of my favourite ever songs by an MK band!
So, then. Final Clearance. I hope the sale goes on and on. Check out their stock as soon as you can. Before the metaphor police come and nab me.
* * *
And where better to start than the Sno!Bar? Aficionados of the Milton Keynes Acoustic Open Mic scene will no doubt know all about the Sno!Jam Sunday nights up at the Sno!Bar in the XScape – and if so, I’m sure you’ll already have a copy of their recent collection “The Sounds Of The SNO!Bar (vol.1)” (a compilation of 12 of the regular acts who frequent their open mic night… hmm, gives me an idea!)…
The CD is bookended by tracks by Isabelle, the fabulous five-piece who also act as regular hosts of the Sno!Jam night, as well as putting on gigs down in Leighton Buzzard. And if you’re keen on the kind of laid-back / soulful / summery / folky / heartfelt acoustic singer-songwriting usually on show at any of their nights, you’ll dig this. Featuring Sno!Jam regulars such as Jon Kendall, Robin Grimmer and Social Resin, I think my favourite choon is the shimmering harmonies of “The Man Who Fell Out Of The Moon”, by Isabelle escapees The Trotsky Assortment. Though it’d be a crime to omit a mention of “Girl Nowhere” by the superb (and apparently “hobosexual”!!) Jet Lagged Jeff, another legend of the local open mic world. An impressive collection.
* * *
YC Olie’s “Miss Direction EP” is a surprise. Well, a surprise to us – we’ve only ever seen him at open mics like The Cannon or the above-mentioned Sno!Jam night, where we’ve kind of got used to hearing him delivering confidently tuneful acoustic gems (and his rousing Killers cover!!). But this six-track EP is a totally different kettle of fish – it’s a balls-out fully-electric pop-metal treat!
It’s actually interesting to hear songs we’ve heard played solo live become melodic punky anthems – “Same Old Girl” and “Miss Direction” turning into much bigger, wilder beasts. Bigger, but not necessarily Better, of course. Just Different – cos naturally I like the acoustic versions too! You can hear the occasional influence of genre masters (like Green Day - listed as such under his MySpace Influences) though, and addition of these extra layers, like the buzzsaw guitars of “Anthem For The Broken Hearted” or the handclaps on “Two”, are a revelation. I’m intrigued to see what might be next for this voyage into “full band” territory. Will Olie gather together a full gang of musicians and translate these songs permanently? I think if he did they would make in instant impact on the local scene, such is the joyful catchiness of the tunes. Watch this space, I guess.
* * *
I’d like to include a brief but heartfelt “Ladies From Not Far Outside Milton Keynes” section here too – quick shout-outs therefore to Rozism who came down from Northampton and headlined our July Monkey Kettle Open Mic night. I managed to swap some Monkey Kettle CDs for her “Sketches EP”, which contains several songs from off her MySpace. “Special Brew” is well worth a listen, though her live cover of “Smelly Cat” will live long in the memory. Likewise I should also big up Jammiesammy who came up to MK to play at the Poetry Kapow! at the end of July: there’s a definite buzz growing around her charmingly wry gems – if you’ve got a short attention span check out her anthem “Weirdo-eo”, but if you’ve got any heart you’ll play them all!
* * *
And last, but by no means least - Final Clearance. We finally – after much Dudebox enthusiasm over them in the past – got to see them live when we had them headline our stage (Stage 2 – aka the Monkey Kettle Stage!) at the Great Linford Waterside Festival in June. And I was lucky enough to get not one but two of their CDs – the five track “Window Cleaners Of Amsterdam EP” (2008) and last year’s full debut album "Teenage Dreamland".
I’ve tried a few times in the past to qualify just why I enjoy their sound so much. The best I’ve managed to do till now is: in a local music scene which is predominantly teenage metal acts, acoustic solo artists or ageing blues-rock covers combos, they don’t sound like much else. But let’s unpack that a bit…
They’re an indie-rock band, for sure – but with the added weaponry of piano-keyboard and violins in their arsenal. The violin in particular makes a difference for me – it adds an elegance, an emotion, an urgency to the sound. But the more I listen, the more I’m drawn to Tom Simpson’s voice as well. Rich and deep with the occasional crack of humanity, it totally suits the band’s songwriting, complemented well by the occasional female b/vox. And let’s not forget, they make their own music videos too (see their MySpace) – as far as I’m concerned, that shows they know what it’s all about! ;-)
What makes them equally exciting to listen to on compact disc is the quality of the recordings of those songs. Both CDs were recorded in a “proper” studio (The Lodge Studios in Northampton), and it shows. The sound is rich, well-mixed and allows the songs to come through… the spiralling lead guitar runs on “After The Scream”. The heartaching harmonies and the military rhythms in the middle of “She’s So Pretty”. Great stuff.
The full album (a year on from the EP) is slightly more rounded and mature, as you’d expect. FC have a poppy, occasionally folky sensibility but that doesn’t make them inoffensive. There’s a definite edge to their music and their lyrics which shows through regularly. Phil mentioned once when we were reviewing them before that he could hear a definite “Nineties indie” influence, and that’s not a million miles off. “Stupid Things” for example calls to mind The Wedding Present, of all people. And the piano-led "The Final Word" could almost be intelligent Britpoppers Gene. But better!
Standout tracks for me are the forlorn and beautiful “Circles Round You” (again, the violin! I’m clutching at my heart) and the bouncy “She’s So Pretty” from “Teenage Dreamland”; and “Started A War” and “Naïve Child” from “Window Cleaners…” – this last I absolutely love – it’s fast becoming one of my favourite ever songs by an MK band!
So, then. Final Clearance. I hope the sale goes on and on. Check out their stock as soon as you can. Before the metaphor police come and nab me.
Thursday, 24 June 2010
TEGAN & SARA
Venue: The Roundhouse, Camden.
Support: Hesta Prynn
Reviewer: Phil W
It was a hot evening in Camden Town, the sun still high on the early evening streets and the throng of colourful bohemians and the steam of street food pouring from vendors along the canal. It had been hot on the tube too, the air stifling, heavy and thick.
From the entrance opposite Belmont, right down to the old horse hospital, a long queue of predominantly teenage lesbians had formed, huddled against the walls of the old Victorian viaduct. A girl at the end of the queue was handing out flyers and I asked her if this was the queue for Tegan & Sara. “Yes,” she replied, “you’ve got a bit of a wait.”
The Roundhouse is a truly unique venue; built in 1847 as a railway roundhouse with turntable, it has been used as an arts venue since the 60’s. The feeling is very different from the old music halls that litter the London area though are no less spectacular.
I was up on the front row, elbows leaning on the steel railings to the right of the stage. Support act Hesta Prynn, lead singer from New York band Northern State, was here on a solo outing backed by a guitarist/bassist/fiddler with a looping Macbook and a drummer. The music was deeply pop-infused dominated by heavy drum and bass and Hesta strutted her stuff with aspirations of pop diva stardom that’s currently so vogue. But she won me over by the fourth song and I was almost tempted to buy her EP.
In 2008 I saw Tegan & Sara at the Shepherds Bush Empire. I’d only recently discovered them, via Kaki King who’d played guitar on one of their songs on their superb album The Con released that same year. At the time I remember thinking it was one of the best gigs I’d seen that year but two years later I’d been trying to remember exactly why. This question was quickly answered in what turned out to be a truly magical gig. These twin sisters are just so good! It’s in the simple, well written pop, the touching lyrical insights into life and love and their off key but emotionally grounded delivery. It’s the combination of Tegan’s straight forward punk songs and Sara’s quirky pop musings. Sara’s best moment is at the start of the set with an acoustic rendition of I Just Want Back In Your Head, Tegan’s best moment is in the set closer, the epic Nineteen, and everything inbetween was pure electricity. Their songs come alive on stage as the likable Canadian twins work the audience with a smile and a nod, oozing sincerity, and introducing songs with conversational back stories. The final encore and also the oldest song in the set, Tegan’s brilliant country infused Living Room proved to be the final highlight of another brilliant show. It was over all too soon.
Outside, the air was still warm in the night-time streets of Camden Town as revellers moved in and out of The Stables and across the canal. Queues of teenage lesbians heading for the tube.
Support: Hesta Prynn
Reviewer: Phil W
It was a hot evening in Camden Town, the sun still high on the early evening streets and the throng of colourful bohemians and the steam of street food pouring from vendors along the canal. It had been hot on the tube too, the air stifling, heavy and thick.
From the entrance opposite Belmont, right down to the old horse hospital, a long queue of predominantly teenage lesbians had formed, huddled against the walls of the old Victorian viaduct. A girl at the end of the queue was handing out flyers and I asked her if this was the queue for Tegan & Sara. “Yes,” she replied, “you’ve got a bit of a wait.”
The Roundhouse is a truly unique venue; built in 1847 as a railway roundhouse with turntable, it has been used as an arts venue since the 60’s. The feeling is very different from the old music halls that litter the London area though are no less spectacular.
I was up on the front row, elbows leaning on the steel railings to the right of the stage. Support act Hesta Prynn, lead singer from New York band Northern State, was here on a solo outing backed by a guitarist/bassist/fiddler with a looping Macbook and a drummer. The music was deeply pop-infused dominated by heavy drum and bass and Hesta strutted her stuff with aspirations of pop diva stardom that’s currently so vogue. But she won me over by the fourth song and I was almost tempted to buy her EP.
In 2008 I saw Tegan & Sara at the Shepherds Bush Empire. I’d only recently discovered them, via Kaki King who’d played guitar on one of their songs on their superb album The Con released that same year. At the time I remember thinking it was one of the best gigs I’d seen that year but two years later I’d been trying to remember exactly why. This question was quickly answered in what turned out to be a truly magical gig. These twin sisters are just so good! It’s in the simple, well written pop, the touching lyrical insights into life and love and their off key but emotionally grounded delivery. It’s the combination of Tegan’s straight forward punk songs and Sara’s quirky pop musings. Sara’s best moment is at the start of the set with an acoustic rendition of I Just Want Back In Your Head, Tegan’s best moment is in the set closer, the epic Nineteen, and everything inbetween was pure electricity. Their songs come alive on stage as the likable Canadian twins work the audience with a smile and a nod, oozing sincerity, and introducing songs with conversational back stories. The final encore and also the oldest song in the set, Tegan’s brilliant country infused Living Room proved to be the final highlight of another brilliant show. It was over all too soon.
Outside, the air was still warm in the night-time streets of Camden Town as revellers moved in and out of The Stables and across the canal. Queues of teenage lesbians heading for the tube.
Thursday, 20 May 2010
Project Wolverine ALBUM
“Lost Boy Blues” by PROJECT WOLVERINE
Review: MMT.
Is it really only six months since we reviewed Project Wolverine’s debut album? Criminy, the enthusiasm of the young, eh? Well, he’s already back with a second CD in under a year – the mammoth 17-track, hour-long “Lost Boy Blues”.
Even in this short time-frame though, a step on from “Life, Love, Loss & Politics” has definitely been taken - as you’ll probably know if you’ve caught Proj W live recently (his set at the MADCAP Battle of the Bands was one of the best gigs by a local artist we’ve seen this year!). His songwriting is developing fast – there’s still reassuring dashes of his trademark pro-Labour anti-Murdoch rhetoric, but I’m more enthused (as always) by his more personal-sounding lyrics. Generally he’s sounding more confident, more comfortable with his voice and his music.
The recordings are occasionally scrappy-edged or raw – more akin to demos perhaps, but if you’re into the lo-fi, urgent sound of a live musician then it works fine. I enjoy it. During “Won’t See Us Again” he coughs while singing, laughs and at the end chuckles “leave it in, leave it in”. And at the start of the fragile “Broken Glass” he informs us “this is another miserable one, by the way”. I think I'd call it 'downbeat' rather than 'miserable'! ;-)
So this is an impressive album. You can’t argue with his prolificity (I wish I wrote half as many songs!), but 17 tracks is a lot to get through without too many changes in the musical soundscape. I’m tempted to wonder how some of these songs might sound with a full band, or at least some bass and percussion. I think the bouncy “Walls Come Down” and “Max’s Song” would be killer. I can almost hear cellos on “Two Months Ago”… but then I do tend to hear cellos everywhere! The mournful piano on the excellent “Socialism Is For Lovers” leads into a beautiful chorus melody, maybe some strings wouldn’t be overkill?
But having said that, there is a musical development too. Quite apart from the start of the chorus to “Socialism Is For Lovers”, the laid-back “Some Girl” has a lovely shimmery guitar melody. So a lengthy work it may be, but worth persevering with – especially as an accurate snapshot of the Project Wolverine live experience.
As I described in the last review though, it’s his lyrics I’m most into. “Snap Election” is the pick of the political ones – though “Organise” (a protest song about the possibility that Cameron’s Tories might get in!) is particularly poignant in hindsight*. There’s even love songs! (“Loves You More Than I”, “Two Months Ago” etc) “Max’s Song” is possibly the best song on the CD, though I’m also very much into the pessimistic piano ballad “Sonny Boy” - and find myself singing the chorus to myself as I potter round the flat today!
Well then... a definite step on from Project Wolverine, one of the city’s most unique songwriting voices. He’s off to University at the end of the Summer, so it’ll be intriguing to see which direction that ends up sending him in! In the meantime, try and catch him live in MK if you can!
* Though on his MySpace he’s already up to date – check out new track, the bitter “Coalition Blues”!
Review: MMT.
Is it really only six months since we reviewed Project Wolverine’s debut album? Criminy, the enthusiasm of the young, eh? Well, he’s already back with a second CD in under a year – the mammoth 17-track, hour-long “Lost Boy Blues”.
Even in this short time-frame though, a step on from “Life, Love, Loss & Politics” has definitely been taken - as you’ll probably know if you’ve caught Proj W live recently (his set at the MADCAP Battle of the Bands was one of the best gigs by a local artist we’ve seen this year!). His songwriting is developing fast – there’s still reassuring dashes of his trademark pro-Labour anti-Murdoch rhetoric, but I’m more enthused (as always) by his more personal-sounding lyrics. Generally he’s sounding more confident, more comfortable with his voice and his music.
The recordings are occasionally scrappy-edged or raw – more akin to demos perhaps, but if you’re into the lo-fi, urgent sound of a live musician then it works fine. I enjoy it. During “Won’t See Us Again” he coughs while singing, laughs and at the end chuckles “leave it in, leave it in”. And at the start of the fragile “Broken Glass” he informs us “this is another miserable one, by the way”. I think I'd call it 'downbeat' rather than 'miserable'! ;-)
So this is an impressive album. You can’t argue with his prolificity (I wish I wrote half as many songs!), but 17 tracks is a lot to get through without too many changes in the musical soundscape. I’m tempted to wonder how some of these songs might sound with a full band, or at least some bass and percussion. I think the bouncy “Walls Come Down” and “Max’s Song” would be killer. I can almost hear cellos on “Two Months Ago”… but then I do tend to hear cellos everywhere! The mournful piano on the excellent “Socialism Is For Lovers” leads into a beautiful chorus melody, maybe some strings wouldn’t be overkill?
But having said that, there is a musical development too. Quite apart from the start of the chorus to “Socialism Is For Lovers”, the laid-back “Some Girl” has a lovely shimmery guitar melody. So a lengthy work it may be, but worth persevering with – especially as an accurate snapshot of the Project Wolverine live experience.
As I described in the last review though, it’s his lyrics I’m most into. “Snap Election” is the pick of the political ones – though “Organise” (a protest song about the possibility that Cameron’s Tories might get in!) is particularly poignant in hindsight*. There’s even love songs! (“Loves You More Than I”, “Two Months Ago” etc) “Max’s Song” is possibly the best song on the CD, though I’m also very much into the pessimistic piano ballad “Sonny Boy” - and find myself singing the chorus to myself as I potter round the flat today!
Well then... a definite step on from Project Wolverine, one of the city’s most unique songwriting voices. He’s off to University at the end of the Summer, so it’ll be intriguing to see which direction that ends up sending him in! In the meantime, try and catch him live in MK if you can!
* Though on his MySpace he’s already up to date – check out new track, the bitter “Coalition Blues”!
Tuesday, 4 May 2010
Dudebox "Track Of The Winter / Early Spring"
Yeah yeah yeah. It’s a wee bit late, like a month or something, but hey – we’re busy people! Here’s our semi-usual round-up of some great stuff we’ve blundered across while scouring the MySpaces of the great and good of the Milton Keynes music scene. As always, the bands have not asked us to do this – we’re just doing it to try and bring you some stuff you might like to hear… This time around it's Matthew & Phil on the reviewing 'decks'.
“City Reversal”: SEE WHAT HAPPENS
[[Young guitary indie rock fellas who we saw live at The Cannon back in February]]
Phil: I thought they were really good live. They created a good atmosphere. It was a breath of fresh air that they played all original stuff, I think.
MMT: When we were watching them, me and James were very much put in mind of The Bluetones, that kind of slightly post-Britpop guitar feel. And I remember – admittedly I’d had a few to drink – but I remember really enjoying the guitar solos. You don’t see many proper guitar solos any more. And they were lovely lads, as well. Friendly and enthusiastic about stuff. Which can only be a good thing.
Phil: They’ve got a lot of potential.
MMT: I really like that (makes widdly guitar noise)… is that a “riff”, would you say?
Phil: (slightly unsure) Er… yeah. That’s a riff.
MMT: A “motif”? (reiterates widdly guitar noise)
Phil: Um… I don’t know what the right word is. But it’s nice.
“Fall Away”: THIS CONTRAST KILLS
[[or, what some of Capdown did next]]
MMT: How aware are you of Capdown’s legacy?
Phil: I’m not particularly aware of Capdown’s legacy at all.
MMT: So you’re listening to this with fresh ears?
Phil: Yeah… it’s got a great drive, generally like it.
MMT: I really like this, it sounds intelligent musically. I like the… some kind of keyboard sound in the background is driving it, hard. They sound like they know what they’re doing.
[MMT proceeds to explain Capdown’s legacy to Phil without really knowing that much about it either other than what he’s read in magazines]
“Take Your Chance”: THE MAZE
[[The new band from former members of last Summer’s Indie smashers Equinox]]
Phil: I like that reducing of everything down to just like, a vocal and a bass.
MMT: The recording’s not quite as polished as some of the other bands we’ve heard tonight, but then they’ve only been going a few months.
Phil: There’s still something interesting and innovative about their music.
MMT: I love when the little keyboard/piano riff comes back in.
Phil: Yeah… it’s creative, it’s interesting, and it’s fun.
MMT: This middle bit is brilliant. Listen to that solo!
Phil: It’s like a lot of ideas coming together at once.
“Stop”: ISABELLE
[[Crystal-clear folky rock from a five-piece who recently appeared in one of the first ever Featured Act slots at our all-new Monkey Kettle Open Mic nights]]
MMT: What was good about them at the Open Mic night was that they mixed their own stuff with some really good soul-pop covers from the 60s, drew people in. Obviously this track has a harder edge, because it’s not their acoustic incarnation.
Phil: It rocks! Here they sound much more edgy to me, more interesting. I really like this.
MMT: It’s really tight, really polished.
Phil: It’s good. Very good.
MMT: I bet they’re excellent at festivals. I’d love to see them play Folk on the Green. That’d be an ideal summer’s afternoon!
“Lament”: TESSERACT
[[Now based in London but native to MK, these prog-metallers have toured Europe and are tipped as ones to watch in 2010 by Rock Sound Magazine no less! So I doubt they need our praise, but…]]
Phil: (enthusiastic) Yeah! I really like it. It’s one of the first acts that we’ve reviewed that I would actually think “I would buy this on CD”.
MMT: There’s light and shade. It’s not just relentless metal.
Phil: I like it.
MMT: Their MySpace profile has had over 600,000 views, and they’ve got almost 18,000 Friends. They’re on Scuzz TV. They’ve got upcoming gigs in Russia, Germany, Poland, Switzerland. I think it’s probably ridiculous for us to even consider criticising it in any way, given that they’ve gone way beyond the confines of Milton Keynes and are successful in a world such as we will never know… but I would listen to their album. It’s rare that I would say that about a Metal band from Milton Keynes.
“Day Job”: THE DISCIPLES OF GONZO
[[Ever-popular Bletchley rockers, coming soon to a Monkey Kettle Waterside Stage near you!!]]
MMT: I have Disciples of Gonzo firmly in my head as a ‘good-time’ band.
Phil: They’re the “Cheap Trick” of Milton Keynes.
MMT: I don’t know what that means.
Phil: They were a ‘good-time’ band.
MMT: This is punky pop, though we’ve also seen them play, I dunno, folky acoustic rock? There’s always an energy to them, though.
Phil: They’re playing rock n’ roll music. I totally dig that. And they’re right up my street with the sentiment behind this song.
MMT: You can hear the smiles on their faces.
“Freedom”: SOLSTICE
[[Incredibly long-lived folk-rock leviathans (formed in 1980!) continue to go strong with this joyous choral number]]
Phil: It’s not a genre of music that I’m that into, but it’s perfectly listenable. Perfect for an afternoon slot at a festival.
MMT: I hope they carry on for ever. And there’ll always be a festival somewhere where they’re playing.
Phil: Whether or not I like the music, I get the impression that they love doing it, and they love playing it. They’re living the dream!
MMT: These guys, and in fact This Contrast Kills with their Capdown heritage, and TesseracT too – I think it’s important to celebrate that these bands are successful Milton Keynes bands – not necessarily genres we would listen to on a daily basis, but legitimately big acts that started round these here parts. And maybe don’t get lumped together into the same basket.
“MidgetDayCake (The Song The Audience Named)” : W.A.s
[[When we last saw them - at MonKeyVision – they were brilliantly scrappy teen-punk oiks. However, it sounds like they’re ‘coming of age’, as t’were…]]
MMT: I guess there’s a true story behind the song title! But… it’s completely – it’s almost like a different band.
Phil: It’s really Gothy… it’s like Type O Negative or something. I love the guitar sound.
MMT: I think it’s an incredible vocal. The falsetto there. And I love the way it moves in between slow and fast as well.
Phil: I love the genre-swapping.
MMT: Now this bit’s like punk but through a filter. It feels… genuinely mental.
RUNNER UP DUDEBOX TRACK OF THE SEASON
“Naïve Child“: FINAL CLEARANCE
[[Their second successive Dudebox Track Of The Season Runner-Up track (and it was a very close-run thing) – with some breaking news!]]
MMT: I think it’s criminal how much I’ve liked all the stuff we’ve heard by them on their MySpace etc, but we’ve failed to see them live. I absolutely love this, I think it’s one of the best sounds I’ve heard from a Milton Keynes band. They don’t sound like anything else round here at the moment, that’s what I find so refreshing I think. I love their orchestral flavour as well.
Phil: I agree. Are we allowed to keep praising them every time? I’d really like to see them live. You can list lots of people they sound a bit like, but… they sound like themselves.
MMT: That guitar solo’s great. And also – what’s not to like about a band who make their own videos? They’ve got The Theory in place.
Phil: I really love it.
MMT: We should so go and see them.
Phil: It’s a pact, dude.
[[STOP PRESS – Final Clearance are now confirmed in one of the headline slots for the Monkey Kettle Stage at the Waterside Festival this year – so Matthew & Phil will finally have their dream come true. Bless them!]]
DUDEBOX TRACK OF THE SEASON
“Where Do We Go?”: LECARLA
[[Fast-rising young polished punk-metallers just back from a national tour]]
Phil: It’s great. It’s well-produced, a well-put-together song. They’re tight, they sound great… um… I’m almost sceptical of their very existence!
MMT: Yeah, they’re almost too good to be true! It seems the full package, a really good MySpace, they’re touring nationally…
Phil: They’re all well-written, well-structured songs. They’re very talented kids. I love the big guitar sound… the big, massive guitar sound. The anthemicness of the song. I like the Quiet-Loud dynamic. I like the sparing use of screaming… there’s a little bit of screaming, just to keep you interested…
MMT: - if you like screaming!
Phil: With bands like this and TesseracT I begin to wonder what The Dudebox is about – whether they’re almost too big for us.
MMT: Beyond our radar? Well, they’re still bands connected to Milton Keynes in some way. Like Felix, who aren’t based in MK at all but make me very excited nonetheless. No, if I saw them [Lecarla] on “Scuzz” I’d think… that’s the sort of band I like.
Phil: It just feels fun, and exciting. And it feels like it’s the music they want to be playing.
“City Reversal”: SEE WHAT HAPPENS
[[Young guitary indie rock fellas who we saw live at The Cannon back in February]]
Phil: I thought they were really good live. They created a good atmosphere. It was a breath of fresh air that they played all original stuff, I think.
MMT: When we were watching them, me and James were very much put in mind of The Bluetones, that kind of slightly post-Britpop guitar feel. And I remember – admittedly I’d had a few to drink – but I remember really enjoying the guitar solos. You don’t see many proper guitar solos any more. And they were lovely lads, as well. Friendly and enthusiastic about stuff. Which can only be a good thing.
Phil: They’ve got a lot of potential.
MMT: I really like that (makes widdly guitar noise)… is that a “riff”, would you say?
Phil: (slightly unsure) Er… yeah. That’s a riff.
MMT: A “motif”? (reiterates widdly guitar noise)
Phil: Um… I don’t know what the right word is. But it’s nice.
“Fall Away”: THIS CONTRAST KILLS
[[or, what some of Capdown did next]]
MMT: How aware are you of Capdown’s legacy?
Phil: I’m not particularly aware of Capdown’s legacy at all.
MMT: So you’re listening to this with fresh ears?
Phil: Yeah… it’s got a great drive, generally like it.
MMT: I really like this, it sounds intelligent musically. I like the… some kind of keyboard sound in the background is driving it, hard. They sound like they know what they’re doing.
[MMT proceeds to explain Capdown’s legacy to Phil without really knowing that much about it either other than what he’s read in magazines]
“Take Your Chance”: THE MAZE
[[The new band from former members of last Summer’s Indie smashers Equinox]]
Phil: I like that reducing of everything down to just like, a vocal and a bass.
MMT: The recording’s not quite as polished as some of the other bands we’ve heard tonight, but then they’ve only been going a few months.
Phil: There’s still something interesting and innovative about their music.
MMT: I love when the little keyboard/piano riff comes back in.
Phil: Yeah… it’s creative, it’s interesting, and it’s fun.
MMT: This middle bit is brilliant. Listen to that solo!
Phil: It’s like a lot of ideas coming together at once.
“Stop”: ISABELLE
[[Crystal-clear folky rock from a five-piece who recently appeared in one of the first ever Featured Act slots at our all-new Monkey Kettle Open Mic nights]]
MMT: What was good about them at the Open Mic night was that they mixed their own stuff with some really good soul-pop covers from the 60s, drew people in. Obviously this track has a harder edge, because it’s not their acoustic incarnation.
Phil: It rocks! Here they sound much more edgy to me, more interesting. I really like this.
MMT: It’s really tight, really polished.
Phil: It’s good. Very good.
MMT: I bet they’re excellent at festivals. I’d love to see them play Folk on the Green. That’d be an ideal summer’s afternoon!
“Lament”: TESSERACT
[[Now based in London but native to MK, these prog-metallers have toured Europe and are tipped as ones to watch in 2010 by Rock Sound Magazine no less! So I doubt they need our praise, but…]]
Phil: (enthusiastic) Yeah! I really like it. It’s one of the first acts that we’ve reviewed that I would actually think “I would buy this on CD”.
MMT: There’s light and shade. It’s not just relentless metal.
Phil: I like it.
MMT: Their MySpace profile has had over 600,000 views, and they’ve got almost 18,000 Friends. They’re on Scuzz TV. They’ve got upcoming gigs in Russia, Germany, Poland, Switzerland. I think it’s probably ridiculous for us to even consider criticising it in any way, given that they’ve gone way beyond the confines of Milton Keynes and are successful in a world such as we will never know… but I would listen to their album. It’s rare that I would say that about a Metal band from Milton Keynes.
“Day Job”: THE DISCIPLES OF GONZO
[[Ever-popular Bletchley rockers, coming soon to a Monkey Kettle Waterside Stage near you!!]]
MMT: I have Disciples of Gonzo firmly in my head as a ‘good-time’ band.
Phil: They’re the “Cheap Trick” of Milton Keynes.
MMT: I don’t know what that means.
Phil: They were a ‘good-time’ band.
MMT: This is punky pop, though we’ve also seen them play, I dunno, folky acoustic rock? There’s always an energy to them, though.
Phil: They’re playing rock n’ roll music. I totally dig that. And they’re right up my street with the sentiment behind this song.
MMT: You can hear the smiles on their faces.
“Freedom”: SOLSTICE
[[Incredibly long-lived folk-rock leviathans (formed in 1980!) continue to go strong with this joyous choral number]]
Phil: It’s not a genre of music that I’m that into, but it’s perfectly listenable. Perfect for an afternoon slot at a festival.
MMT: I hope they carry on for ever. And there’ll always be a festival somewhere where they’re playing.
Phil: Whether or not I like the music, I get the impression that they love doing it, and they love playing it. They’re living the dream!
MMT: These guys, and in fact This Contrast Kills with their Capdown heritage, and TesseracT too – I think it’s important to celebrate that these bands are successful Milton Keynes bands – not necessarily genres we would listen to on a daily basis, but legitimately big acts that started round these here parts. And maybe don’t get lumped together into the same basket.
“MidgetDayCake (The Song The Audience Named)” : W.A.s
[[When we last saw them - at MonKeyVision – they were brilliantly scrappy teen-punk oiks. However, it sounds like they’re ‘coming of age’, as t’were…]]
MMT: I guess there’s a true story behind the song title! But… it’s completely – it’s almost like a different band.
Phil: It’s really Gothy… it’s like Type O Negative or something. I love the guitar sound.
MMT: I think it’s an incredible vocal. The falsetto there. And I love the way it moves in between slow and fast as well.
Phil: I love the genre-swapping.
MMT: Now this bit’s like punk but through a filter. It feels… genuinely mental.
RUNNER UP DUDEBOX TRACK OF THE SEASON
“Naïve Child“: FINAL CLEARANCE
[[Their second successive Dudebox Track Of The Season Runner-Up track (and it was a very close-run thing) – with some breaking news!]]
MMT: I think it’s criminal how much I’ve liked all the stuff we’ve heard by them on their MySpace etc, but we’ve failed to see them live. I absolutely love this, I think it’s one of the best sounds I’ve heard from a Milton Keynes band. They don’t sound like anything else round here at the moment, that’s what I find so refreshing I think. I love their orchestral flavour as well.
Phil: I agree. Are we allowed to keep praising them every time? I’d really like to see them live. You can list lots of people they sound a bit like, but… they sound like themselves.
MMT: That guitar solo’s great. And also – what’s not to like about a band who make their own videos? They’ve got The Theory in place.
Phil: I really love it.
MMT: We should so go and see them.
Phil: It’s a pact, dude.
[[STOP PRESS – Final Clearance are now confirmed in one of the headline slots for the Monkey Kettle Stage at the Waterside Festival this year – so Matthew & Phil will finally have their dream come true. Bless them!]]
DUDEBOX TRACK OF THE SEASON
“Where Do We Go?”: LECARLA
[[Fast-rising young polished punk-metallers just back from a national tour]]
Phil: It’s great. It’s well-produced, a well-put-together song. They’re tight, they sound great… um… I’m almost sceptical of their very existence!
MMT: Yeah, they’re almost too good to be true! It seems the full package, a really good MySpace, they’re touring nationally…
Phil: They’re all well-written, well-structured songs. They’re very talented kids. I love the big guitar sound… the big, massive guitar sound. The anthemicness of the song. I like the Quiet-Loud dynamic. I like the sparing use of screaming… there’s a little bit of screaming, just to keep you interested…
MMT: - if you like screaming!
Phil: With bands like this and TesseracT I begin to wonder what The Dudebox is about – whether they’re almost too big for us.
MMT: Beyond our radar? Well, they’re still bands connected to Milton Keynes in some way. Like Felix, who aren’t based in MK at all but make me very excited nonetheless. No, if I saw them [Lecarla] on “Scuzz” I’d think… that’s the sort of band I like.
Phil: It just feels fun, and exciting. And it feels like it’s the music they want to be playing.
Monday, 26 April 2010
TURN IT UP Battle of the Bands - The Final
THE FINAL – Saturday night
Well, it’s been a great week for me behind the seating rake, but all good things must come to an end – and on Saturday night the biggest audience of all the four nights (as you’d imagine) gathered to watch Hikaru, SuperMassiveMonkeyMen (yes, Men not Man, despite what the compere says!) and Knuckle*Down compete for the title of Turn It Up winner.
Before we get down to business, a massive shout out to Gawaine and the MADCAP Music Project in general – this has been a great advert to the work they’re doing with young people, and I’ve been impressed most of all by the sheer variety of bands they seem to be encouraging and developing! Kudos!
HIKARU
It’s nice to be able to see Hikaru get a second bite at the cherry – tonight their sound and mix are far better than Thursday night, and you really got the full benefit of their quiet-LOUD metal dynamic. I also realise that when I praised one of their lead guitarist’s work the other night, I’d missed the fact that the other lead guitarist is every bit as good – this time he’s higher in the mix and you can hear how well he can play too. It might not be 'my kind of thing' necessarily, but Hikaru definitely deserve to be classed up there alongside any other young MK band in this genre.
Phil sez: “Solid alt-metal in the vein of System Of A Down complete with a cover of Toxicity and some stunning guitar and drum work.”
SUPERMASSIVEMONKEYMEN
It’s another casually confident set from the SuperMassiveMonkeyMen – some of the same songs from last night sound just as fresh, and there’s some new tracks thrown in too for good measure. The last song (Myles later claims many of them don't have titles??) is a doomy epic which shows another angle to them, and overall I genuinely dig their cheerful scuzz-rock sound. It’s right up my alley anyway of course, but for me – Band Of The Week.
Phil sez: “Brilliant indie rock, this is much more my thing, with great songs, some sharp guitar work and a solid rhythm section that holds it all together.”
KNUCKLE*DOWN
But really you'd have to say that the competition has saved one of the most impressive sets for last. Knuckle*Down seem to have managed to bring along the biggest fanbase, and clearly fancied their chances of winning as a consequence, which helped them. They just seemed livelier, more sure of themselves tonight – and the crowd responded. It’s a joyous, friendly rush through their songs – the singer has us in the palm of his hand, even organising a stage invasion (benevolent rather than revolutionary!). A day later, two days later and I still have their anthem “We Are Knuckle*Down” going round and round in my head.
Phil sez: “These guys really picked up their game tonight and gave us a very solid performance of their hip-hop infused alt-metal. They were definitely a crowd favourite and when the kids invaded the stage it was no surprise they ended up winning.”
RESULT:
Yes, Phil’s on the money. Knuckle*Down were the winners, and given their massive popularity on the night no-one can have any complaints. As local bands go their sound is fresh and energetic – and in their frontman they have a unique weapon. But all three bands tonight – in fact all the bands we’ve seen this week – have had something to offer, and should all be proud of themselves in their own way. I gather several of the acts already have plans to take indefinite hiatuses come the Summer when University beckons, but if they do they can go out with their heads held high. And just maybe form new bands at Uni and come back and play at MADCAP again some day! Thanks for listening.
Well, it’s been a great week for me behind the seating rake, but all good things must come to an end – and on Saturday night the biggest audience of all the four nights (as you’d imagine) gathered to watch Hikaru, SuperMassiveMonkeyMen (yes, Men not Man, despite what the compere says!) and Knuckle*Down compete for the title of Turn It Up winner.
Before we get down to business, a massive shout out to Gawaine and the MADCAP Music Project in general – this has been a great advert to the work they’re doing with young people, and I’ve been impressed most of all by the sheer variety of bands they seem to be encouraging and developing! Kudos!
HIKARU
It’s nice to be able to see Hikaru get a second bite at the cherry – tonight their sound and mix are far better than Thursday night, and you really got the full benefit of their quiet-LOUD metal dynamic. I also realise that when I praised one of their lead guitarist’s work the other night, I’d missed the fact that the other lead guitarist is every bit as good – this time he’s higher in the mix and you can hear how well he can play too. It might not be 'my kind of thing' necessarily, but Hikaru definitely deserve to be classed up there alongside any other young MK band in this genre.
Phil sez: “Solid alt-metal in the vein of System Of A Down complete with a cover of Toxicity and some stunning guitar and drum work.”
SUPERMASSIVEMONKEYMEN
It’s another casually confident set from the SuperMassiveMonkeyMen – some of the same songs from last night sound just as fresh, and there’s some new tracks thrown in too for good measure. The last song (Myles later claims many of them don't have titles??) is a doomy epic which shows another angle to them, and overall I genuinely dig their cheerful scuzz-rock sound. It’s right up my alley anyway of course, but for me – Band Of The Week.
Phil sez: “Brilliant indie rock, this is much more my thing, with great songs, some sharp guitar work and a solid rhythm section that holds it all together.”
KNUCKLE*DOWN
But really you'd have to say that the competition has saved one of the most impressive sets for last. Knuckle*Down seem to have managed to bring along the biggest fanbase, and clearly fancied their chances of winning as a consequence, which helped them. They just seemed livelier, more sure of themselves tonight – and the crowd responded. It’s a joyous, friendly rush through their songs – the singer has us in the palm of his hand, even organising a stage invasion (benevolent rather than revolutionary!). A day later, two days later and I still have their anthem “We Are Knuckle*Down” going round and round in my head.
Phil sez: “These guys really picked up their game tonight and gave us a very solid performance of their hip-hop infused alt-metal. They were definitely a crowd favourite and when the kids invaded the stage it was no surprise they ended up winning.”
RESULT:
Yes, Phil’s on the money. Knuckle*Down were the winners, and given their massive popularity on the night no-one can have any complaints. As local bands go their sound is fresh and energetic – and in their frontman they have a unique weapon. But all three bands tonight – in fact all the bands we’ve seen this week – have had something to offer, and should all be proud of themselves in their own way. I gather several of the acts already have plans to take indefinite hiatuses come the Summer when University beckons, but if they do they can go out with their heads held high. And just maybe form new bands at Uni and come back and play at MADCAP again some day! Thanks for listening.
Saturday, 24 April 2010
TURN IT UP Battle of the Bands - Heat # 3
HEAT THREE – Friday night
There’s not really any getting round the fact there weren’t many people there Friday night. With two bands dropping out this time thus halving (at least) the number of fans in attendance, I briefly considered nipping off for a shave and trying to sneak in at the last minute as a battered-looking 19 year old a capella singer. But for the two bands that did show: SuperMassiveMonkeyMen and Northampton’s The Lab Rats, it was a great chance to make Saturday night’s final…
SUPERMASSIVEMONKEYMEN
There’s a deceptive ease to the way frontman Myles plays guitar and provides the focus for SuperMassiveMonkeyMen. He comes across as casual and self-deprecating (introducing their best song with an apology that they’ll probably get it wrong!), and appears to be laidback while simultaneously playing what seems to me at least to be pretty complex lead guitar riffs. They’re an indie-punk trio with a dash of scuzzy blues at times – the bass player and drummer form an exceedingly tight, reliable rhythm section for Myles to play over. Despite the circumstances they play a really impressive set, one of the best of the week for me.
THE LAB RATS
It’s difficult to review The Lab Rats without mentioning the Arctic Monkeys – I lost count near the end, but I think 6 or 7 of their 10-song set were covers of Sheffield’s finest. They did them pretty well, don't get me wrong – but it was so Arctics-heavy a set that by the time they played some other stuff I couldn’t get the Arctics out of my head! The singer-rhythm guitar kid seemed to be smashed off his box to start with, mumbling and repeating himself in between the songs, but wasn’t having any problem with the lyrics at least. Their best choon was called “Danny’s Riff”, which had a kind of reggae beat – I’m assuming that one wasn’t a cover, which bodes well for them in the future. They finished with “I Bet You Look Good On The Dancefloor” (of course!) and a cover of “Wipeout” which showed how good the drummer was – that one takes stamina!
RESULT:
In the end I think this was one of those weird-vibed gigs that all young bands – and some not so young, I can vouch for that! – have to go through at one stage or another. For the first time this week though I backed a winner – SuperMassiveMonkeyMen sneaked it and take their place in the Grand Final with Knuckle*Down and Hikaru... and it’s anyone’s guess who could take the ultimate crown! I’m looking forward to finding out!
There’s not really any getting round the fact there weren’t many people there Friday night. With two bands dropping out this time thus halving (at least) the number of fans in attendance, I briefly considered nipping off for a shave and trying to sneak in at the last minute as a battered-looking 19 year old a capella singer. But for the two bands that did show: SuperMassiveMonkeyMen and Northampton’s The Lab Rats, it was a great chance to make Saturday night’s final…
SUPERMASSIVEMONKEYMEN
There’s a deceptive ease to the way frontman Myles plays guitar and provides the focus for SuperMassiveMonkeyMen. He comes across as casual and self-deprecating (introducing their best song with an apology that they’ll probably get it wrong!), and appears to be laidback while simultaneously playing what seems to me at least to be pretty complex lead guitar riffs. They’re an indie-punk trio with a dash of scuzzy blues at times – the bass player and drummer form an exceedingly tight, reliable rhythm section for Myles to play over. Despite the circumstances they play a really impressive set, one of the best of the week for me.
THE LAB RATS
It’s difficult to review The Lab Rats without mentioning the Arctic Monkeys – I lost count near the end, but I think 6 or 7 of their 10-song set were covers of Sheffield’s finest. They did them pretty well, don't get me wrong – but it was so Arctics-heavy a set that by the time they played some other stuff I couldn’t get the Arctics out of my head! The singer-rhythm guitar kid seemed to be smashed off his box to start with, mumbling and repeating himself in between the songs, but wasn’t having any problem with the lyrics at least. Their best choon was called “Danny’s Riff”, which had a kind of reggae beat – I’m assuming that one wasn’t a cover, which bodes well for them in the future. They finished with “I Bet You Look Good On The Dancefloor” (of course!) and a cover of “Wipeout” which showed how good the drummer was – that one takes stamina!
RESULT:
In the end I think this was one of those weird-vibed gigs that all young bands – and some not so young, I can vouch for that! – have to go through at one stage or another. For the first time this week though I backed a winner – SuperMassiveMonkeyMen sneaked it and take their place in the Grand Final with Knuckle*Down and Hikaru... and it’s anyone’s guess who could take the ultimate crown! I’m looking forward to finding out!
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