EDITION 025
OCT 2005 LIVE REVIEWS
Louder than Bombs/Gloryhole Weekender
@ Escobar, Wakefield
Saturday 3rd September
Take one 150-capacity venue (and that’s if you’re content to plump for snuggling up behind a wall, folks; not if you’re one of the few able to get to the miniature stage). Take about fifteen bands, all possessing stature with a certain clobber as far as Wakefield, Leeds, and, in many cases, the country, are concerned. Stick ‘em all together in sardine-like proximity, throw in some thirsty punters for the scandalously-cheap price of a fiver a day and you have what is known as A Success. Let the antics begin…
The Labels are rebellious upstarts who take the lyrics from that kids’ TV show, ‘Round The Twist’ (where odd stuff happened to children who lived in a lighthouse…)’s title track and wind them into a playfully-punky wire of a song. Interesting. Oh, and Last Gang In Town have some bloody tunes, don’t they?
Mi Mye’s ramshackle gathering of odds-and-ends comprises one part Russell ‘The Disaster’ Searle, usually spotted in his natural habitat cooing over a Casio or bouncing like a kangaroo on amphetamines to 10, 000 Things, one part ‘Our Jamie’ gently croaking in a checked shirt and last part Adam Killip replete with beard and jigging fiddle. Improvised concoctions of drumbeat cues written on the back of a poster and happy strums mean it’s all so lovely that we melt into one collective puddle and swoosh outside to cool down before Piskie Sits. Who are pissed off. We don’t know why. In a way, it enhances their lunatic gobble-gobble vocals going off at random tangents. In another way, it scares us. And I wish I could remember one iota of how “ace” The Holloways sounded, because I remember muttering said word repeatedly. Meanwhile…
Sam Riley eats, breathes, screams and, indeed, humps music. Red shirt ripped down the middle, plastered across one sweaty chest, braces lashed across his back, trousers welded in place, he is the epitome of a rolling-eyed, speeding frontman, hell-bent upon catapulting himself and the rest of his 10, 000 Things to the frontiers of excitement. An unsettling fusion of cherubic cheeks, angelically-peach skin and fair hair with an avalanche of filthy winks and a lolling tongue, he’s captivating. And fantastic fun. And sexy as anything. From the dirty bumps of ‘Food Chain’ to the slime of ‘Eatin’s Not Cheatin’’ they’ve got us slavering in the palm of their hand. Hit me with your rhythm stick? You wouldn’t say no…
Sunday 4th September 2005
Napoleon III gives his wheels a good thrashing this morning, though more because they’re not behaving than anything else; but remains victorious in creating an unnerving, wobbly environment of loops. The Reprobates rudely (in the most literal sense) awaken us with impressive axe-action and viper snarls before the effortless complexity of those young O Fracas lads brings homeless bits of rhythm and wandering vagrants of percussion together under one abstract roof. Laughing gleefully during the drum-parade of ‘Forfeit’ and generally gobsmacking us with their ‘How On Earth Do They All Keep In Time Like That?!’ factor, they batter away. Stars.
The Lodger are one plunging ravine of disappointment, with the exception of the sweet ‘Let Her Go’. Remarkably straightforward, plodding guitar and nonplussed-voice stylings. Maybe this is precisely the appeal. Or maybe not. Moving on past The Pigeon Detectives (who most people adore despite (or because of) those repetitious NYC guitar lines and Very Catchy Tunes) whilst we go eat sandwiches, Bromhead’s Jacket do basic six-string things in a hilarious way with chip-shop banter. If all Sheffield-ians are this funny, I’m almost tempted to move.
This ‘ere fury of volcanic sound belongs to The Sunshine Underground. There’s lava everywhere, spilling from Stuart’s heaving guitar, from Craig’s throat, Matthew’s whirring cymbals, Daley’s hulking bass. The place is blood-boiling red and bubbling over with the foaming fire-finale of ‘Raise The Alarm’.
As ever, brilliant. I’m inadvertently glued to the bar during ¡Forward, Russia! so I can’t see but, lord, I can hear those jaw-dropping, deranged bleeps and Tom spitting bile as though receiving ten electric shocks through his spinal cord per second.
Ryan Komakino’s Russia-loving t-shirt shrinks to his torso with perspiration, his Southern accent sounding delirious, teasing, tempting and vicious. This band are always going to be shockingly-fantastic when close enough to screech into your very eyeball. For ‘Say Something’ I stop filming and realise my ear is actually on the amplifier.
All in all, then, one wet marathon of a weekend, with untold quantities of deafness later to be unleashed upon all present. Threefold cheers for Sean Cuniff, who owns the place, and the promotional hammerhead of Gloryhole and Louder Than Bombs, advocates of the “Crowdsurfing At A Venue Near You” (©) campaign. See you at Easter.
Lauren Strain
Six Foot Daze / Silver sound / Mexican Deathcap
@ The Mixing Tin
Would Faith No More have worked with a female singer? As long as she was called Mabh from Mexican Deathcap I reckon so! At first I’m not sure about these banditos, but a writhing girl in a red cocktail dress always keeps me interested. The formulaic funk-into-metal openers are soon forgotten as melodic quirky rock-metal belters are unleashed. I thought the drums had started off laboriously, but actually pound along perfectly in the grand scheme of Deathcapism. The guitar work is tuneful and lush combining well with the full and funky bass. Mabh runs the show though. Her voice is powerful and emotive just like the rest of her frontwoman performance. It’s awkward when she picks up the guitar or growls simply because the band looks and sounds perfect without them. I can’t wait to catch these guys again.
That’s something that’ll be a little trickier to do with Silversound as it’s their last gig with their current drummer. Someone has to step into the breach because these guys are so talented and destined for a dirty big headline slot it hurts. Imagine Incubus wrapped up in an 80’s metal vibe. The passion is real and the musicianship impressive but fun. Frontman Kev even manages to wirlelessly run amongst the crowd soloing with all the charisma and showmanship that underpins their set.
I thought Silversound sounded a bit like Pearl Jam, but Scarborough’s Six Foot Daze ARE Pearl Jam! They’re uber pro and should do well if they can get a foothold in Leeds. Bizarrely I’ve a feeling they’re better on record than live. Their sound is massive in such a small venue, and I think some of the intricacies of their songs have been lost tonight. The tunes rock but maybe lack those killer hooks that push a band to that next level (something all the bands tonight suffer a little from). The problem is that there’s an enormous saturation of bands in the UK at the moment and you simply can’t have a band all about someone’s voice, even if it is brilliant. The lead guitar is interesting and positive but maybe the addition of backing vocals, and the rest of the band pulling their weight by believing in the music and compositionally going that extra mile, might give these guys the edge they need.
Matt Fraser
This Et Al + The Sunshine Underground + Corleone + The Playmates
Sandman Meets The Neighbours @ The Vine
It’s not the best idea to start a gig by calling your crowd wankers, even in jest. However, The Playmates quickly redeem themselves with fun, bounce-along punk songs about sex, sex and, er, sex. It’s not original, but it is fun. Quickly following The Playmates are Sheffield band Corleone, who make music which is something akin to having your head repeatedly smashed with a brick. They occasionally venture into tuneful territory, but quickly put a stop to it with more distortion and feedback. Their ‘wall of sound’ artiness may be…arty, but it doesn’t win over the audience.
The Sunshine Underground are like a breath of fresh air for the smoke filled room, and have the audience in the palms of their hands from the very start. Upcoming single ‘Commercial Breakdown’ is superb, one of the best of their urban punk styled songs, somewhat reminiscent of Hard-Fi, except better.
And thus, the stage is set for the gothic brilliance of This Et Al. And brilliant they are, as they set off like a bullet from a gun into their set, opening with ‘Pigs Make Children Sick’. Lead singer Wu’s energetic singing drives the band forward, covering a wide vocal range and still managing to strike numerous poses for the photographer. There’s no doubting that This Et Al are one of the more photogenic bands in Leeds, with their red and black shirts and ties marking them out from the usually dishevelled looking bands that populate the Leeds music scene. Towards the middle of the set, the band play the menacing ‘You've Driven For Miles And Not Remembered A Thing’ (their next single) which is excellent, the solid drum beats and dark guitar lines snaking in and out and forcing themselves into your head.
The band close with first single ‘He Shoots Presidents’, which was originally released as a split 7” with ¡Forward, Russia!. Whilst ¡Forward, Russia! were heralded as the next big thing, This Et Al somehow went unnoticed, though for what reason, I have no idea, as ‘He Shoots Presidents’ is a cracking tune, worthy of everybody’s attention.
Finding they have a few more minutes on stage, the band happily launch into a new song, ‘Wardens’. Although relatively short, the song still manages to punch home the epic sound that This Et Al do so well.
With gigs like this, This Et Al are certainly cementing their reputation as one of Leeds’ brightest sparks.
Owen Clements
iLiKETRAiNS / O Fracas / Xi / Buen Chico / Unexploded Shells
Tea Time Shuffle @ Hi Fi Club
Bless Unexploded Shells; they do try so. With the band recently sounding more persuasive and confident, guitarist Tim ventures a little nearer to the boundaries of stage and crowd to project his deft mini-solos forth, whilst the vocal duo of Mark and Tom mumble their snippets of narrow, monochrome tunes. What is it that they need? A bit of danger, a bit of daring; two ideas you may see flitting around in ‘Icarus Drowning 1976’ which, oh poop, is missing from tonight’s set. Buen Chico would be considerably fab if the bassist stopped quacking out her backing vocals all over the most delightful, finding-a-toy-in-your-packet-o’-cornflakes moments and effortlessly transforming their snaps of snub-nosed teenage-ness into nasal rivers of drivel. Oops, and Xi float past in a highly ignore-able manner, swimming staunchly through vast, silted-up quantities of beat-box slurry and buzzing noises.
Thank the lord of percussion above, then, for O Fracas, who jolt about like the clever-pop, keen-eyed feisty monsters of irreverence they are, tucked into trademark turquoise jumpers and pounding the life out of components of drumkit during ‘Forfeit’’s elephantine rhythmic interlude. They lure you in with shouty defiance (“Have you got eyes in the back of your head?” Well, HAVE YOU??! We haven’t got all day, you know…), then elude you unwittingly with slippery, sliding moments of quiet and stillness. Wham! The juggernaut is back – tremendously unpredictable, unexpected and as intricate as a new box of K’Nex every time.
iLiKETRAiNS sever the atmosphere with a bleeding, knife-edged voice, station-master suits and fearsome lyrics concerning that rather terrifying practice of using somebody’s teeth for a necklace. For some inexplicable reason, tonight they fail to bubble up into their usual flaming pit of devilish wonder, instead simmering furiously just underneath the surface. Still, you can’t be too much of a grump about their innate thrill or that very specific tension they conjure, really, can you? Incredible; just not at their best. Dark and delicioussssssss, my precioussssssss…
Lauren Strain
USA is a Monster / Monster Killed By Laser / Riotmen / Eagle Eye
@ The Fenton
USA is a Monster (Brooklyn, New York) are Archetypal Earth Motherfuckers with equipment. They are the loudest, most intricate and most biggest band of the night. They tread gently on the ground and chant, shout and sing in mantric ways about the desert in our politics and the politics in our deserts. We can’t hear the words: everything is so loud and our ears are so small and too weak to cope. I think the new Tony Laws will soon forbid some of what they are singing. But their spirit is plain and we buy the new album Wohaw (with gorgeous acoustic tracks) for later enjoyment. USA is a Monster have a pounding, writhing sort of sound that is rich, complex, obsessive and uplifting. Colin's stereo guitar playing is busy jazz and roll with variety and strength. Tom's drumming is bright and flailing. He sings through a mask. As a duo they are Beauty and Beast – personally and collectively. Please nurture these people. Load Records are their para-commercial wing.
Leeds' own Monster Killed By Laser were drone and slash, with surging ululations of feedback and deep pulses of unspoken delirium. A deputising bass player took his chance and made a holy noise. Nobody sang, but the building shook. There were the briefest sparkles of bright musicianly fire amidst a dark desperate and awe inspiring performance.
Riotmen from Milton Keynes had been madder than fish, snapping their two frontmen about like burning sticks in a feckless wind, then rolling downhill in a Portaloo. They make a good loud thrash of fiercely controlled punk excitement. Loud also.
Openers Eagle Eye were the match of anyone tonight. James (Kill Your Tank) Islip played a guitar without drumsticks and, with the assistance of Graham "Greek" (various) and Joe Osborne (drums) declared "How Dare You!" and "Thanks For Coming!" as often as necessary. Their song (did they but know it) was Duane Eddy's ‘Peter Gunn Theme’ played through their own tune-warping machine in several cunningly disguised and surprising ways. Eagle Eye are witty and scary by turns. Within thirty seconds of starting they had filled the room. And full it stayed. What a grand entertainment.
Sam Saunders
New Minds Eye / Downdime / Crowley's Dead
@ The Engine Room, Brudenell Social Club
So finally, the Engine Room returns. In from the rain and welcomed by friendly faces. Tonight's music is part of a gig swap with Sheffield. The first band, Crowley's Dead, are a Sheffield bunch - a loud, raw, blissful mish-mash of chunky guitars. Shouty, laddish vocals lend character to what might otherwise be a bland noise. The guitar work is mostly modest, the simple but effective note-work is good enough to resemble Joey Santiago. Early impressions suggest there’s not enough thought given to arrangement but the set progresses to some more off-beat riffs, with space for the audience to find the vibe.
Downdime make a strong indie-rock entrance possessing an interesting sound with keyboards following the melody in a manner evoking early Wannadies. The guitarist is left to do pretty much whatever the hell he likes, which he pleasingly does, roaming freely from relatively standard riffs to add depth to their pop sound. Downdime are fantastically easy to listen to, joyful to watch and make teenage death really something to sing about. My one gripe? Singing with an American accent but, overall, good songs - a definite for fans of Granddaddy and T-minus Band.
The first thing noticeable about New Minds Eye is the lack of a bass, the second thing is their melodic brand of fury. The drummer plays mouth organ. The performance is slick and well rehearsed, filling the listener with an overwhelming urge to witness it again. The group appear to spend time perfecting their sound and this clearly pays. Each song has its own feel. Bluesy and charismatic, funky keyboards and a selection of instruments make them the most professional act of the night. With little visible communication between the members they play with a fluidity reminiscent of Super Furry Animals or The Earlies. Just when I think they're done the drummer plays sax for their big finale. A fantastic group who have outgrown the half hour set, they needed longer. A great night! Welcome back Engine room, oh how I've missed you!
John Light
Your Vegas / Sweetbriar / The Alamo
@ The Vine
The first band on was The Alamo. Despite their car breaking down on the way, they put on a great set. Tracks such as ‘Lost’, and ‘Okay’ are in the same indie rock vein as The Strokes and The Cribs. So not bad then. They played a new track called ‘Calling Out To The World‘, which was slower than the rest of their set and gave my foot a welcome break from tapping and allowed me to hum along instead. An excellent start to the evening.
Next up were Nottingham-based Sweetbriar, formerly known as Burningman. Their jangly indie is reminiscent of REM at times; at others it sounds somewhat more folk-influenced. This band have excellent vocal harmonies, and tracks such as ‘Prints’ and ‘Like Music’ can only be described as beautifully sublime. ‘Deep Green’ was perhaps my favourite song of their set and is one of those rare tracks which makes you realise that with music this good, the world obviously isn’t such a bad place. Sweetbriar are quite possibly the best thing to come from Nottingham since Robin Hood.
Every so often, you find a band who exactly match the description of your “ideal band”. At the moment, that band is Otley-based Your Vegas. Imagine a fusion of U2, Coldplay and The Killers – choruses designed to be sung by thousands, near-perfect love songs and tunes perfect for dancing to. Now picture this music being brought to you by five attractive guys in their early twenties and you’ve got a pretty lethal combination. Songs such as ‘Flybuzz’ and debut single ‘Your Vegas’ are definite anthems for the future, and ‘Salvadore’ is one of the most gorgeous songs I’ve ever heard, not least because lead singer Coyle Girelli has a great voice. This is a band whose songs should be played in every indie disco in the country; this is a band who should play in every stadium in the country. They are perfect festival headliners of the not-too-distant future.
Nicki Tibballs
The Voltaires/The Huskies/Otherside
@ Josephs Well
Despite what T.S Eliot might have said, September really is the cruelest month. Summer’s over, no more festivals, and England beaten by a goal scored by a Leeds United player (a feeling not dissimilar to finding your girlfriend in bed with your best mate). Add to this an ill-judged attempt to give up smoking and the guest list at the Well tonight should have read "Grumpy bastard plus one"
Otherside are one of those bands who look exactly like their fans whom they’re likely to have plenty of, if this performance was anything to go by. Dealing in a jangly guitar pop sound, they immediately brighten the place up. Their own stuff, particularly ‘Lucky’ and ‘Saddle Up’, is immeasurably better than the covers of Stereophonics and U2 songs. A case of great band, crap record collection, then. The grumpiness is lifting.
The Huskies boast two excellent vocalists. A shame, then that their 80’s influenced dance / soul sound ends up sounding like Go West (ask your mum) in most of their songs. As the set progresses they warm up and do have two excellent songs in ‘On the Run’ and ‘Got no Time’ which reach the Cameo style funk that they seem to be aiming for. Too much cheese and a couple of crackers. Seriously thinking about having a fag at this point.
The Voltaires couldn’t be accused of being ahead of their time with their Stones / Free / Stooges type classic rock blasts with titles like ‘Automatic’ and ‘I Hate Saturday Nights’. That said, they’ve studied well at the feet of their heroes and are the only people here tonight that look and sound like they couldn’t do anything other than be in a rock and roll band. For 25 glorious minutes the Well turns in to the Rainbow circa 1972 as they go through the full gamut of microphone sharing, head back soloing moves. In short, they believe in the redemptive power of a great rock and roll show and this raises them above the level of mere imitators. Grumpiness gone as we pull Jagger moves all the way back to the car, punching the air as we go, knowing that The Voltaires are the best rock and roll band in Leeds at the moment.
Phil Cope
Naked Flames / Monkey Tennis Experience / Tom Fazzini / Escape Goat
@ The Packhorse
After melting the soles of my only pair of trainers in the dryer, I hobbled up to the Packhorse for a fundraiser and to be entertained by four bands I’d never heard of before. Escape Goat (an acoustic and electric guitar pair), I’d seen sound checking earlier when I had arrived. They struck me like duo petrified by their lack of preparation and belief in their own talent. They were just as surprised as I was after their first song, a sixth-form drama students ode to love gone wrong, was received with rapturous applause, a response I felt said more about the audience and spirit of the event than the performance.
Tom Fazzini I was fairly interested in. One man and his acoustic singing folky compositions about jealousy and deceit and life in a frank but often comedic manner which was free from any BS with lines such as “don’t shag my enemy…”. He deserved more attention than his audience were prepared to give and though he treated us to a couple of jokes which inspired images of tumbleweed rambling through the Arizona desert. With his bland voice and tinny sounding guitar (P.A man’s fault), his acoustic musings I felt at least came from an honest place.
But by the end of Tom’s set I found myself contemplating a game of chess with myself at home. “Stop being so critical you snob! It’s for charidee for christ’s sake!”, I reprimanded myself. So I got some fresh air, nibbled Noddy’s Nuts and got back for the manly assemblage of the Monkey Tennis Experience (2 guitars, bass and drums with vocals). And it was their demeanour or rather, my stereotype that led me to imagine them tearing a couple of arseholes for the room with their eardrum shredding guitar riffs. But then from behind the drums was unleashed a bluesy rock shriek akin to the Plant species as they launched into Otis Redding’s ‘Hard to Handle’, which was nicely executed. They continued to play old school rock covers (Guns ’n’ Roses …etc) which was a shame though the renditions were pretty faithful but I have to say that the main rhythm guitarist’s sense of timing and feel for a groove was nigh on atrocious. Full marks for enjoying himself but his efforts seriously untightened the bands solidity.
At the end of their set my entertainment glands were in need of much stimulation and I’d started to question my hard-line approach to demanding some sort of gratification be it in any form. But Naked Flames thankfully affirmed me of my position with their visceral and often hilarious strand of anti-folk. A show really, that combines rants, comedy, twisted theatre and of course lashings and lashings of man-breasts into a fresh an original package even though the two brothers (singer/neurotic and singer/guitarist) have been doing it for 13 years. It was a pity that the crowd’s sympathetic applause for the previous acts couldn’t stretch until the end as they missed out on the best stuff of the night by far.
Dwaine Gibson
Nikoli / The Authors of Malicious Code / Neil McLarty
@ The Mixing Tin
A chilled mixing tin crowd gathered to see an eclectic mix of artists. Singer songwriter, Neil McLarty gave the candlelit crowd joyous splendour. McLarty offered more than the usual acoustic wailings that you may expect from a solo acoustic artist. Here we were treated to soothing, good honest music. Singing out reflective lyrics, ‘Emotionally Board’ was in keeping with the comforting midweek mood. Pure Scottish poetry was on show with ‘Any Port In A Storm’. Make sure you look out for Neil as he secretly breaks into Leeds.
Second on the bill came The Authors of Malicious Code, who were a vast contrast to McLarty. Bursting dark music caught us on the hop. Amazing drumming right throughout the set kept the crowd’s feet-a stomping. The drummer, however, had to make up for the lacking vocals. Many of the songs were packed with bitter guitars riffs that poisoned your mind, but at times the songs slipped away on and on. The highlight was ‘Always’, eclipsing and melodic, it brought a better feel to the dark ages, almost light at the end of the tunnel. There were the occasional charming and elegant vocals, but the drumming stole the show. A mixture of dark and light, but there was still potential in their ending with soft reflections of your day as singer ups the quality kicking out ‘Let Down’.
Nikoli were on hand to top the bill. Many references to Doves surround Nikoli, but there seems to be this unique edge to them that makes them one of Leeds most hardworking and well known bands. Tonight, they did not disappoint. ‘Gently Talk Me Down’ provided chilled vocals to match the Mixo’s candlelight. Mysterious and lost, Nikoli even let the crowd in on some new material with twinkling pianos and sharp ballads to boot. Progressively comforting with bags of soul. These lads have immense potential to be thrown on a grander scale as you often find when listening Lost Souls. The finale was ‘Sandstone’, with quality tip tap tapping drums with melodic rumblings. As the night draws to a close, we watch the foundations of Leeds music sail gracefully upon the ocean into the setting sun, beautiful!
Chris Watson
The Moor Music Festival 2005
Its only after catching glimpses of a clutch of tents and marquees in a field you realise that you’ve arrived at the Moor Music Festival, which is on Ilkley Moor on Addingham farm. There’s a lack of sign posts. The Moor Music festival is like a cross between an early version of Glastonbury, and a low key version of Homelands. Attracting around 2000 people, the festival is the newest on the block, as this its first year. It featured a whole load of relatively unheard of or new bands and artists, 10,000 Things are probably the most well known, there’s no multimillion selling acts, or chart acts at this festival, although some have the potential to be. Instead there’s a whole 48 hours worth of acts ready to make your mind boggle. Starting from 12pm on the Friday to the early hours of Sunday morning, bands and acts play across 3 tents: the Leedslive tent featuring live bands, Homespun tent featuring djs and dance acts, and the Electric Fish experience featuring solo and acoustic acts.
On the Friday, we start with Grasshopper in the Leedslive tent, whose chilled out songs don’t do much too start with, its towards the end that they turn good when they sound like a countrified version of the Chilli Peppers crossed with The Coral. Then after Waking The Witch, who sound like a cross between Bjorn Again and Banarama (!), we get the rather rocking Solo who attract the first big crowd of the day. Solo play a set which sees them sounding like a mix of Hawkwind-esque progressive rock with dashings of The Music’s drive. This is followed by Pigzipper, who are all Gomez and country-esque rock, they lose it towards the end. We then get our dance shoes on in the Homespun dance tent with dance music provided by Ralph Lawson 20:20 Soundsystem, who are a live band playing clubby style dance music, but as there’s no vocals or anything to look at, it loses momentum, although there are a lot of people up and dancing by the time they finish.
Back in the Leedslive tent we get one of the first anticipated band of the weekend, The Somatics. Regarded as one of the best live bands in Leeds, they play overwrought, prog rock, with psychedelic guitar riffs and solos. They often sound like a slower version of fellow Leeds band iLiKETRAiNS. They also hint at a Pink Floyd majesty, with the singer sounding like Nick Cave. There sound is majestic and huge, perhaps too much big because at times it sounds like the Earths plates are shifting during the build up of various songs, and they leave some of the audience slightly sleepy, however the rest seem to leave awestruck. If The Somatics were sending the audience to sleep, then York’s Black Night Crash wake them up, as they play some riveting Jesus and Mary Chain/ Black Rebel Motorcycle Club scuzzy rock mixed with some classic Led Zeppelin rock, thrown in too. Finally we get the sex, booze, rock n roll, bongos and guiro of Leeds’ most underrated band, 10,000 Things, who are the headliners for tonight, managing to pack the whole of the Leedslive tent. There’s a huge air of anticipation before they come on, followed by a huge air of celebration once they hit the stage. After their recent slating in one certain musical publication, the band are back to prove that they’re worth it, whether they get 1 out of 10 or 10 out 10, and tonight sees their resurrection. Playing a mighty set of boozed up rock n roll, including the memorable ‘Eatings Not Cheating’ and ‘Dogsbody’, off their infamous self-titled debut album. Sam looks like a better looking Pete Doherty, and prowls the stage like a younger and sweatier Iggy Pop. They go down a storm. 10,000 Things finish just after midnight but the rest of the festival carry on til the early hours of the morning.
The next day we start by watching Hayley Gaftarnick taking in her rather lovely Tracey Chapmen-esque songs whilst the hangover is rushing around the head, and trying to recover, it doesn’t quite do the trick. However wandering into the Homespun dance tent to catch The Bluefoot Project seems to cure the hangover. Although it starts out sounding like coffee table and airbrushed lifeless soul, they then turn up their thudding bass guitar which rumbles all around the tent- the insides of my stomach feel like their moving around at this point, and it sees the crowd moving around, it’s quite a joyful experience. After all this soulfullness we’re then treated to the country and cowboy rocking antics of Filth, which really wakes us up. This is followed by The Mothers who are an average covers band doing featuring The Beatles and James Brown, they are akin to watching a band at a wedding, however it does get a handful of people in the tent jigging and dancing and gets the party started for the rest of the evening. The party is put on hold by Vib Gyor who play disappointingly average epic rock nothingness.
After the gentle atmosphere of the afternoon by 8pm we get into heavy rock mode for the next few acts, starting with Mishkin, who play an energetic set of Sepultura scary rock, and set off the first moshpit of the day. This is followed by Robochrist, who is probably the most eagerly awaited act of the day. Coming on stage it is quite scary to watch Robochrist, with his black face paint and sharp mohican looking like an evil version of Johnny Rotten, as he plays a short 20 minute outburst of cheese, punk, metal, and bowel-loosening bass action, by the time he finishes we’re left gasping for breath and the name on everyones lips is Robochrist as people walk around gibbering afterwards. In the distance you can hear Marilyn Manson crying as his career has just been ruined. Next is The Playmates who with their formidable-‘sex god’- showman Mr Neil Hanson, play a (damn) good punk rock pogoing set, which references Sex Pistols, The Ramones, and Sham 69, but updated with some 21st century wit and fun. Playing the catchy as hell anthems such as ‘The Bill’, ‘Damn Good’, forthcoming single ‘Jackie Wright’, and the brilliant ‘Smash Hits’ which features the best lyric this year “where were you last year/playing in a shit band/sleeping with your left hand”. Band of the day hands down.
After all this excitement we go over to the Electric Fish experience to catch the acclaimed guitar maestro, Jon Gomm, who includes a heart melting version of Radioheads ‘High and Dry’. The noise of Scaramanga Six makes us go back to the Leedslive tent. The Scaras come across at times like a cross between a futuristic gospel band and a futuristic gothic band. Although there are some furiously loud, and tight knit songs, it all feels a bit like they’re trying too hard, but they do have a good attempt at assaulting the ears. The festival winds up in the early hours of Sunday morning with a fantastic dub, reggae, and breaks set from the DJs and MCs of Dreadzone Soundsystem who mix it up with tracks from Underworld, Groove Armada, Prodigy, and The Orb amongst others, making the whole tent jump.
Apart from the disheartening rule that was suddenly made on the Saturday that people weren’t aloud to take their own drinks into the main arena, apparently because they weren’t making enough money from the bar, the Moor Music Festival went off without a hitch, it was particularly successful with the new, original, and exciting acts on stage too. Plus the setting in the middle of the hills of Ilkley Moor was quite magical and the hot sun burning weather made it almost perfect. The festival could easily carry on next year and maybe get even better. A possible contender for a replacement for the absent Glasonbury festival next year.
Ben Bradford
3 Colours Red / The Yo-Yos
@ Josephs Well
It all seems a bit surreal. 24 hours ago I was watching Yo-Yo's frontman/bassist Danny McCormack playing what, if the rumours are to be believed, was to be the last ever gig by his other band the Wildhearts in front of a few thousand screaming fans at the Scarborough Festival. And now tonight, he's here at the Well giving us a much-welcomed blast through the Yo-Yos' back catalogue.
It's an extremely welcome thing seeing this seriously under-rated band back together to give it another go - when their first album Uppers And Downers came out five years ago, nearly everyone I played it to was puzzled as to how a band with such an undeniable knack for good tunes and singalong choruses weren't storming the Top 20. Although the line-up has shifted a bit since then, the fire is very much still there and the likes of ‘You Got Me Outta My Mind’ and ‘Home From Home’ still sound as fresh and anthemic as they did then, while the new stuff such as ‘Omega Male’ and ‘Given Up Giving Up’ suggests that these lads have still got a lot of fire left in them.
I have to confess my hopes for 3 Colours Red weren't particularly high - even in their late '90s heyday they were always a bit of an inconsistent band, and since they returned to the scene a couple of years back, they've not exactly set the world alight but tonight is a timely reminder of how good this band can be when the mood takes them. In the boiling heat of Josephs Well tonight, the likes of ‘The World Is Yours’, ‘Copper Girl’ and ‘Fit Boy And Faint Girl’ take on a raw ferocity that the recorded versions lacked to an extent, while the better stuff from the old days like ‘Sunny In England’, ‘Nuclear Holiday’ and ‘Sixty Mile Smile’ are starting to sound increasingly like lost classics that you never really appreciated as much as you should've. Make no mistake, if they can capture this sort of energy on their next album, it should be well worth waiting for.
Andy James
Sniper / Finka / Ross Kemp / Caroline Martin
@ The Mixing Tin
Yet another eclectic and mesmerising evening down at the Mixing Tin. A large bill included the likes of Caroline Martin, Ross Kemp, Sniper and the most eye catching, Finka, with their EP launch of ‘Runner’.
Caroline Martin, famed for appearing on the Peel sessions, treated the early Mixing Tin crowd to a lovely set. ‘So I Sing’ and ‘Without Permission’ were the highlights of a soothing set of high pitch and level crossing sounds. ‘The Next Day’ provided sought after lyrics that comforted you and settled you into the evening.
Ross Kemp added flare to the bill with rock chick warmth. Immense vocals reaching the highest peaks, this made the crowd sit up and listen. A glistening set that compelled us all with joy.
Sniper topped the bill with awesome Oasis-like power. At times it was awkward and rather too much, with too many similarities. However, there was promise with fiery foot stomping anthems and excellent choice guitar riffs.
The highlight of the night was Finka. Manchester-based Finka are truly magnificent. It is hard to sum up their sound, often you are listening to soft Stone Rose wailings backed up with Radiohead electronica. Terrifyingly brilliant, Finka were on form tonight with an electrifying performance of their well crafted ‘45’ and ‘Stuck’. There were high pitch intonations with progressive and rousing guitar sounds that kept you addicted, and took you into some sort of heavenly trance. Other more emotive songs were on show and new outing ‘Runner’ did not dare to disappoint. A devoted following seemed to be present to witness songs from the Far East mixed with a brit pop revival.
Chris Watson
Stephen Fretwell / Hush / Liam Frost
@ The Cockpit
Stephen Fretwell’s fan base has grown rapidly in the last few months. This fact is attested to by the sheer number of people that turned up at the Cockpit for this leg of his tour.
First up tonight was Liam Frost. The first thing I noticed about him was that his fly was undone, the second was how well the audience reacted to him. Frost was clearly nervous for the opening few songs but half way through his act he lightened up a bit, even offering the audience ‘free porn’ if they joined his mailing list! His set contained Fretwell-esque tracks, though not as refined. It ended with ‘Try, Try, Try’ a memorable country rock track that set the high standard for the rest of the evening.
Next up were Hush, from Denmark, who appeared on stage oozing confidence and opened up with ‘Ordinary Day’, a beautiful country folk song reminiscent of Dolly Parton’s work, as in fact was most of their set, which included the melodic ‘If You Go Breaking My Heart’, and the up beat ‘If I Was’.
And finally we come to the part we’ve all been waiting for, and no doubt the only reason you’re reading this review.
Stephen Fretwell appears on stage accompanied by a thunderous applause and an entire audience shouting out ‘Stevo’. Fretwell opens his set with one of his old songs ‘Darling Don’t’ a catchy tune, even if heard for the first time, and one that really gets the crowd going. By the third song ‘Bad Bad You, Bad Bad Me’ Fretwell was in danger of being drowned out by the audiences enthusiastic singing! After nine songs of pure heartfelt passion Fretwell thanks the audience and leaves, only to return again due to the many, many shouts for an encore. He re-emerges to play ‘Emily’, a delightfully captivating tune and his last single, and ‘New York’ his next single. Again Fretwell thanks the audience and leaves, only to return once more to play an unexpected bonus song for his fans, ‘Water Blue’ another melodic masterpiece that only he could deliver with such passion.
What’s the reason for Stephen Fretwell’s sudden popularity? Simply put, when it comes to music, the guy’s a genius!
David Harling
Out of Spite VIII
@ Josephs Well
Now in its eighth year, the Out Of Spite weekender has always done a fine job of showcasing the country’s fine underground Indie Punk Rock/Post–Punk scene. This year was no exception, and easily rates as one of the best. As ever the atmosphere was welcoming, fun and completely rocking, and with over twenty bands on stage, all punk rock bases were covered. With this in mind there was far too much fun happening to cram into this review, but I shall try my best. Friday’s highlights included the straight up Punk of The Sword and the punk rock pleasures of Leif Ericsson who, with a revised line-up, sounded completely massive. Tonight’s slick headliners Capdown certainly pleased the packed out Well, but simply aren’t my thing. Good start, but much more to come.
Saturday was a long day, but included some top noise in the form of The Dauntless Elite and The Rituals to name a few. Today also played host to two of neighbouring Wakefield’s finest: the mighty Milloy and the perfectly crafted indie-pop of headliners Pylon. Milloy showcased a load of fine new material from their forthcoming album with some Wakey classics effortlessly thrown in for good measure. Ace day all round.
Sunday felt even longer as I nursed a hangover, but luckily I was brought back to life by Nathanial Green and later the complete sleaze-punk of the Sex Maniacs. Punk, and indeed, rock. Suffering a hangover was completely worth it to witness tonight’s headliner’s last ever gig. Wakey’s Dugong have completely rocked my world now for at least the past six years. One of the scene’s finest punk/pop/emo bands, tonight’s performance is one of their best yet. A poignant end to an ace weekend, they will be sorely missed. As they played ”Tonight this is Perfect”, a thought entered my head; I couldn’t agree more.
Ray Tovey
The Ghettobillies / 3 Mile High
@ The New Roscoe
A curry straight from work seemed like a good idea until I got to the unlockable doors of The New Roscoe’s toilets. But my bowel problem takes a backseat as 3 Mile High jump to the stage. They blast in with a kickass Godsmack-esque riff, but when the vocals startup my thoughts drift to a dramatically poor Motley Crue tribute act. These guys have obviously been listening to and watching a lot of Creed. They’re tight as hell and exceptionally pro, but unless you’re a massive fan of soft hard rock (!?) it’s difficult to be excited by blatant plagiarism like this. The vocals alone soar and search in a impressive manner so close to Purressence that it hurts, which is no bad thing, and the band is immensely emotive in its swelling guitar noodling. It’s just a bit dull and done better by a trillion other acts.
The queue round the corner earlier was for The Ghettobillies though. The American quartet remain unsigned yet have had an enormous build-up leading up to this gig, not least from my obsessed ‘Billies loving mates. They certainly look the part; Monster Magnet’s doppelgangers with a little By Jovi guy in the middle. Suddenly I feel like I’m in an 80’s US cop series, with dirty wah guitar, disco beats and funky bass driving away. It’s fantastic, if not a little comical. Their lesson in how-to-get-laid from second song ‘The Stud’ shows their true intentions though. If you’ve ever seen the Super Suckers you’ll know what these guys are about. The ‘Billies are the lite to the ‘Suckers full strength. It’s a bit more country’n’funk than roll but the rocks definitely there in shedloads! Loose sleazy guitars and amazing bass work are complimented by the hilarious lyrics and powerful biker drawl singing. They wander into Busted territory at times, but the musicianship and rockstar stage show (complete with choreographed synchronised spinning and kicking moves) means the crazy tempo and sleaze is maintained throughout. The crowd love these rockin’ jokers and with good reason.
Matt Fraser
Jon Gomm
@ MacRory’s, Bradford
I’m sure by now that everyone reading this knows about Mr. Gomm’s unique guitar playing ability, so there’s no need to re-iterate a thousand press quotes that have already been said. Besides, I couldn’t better them anyway, I’d only add some more silly adjectives to the list, so let’s move on.
Tonight, Jon was in the back-end of nowhere, but surprisingly enough, the venue was an intimate, homey kind of bar you wish you could have down the road from you. It looked nice, had a great atmosphere, and was soon packed to the rafters with random Bradfordians.
Jon rifled through his back catalogue, stretching it over two sets (stopping for a “beer break”) and in this humble reviewers opinion, has never sounded better. Jokes with the crowd, laughter, beer, good music… what more could you ask for?
“Fucking excellent!” yells a local, on the news that Jon is to sing a new song called ‘Waterfall’ which features the second verse sung in Urdu. “I’m not a hippy though” Gomm exclaims, trying desperately to dispel any rumours. A surprising cover of 'Superstition' by Stevie Wonder also creeps into the set, surprising due to the fact that no-one knew what he was playing until he started singing.
Frantically checking his set-list all night, in front of awe struck punters, most of whom come up and tell him how excited they were at seeing him play, Jon rips through song after song after song that not only combines a great ear for a tune, but does it in a way that’s totally captivating and engrossing.
The medley cover version that closed his set was also a nice touch. Ranging from the Fine Young Cannibals, to Jimi Hendrix via Led Zeppelin, it was a lovely touch to finish up with.
He makes it look so effortless, the bastard.
Gavin Miller
O Fracas / Bromheads Jacket / We Start Fires / The Fold
@ The Faversham
I arrive at O Fracas’ single launch party to find the first band, The Fold already belting out their set. And belting it out they certainly are. This is loud and this is messy. There’s feedback howling all over the Sonic Youth-like noise that’s confronting me, and the three 'standing' members are launching themselves all over the joint in a frenzy. This is good. For a moment or two I consider whether such tight trousers should be exposed to such a rigorous onslaught...but before I get the chance to decide, a scuffle seems to erupt between the frontman and one of the guitarists, limbs and instruments are everywhere, is it a joke? is it real? The firedoors are thrown open and Mr Frontman storms out of the building, a couple of snappers at his heels. A quick glance back to the stage and that’s it, the instruments lay screaming on the floor, its all over. Job well done say I.
We Start Fires start off well enough, there are some decent riffs going on here, one song in particular sounds like one of the lighter moments off of Queens of the Stone Ages Songs for the Deaf album. Unfortunately they don’t really seem to pick up after this. The set drags along without ever getting out of first gear. Their last song (I didn’t catch the name) proves to be the only exception, a noisy rock out with some crazy synth work going on over the top. WELiKENOiSE, oh yes we do. But its all too little too late in this reviewers opinion.
Next band, Sheffield based Bromheads Jacket, sound like a cross between The Jam and the bastard northern brother of Blur. I imagine that this is what The Libertines would sound like if they were good. The songs are short and snappy, and there are some clever lyrics throughout. Their Frank Spencer-esque frontman certainly knows how to work a crowd and they go down well tonight. Definitely ones to watch. (I hear the NME reckons so too...)
So, this is it then, the main course arrives in the form of O Fracas. What can I really say that hasn’t been said before? If you haven’t seen them yet, or if your a student reading this for the very first time (welcome!) and are wanting to pop your gigging cherry in Leeds, then you won't go far wrong with this lot. The sheer amount of stuff going on in each of their songs is baffling. Tunes melt, twang and crunch into other tunes, riffs rise and fall for attention in between a whole sonic sea of information - one things for sure though - they're not gonna let you drift away, there’s far too much going on for that. Tonight there’s sweet throwing, crowdsurfing and at one point, the whole of the front row are playing along with instruments the band have handed out. Hell, even the encores ace. Oh, and in ‘What Jim Hears’, they have what has got to be one of the most infectiously catchy pop songs of the year. Marvellous.
Drew Lunn
The Invention
@ The Mixing Tin
Saturday nights in Leeds are made for having fun, and The Invention’s gig at Mixing Tin is no exception. Nobody in this room wants to have fun more than the four young men on stage – and they seem determined that the crowd will enjoy themselves too. Luckily for The Invention, and the crowd, their music is just right for a Saturday night party. Old favourites like ‘Lights Out’ and ‘Lock The Door’ sit perfectly with newer tracks, ‘Fightin’ Over Nothin’’ and ‘Don’t Care’, all of which had everyone in the room dancing around without a care for the majority of their set. Like Kaiser Chiefs, The Invention write songs about life in Leeds, or any city for that matter, that the vast majority of twenty-somethings can easily relate to. Tales of fighting and having fun are just part of The Invention’s excellent repertoire, but where Kaiser Chiefs are like Blur for 2005, The Invention are more like an Oasis that you can dance to. There are no art school pretensions – just four lads wanting to have a laugh and a few beers. And make excellent music along the way. With several record labels showing an interest, isn’t it about time someone signed them – if only to see what cracking tunes they can invent next.
Nicki Tibballs
Redcarsgofaster / LaRusso / My Exploding Heart / Vicious Cabaret
@ The Mixing Tin
Being a newcomer to every band on tonight, I did wonder quite what I'd let myself in for by agreeing to review this, however after a few hours, I was convinced that I'd made the right decision. And how.
Vicious Cabaret have as much swagger and snarl as any rock band can possibly muster. The gritty, almost filthy riffage from the guitar, mixed with the steady, pumping rhythm section starts the night off with a bang, and a pretty big one at that. Top.
My Exploding Heart are a semi-supergroup, featuring Matt from Ten Seconds of Chaos on the bass, members of the dearly departed Charly Six on guitars, and everyone's favourite LMS-er, Mike Quarry pounding his drum kit to oblivion.
They had the tunes to back up the reputation, as twin vocal lines shouted over each other, twin guitars wailed over each other, and Quarry did his best to keep from going into a Motely Crue-esque drum solo (although he did attempt a stick twirl, which he then dropped). A good, solid set, sticking in the melodic rock vein, but just different enough to warrant a good bit of interest.
Now LaRusso I was excited about. I've never seen them live before, yet I keep seeing guitarist Chris knocking about on scenester (such a dirty word) nights out in Leeds.
They didn't disappoint, as they rifled through some monstrous riffs, towering chorus moments, and some brilliantly catchy rock.
Reminiscent of early Feeder (yes, they were actually quite good once), songs like 'Can't Let It Go', '7 Days' or the seething closer 'Team America' pound their way into your head, and eventually your heart. Great stuff.
Redcarsgofaster, unfortunately wanted to play last, at which point I was running desperately for the last train out of Leeds (that'll teach me for not moving here). However, not being one to criticise something I'd not seen, I guess I'm going to have to keep quiet here. A few people did mention that their indie rock stylings went down very well, and that they played a great set, so you'll have to make do with that for now, readers.
Gavin Miller
Boycott / Mike Kerr
@ The Mixing Tin
Fresh from their appearance at The Snaith festival, Boycott are reborn and return to the Leeds scene with new bassist in tow.
Mike Kerr warms the Mixo up with Smiths-like strumming and the reflective 'Gone Up In Smoke' being a highlight. Kerr didn’t really get his shit together but was nicely entertaining all the same. He showed his patriotism by getting the crowd to salute the nation's cricket team but it was all too much by the time he sang 'We beat the German bastards 5-1'!
Roll up Roll up it’s Boycott, the band may be familiar to some of you Leeds scenesters as they have appeared more notably at The Cockpit in past years. '40Miles' makes an impressive start to the night with an elegant intro then bursting into tempo. 'Daydreamer' is an attempt at an awe-inspiring melody and impresses.
The new bassist gets to show off his bluesy baselines on 'No Substitute', one of Boycott’s newest songs and it is well kept together with overriding guitar riffs. 'Someday' is one for the older Boycott fans but still performed alright on the night. Comforting tuneful songs are what Boycott are all about and 'Human Nature' adds to this collection. The band draw an impressive gig to a close on 'Speakout' and the future looks promising as we look forward to more eclectic sets.
Chris Watson
INFEST
For the past few years, unbeknownst to most of us, a small select group of individuals have been gathering in Bradford to put on a small but rather interesting little festival. Infest is in its 6th year and stands alone as the UK’s premier alternative dance festival, unlike most festivals infest is set in the urban sprawl that is the surroundings of the Bradford student union, providing accommodation rather than tents, with 14 bands and a host of DJs playing till 2 in the morning Friday through till Sunday shoe leather was seriously going to be worn down!
The first band we see are Pow[d]er Pussy, a pair of DJs in the ilk of the Chemical Brothers darker material, they introduce you quickly to this sordid little world you have found yourself in, like the blood club DJs from the movie Blade. There is never really a great deal to watch onstage, two heads bobbing up and down from behind a row of mixers but they are perfect for an opening act and give the audience exactly what they want.
Fixmer/McCarthy are up next, Mr McCarthy appears wearing the blackest pair of aviator shades I have ever seen. He pounds constantly back and forth across the stage only coming to the front to dominate the microphone, but they are good, thoroughly danceable and enjoyable techno that gets you moving. The vocals are also memorable, “Between the devil and the wide blue sea” stirs the crowd into a frenzy and is brilliantly performed piece of electro/techno/madness.
Our Saturday wake up call is in the hands of Tin Omen, they are a three piece band consisting of guitar, bass and female lead singer and they are alright. The trouble is you instantly start to compare her with other female leads, few though they are, and cruel though it is, she is no Tarja Turunen from Nightwish or Amy Lee from Evanescence against whom her vocal is too forceful and slightly out of key. The backing is mediocre goth-metal but lacks ingenuity and stays with the steady thumps of basic metallic techno and drum samples, never once dragging at you for your hair of the dog seeking attention. They do however seem to be promoting a very positive attitude for goth rock they sing at least one song about “life is what you make it”, which is good to know!
HIV+ (harsh industrial virus positive) are a different proposition altogether, two DJs one male, one female, who between them are barely wearing enough tape to cover a full stop. They are loosely experimental, sounding like Fatboy Slim playing on a broken deck during Zoë’s affair. They are proof that not everyone with a sampler and an idea can actually make this music well. They try for the intellectual dance cool of Aphex Twin but really do miss by a long way. HIV+ improve as the set continues finding their feet during some synth heavy techno about three quarters of the way through their set by which time it is too late and our generation x attention spans have already written them off!
Punch inc are a pair of DJs who have been released from their mothers careful gaze for a weekend and they produce a series of good beats but sometimes they try for this disjointed syncopated feel that just renders the audience motionless, and trust me, with the amount of chemicals floating around in here that doesn’t happen very often. Punch inc strike some truly industrial undertones and you feel like you are in a Sheffield steel works, the trouble is who wants to be at work on their weekend off?
The head liners on Saturday are Covenant, the most famous of the three day line up, this bands brand of electro/techno/euphoric trance should be welcomed in most clubs but for some reason has been ignored. Blending sounds from Depeche Mode and Faithless as well as cold as fuck nick cave vocals Covenant seem the most approachable of all the bands on this weekends bill and are the most popular amongst this target audience. The band consist of two keyboardists and a lead singer but they play against each other well, taking it in turns singing various parts and looking like they are really giving it their all. They play a crowd friendly set with old songs intertwined with some new but you get the feeling that it wouldn’t matter what they played people would still enjoy them, tonight they are on fire.
On our final afternoon Deviant UK are exactly what Covenant are not, they look and sound pretty average, like Gary Numan singing a Rob Zombie remix with the keyboard set to “80’s”. In places and the lead singer ineffectively makes use of the microphone stand like a knackered Freddie Mercury. But they cope well with the audience and are enjoyable if slightly pointless goth rock act.
Kiew are my highlight of the weekend they have some ridiculous on stage theatrics and even a change of straight jacket halfway through the performance. They push and pull at you like an oversized eagle with its talons in your head and seem to strike the perfect balance of guitar and electronica. Unlike most bands on this bill that are electronic with a guitar, Kiew seem to use the six stringer as a synth and you barely notice its presence. They play some bleak industrial techno but with a sense of fun, you feel their enjoyment from rows back!
Bluetangel are the last band of the weekend and create a strange dark mood even for this festival. Best described as Eiffel 65 on downers there strange mix of ultra goth stage show, picture dancing girls covered in blood, demonic bible ripping and angels fighting over a girl, and you have the gist. Trouble is they aren’t really good enough to pull off a show like this and it just gets boring. You feel like you have wandered into an interpretive dance piece, and they just made me want to get a drink!
With the rise of guitar rock as pop music and asda selling kids baggy jeans with chains on them it is no wonder people are striking out for new alternative music. Infest is appealing to an ever growing audience of adults that are trying to break away from popular culture and the thousands of sreamo/hardcore/poptastic guitar bands that litter every radio station and cd store and good on them I say! I wish every weekend could be this much fun.
Chris Hastings
