EDITION 32
MAY 2005 REVIEWS
Alabama Thunderpussy / Dirty Blood / The Uninvited
@ Corporation
A sudden blast of dry ice engulfs a three quarters empty corporation. A machinegun snare drum blasts and through the smoke The Uninvited emerge. A baseball capped lead singer stands, one foot on a monitor, and shouts his vocals with such a force that ensures that he keeps throat sweet manufacturers in business. As bands go they don’t move about on the stage very much, they don’t need to, they just stand and nod aware that they are making fantastic heavy rock tunes.
Dirty Blood are something of a new Sheffield super-group and tonight is their first public outing. Comprising members of Future Ex-Wife, Human League and Number One Son, this is a concept for whom it would be hard to go wrong. The thing is none of these people are the front person of the group. Dirty Blood are fronted by a female who adds a special sexiness and a break from the testosterone that normally abounds in this room. And more importantly she has a great voice. There are of course the normal amount of first gig nerves but these soon disappear and it develops into something bluesy yet sexy, something a kin to P J Harvey fronting Queens Of The Stone Age. Look out for this band I predict great things to come.
Alabama Thunderpussy are THE band that mothers have in mind when they warn their teenage daughters to stay away from rockers. They have long hair, long beards, they look like they’ve been sleeping in the same clothes for the past month and would not be able to remember the last time they saw a bar of soap. As you gaze upon this band it is impossible for you to imagine these five guys from the USA doing anything other than what they are doing tonight: playing the most rousing, red neck rock n roll I’ve heard in a long time.
The music is so fast and loud that it vibrates up your spine. The singer’s voice is the kind of low growl that only comes from a life time of high tar cigarettes and cheap whiskey. They sing songs about motor bikes and having shit jobs. I’ve seen many rock bands in my life but I do have to say that the last hour has been one of the most entertaining I can remember.
words: Ian Turley, pic: Chris Saunders
Mothership / Rachel House / Atraiou /
Bromhead’s Jacket / 1984
@ The Boardwalk
It’s my first review for the mighty Sandman. I walk into the Boardwalk with a definite air of self-importance, but am reduced to ‘twat’ status when I’m alone in applauding 1984’s sound check. Put it down to over-excitement...
When they do start for real, the (extremely tall) frontman’s presence is well noted as he shakes, grooves and dry humps his way through the set. The bass is the bedrock for most songs, allowing tight nu-indie-like guitar licks to wash over it, as well as a tease of harmonica. Think Kaiser Chiefs, Jet and The Hives in a blender. Not overly exciting, but a descent start.
Bromhead’s Jacket are an example of how early Supergrass would’ve sounded if Mike Skinner had penned the lyrics; the vocals yelp and rant social commentary about queuing at the bar and eating at McDonalds. A definite stand out track was about a Carwash on Psalter Lane. Unashamedly fun Mod-ish punk-rock executed beautifully.
Once I’d come to terms with the obvious “Atraiou / Atreyu” confusion I really looked forward to their set. The use of synth is what stood out for me; the third song began with waltzer-like keys and jarring guitar before building, via solo, into a wonderful crescendo of noise. They often reminded me of bands like Vex Red and September, and even Faith No More. The vocals sometimes wandered into Nick Cave territory too. They’re a tight and powerful unit, and the crowd’s response was a positive one.
The main splinter in Rachel House’s side is that three very good bands went on before them. The crowd sort of wandered off half way through the set as the band carried on churning out paint-by-numbers mid-90’s rock. However, their last song was really catchy. I ended up singing ‘Yoouuur Maaah Looove’ at the urinal afterwards, so it can’t have been all bad.
And so, enter Mothership. The vocals stood out, snarling, whispering, crooning and, at times, rapping throughout the set. The main criticism is that they lacked dynamic, and when it felt as if you should be bowled over with a huge guitar-heavy chorus, all you got was a whimper. There’s lots of potential there, but maybe they need just a little longer to truly hone their craft and justify the hype that their creating.
Dave Rogers
Do Me Bad Things
@ The Room
There’s always a feeling of trepidation when a debut album rolls around; will it be any cop? Will they live up to the hype? Who produced it? Yet, after having seen the spectacle that Do Me Bad Things put on, recommending their album, Yes!, comes easily. There was definitely something of the Earth, Wind and Fire in the band’s chaotic show tonight. Only that’s Earth, Wind and Fire’s ugly hair-metal sister.
The DMBT website waxes about this lack of natural musical foundation: ‘any bands who can name, say, three influences, are generally quite close to sounding like those bands. All we can say is, we like heavy rock. We like riffs. We like sludgy rock. But we like pop harmonies and hooks.’ It’s this kind of free-thinking that leads to a nine-member band having no qualms about, say, changing the lead singer duties every other song, throwing genres around like custard pies or even having three costume changes in a venue the size of the Room. Understanding these supposed contradictions helps to explain the strangeness. The direction is: there is no direction. That’s why one singer sounds like Angie Stone and one sounds like James Hetfield.
There is a lack of contrivance and an originality that’s very appealing to these guys. Their rag-bag nature renders Scissor Sisters comparisons useless, although that doesn’t mean that fans of the fabulous five, or indeed anyone, should be disappointed, as Do Me Bad Things boast an androgynous rock god singer in Nikolai Prowse to rival any. The only possible impediment to success could be the currently crowded market for space on Radio 2 playlists and Tesco’s £9.99 album racks. On the other hand, if there’s any justice, the larger than life ideas at play here suggest that this band can fight their way to bigger and bigger venues.
Nick Shaw
A Wonderful Horse
@ The Grapes
It is clear that A Wonderful Horse have two different song writing methodologies. One is underpinned by melodic bass lines and accompanied by inventive guitar riffs, sound drumming and harmony vocals, the other revolves around a bit of shouting and screaming whilst the bass, guitar and drums thump away. My advice, stick to the former; when A Wonderful Horse are on form they are good.
Songs like ‘Sheila’s Pregnant’ and ‘I’m In Love With A Beautiful Woman But I Don’t Know How To Tell Her’ demonstrate that there is plenty of keen musicianship here and that these guys have the ability to pen a catchy tune or two.
The four of them also find the time to fit in a couple of cover versions ensuring that those who have paid three pounds get their money’s worth. This includes a quick rendition of ‘Shakin’ All Over’, by the Pirates, before they end on ‘Strictly Come Dogging’, another Wonderful Horse creation which on this occasion has been dedicated to footballer Stan Collymore.
In fact the only real disappointment tonight is that there is only one band playing and that not a great many people have made the Tuesday night trek to Grapes.
Simon Hunt
Gledhill / Stoney / Neil McSweeney
@ The Grapes
To begin the launch evening of Gledhill’s upcoming single is Neil McSweeny, who launches his tall frame around an empty stage and makes as much racket as he can with an acoustic guitar and an Americanised bluesy voice. For a start the r & b riffs are impressive, however we are then treated to slower songs illustrated by heartbroken lyrics and a continual resentment in his voice. ‘Shoreline’ is a perfect example of this, and is a heartfelt song, however the rest of his set follows a similar trend which loses the intended spirit.
Stoney are next, and instantly it appears they have seven songs to sell. ‘Now’s a Good Time’ is a mish mash of rock / funk, with a somewhat derivative Coldplay guitar sweep present. It’s obvious that they have ideas beyond smaller venues, which is no great crime, however in the law of musical averages they could at best be an inoffensive band to make the NME features. There are some highlights. On one song you feel they drop the pretension and introduce a wonderful floating melody. But as the crowd make way to the stall you feel that there are gaps to amend.
Then it’s Gledhill, who stoke their guns from the outset. It takes 20 minutes for the band to start as there are obvious issues with the sound levels. This makes the atmosphere tense, and instantly you feel like you’re in the studio with them. But the pop hits come thick and fast. ‘Consolations’ is an accomplished song, but to the ear it’s not too difficult to take in and is over as soon as it begins. As Dave continually apologises for the sound there’s the assumption that they want to come across as the perfect package. Musically, ‘Tie –Breaker’ is a big chorus affair to suit this mould, however is let down by its textbook guitar solo. The intention of ‘Roots’ is to ‘bring it all back home to Sheffield’, and does to an extent in song and performance, but with simplified lyrics it gets lost on the outskirts of Rotherham.
Overall the sound tonight is too big for such a small venue, and as I by-passed the promotional stall I left with a disappointed headache to nurse. Popstars, eh?
words: Michael Cornin, pics: Cat Edgar
Peter and the Test Tube Babies / Burn, Subvert, Destroy
@ D’n’R
There’s a caravan in the corner, topped by an inflatable Dalek. A papier-mache punk leers down from a lofty vantage point on the wall, his V-sign frozen in time. There is no stage at all, just a few amps and mikestands lounging insouciantly in the corner. A better venue than the D’n’R for tonight’s old-skool punk showdown would be hard to imagine.
The support band call themselves Burn, Subvert, Destroy, which seems to say it all. However one band member seems keen to outline their musical philosophy further: “The singer’s nuts haven’t dropped, the drummer can’t drum, the bassist can’t play and the guitarist doesn’t want to be there.”
“So you’d be the guitarist then?”
“No, I’m the bass player”
This is as good an introduction as any to BSD, if only for its sheer anti-populist candour. In fact the singer seems quite capable of voicing his discontent with the state of the world, although an impromptu ‘stage’ invasion by a woman of a certain age demanding a turn on the mike does seem to throw him somewhat. In the circumstances this is quite understandable.
The band then proceed to swap jokes about their new-found fan, unaware that she has not retreated far from the action and is only standing about 10 feet away. Thankfully nothing kicks off and the band are free to continue the rest oftheir set, which consists of fairly basic but crowd pleasing punk fare. The perfect support band in the circumstances then, the only criticism being that the vocals were too low in the mix and the drummer occasionally struggled to catch up with the rest of the band.
After a short break, Peter and the Test Tube Babies take what passes for a stage, and immediately the old-school contingent erupt into a moshpit, overturning pints and indeed tables in the confusion. Strangely nobody seems to mind, and the audience obligingly divides itself into beer-surfing loonies and all the rest. I momentarily fear for the safety of the photographer, who has bravely parachuted in at the last minute not knowing what to expect, but he has wisely removed himself to a place of relative safety. Not so the earnest Macc Lads fan in the leather jacket, who bravely battles a congenital inability to stay on his feet in order to be in the thick of the action. In spite of all this secondary entertainment, the Test Tubes manage to remain the focus of attention.
Peter and co have been doing this since 1978, when all is said and done, and seem to have perfected the combination of a tight musical backdrop and a relaxed, shit-happens stage presence. This is grass-roots punk at its chaotic best; Glen Matlock may not approve but I’m sure Attila the Stockbroker would.
David Redford
Chris Treebeard and Sue / Frances Whayman / Holly Johnson
Broken Strings @ Green Room
The goldembroidered waistcoat offers little protection against a dazzling multicoloured tie-dye T shirt, but it is Chris Treebeard’s boundless energy that makes sure he doesn’t blend into the background. He plays the bazooka as if appearing with Guns n’ Roses. It looks like it’s as much a shock to Treebeard as to us.
Using a sampler he produces a kind of techno Riverdance with so much exertion he is forced to remove his less than modest glittery hat, jigging about with his long blond hair flying around his thick beard. Bill Bailey springs to mind, suggesting creativity is somehow directly proportional to facial hair.
Celtic-sounding singer Sue accompanies, with a voice to rival Grace Slick’s own more than justifying a delightful cover of ‘White Rabbit’.
Frances Whayman is a talented young pianist, with hands possessed by a sugar-caned spider breakdancing across the keys. Her voice darts around like there’s an IKEA free-for-all. Her phrasing and dynamics draw inspiration from Tori Amos’ ‘Boys for Pele’. All the essential ingredients are here. Left to simmer a while longer with a few herbs and spices thrown in, it could be even tastier, with hopefully even a ‘From the Choirgirl Hotel’ to come.
Holly Johnson performs Joni Mitchell’s ‘A Case of You’ with an enviable effortlessness and rare quality of voice. Her folky style is delivered with full heart and soul. The ironic freestyle ending to No Jazz hints that Holly has more tricks up her sleeve. It’s a shame she doesn’t showcase more of her own catchy material – that’s what you’re left humming at the end of the night.
Julie Armstrong
50ft Wave / Misty’s Big Adventure
@ Boardwalk
As I watch Misty’s Big Adventure I begin questioning the hallucinogenic qualities of Stella Atrois; is there really a green monster covered in blue hands dancing in front of me or is it time that I swapped my pint for a glass of water? I think it’s OK as other people seem to be able to see it too as it leaps from the stage and cavorts around the audience.
This bunch of barmy Brummies play a fun style of surreal indie pop which at times reminds me of Gorky’s and our very own Champion Kickboxer. Remember the music off those dodgy children‘s programmes from the 70s and 80‘s? Some strange looking people dressed in dungarees singing about crazy things? Well this band‘s major influence seems to be Rod, Jane and Freddie. A balding, beardy guy sings songs about such things as how great it is two have two brains is backed by a band which includes two females playing trumpets and saxophones who give a new meaning to the term ‘horn section’. Misty’s Big Adventure are crazier than the Flaming Lips in a bag full of jelly and are highly entertaining.
A strange hush fills the Boardwalk as we are in the presence of a true indie legend. Back in the day Kristin Hersh’s band Throwing Muses were bigger than the Pixies and just as influential, she then went solo and made a few albums that truly showed off her beautiful voice in a softer setting.
50ft Wave sees her back as part of a band but, let’s be honest, it is still all about her. The question is will we get the soft and quiet Kristin or indie rock queen Kristin?
Tonight we get the full on rock treatment. In fact she’s rocking so hard that the strings of her guitar are pinging off at an alarming rate. No matter how hard they are playing, the audience seems a little reluctant to let go, instead we stand and revere while the band seem a little uncomfortable with this and make nervous excuses on our behalf, acknowledging that it is Monday and it’s a school night.
Musically tonight’s gig is excellent and shows that while many of the great indie band’s from the late 80s/early 90s are reforming and living off former glories, Kristin Hersh is a woman who has always been looking forward and keeps coming up with the goods.
words: Ian Turley, pics: Andy Brown
Fog
C90 @ The Grapes
The idea of showcasing a five piece live band initially seemed like somewhat of a departure for the low-key C90 organisation, whose usual area of interest is things of an electronic nature. However, a performance by Fog illustrated perfectly that what they are in fact supporting is the idea of creative, interesting music. Fog fulfilled these particular criteria superbly. After support from C90 resident Juliun, who provided a welcome selection of breaks and electronica, Andrew Broder and his band climbed quietly onstage and played exactly what they looked like they should be playing: an eclectic blend of experimental, but tuneful, post-rock.
Displaying some beautifully crafted songs, the band showed that they are as comfortable with melodic, country-tinged lo-fi, as they are with full on jazz-out improv sessions. This sense of variety was enhanced by an impressive array of instruments being used and swapped throughout the set – in particular, it was pleasing to see a saxophone put to such good use.
Though Andrew Broder appears to be moving gradually towards more traditional, band orientated songwriting, there were still suggestions of his taste for the more obscure side of music, which came from some well placed use of various electronics, and hinted at his deserved reputation for using such technology in a thoughtful and intelligent way. This splicing of genres, which has become a key element of Fog’s music, ensured that the short-but-sweet set was a constantly interesting one.
The band that Broder has put together are clearly a very talented outfit, who are comfortable with their performance, and the direction they are taking, and rightly so. By the end of the night they had both charmed and impressed the gathered crowd, with a performance that suggested a genuine passion for music in those who were playing it – a quality essential to the impressive events that C90 continue to put on.
Tristan Parker
Victim of Society / Sonorous / MC Calamity / Little Jimmy Scott / Alicia / The Q’s, General Dissaray
Urban Sounds @ The Hubs
Urban Sounds is organised by Hallam Volunteering to allow young bands an opportunity to play ‘proper gigs’. All in favour of seeing talent flourish I went down in the hope of a flicker of promise among what I imagined would be a rather large group of garage rock bands doing covers.
Voice of Society were a competent enough opener, playing strong riff dominated songs in the style of big hair American-styled 80’s rockers like AC/DC with good effect. It doesn’t help they end up actually playing a cover of ‘Back in Black’, as it rather showed a need to broaden their influences but hey, they’re young and no doubt will.
Having tipped the big thing for 2005 to be female bands, it made me smile to see that 3/5 of Sonorous were girls. Instrumentals and songs meant it was obvious the band had an understanding of music but they lack the technical ability of VOS. The singer suffered from a lack of confidence but his penchant for Smiths-style melodies and lyrics contrasted well with the more post punk rock music. Not quite the revolution yet though.
Considering the surroundings, ‘MC Calamity’ did well to show his lyrical style. At times he engaged the crowd but certainly needs more time to develop. Performing though without the security of people behind you is hard and to his credit.
A rock punk trio, Little Jimmy Scott remain very true to their influences. There’s nothing wrong with that when you start out, as people will allow you a wide berth when young, but at the moment the Sum41-esque comparisons are very clear. Good confident melodies though and structured songs meant they passed enjoyably but without danger of offending anyone.
Vocalist Alicia then emerged as one of the evening’s stars. Having already enjoyed her clear vocal talent I left the room where an Alicia Keys track came on. I sat happily listening to what I presumed was the interlude before realising it was in fact still her. Definitely one to watch in the future.
The Q’s were without an absent surfing drummer and the California influences of Flea-esque slap bass lines and chord progressions were also clear. Although they did add soft British vocals to their songs, they’d do well to consider how they’d add more instrumental depth, as I couldn’t see how the inclusion of a drummer would have dramatically changed their set beyond what other bands such as RHCP have done before and so much better.
General Disarray were a band ideally placed at the end of the night to get people dancing - and they did. They appeared so much more confident of themselves than others, benefiting clearly from evident practice. Managing as well to diversify their set with elements of ska, reggae and punk, they could do very well if they continue to progress in the same way.
Dave Patterson
Bison / The Raging Horns
@ Boardwalk
I turned up at this gig not knowing what to expect having never seen Bison perform before. However first up were the support The Raging Horns and what an opening act they proved to be. There sound is pure funky soul with some songs displaying dirty samba beats possibly an influence from lead singer Vanessa’a involvement with the Sheffield Samba band who gave a mini performance earlier. Musically this band really reminds me of Morcheeba. With strong vocals and a good diverse selection of songs this is a band to look out for in the future.
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And then appeared Bison dressed in Orange jumpsuits, I’d been told to expect the unexpected and they were right. Opening their set with ‘One fine day’, a strong track and a good song to warm the crowd up with - and believe me it got warm. The crowd was completely ecstatic when the second song kicked in and the crowd were dancing like mad, including me, there was even a few people who appeared to be Skanking which I was impressed with. They then Slowed the tempo down a little with the song ‘Sundays’ which was beautifully performed and showed a real range to their music.
There are so many brilliant aspects to this band, from the vocals to the strong wind and brass section (thumbs up to the lady on trumpet). I’m so massively impressed by Bison and their delivering of Ska and would recommend that if you see they’re playing go check them out and experience all that they has to offer and you won’t be disappointed. An amazing live act to make Sheffield proud to call them our own.
words: Adele Nelson, pics: Carl Mendel
Kaiser Chiefs
@ The Leadmill
It won't be long before the Kaiser Chiefs are playing venues much larger than the Leadmill so the crowd were treated to seeing a great up-and-coming band in such an intimate venue. Tickets were like gold dust for this hotly-anticipated night and the jam-packed crowed was certainly not disappointed. The band raced through their set to perfection with the crowed lapping up everything the Blur/Britpop inspired Kaiser Chiefs could throw at them. This band is certainly not like the many new bands that rely on a couple of singles to support a mediocre catalogue of average songs. Chart hits such as 'I Predict A Riot' and 'Oh My God' were easily matched by instant pop classics such as 'Everyday I Love You Less and Less' and 'Na Na Na Naa'. The Chiefs have a real knack of writing catchy songs with a great hook, as we found out with other great album songs such as the more downbeat, yet equally anthemic, 'Modern Way' and 'Caroline, Yes'. Indeed, this was certainly not a night for the classic indie-kid posture of standing at the back and nodding along, this was a night to put a smile on your face and one where crowd surfing was the order of the day… I challenge anyone to have left this gig without a grin like a Cheshire Cat. The Kaiser Chiefs are by no means the finished article and one or two of the album tracks were a bit rough round the edges but they've worked hard to get where they are today and they certainly deserved their rapturous applause. Luckily, for music lovers nationwide, the Kaiser Chiefs are gonna be around for a long while to come, with plenty more hit songs on the way. This is a band that everyday we love more and more.
Benjamin Rake
Pink Grease / Pretty Young Things / Pop Levi & The Emergencies
@ Boardwalk
Pretty Young Things set the evening off playing a short set of their attempt at rock ‘n’ roll songs. They’re venturing into the region of a sound not dissimilar to Pink Grease. The songs are not particularly catchy, but they’re also quite short which just keeps the interest. Guitarist Pab is the main life of the band during the performance. His in-between song banter, although sometimes inappropriate, keeps the audience entertained and this guy moves around like he obviously enjoys being on stage. The keyboard player Al also brightens up the set with his jazzy piano tinkling throughout the songs. The music does improve as the set progresses however, with one of their better songs, “Revolution” with a stronger melody and an altogether tighter sound.
Pop Levi & The Emergencies are the next band up. They grab the audience’s attention immediately with the staccato-lead introduction of their first song. All five are smartly dressed in black. Pop stands looking into the audience through long hair and black eye shadow; attentive and confident at the front of the stage. The songs are repetitive but always interesting, and they know how to build up a climax! The 70’s jazz style keyboard parts adds to the melting pot of genres within this music and in the last song you can even hear a hint of reggae too. The crowd are clearly impressed by this band.
Pink Grease burst onto the stage next full of all the style and attitude that you would expect. The success isn’t just in the songs - it’s in the performance and Pink Grease very much own the stage tonight. Or at least you’d think they would from the way they’re swinging from the roof, machine gunning the crowd with a guitar and getting up to some dirty action with the mic stands... They play a popular set of their songs to a buzzing audience, and the harmonies are coming across well tonight too. Lead singer Rory is a good performer but it’s definitely the band effort that makes Pink Grease that extra bit special.
Will Barker
Dead Like Harry
@ Boardwalk
Dead Like Harry are in the enviable position of having been gigging for what seems like an eternity, whilst still having an average age of around 20. Makes you sick. Anyway, they’ve finally got round to recording an album and celebrated the release with a packed Saturday night launch gig at The Boardwalk.The set largely consisted of tracks from ‘Stories From The Cellar’, largely in the order they appear on the album, and despite being holed up in the studio for months, the band’s live show was as slick as their dress sense. More bands should perform in suits and ball gowns. It gives everything much more of an “event” feel.
The gig proved DLH to be the most unashamedly unfashionable pop band in Yorkshire. Catchy verses, big choruses and lyrics about love are the order of the day and if you put your po-faced music snob hat aside for a few minutes you realise that they are absolutely fantastic.
The up-tempo ‘Fireflies’ and ‘Steel Town’ are pleasant enough, but this band truly soar when they go all romantic on us. The chorus to ‘Whatever I Did (I Won’t Do It Again)’ virtually defines the word rousing, whilst Sam’s acoustic lament ‘I Still Love You’ is genuinely heartbreaking.
A little bit too much guitar widdling got in the way at times and I’d like to see a bit more adventure in the harmony arrangements between the four singers, but these are minor gripes. Whilst they will never get into any of the stylish music mags, Dead Like Harry have mastered the craft of writing brilliant pop music at an appallingly early age. They can only go far.
Ste Mills
