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SubRosa
5 Something of a gem from Wycombe’s subterranean punsters. Opening track, Malevolence starts quietly with strange, disturbing off key guitar noises and rapidly settles into a Hook/Morris style groove with cool, throwaway, detached vocals building to a powerful wah driven chorus. A great start. The quality continues throughout with Confessions Of A Justified Sinner featuring pub piano and late 60s early 70s vibe, Cold Not Dying, full of icy guitars lifting off into a sonic blizzard or the organ driven Days Dreams And Dust with its pop vibe and great vocals. The Tower which starts with a solitary acoustic guitar has the rest of the band rapidly crowding in. This is another organ driven song with a chorus full of unsettling vibes reminiscent of some of Arthur Lee’s darker moments. Final track, Spiritual Stars is a slow burning triumph full of primitively psychedelic guitars in the best Reed/Morrison tradition. Shades of David J’s early work drift through the picture while the bass and drums lock beautifully behind buried backing vocals. All you need is John Cale on viola and we’d be heaven bound. Jon, Tony, Doug, Jim, Neil and Martin have created something brilliant here which benefits from a few listens, grows and continues to impress and intrigue, infinitely… Tramp
Etiquette A New CD from Tring’s Finest Export. For a suitably manic start, things kick off with Vibrations, driven along by Tom Rhodes’ funky bass and some guitar which would make Andy Partridge proud in places. Things calm down slightly for Blind which opens with subtle guitar swells and cymbals and a more reflective overall feel, building into something bigger with passionate vocals by Joe Payne. The studio recordings are rounded off by Radioface which is again driven along by fierce guitars and bass and features a cool, cynical lyric. Three live (most likely in studio) recordings make up the rest of the EP. PMA is raw and intense, full of clashing, gnashing guitars followed by a ferocious live rendition of We Dance from the previous EP. Things are drawn to a close by an even more attacking version of opening track Vibrations. With their intense, aggressive arrangements Tramp Etiquette can really rip things up. Couple this with a sound that is very much their own, serious musicianship that is never used to the cost of their intrinsic rawness and you have a class act both live and on record. www.myspace.com/tramp_etiquette Vrillion Hard rock with a mediaeval/gothic spin. Opening track Flesh Is So Easily Torn with its plainsong intro runs headlong into hard straight-ahead rock full of big keyboards and even larger guitar, broken up in the chorus with sparsely instrumented organ and drum almost reminiscent of parts of Desertshore or The Marble Index. Starting with sinister, echoed laughter, The Crazy Clown Song is full of skewed, scary, fairground vibes and weird off kilter keyboards. More huge guitar sounds and some deep waltzing bass haunt this track. Moving on, Killer Instinct with its classically inspired keyboards and Reason with its long instrumental intro filled with flute, quietly picked guitars and nice bass interjections, rock out seriously. Final track Sweet Mistress has a Celtic vibe and some ominous synthesized weather noises to go with its pure, keening vocals and scary occultist spoken-word bit. Penultimate track, The Battle seems to sum up the Vrillion sound perfectly in that it’s hard, driving, big and serious and none the worse for it! www.vrillion.net FRIARS
AYLESBURY CHRISTMAS PARTY - 27.11.09 The final Friars Christmas Party featured two much loved and well remembered bands from the 80’s. China Crisis played a gently paced set of melodic 80’s poptones, full of smooth rhythms and attractive chorusy guitars, to a keenly receptive audience, before receiving a much deserved ‘Friars Heroes’ award. After such a low key start, Kid Creole And The Coconuts appeared even more spectacularly theatrical. After a lengthy introductory rap by MC Bongo Eddie (Percussion and Serious suit) The Kid himself, August Darnell appeared zooted and booted like a 21st Century Cab Calloway and led us, willingly, into his wonderful world. The hits came thick and fast, Stool Pigeon, I’m a Wonderful Thing Baby, Annie I’m Not Your Daddy all driven along by one of the most sublimely funky big bands it has been Aylesbury’s privilege to witness. Marc Anthony Johnson with his Hendrix meets Nile Rodgers at the altar of funk guitar was a revelation, as were the bass and drums courtesy of Oroh Angiana and Dave Imby. Their godlike genius provided a mighty raft for Darnell’s musical vision to cruise the tides and exotic shores of his personal ocean to its heart’s content. Not forgetting the Coconuts who’s backing vocals and humorous undermining of the Kid and Eddie’s theatrical macho posturing have always been an integral part of the show. Finally there was the almost angelic brass section. The only possible description for tonight’s show is magnificent. A fabulous performance with a rapturous reaction from the audience and all rounded off with the presentation of their own ‘Friars Heroes’ award. Talking of heroes DJ Kris Needs provided a great set between the bands, again skilfully evoking the spirit of the times. Once again the Friars magic was well in evidence at this, possibly the best of the three 40th anniversary shows. Superlatives simply can’t do justice to this particular night. All I can do is offer my heartfelt condolences to everyone who was not there, and hope that we’ll see maybe one or two more Friars Aylesbury shows in 2010…. Watch this space! The
Violet Hour Re-release of Prog, Folk/Celtic rockers The Violet Hour’s CBS Album from the early 90s. Opening track Dream Of Me ushers in the album with sea sounds and whale song and with it strong Celtic influences and mournful flageolet playing, sets the tone of things to come. The Spell has a feel of Kate Bush in some of her rockier moments with an Alice in Wonderland theme and phased drums while the Piano led Offertory Song is redolent of the musty scent of empty, semi abandoned Churches, which bursts into a heavier chorus. Falling opens what would have been side two of the original vinyl release with a poppier piano driven feel. Ill Wind Blowing rocks out menacingly with a tale of Nighttown violence while The House is a ballad full of lyrical references to psychedelia and the death and decay of the 60s dream. Better Be Good deals with heavy childhood topics of lousy, manipulative parenting with a chance of escape into the outside world. The Fire Sermon is a very interesting and long unavailable document of the times, sensitively but assertively sung and played by, Doris Brendel, Marcus Waite, Martyn Wilson, Andrew Fox and Sean Holborn. In the intervening years Doris Brendel has been involved in many recording projects in various musical genres featuring such luminaries as Alvin Lee and Joe Brown. These have all now been re-released. Friars
40th Anniversary Gig Friars returned to Aylesbury again on October 23rd, moving on from 60s psychedelia to late 70s punk rock explosion. All the bands playing had strong connections with Friars during that crucial period of the club’s history. Legendary locals The Disco Students were the opening act. Full of swirling Magazine style keyboard washes and a strongly melodic post punk vibe they managed to be very much of that time but still startlingly relevant. Fronted by their one constant factor, Simon Cheetham, (vocals and excellent shirt) they were no easy act to follow. It’s a real pity they were on so early as many people missed their quirky, intelligent set. Penetration had last played Friars almost thirty years ago to the day, on their final tour and it was almost like they’d never been away. That powerful two guitar attack is still there and they are still fascinating, individualistic and totally their own people. All in all very much what punk was meant to be about before all those stupid rules came in. Total originals and you have no idea how good it was to hear Don’t Dictate again. Lovely people too! Age has not withered, wearied or slowed down Stiff Little Fingers. Their songs are still delivered with the same fire and passion despite throat infections and the passage of time. This band has held an important place in Friars’ history for the last thirty years and they received a rapturous reception from a sold out venue. The hall was filled with pogoing punks of all ages, colliding and clashing with little regard for life or limb. Just brilliant! Simple as that… This was another night of mainly total highs which should serve to remind us why Friars has been so loved and so missed over the intervening years. Kris Needs returned to play period DJ sets in between the bands and captured the essence of the time perfectly. Friars Hero awards were again presented to the artistes with this writer’s personal high points of the night being Pauline Murray’s total, unbridled delight on receiving Penetration’s award and Mike O’Connor’s well deserved presentation for his dedication and artistry in creating developing and running the Official Friars web site… David
Saw Former local musician David Saw has created an album with an attractive, laid back feel to it. Recorded in London and various locations in America, this is an album full, for the most part, of gently reflective singer-songwriter material with a strong American East Coast feel to the sound and arrangements. Don’t Call with its quiet, introspective, acoustic vibe and the title track which is backed with a subtle, sparse string quartet arrangement give a general feel of the album. The exceptions are Buy My Record which changes the mood to a more vintage rock/skiffle feel and the Donovan/Mellow Yellow rhythmed vibe of Someone’s Going To Love You. Personal Highlights appear in the shape of All At Sea with its delicate, solo finger picked acoustic guitar and Come Down with its excellent harmony vocals. David Saw has a great voice which showcases his songs with true class. Praise should also go to Patrick Warren for his sympathetic string arrangements and to Ben Taylor for his backing vocals on an album redolent of late nights and long lazy summer days. Linda
Watkins A melodic, acoustic release from singer songwriter Linda Watkins. The album is full of excellent guitar interplay courtesy of Linda and producer Mike Silver who also provides sympathetic harmony/backing vocals which are well illustrated on Winding Sheet. Credit and mention should go to Kate Riaz for her sonorous cello particularly on Delicate Kind and Held In Trust where she opens and develops further dimensions to the songs and also to Snake Davis for his understated sax on Sometimes We Don’t See and whistle on Bugeillo’r Gwenith Gwyn. Engineer Mick Dolan deserves credit for his bass and electric guitar throughout essay on human veniality, Gold. Linda’s vocals carry elements of Joni Mitchell and at times the vulnerability of Bridget St John, which makes for interesting and rewarding listening. Well thought out, diary style lyric writing abounds giving an overall feeling of intimacy and introspection to this album. Pearl
Handled Revolver Killer tracks from purveyors of ‘Dirty Blues’ Pearl Handled Revolver. Things
kick off massively with ‘Walk On By’ featuring raw
vocals by Lee Vernon. So raw in fact, that it sounds like he’s
been raised on a diet of flint chips and bathtub vodka with the
Blues looming behind him with a huge aesthetic capital B. ‘Bring
It All Home’ gives us more of the same, but with a massive
funk injection. Slide guitars zoom and howl across the landscape.
There’s wailing harmonica and stabbing, keening organ all
driven along by a rhythm section that takes no prisoners. ‘Sunrays
Through My Windshield’ is lighter, more acoustic driven
with a subtle, sunshiny pop feel to it. Final track ‘Going
Down’ is full of attacking guitars, funky organ and electric
piano and soulful vocals and harmonica. www.pearlhandledrevolver.co.uk Lost
Minute With debut single ‘Anymore’, Lost Minute have created a brooding almost folk rock vibe. With its emotional lead vocal, fluid guitar, (referencing Mark Knopfler in places), the relaxed but precise rhythm section and mood enhancing string samples; this is a subtle but intense offering. ‘Decision
(Acoustic)’ features a full sounding nicely toned acoustic
guitar, to complement the vocals which are supported by high harmonies
and unobtrusive strings. Benjamin
Weston Hard rock in a new wave style from Benjamin Weston. Catchy choruses and big guitars, some fuzzy, some strident, abound on this release. The title track has all the aforementioned virtues and the whole album could be described as full of short, snappy new wave guitar pop in the best tradition of The Knack or Holly’s Italians. Mould breakers like Good Time Waster with its organ and country rock vibe or more surprisingly Anchored which fades in and out electronically with a very 80s big sound add further interest, as does Another Day with its semi acoustic feel with just guitar and drums for most of its length giving off a rough hewn almost demo vibe. Kindred Spirit should also be noted for its driving with the radio on, summer overtones. With excellent vocals and instrumentation It’s 7am Somewhere is well worth checking out. www.myspace.com/benjaminweston Hearts
In Pencil Hannibal Ad Portas the press release informs us…”is Latin for ‘Hannibal at the Gates’, it was an ancient roman expression of fear or dread and is still in use today”. This is psychedelia with fangs, fading in with strange sounds this is serious art rock with spiky guitars, intense vocals and string samples. Big, fierce and angry sounding, roaring into thrashy episodes the listener is taken up on a frantic trip out with the wild hunt to be finally left frazzled and changed at the end of its six minute duration. Bigger Games/Better Days charts the breakdown of a relationship with male and female vocals telling separate versions of the same story, clashing rather than harmonising and increasing the general effect of desolation. Semi acoustic with some nice backwards guitar the song finally rocks desperately to its conclusion. Hearts In Pencil (Loz, Skae, James and Sam) have created something unusual and memorable here. If you like your music psychedelic, awkward and downright individual this could well be your thing. www.myspace.com/heartsinpencilmusic Newton
Faulkner Newton Faulkner played solo to a sold-out Aylesbury Civic Centre on Tuesday night demonstrating an easy rapport with the audience and a stunning ability as an acoustic guitarist. Comparisons stink, so this writer will try to avoid them. Suffice to say Newton Faulkner is part of a grand tradition without a great deal of the ‘troubled artist’ baggage which has dogged many of his predecessors and is dragging said tradition into the 21st century with style. At times using a battery of pedals, several guitars and something resembling a Ukulele, Newton’s two hour set never dragged. Minimal but excellent lighting went from tasteful ambience through Disco Ball to something resembling an abstract painting, all the while there’s an intimate atmosphere which turned the Civic into a large living room. Stand out songs were the excellent adaptation of Massive Attack’s ‘Teardrop’ with huge bass pedals, the fear of flying song with its sliding chords and the fluffed but cool ‘Ageing Superhero’ with its aura of burned out melancholy. ‘Lipstick Jungle’ with its almost African picking deserves a mention as well. The night finished with Newton singing and playing off mike to pin dropping silence followed by thunderous applause. What a class act!! www.newtonfaulkner.com/gb/home Friars 40th Anniversary Gig 40 years on almost to the
day and after a 25 year break, Friars returned to Aylesbury. Featuring
three ‘phase-one’ bands and the presentation of a
record six Friars Heroes awards by Mike O’Connor of the
Friars Aylesbury Compendium, it was one of those occasions where,
as David Stopps once said “You were either there, or you weren’t”! First on stage were The Groundhogs. Tony McPhee has never
attained the level of guitar-hero status he deserves. Perhaps
his sonic explorations went ahead at the expense of more widespread
commercial recognition. Tonight he was impressively fast and fluid,
creating an acid blues freak-out on opening number ‘Eccentric
Man’ and following on with some superb slide guitar
extemporisations, trips into deep space and finally some serious
pyrotechnics through ‘Natchez
Burning’ and ‘Cherry
Red’. The
Edgar Broughton Band still contains the three original members augmented
by guitar and keyboards. They created epic songs with diverse
influences running from Captain Beefheart to English folk, making
a hard driving roar interlaced with subtle psychedelia. ‘Call Me A Liar’ with its big synths and Roy Harper referencing
wah guitar was a standout along with ‘Out Demons Out’ which allowed the band to really let their Freak
Flag fly. Edgar’s opening rap ably demonstrated that sadly,
little has changed since ‘Demons’
first appeared. Accompanied by some serious leaping about by a
man who resembled Gerry Garcia (possibly the legendary Dave The
Rave from Leaper’s Corner) the Broughtons may not have levitated
the Pentagon, but they certainly shook its foundations. Arriving on stage after
a high speed dash from an earlier gig at the O2 Arena, The Pretty Things treated us to a career spanning set taking in 60’s
r’n b, blues and psychedelia. Opening with contemporary
number ‘Beat Goes On’ with its hard rock
vibe, the Pretties then re-visited the past with ‘Don’t Bring Me Down’ and quickly moved on to selections
from psychedelic masterpiece ‘S
F Sorrow’, bringing the title character into the building
with ‘S F Sorrow Is Born’ with Dick Taylor coaxing fabulous tones from
his guitar. ‘She Says
Good Morning’ explored more psychedelic
guitar territory while ‘Baron
Saturday’ featured Dick’s sinister vocals and
an all band percussion break. After a short blues jam
the wonderful Arthur Brown
was brought on to join fellow legend Phil May for vocal sparring
on ‘Hoochie Coochie Man’. Arthur departed
and the band roared through
‘Roadrunner’, ‘Come See Me’ and ‘Buzz
The Jerk’ leading up to lost
classic ‘Alexander’ from their Electric Banana
alter ego period. ‘I
Wish You Would’ was followed
by ‘Old Man Going’ featuring
more psychedelic guitar and indicating that Sorrow had finally
left the building. From there it was 60’s standard, ‘Route 66’ followed by ‘Rosalyn’ with the Pretties joined on stage by Arthur Brown and
The Broughtons closing a magnificent night of great music. Special mention should
also go to the mighty Kris
Needs and his superb 1969 DJ sets before and between the bands,
the wonderful Friars Aylesbury atmosphere which carried on throughout
the evening and the appearance on stage of the founding fathers
of Friars, Jerry Slater, Terry Harms, Adrian Roach, Robin Pike and David Stopps. Robin concisely summed up
the Friars ethos with his comment ‘If
you believe in something, go out and do it’. Friars Hero Awards were
presented to all three bands playing that night and also to Mike Cooper and Mandrake Paddle Steamer who played the first Friars on June 2nd
1969. Mike Cooper received his award by satellite in Slashed
Seat Affair With
‘No More Lies’ Slashed Seat Affair have created a
driving new wave feel with all the guts as you would expect, but
with a gleaming modern-day production which enables it to look
both forwards and back. Ellie Mules is an accomplished vocalist
in the classic style which places her in good company, and praise
is due to the rest of the band for their contribution. Noel Martin
creates a marvellous and very full guitar sound while the solid,
assertive rhythm section drives on, courtesy of Darren Michael
(bass) and Rob Meehan (drums). A great piece of pop rock! Birdeatsbaby Packed in lose feathers, this album from ‘Dark Cabaret’ artistes Birdeatsbaby refines said darkness into a marvellous Weimar On Sea confection while never falling into the trap of archly camp (Who He? Ed.). Full of doomed love and polkas, lurching waltz times and piano, bass and strings colliding lasciviously and sometimes angrily, it’s easy to imagine Auden cruising their venue or Isherwood sitting in a corner taking notes. It’s hard to pick out individual songs when standards are so high but Miserable with its rubber, leather, SM fetish and alcohol abuse sticks in the mind as does Jim, a Dear John (or perhaps Dear Jim) number, which manages to cram onanism, television and Keira (Knightley, one assumes) into the first line alone. Letter To Charlie with its gentle acoustic guitar and harmony vocals closes the show. Mishkin Mullaly and the rest of the band have created something worth its weight in rubies here. Take a copy into your heart and your home. It’s guaranteed to behave abominably but you’ll just love it all the more. “Tie me down Charlie Brown, wrap me up in a hospital gown”. The
Wishing Tree Many will be familiar with Steve Rothery in his role of guitarist for local band Marillion but his side project The Wishing Tree are not so high profile. The Wishing Tree chose The Court Theatre, Pendley Manor, Tring to launch their new CD titled 'Ostara' on the world. In the making for 12 years this is only their second album (following 1996's Carnival of Souls) which demonstrates the pit falls of Hannah (Stobart - Vocals) and Steve's Transatlantic musical relationship. Support tonight is supplied by Pete Trawavas (Marillion/Kino) and Robin Boult (Howard Jones/John Young Band) in the guise of 'Pete and Rob's Experimental Whimsy. The
name sums up the nature of their set which travels from ragtime
acoustic workouts to Jeff Beck style electric virtuosity and every
point between. After a short break we are onto the main event as The Wishing Tree take to the stage for one of their very rare live performances to rapturous applause from the partisan audience. As this is the launch party for 'Ostara' we get seven of the albums eight tracks (only final track 'Soldier' is omitted). Despite some initial problems with the vocal levels the audience's request for "more vocals" following the first song helps the sound in the intimate venue with Rothery's guitar staying high in the mix. The running order rearranges the songs to allow the set list to start with the traditionally slower Wishing Tree prog-meets-folk sound of songs like 'Seventh Sign' and 'Easy' and build to the hookier/harder climax of 'Kingfisher' and the title track. The nights only non-album track appears during the encore in the form of an impromptu cover of Mazzy Star's 'Fade Into You'. Despite the seven-piece band only having a day and a half to rehearse for the show they replicate the recorded sound well due to the quality of musicians such as Pete Salmon (ex-Jadis), Jo Rothery and Pete Trawavas (again!). The loyal audience stayed sympathetic throughout despite a few 'technical problems' and abrupt conclusions to songs which normally fade out in their recorded form. Following
the gig, a meet and greet provides the chance for the adoring
throng to thank the band and grab an autograph or two before heading
home. Altogether a special night and who knows what this band
could achieve in the current climate (The Reasoning, Panic Room,
Mostly Autumn etc) given more exposure. www.myspace.com/thewishingtreeband Bim A
six track CD of clever electronica from Bim. Claire
Batchelor Singer,
writer and multi instrumentalist, Claire has produced a rare jewel
here. Her songs are performed with sensitivity, craft and care
enhanced by Steph Shepherd’s resonant cello which lends
real gravitas to the material. The tracks fade in and out of each
other giving the impression of a song cycle and lending a kind
of organic wholeness to proceedings. 1877 Serious,
strong stuff on 1877’s debut release. Antagonist begins
with electronic percussion and keyboards before the guitars come
in backing submerged Curtis inflected vocals. Cold and powerfully
arranged the instruments mesh and splinter menacingly. Ben
Sem Big
music with a Celtic vibe from Ben Sem. Pippa
Drysdale Pippa
Drysdale continues the singer/songwriter tradition with some aplomb. Reason
6 These
guys made quite an impression last year at the Kings Head supporting
Fluid Lines. Their live sound was big and confident with multiple
guitars and The Amersham EP delivers more of the same. The
Red Bullets A
new release and another step forward for the Bullets. Recorded
almost live by Jamie Masters, the Echo Sessions really succeeds
in capturing the Bullets’ live vibe on disc. It’s
hard to single out individual contributions as the standards are
all so high but Kyle’s growing confidence in his playing
is beginning to reveal a prodigious talent which is really allowed
to shine here, particularly on live favourite Shrink Wrap and
the 21st century Hendrix Experience feel of Ragged Shoes’
introduction. The
Cantells This three track CD from acoustic rockers The Cantells follows a long seam mined by the likes of The Violent Femmes and The Bad Livers, but unlike the Femmes’ punky thrash and the Livers’ more rootsy approach they apply a more English spin to the template. Guitars are strummed, picked and slide with conviction, weaving around each other in interesting patterns on Age Of Reason, while Beauty Queens goes in for a more country reggae vibe, with clattering percussion and the ever present, huge, thumping acoustic bass. Final track, Workingmans Arms is a folky strumalong with most of the already mentioned attributes firmly in view. This excellent, if brief trip in to the world of the Cantells is topped off with some superb vocal harmonies and a set of interesting lyrics worth the price of admission on their own. So remember. If you’re looking for something different, planet Cantell may well be the place to visit. Highly recommended! The
Powders ‘Warm’, The Powders second album tackles big topics with big sounds, highlighting questions about the human condition while avoiding the obvious pitfalls of negativity and cheap cynicism. Opening with the massive Still Falling Down, with its almost Steve Kilbey vocals and arrangement with chiming guitars and solid bass and drums, the album has high production values which are maintained throughout. Running from the Hard rock of You, No, Nothing to the folky inflexions of Zeros and Ones, Warm contains good vocals and instrumentation and well constructed songs several of which cover such universal topics as wasted time, lives and opportunities and incisive critiques of lives and relationships. File under ‘serious subjects handled with grace, dignity and maturity’. Fluid
Lines Bobby Gillespie once said that any band worth listening to must strive for magnificence above all else, and these writers are not inclined to disagree with him. The six tracks on the Fluid Lines EP certainly indicate that they are heading in the right direction. Huge cavernous guitars prowl and stalk around Calum Wood’s impassioned vocals. Calum and Jimmy Wright have arranged and sculpted their respective guitars into something bigger and wilder than two ordinary instruments could usually hope to achieve. All this is underpinned and driven forward with passion and expertise by Bruce Miller and Ben McKelvey on bass and drums. Songs like Don’t You Dare Move, Fire, and Fingerprints stay with you for a long time in the way that all the best songs do and the wonderful shouty, Dickensian backing vocals deserve a special mention as well. To return to the thoughts of Bobby, it’s really all about the aspiration and the journey. Fluid Lines have the aspiration in spades and if every great journey begins with one step, then they’re already streets ahead of the competition. Pause Kicking off with a great rush of punky power pop chords, Pause deliver some seriously hard rock. Guitars lash each other into a frenzy of fuzz tones following through to great washes of distortion. Title track Control starts with some cool bass and quirky vocals tell interesting stories throughout the four tracks found here. A tough rocky rhythm section drives everything along with conviction. Intense and interesting!
The
Swamis Four bands on the bill tonight… so a mad dash over to Bedford for an early start. First on are The Delaneys who are young, full of ideas and not afraid to use them. Clashing guitars mix with surprise tempo changes in a cool combination of 60’s vibes filtered through an early 80’s sensibility, laced with some of the fragility of a Lawrence or a Phil Wilson. Following fast come The Red Bullets. After a summer of outside gigs this is the first time these writers have seen the band indoors. Four walls and a good sound seems to concentrate the music into a more punchy and visceral incarnation of its already razor sharp self, honed by constant gigging. This seems to push the band to even greater heights, coming across as darker and harder and lending a gritty muscularity to their performance. After a short changeover, Pearl Handled Revolver stroll onstage and proceed to wipe us all out with their soulful organ, funky guitars and rhythms, gravely vocals and wailing harmonica. Their bluesy groove is punctuated by the occasional gallop off into Ennio Morricone territory or a sideways trip into blissful woozy psychedelia. Strong and daring to be different, they shine through a rather opaque and unforgiving sound mix. Headliners, The Swamis continue the vibe of difference with a line up of two acoustic guitars and a drum kit. This could cause confusion to the uninitiated and manages the tightrope trick of looking so wrong and so totally right at the same time. Rules are made to be broken and The Swamis tear up the book with awesome style. With the guitars plugged in they create a huge gutsy sound with massive energy, strong vocals and the guitars filling all frequencies. All this is underpinned by ferocious and precise drumming interwoven with passages of delicate acoustic subtlety. A real winner. Excellent tattoos as well!!! |
