Tired Irie / Unkle Frank / Pacific Ocean Fire / Love Ends Disaster

Summer Sundae Fringe Festival @ Leicester Firebug

The night's proceedings were opened by the UK's post-punk answer to The Arcade Fire, Love Ends Disaster. Who may well be. Joined onstage tonight by Gemma Upton from fellow Nottingham band O' Lovely Lie adding a brilliant twist to Matthew Oaks' vocals they were a more than competent opener.

Pacific Ocean Fire sound not unlike a mixture of Granddaddy with a hint of Hope Of The States alongside a light sprinkling of The Flaming Lips more Americana elements Pacific Ocean fire are a distinctively California sounding band. It's hard to believe there from Leicestershire. Having seen them at various points over the last three years they continue to evolve into something quite special. Tonight was no exception to the evolution with a new addition in the form of Sophia Marshall's vocals.

To the surprise of most of the assembled crowd an unbilled band appear onstage. Uncle Frank it seems have had a busy night, playing a stripped down version of their soon to be released new EP title track 'Shake and Bake' in all 6 venues hosting the fringe festival in preparation for their Summer Sundae festival appearance. Taking time of from his day job as the drummer in Fun Loving Criminals, Frank's side project is a funk laden brass fuelled lounge soul experience reminiscent of the jungle book, but less about being the jungle VIP and more about things men and women do together.

Let's get this out the way at the start, yes Tired Irie do sound a bit like Foals, so what? this is not a bad thing in anyway… I'm sure we can all name some great bands that sound similar to a certain now separated London band with a penchant for military jackets and poetry. It's where Tired Irie part company with the aforementioned bands sound that realty makes them shine. With some great bass lines and a really strong futuristic disco elements that at points almost enter Daft Punk territory this is well and truly a band to dance to.

Words & Pics by Ollie Millington

Prego / Instant Species / Vaudeville Class / Red Star Positive

@ Leeds Trash

First up tonight, Red Star Positive sing of tales from the street. Observant lyrics inspired by debauched nights out and spats with 'Hoodies' inject humour into post Arctic's pop. At times their set drifts into heavier territory; crunching together punk chops and bouncing bass, which, by sacrificing familiarity, flowers creatively.

Suited and coiffured like three wild-west troubadours, Vaudeville Class transform the atmosphere into that of a whiskey soaked saloon. Raucous opener 'Alabama Bound' displays their prowess in blues influenced rock, but the group can mix it as well, playing some folk inspired numbers before swapping to female vocals for a three chord blow out, returning to stomping bass drums and stripped-back blues guitar when required to bring the house down.

That the house doesn't come down any lower though is a blessing for Instant Species, the lion's share of whom are already as tall as the ceiling will allow for. Their ungainly but unassuming presence, however, matches their no nonsense attitude perfectly. The band burst through a set of clean, angular, post-punk with such brevity that there's barely time to applaud between songs. Clearly un-phased though, lead singer Rick El Cantente banters with the crowd, admonishing them to 'Pay attention-we're not gonna stick around with five minute behemoths!' And true to his word, they don't.

A last minute change to the bill sees North London based Prego rounding off the night and the last leg of their mini promotional tour of new single 'Cause and Resolve'. The band, exuberant in spirit, waste no time in filling the room to bursting point with arena-sized anthems. Pounding drums and driving bass is counter-pointed with melodic, aching guitar, which, time and again, is shattered into crescendos of symbols and frantic, friction-burn inducing riffing.

Michael Morrisroe

Micah P Hinson / Tigers That Talked

@ Leeds Holy Trinity

The prospect of spending two hours sat on a church pew would usually be too daunting to contemplate, but tonight my misgivings have been assuaged; knowing I'm here to see Micah P Hinson and not to sit through a couple of hours of religious dictum probably accounts for this. And, this ancient building, dimly lit, does exude serenity.

Tigers That Talked interrupt the crowds surreptitious whispering with some really beautiful, sonorous rock. Additional to the staple guitar, drums and bass format, they add violin, which, amplified rather than hidden away, fights for its own share of the steadily building cacophonies in which Tigers trade.

There could still be some Tigers riffs echoing round in the knave as Hinson takes to the stage. He may look like Buddy Holly, in dark rimmed glasses and with guitar strapped high around his chest, but his low baritone, soaked over finger-picked country/blues, recalls all the warmth and depth of Johnny Cash. And just like Cash, his voice seems to imbue even the most pellucid lyrics with a well of hidden meaning. “We couldn't see/the future dangling in-front of you'n me” from the shoo-woppy 'When We Embraced' evokes regret over love lost through carelessness.

Live, the songs have a freeness of form and some added bite. During the usually restrained 'I keep having these dreams,' Hinson's voice suddenly cracks open and molten lava pours out as if he's been possessed by some hellfire preacher. And 'You Will Find Me's tangy surf riff gets repeatedly drowned in white noise. There's even a banjo duel at one point - incidentally, the only time Hinson drops the ball.

But simple things done well are the mark of a skilled tradesman, confidently proved when he rounds off the night with a charming John Denver cover.

Michael Morrisroe

So So Modern

@ Leeds Brudenell Social Club

Leeds is 11,700 miles from Wellington, but that didn't stop kiwi synth rockers So So Modern from making the long haul over and hitting us with their sound stick. These young lads have been making somewhat of a stir in recent months. What with synthy math rock being the cool of the cool and the fact that these guys produce the kind of math that examiners would give an A*, well it is and obvious rise to indie stardom that these New Zealand lads face However before we were given the main course, we were provided a few sneaky starters. First up was a band whose name I did not get, largely because the microphone that was used throughout was on the lowest setting possible. Despite not a single vocal being heard, these guys spewed out a set of abstract experimental noise that was interesting to say the least. The kind of sound that could only be created by the insane and ignorant. Yet somehow it worked. They worked the stage like pros and clearly enjoyed themselves. There were many keyboards and even a saxophone and it was all very loud and it was all very nice.

So if that was the starter then the next act up was the crappy in between course that is usually a piece of melon or sherbet. Again I did not get their name, yet this time they said it. However I had quit caring by then, as their bland soft rock never got going. A wannabee Foo Fighters who at best could be described as a Guns and Roses tribute act. I shall say no more. So finally, the main course arrived. It was piping hot and wonderful. They started with an epic instrumental that had elements of Arcade Fire and even Sigur Ros in it. They then let loose into a set of upbeat synth rock that got everyone who was crammed round the makeshift dance floor going crazy. The sound was fast, structured and, most importantly, it made sense. It is so easy to go wayward when making the type of music these guys do, but they manged to hold it together whilst at the same time being true showmen. It all ended far too quickly and soon I was outside with the immense bass of the last song still ringing in my ears. If you haven't listened to these boys yet, do so now. It's not often we get bands from New Zealand who make it, but I feel these newbies could go quite a way.

Matt Turner

Steel City Bones

@ Sheffield Bar Abbey

I'm not big into jazz, but I'm a big fan of the trombone, arguably the most expressive brass instrument there's ever been (get back, saxophonists!). So when I got the tip off that there'd be five on stage I just had to be there. In the dark, dingy underground chamber that is Bar Abbey, something truly magnificent was underway. And all for just £3 - that's less than a quid a trombone! Arriving toward the end of the first set, I was treated to a display of musicianship which is rare in the local jazz scene, let alone in my local.

Several pints of Guinness later, and we couldn't hold back the laughter as solo after amazing solo came flying out, parps and squeels and deep bass aplenty creating an unforgettable vibe. It's a joy to hear the instrument played this well, and you can see that the players are loving it too, not to mention the excellent backing band who are swinging along sweetly. Toward the end of the set, a rendition of Spain by Chic Corea even has me twitching like a schizophrenic jazz buffoon, and the finale brought about rapturous applause all round. If you get chance, go check out the next jazz gig at Bar Abbey on Monday October 6th when the Manchester Jazz Collective will be gracing the very tiny stage. An absolute treat and a chance to help raise money for the much needed and eagerly awaited restoration of the Abbeydale Picture House. Go on, jazz it up - it's not just for the olds ya know!

Chevron Chicane

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