The Suffrajets- Worthy! single review

The Suffrajets- Worthy! single review
Originally posted at http://www.disordermagazine.com/article.php?id=230

If there’s one positive thing to be said about the cheap thrills media circus that is Pete Doherty and his band Babyshambles it has to be the fact that former drummer Gemma Clarke got out. She’s the smart one, because having Doherty out of your life must bring a certain amount of calm and peace of mind that just doesn’t seem to exist in Pete’s general area of being. One thing he does ensure however is attention and therefore album and ticket sales, something that Gemma will now have to achieve purely on musical terms with her pre-Babyshambles band The Suffrajets.

‘Worthy!’ is the first offering in the band’s new era, and just to make Gemma feel at home they’ve thrown together a tune that sounds just like Babyshambles from start to finish. The clean electric guitar that establishes the rhythm is of the same sluggish jaunt as ‘F*ck Forever’ but none of the charm, whilst the main guitar hook has a horrible habit of getting lodged in the brain with intent to annoy rather than entertain, something made all the worse by it’s incessant repetition that seems to suggest the lead guitarist can perform no other lick.

On top of this we have a vocalist who insists on singing with a forced croak that is begging so desperately to be accepted into the sleaze rock elite it’s actually embarrassing to listen to. Whilst some may enjoy ‘Worthy!’s’ swinging beat most, like me, will find it monotonous and pretentious.

3/10

Released June 26th on Beyond Bedlam Recordings

26 Jun 2006 by Matt S.

Three Day Benda - Live (Chub / Humungous Douglas / Zero Consent / Pickled Dick)

Three Day Benda - Live (Chub / Humungous Douglas / Zero Consent / Pickled Dick)
Originally posted at http://www.the-mag.me.uk/?ArticleId=1126

For a while now Three Day Benda have been plugging tonight's album launch party to me, but they need not have badgered me quite so relentlessly. As a keen admirer I was always going to be here, not just because of my fondness for the music but also out of my curiosity as to what sort of a crowd they draw and how the occasion affects their performance. Before all that though there is the small matter of support bands. First up are Chub...

...whom I miss, so we'll say no more about them and go straight to Humungous Douglas, a punk band infamous for having an electric violin as part of their setup. Occasionally this is a marvel of ingenuity, providing interesting nuggets of sound that really enhance the otherwise average flat out punk songs however, more often that not it merely makes it all sound a bit more Celtic. Rather than using it sparingly Douglas use it to underpin the rhythm guitar, shadowing every chord that is played. This results in a performance void of any dynamics, which is disappointing but can and probably will be ironed out in time.

Last time I saw Zero Consent they were being supported by Three Day Benda at Southampton Joiners, so perhaps this is them returning the favour. The problem I have with their quirky pop punk style is that I value musical ability as the single most important thing about live shows, whereas ZC seem to think silly voices and fart jokes will cover for their uninteresting brass-tinged brand of punk. The frontman's Napoleon Dynamite shirt kept my attention at the Joiners show, but he isn't wearing that tonight. Time for a beer then.

A lot has been said to me about Pickled Dick in the past, all of which has been good but always accompanied with a warning. "They're amazing" I'm often told, "but as poppy as butterscotch popcorn" (disclaimer: not a direct quote), a tout that I fear but really need not, as tonight PD succeed in changing my views on sickeningly sweet pop-punk. This three piece are as tight as the guitarist's floral dress and as mad as his poodle-topped head, thrashing through three minute wonders that utilize the flawlessly executed Less Than Jake inspired vocals from the man on the bass. A low point is reached when the guitarist gets his 'goods' out, but is quickly compensated with a genuinely funny thank-you to his own guitar solo for being 'incredible as usual'. Pickled Dick; I am a fan.

So now is Three Day Benda's time; headlining the Wedgewood Rooms and promoting their newly released album entitled "Sounds of the Suburbs". The cover of the album displays the Spinnaker Tower, a structure synonymous with Portsmouth as well as TDB's affinity with the town that is obvious from the moment they kick off their set. Trombones and trumpets are thrown about and flash in the overhead lights as the deceptively menacing-looking singer skulks within his stage territory ready to snarl and croon through the headline set. As they do it's clear that anyone enjoying this performance can't possibly be enjoying it as much as the Benda guys are.

Highlights include "Conscious, but no Conscience" with it's sleazy brass-let intro, and the ska-tastic "The Understanding" which provides an excellent excuse for all the skankers in the audience to get their groove on, which of course they do.

Truth be told, there is not a weak song in the set and there is no need for the Feeder cover that they have apparently been rolling out recently. The album is brought to life tonight by a band that play as if their lives depended on it; probably one of the reasons why Positive Impact Records agreed to distribute it nationwide. Go see Three Day Benda whenever you get the chance, because it may cost you a few bob more in the not too distant future.

Matt S.

The Go Team - Hi Fi Festival Live (Director / Kharma 45)

The Go Team - Hi Fi Festival Live (Director / Kharma 45)
Originally published at: http://www.the-mag.me.uk/?ArticleId=1124

The first guitar I hear today belongs to Director, a timid looking bunch of lads from Dublin. As soon as they start playing it becomes clear that their apparent nervous disposition is totally unnecessary.

Their speciality is indie-lite in the vein of Interpol or Franz Ferdinand, although these guys are actually a hell of a lot tighter than Franz have been on the occasions I have seen them live. The chorus' sports delightful vocal harmonies and every strike of the precise guitar playing can be heard in detail, making their modest stage presence seem entirely intentional in order to let the music do the talking. Such a shame there weren't more people here to experience this, although you can't expect a dance crowd to flock in their droves to the first indie band of the day.

A quick wander around the site reveals what most of these festival-goers would rather be doing. Dance and drum n base tents are writhing masses of sweaty, dancing bodies; the Godskitchen tent feels like a nightclub already and it's only 3pm. After a bit of a dance I realise it's time to go and see the next band. Shame.

I return just in time to see Kharma 45 take to the stage, bursting on with a danceable synth backed Kasabian-style tune. In fact all of their tunes sound like Kasabian and have synth backing, resulting in an uninspired and unoriginal set that wears very thin very quickly.

The band themselves seem nervy, especially the frontman who doesn't seem able to look anywhere other than at the roof of the tent. I get slightly excited when I hear what I think is a cover of 'Concrete Beats', however it just turns out to be a lesser rip-off of said song. This is the highlight of their set, which really isn't saying much.

As Kharma 45 saunter off the tent starts to fill a bit, and by the time The Go Team come on the place is packed. As anyone who has ever heard of this band can testify, they are extremely hard to pigeon-hole in terms of genre. There are elements of rock, rap, R n B, disco, and most importantly for this festival, dance music. Now we see the Live Tent's first bit of dancing for the day, led by hyperactive and aptly named front woman Ninja, who's seemingly uncontrollable set-long high-kicking grooving is the perfect accompaniment to the feel-good tunes the band performs.

Tunes recognizable to me are hits "Ladyflash" and "Bottle Racket" although everything they play is of the same high standard and keeps the high-spirited vibe flowing for their entire hour-long set. A few casual comments from Ninja regarding an inflatable sex doll ("somebody's girlfriend") and her delight in playing the festival receive rapturous applause, evidence of just how well these hybrid-genre pioneers go down today. The Go Team set 'em up, now it's up to the remainder of the line-up to knock 'em down.

During the half hour of kit changeover I get chatting to an older gentleman named Sammy who claims to be a talent scout. I am genuinely impressed when he tells me of his days touring with bands such as Black Sabbath, and his various tales of travelling the country waiting for the next big thing to fall on his lap. The illusion is somehow shattered however when I turn round to find him crawling on the floor checking paper cups to see if they contain any dregs of beer. A few of them do. "Still cold", he chirps. I feel the sudden urge to wash the hand I shook his with.

Matt S.

Koogaphone - Live @ Southampton Nexus, 26/05/06

Koogaphone - Live @ Southampton Nexus, 26/05/06
Originally puclished at: http://www.the-mag.me.uk/?ArticleId=1115

Finding the Nexus with minutes to spare, I pass the entrance and see several people queuing outside to get in. "Looks like it could be busy tonight" I think to myself as I park my car in the spot most likely to minimize the chance of a break in (anyone who has been to the Nexus will know what I mean). Damage limitation sorted, I jog to the entrance of the venue, not wanting to miss any of Koogaphone, a band that I have never heard of but checked out beforehand and quite enjoyed.

I need not have panicked however, as the place is deserted. Those people I had seen queuing to get in are the only non-band or bar related personnel in the building, and there are 3 of them. Things are running slightly behind schedule, however I get the feeling the organizers are allowing a bit more time for more people to turn up. This doesn't happen, so Koogaphone take to the stage in front of a large empty dancefloor intended to entertain lively drunken gig-goers.

Before going on the lack of audience doesn't seem to affect the band members, and they take to the stage with the sort of swagger expected of a much bigger band playing a much fuller venue. From the off these guys and gals are clearly enjoying being onstage; the tall guitarist hunches over his guitar wrestling with his axe in a competition he's never going to win and I have never seen anyone so amazingly delighted to be playing the bass. The front woman is putting on her own little show too, crooning and gyrating like some possessed guitar-wielding temptress. Gulp.

This is the general experience for the first few songs, but the strain of performing in front of next to no-one eventually starts to show. The drummer seems to lose interest pretty quickly and is soon just going through the motions, whilst that tall guitarist seems to have admitted defeat in the battle between man and 6-string. Perhaps it's that stereotypical male need for pride that's to blame, because the girls admirably maintain their composure throughout. The front woman is full of attitude, sounding like the Be Your Own Pet vocalist covering Fleetwood Mac, whilst that bassist still won't stop grinning.

The girls are Koogaphone's not-so-secret secret weapon, ensuring they maintain stage presence as well as displaying some vocal harmonies that add that extra little touch of quality to the frankly muddy sound in this huge empty room. Alright so many of their songs sound similar and the plodding drum/guitar section designed to build tension is wasted on this occasion, but as Smashy (or Nicey, I can never remember which) declares the end of their set, the band are victorious, performing in circumstances that lesser bands would have submitted to from the off.

Matt S.

Futureheads - News and Tributes album review

Futureheads - News and Tributes album review
Originally published at http://www.disordermagazine.com/article.php?id=279

Here it comes, washing over us in a massive all-consuming wave with the ability to take everything away. Some will survive and make it through to see many glorious and successful years ahead of them, whilst many others will find themselves treading water before fading into the abyss. Who will float? Who will drown? What is this wave I speak of? The purpose of this slightly tenuous metaphor is to illustrate the glut of dreaded second albums that are due to start flooding our way. Bands such as Kaiser Chiefs and Hard-Fi could lose it all with a poor record in much the same way as The Darkness, and now its The Futureheads time of judgment. So how to they fare?

One of the first things to note is the pace of this collection of 12 songs. No longer is almost every song a precise punky 3 minutes of pop in the vein of The Clash or The Knacks My Sherona. Fallout is our first example of how The Futureheads manage to retain that trademark jerky rhythm whilst displaying a sound that has truly evolved since their self-titled debut. Rather than rushing the listener along with a furious beat this track has an epic relaxing quality that massages the ears with a haunting set of harmonies that displays the impressive vocal talent within the band. In fact the whole album is sort of a showcase for font man Barry Hydes ability to be much more than just an impersonator of Paul Weller in his Jam era.

As the angular guitar riffs take a back seat the vocals take centre stage, allowing Hyde to croon and soar with all the confidence of a man certain of his ability and a point to prove. He sounds excited to be given a second stab at the album lark and is using the platform to show us his bands versatility. Burnt is an acoustically-led melancholic number, with dark, haunting verses mixed with an uplifting chorus that once again displays the excellent harmonic vocal style that is such a powerful weapon in this intricate set of tunes.

Despite the change, fans of the old Futureheads material need not fret. Yes/No and Skip to The End stand out as being as chant-along-able as Hounds of Love, although there are changes even to the style of potential singles on this album. The old precise guitar sound has been roughened up a bit, and is most notable in Return of The Bezerker in which guitars are thrashed around at a ridiculous rate of knots with the energy of men years their junior. Whereas the first album presented what The Futureheads could perform, News and Tributes is a testament to their true creative prowess, signaling a recording career potentially more varied and intriguing than the entertaining yet samey debut suggested. Hopefully the Kaisers and Hard-Fi are paying attention, although Justin Hawkins should probably ignore this to avoid developing a bitter sense of jealousy.

8/10

Released May 29th on 679 Recordings

www.thefutureheads.com

30 May 2006 by Matt S.

Betty Curse - Excuse All the Blood/ Met on the Internet EP Review

Betty Curse - Excuse All the Blood/ Met on the Internet EP Review
Originally published at http://www.disordermagazine.com/article.php?id=195

According to Betty Curse's publicity she is the poster girl for the new goth-pop generation. Now, either I'm walking around with my eyes and ears closed or this new generation has been dreamt up in an attempt to create a new genre and corner it before anyone else realises it exists. Granted, Betty Curse provides pleasing pop songs but neither song on this double a-side contains any identification with the goth genre at all.

Excuse All the Blood is a fist pumping meander through teeny bopping pop, laced with in-no-way-gothic guitars that represent the extremely thin separation between Curse and genre-hopping poppers such as Kelly Clarkson. Rock music is currently in fashion (Thin Lizzy and Avenged Sevenfold shirts line the high street), a fact that both the aforementioned artists are attempting to capitalize on by using imagery and stylists to make their audiences forget that what they are listening to is essentially bubblegum pop.

Second track Met on the Internet is so un-gothic it borders on sleazy cock-rock, a genre that Curse manages to imitate and nothing more. I doubt Velvet Revolver would consider this as a filler on a B-side album, such is the uninspired monotony of the riffs and vocal hooks. It may fool younger fans with less experience of the music Curse carelessly recycles on this single, however I'm intrigued to see how the Download crowd at Castle Donington will take to Betty after experiencing Arch Enemy or Hatebreed. Im hedging my bets on not well.

4/10

Released 29th May on Island Records

29 May 2006 by Matt S.

Senser - Live (AMOKi + Kyoto)

Senser - Live (AMOKi + Kyoto) @ Southampton Joiners
Originally published at: http://www.the-mag.me.uk/?BandId=865

Pitching up at the request of Kyoto I rush into the Joiners hoping and praying that I haven't missed their set. Other than the fact that these guys are playing tonight I know nothing of the evening, such is the organisation by which my everyday life is led. The guy on the door doesn't have my name down but seems to recognize me by now and I rush through to the stage area where a band is just starting up.

Standing relatively close up to appreciate the full impact of this band (and also to try and figure out whether or not this is Kyoto), I'm surprised by the excellent sound pumping out of the guitarist's amp and the PA. The Joiners usually has great sound but these guys have sorted out their levels just right, allowing the soulful vocals and groovy, grungy riffs to hit the audience with full force. There are elements of Muse, Incubus and Jimmy Eat World in this soaring vocal line, not to mention the confident smirk of Jack Black that lines the front man's stage presence. This 3 piece fills the stage with such confidence it's hard to believe that they're the first on tonight.

The music itself is hard to pin down as the set is kept lively with elements of funk and thrash that intersect the grunge basis of the sound. This is the difference between seeing these lads tonight and seeing countless other unsigned bands of the same genre; I'm watching what is essentially a chord-based rock band with simple arrangements but I'm not exactly sure what will come next. It holds my attention and I can't help but grin at some of these infectious riffs. As I await the next thrash intersection I overhear someone mention that this is Kyoto. Well I'm glad I enjoy it, this makes obtaining a CD for review a whole lot easier.

Following that nice surprise it's time for AMOKi, a band made up of old members of Dilutral and Modular Series. Former Dilutral front man Kai Harris has a fantastic voice that manages to be tuneful and angry at the same time, offering an intriguing mix with the metal electronica going on behind him. The overall sound however is extremely bass-heavy, rendering any intricate guitar work incoherent. If you like things that are extremely heavy (which I normally do) there's plenty of that here, however that's about all there is.

Aside from Kai's impressive vocals AMOKi are extremely repetitive, thrown back from the days of nu-metal when guitarists only needed 2 fingers and solos were outlawed. There are no hooks here, no ripping riffs, just sludgy heaviness garnished with industrial electronic beats that seem to come as standard with their tunes. It's something to bang your head to, which a large proportion of the crowd enjoy doing to AMOKi. Fair enough if that's all you're interested in, but I want more from my metal.

There seems to be quite a buzz around Senser, tonight's headliners. They have a silly number of albums for sale at the merch stand and the population tonight seem extremely excited about the set. Judging by the applause they are welcomed on with many of you reading this know far more about this band than I do, so I'll just paint a brief picture for those that don't. Senser is how rap metal should be done. This isn't Limp Bizkit or Papa Roach whinging about wanting to break stuff etc, this is in a House of Pain, Rage Against the Machine, and (for the more chilled out songs) Faithless vein.

The rhythm section consists of the drummer, bassist, and guitarist and is as tight as you like, allowing the dual vocalists and DJ to take the limelight and entertain the crowd. Tune after tune presents pleasing guitar riffs underpinned by the 'phattest' rumbling bass lines known to man. Speaking of man, most of them here tonight are totally transfixed on the female singer's 60s-type hip-shaking that runs from the first song to the very end of the last (as possibly beyond, I'm not entirely sure). Having come here expecting very little I leave cursing myself for not realising this band existed 6 years ago when rap metal was my thing.

"The end of the world show is a re-run" I sing to myself homeward. Check 'em out and it will all become clear.

Matt S.

System of a Down – Vicinity of Obscenity EP

System of a Down – Vicinity of Obscenity EP
Originally posted at http://www.disordermagazine.com/article.php?id=37

Following a brief spell of recording and touring inactivity, SOAD announce their return with their first release since 2005's Mezmerize Hypnotize dual album set in the form of a download-only EP containing Vicinity of Obscenity and Lonely Day from the Hypnotize album.

Pointless I hear you cry. Ive got the album, and Ive already got these tracks. If this is the case what youre really paying for is Shame, a raucous rap-rock romp featuring Wu Tang Clan, a cover of Black Sabbaths Snowblind and Metro, a tune that appears on the Dracula 2000 soundtrack.

Whilst Shame might put a few fans off with its Ill fuck yer ass up elements of American rap culture it also shows how rap-rock should be done, still retaining the all-important quirkiness of SOAD's usual material. Snowblind follows in a similar way, avoiding the possible pitfalls of covering such a classic tune by being almost completely unrecognizable from its original incarnation. The main riffs are in there however, and a tribute is paid to Ozzy's familiar vocal style via liberal amounts of distortion applied to Serj's voice in the middle section (Don't ya think I know what I'm doin).

The final track Metro is the final treat for SOAD fans; a raw sounding behemoth that harks back to the simpler self-titled album days. As an example of the bands current musical diversity this EP is a must buy for devoted fans, and also acts as an Armenian-American pick-and-mix for occasional listeners.

7 /10

Released May 29th on American/Columbia Records

22 May 2006 by Matt S.

Ctrlaltdelete - Mondegreens EP

Ctrlaltdelete - Mondegreens EP
Originally posted at http://www.the-mag.me.uk/?ArticleId=1103

My, hasn't music progressed these past few years? No longer are the charts filled with endless club anthem related drivel and Celine Dion film soundtrack snippets. Now that we have the Arctic Monkeys and the Kooks people are listening to guitar bands again and the general public are a lot more open minded than they were. Could this mark the time for bands such as ctrlaltdelete with no vocalist, to step forward and be counted? Why not? Just so long as it sounds good people will generally listen nowadays.

Judging from the overly long song titles ctrlaltdelete seem to have a problem with the written word in general, however this is one of those CDs that you'll never look at; it'll whirr around in your CD player whilst you 'experience' it, during which time song titles seem irrelevant. Opener "Each of these innocents..." establishes the epic sound that carries through the entire 4-track, displaying section after seamlessly flowing section. Every track follows a similar pattern of play that utilises dynamics in a unique way; a style that usually works live but more often than not loses its impact when recorded (as with 65 Days of Static).

For the hardy listener willing to pay attention there is much to be taken from "mondegreens"; pretty much every section shows impressive musicianship and manages to create an enjoyable sense of melancholy that insists on escapism (you can certainly drift off to this). The real annoyance of it all is that so many of these sections would benefit greatly from the one thing that sets ctrlaltdelete apart; a singer. Some soaring echoed vocals are all it would take to transform ctrlaltdelete's sound from impressive to the sort of stuff that gives you goose-pimples.

Although I'm certain that last comment won't go down well with the band, the fact remains that this is an extremely impressive set of songs, if not a bit too much hard work for the casual listener. Get it and give it many listens to extract it's true worth. I certainly have.

Matt S.

Kyoto- Attention Deficit Disorder LP

Kyoto- Attention Deficit Disorder LP
Originally posted at http://www.the-mag.me.uk/?ArticleId=1100

One dreary night in St Mary's, Southampton a little known music journalist bared witness to a little known local band named Kyoto. He was impressed. He liked the heaviness mixed with angelic vocals. He liked the authority with which they stormed the Joiners upon that evening. All of which was magnified when the following band of the night paled in comparison to Kyoto. That journalist is me by the way, and now I have their CD in my grubby little hands to pass critical eye over.

If there's one thing that sticks in my mind about Kyoto's performance that night it's the infectious main riff on opener "Sequel". Criminally simple (perhaps the secret to its success), it lodges itself inside your head and refuses to budge, and it's certainly obvious why the lads chose this cracker to kick the album off with. "...and More" continues the trend with a majestically sweeping vocal line in the chorus (at least I think it's a chorus) that contrasts with the minimalist verses. So far, so good.

The third track, "Green", calms things down a bit with it's eerie verses that leads into a calculated outro lasting roughly 3 minutes, signalling Kyoto's fondness for songs pushing the 6 minute mark. In fact more than half of the 11 tracks on A.D.D. require your ears for roughly 6 minutes, a length that in some cases can prove slightly too long. "Blush" for example contains a verse that begins to lose its charm after being repeated 4 or 5 times, as well as having a section of vocals that sounds far too much like a line in Audioslave's "Getaway Car" (not that the latter comment matters too much, I just can't stop thinking about it).

Kyoto's ambition seems to have outreached their (or their sound engineer's) ability in several instances, such as the floaty filler sounds at the beginning of "2 Ft Tall" that appear clearer and more powerful than the actual song they lead into. Once the track kicks in we are greeted by a muffled vocal effect that just sounds cheap and nasty as opposed to the restrained layered vocals found earlier on "Sequel", a track that seems to have raised the bar slightly too high for the remainder of the album.

It's not that any of the music is badly written, (quite the opposite in fact aside from the odd overly long track) it's the way in which it's executed on record that lets Kyoto down. Having felt the power of these riffs and soaring vocals live, its hard not to feel slightly disappointed at how this vital element of their sound has been lost in the recording process. Rocking tracks such as "The Principal" lose almost all their power due to sloppy layering of effects and vocals that seem to have taken attention away from simple issues such as the guitarist's fuzzy (and again cheap) sounding guitar sound. Some of these licks are truly rocking but sit too far back in the mix resulting in an album that has a 'samey', uninspiring sound throughout.

Although a lot about Attention Deficit Disorder screams over ambition, this is not to say it is a bad album. Kyoto are a good rock band that make good (occasionally heavy) music, however you know what they say about too much of a 'good' thing. Why record a 68 minute album when 40 will do?

Final track "Thanks For Your Concern" is a 3 minute acoustically-led meander through bare-bones rock music. Different and interesting; such a shame the same cannot be said for the rest of the album.

Matt S.

Secluded - Live (Equilibria / In Hail / Inarchy)- 05/05/06

Secluded - Live (Equilibria / In Hail / Inarchy)- 05/05/06 @ Southampton Joiners
Originally published at: http://www.the-mag.me.uk/?ArticleId=1086

Having never heard any of the bands on tonight's bill I approach with a certain level of self-induced optimism. My recent 'grumpy old man' act helped to hone my critical eye but has gone a bit mad recently, ruling my every music-related thought and threatening to never let me enjoy music ever again. My way of thinking was beginning to become me; not altogether recommended when your duties involve being fair and open-minded.

The first band to try and take advantage of my good mood are Equilibria; a Southampton based rock band that begins with one song minus a singer, and should have stayed like that. The music is quite catchy and quite well constructed (some riffs reek of decent Tool), however the front man seems unable to pronounce consonants, resulting in a sort of 'Glassjaw with a lisp' sound that quickly becomes plain ridiculous. It also soon becomes clear that this style does not suit rapping (or 'oowapping'). He does have an awesome scream though that is criminally under-used.

Next up are fellow Southamptoners, In Hail. The sight of the drummer wearing their own band t-shirt triggers my old pessimistic self, but I swallow hard and put it out of my mind to remain objective. All their mates in the audience start bobbing their heads to these mid-tempo epics (in size, not quality) and don't need to stop until the last song is played, down to the fact that every tune has the same bloody beat. Add to that wanky guitar solos nobody can hear and guitar-playing stances that appear to have been worked on more than the music and you've got yourself a recipe for a mosh pit. This is the logic the friends of the family in the audience work off, which, coincidentally, is the moment I get thirsty. Saved by the bar.

Fearing the worst, I return to watch over Inarchy's performance. Luckily for Inarchy, the bar hasn't exactly been set very high and they manage to eclipse the preceding two acts simply by playing music I haven't heard a million times before. Admittedly it isn't the tightest of sounds and the singing isn't the strongest I've heard, but there is section after section of differing riffs and grooves tied together in a nice prog-metal bundle by one of the best local drummers I have seen in a long time. I'm having a good time until the 'karaoke' section in which the front man sings "it's getting hot in here, so take off all your clothes", swiftly followed by such hilarious comments as 'big up your bad selves' and a constant referral to the new Tool album with "God damn, shit the bed". Again, I'm suddenly thirsty. How convenient.

So it's down to the headliners Secluded to rescue me from this pit of unfunny-frontman in-joke despair. Mounting the stage in all their 3-piece glory the boys get stuck in and from the off it's clear we have our first genuinely impressive vocalist of the night. They're very good at what they do, but unfortunately what they do is average drifty rock songs with chorus' that are repeated several dozen times to make up the structure of the songs. There isn't an awful lot going on onstage and it's a welcome change when the front man performs a few acoustic tunes. Here he displays his guitar-playing talent, but the amount of chorus' in each song gets very irritating very quickly. If it wasn't for that and the emotive love ballad subject matters in every song they could be on to a winner.

All in all tonight feels less like a gig and more like I'm gatecrashing a private function for somebody's 16th birthday party. No doubt we'll be seeing a few of these musicians doing altogether better things with their instruments in a couple of years though.

Matt S.

Be Your Own PET @ Wedgewood Rooms 7/04/06

Be Your Own Pet w. Room 99 @ Wedgewood Rooms 7/04/06
Originally posted at http://www.disordermagazine.com/article.php?id=199

Having never been to a daytime gig before (apart from festivals) it is with cautious apprehension that I enter the Wedge tonight. Sunlight pours through the small areas of skylight in the top of the venue, the place is full of youngsters celebrating the freedom that the Easter holiday brings, and it feels just plain wrong to be drinking at this time. Guinness for lunch? What a curious prospect. I get asked for I.D. at which point I laugh loudly and involuntarily. Im 22 so I present my driving license with a sort of merry glee that seems to irritate the barman; something that doesnt really bother me as I wont be drinking all that much at 1.30 in the afternoon anyway.

The first band of the afternoon get underway at around 2pm, a time that Im not sure is early or late in the scheme of things. These strange times arent restricted by curfews or bar licenses so I suppose bands just play when they feel like it. Before Room 99 strike a note it is clear that they look the part; 4 unruly looking punks with slick back hair, flat caps and wide stances. Once they begin playing however the menacing image is betrayed, as the performance is not even remotely as fierce as the second guitarists quiff is tall.

The tall tattooed singer looks more coy than intimidating, closing his eyes whenever he sings and turning his face away from the crowd at every other opportunity. Every member of the band is set quite far back from the edge of the stage and show no sign of wanted to get any closer to the crowd; they may as well be in another room for the amount of band-audience interaction that goes on. What about the music?! I hear you cry. Well theres a reason why I havent mentioned it thus far. It is uninspirational hardcore punk performed with little to no feeling or conviction at all. Music of this aggression requires a certain amount of gusto behind it, of which Room 99 display none.

After quite a lengthy wait (due to local support the Waysters pulling out) Be Your Own PET take to the stage. Having heard a few tracks before I have a rough idea of what to expect, however the precision and controlled fury with which the material is performed is something that no amount of listening to their debut self-titled album can prepare me for. The instrumentalists thrash around with just as much enthusiasm as the horde of young fans that have sold out the Wedge today; perhaps because of the similarities in age but more likely due to the downright danceability of their punky party anthems. Everybodys having fun, but then after half an hour disaster strikes. Hecklers unleash their hilarious fury.

In a musical gap meant for song requesting (there is no set list) a small group of lads begin chanting get your tits out; which doesnt go down all that well with BYOPs phenomenal vocalist (seriously, her voice has amazing punk edge) Jemina. Her eyes fill with rage and she insists every male member of the audience eats a dick, before accusing all British men of having small penis and informing us that the next fury-fuelled tune will be their last. After barking out the final song the microphone is catapulted into the floor and most of the band storm off, leaving the guitarist to meekly thank the audience before scurrying after them.

Now there are two schools of thought here. The first damns the 20 or so geezers who cut the set four songs short for everybody else and involves elements of feminism, equality and so such. The other reminds us that a sold out Wedgewood Rooms deserves a full set, heckling is part and parcel of performing, and therefore the band should just grow a sense of humour or learn to deal with it. Both are perfectly valid viewpoints and quite frankly I am torn, however Im not all that bothered as I still got to see the fantastic Bunk Trunk Skunk and We Will Vacation, You Can Be My Parasol played live. I just hope this doesnt scare them off playing Portsmouth again. If they do and you are anywhere near you have to check them out, because to see Be Your Own PET live is to fully understand what theyre about.

Matt S.

Michael Wookey Demo Review

Friday, March 31, 2006
Michael Wookey Demo Review

Originally posted at http://www.the-mag.me.uk/?ArticleId=1042

There are certain phrases in the musical dictionary that instantly turn me off. Among them are `dance`, `RnB`, `krunk` and more relevantly `artiste`. By this I mean those self-indulgent people who put together tunes in their bedroom and demand the world to applaud their works of genius or wallow in cultural depravity forever, an option that usually results in the choice of the latter. So when I received Michael Wooky`s 4-track demo CD and press info I feared the worst. My oh my how wrong I can be.

First of all, it`s all rather understated. His myspace account says he "started making music at 15" and "at 18 he started making good music" which I find delightfully honest and non-egotistical. The music also shows no signs of self over-appreciation; all four tracks are extremely well produced and the levels are just right, avoiding the common current one-man-band pitfalls of excessively loud vocals and ear-splitting `contemporary` synths. Time to get more specific.

"Come On To My Place" and "What You Deserve" are both relatively dark and sombre ventures, driven by simple synth chords and processed beats. What really creates the endearing atmosphere that he seems to have mastered, is the layered vocals that surround you (almost tauntingly on "What You Deserve"). They sit well in the mix and are soothingly haunting, both unnerving and pleasant at the same time. Sounds contradictory I know but that really is the only way to describe it. The raw, twanging guitar on "Come On To My Place" mixes well with the creepy samples that envelop the chorus and give an uplifting sense leading into the lighter ending section that sweetens with the inclusion of some female backing vocals.

A Liza Tarbuck sample kicks off "I Can Show You Things", being a waltzy happy-go-lucky romp with an infectious chorus that makes you want to grab a complete stranger and, well, show them things. I`m reminded of the Beach Boys` classic Pet Sounds as I replay this tune; not necessarily the style of music (although it does bear resemblance) but more the feeling of calm, happy enjoyment it gives me. The fantastically simple "I Admire You" extends this feeling up to the end of the CD and if you`re not clapping along by the end of its 2 minutes 21 seconds, you must be void of a soul.

I guess the bottom line is that these are, put very simply, `nice songs`. You can enjoy them and sing along to them, after which you will probably have a soft spot for them until whenever your memory fails you. Michael, for my sake and everybody else`s; a full length album please.

Matt S.

Little Green/ Pete Lyons/ the Waysters@ Lennons, Southampton

Sunday, March 26, 2006
Little Green/ Pete Lyons/ the Waysters@ Lennons, Southampton

Originally published at http://www.the-mag.me.uk/?ArticleId=1041

There is something about Lennons that just doesn`t agree with me. It`s as if the venue wants me to show my dedication to the cause before welcoming me into the lovely musical sanctuary that lies within its walls. The first time I came here they forgot to give me my cashback and this time I`m not on the list on the door. All it means is that I have to pay like everybody else however, for an egotistical prat such as myself, this is easier said than done. I`m joking of course but this place does seem to make me work for my admittance. It`s always well worth it though.

Due to the small amount of people at this gig I start chatting to The Waysters` manager who works as a promoter in the Portsmouth area. As they take to the stage he reiterates to me his respect for these 15/16 year olds and their ability to handle all the pressures put upon gigging bands; be it whilst playing in front of hundreds of people or (as with tonight) the equally demanding task of performing in front of a skeleton crowd of a couple of dozen. Their tactic is to let the songs do the talking, allowing the front man to demonstrate a confidence and swagger far beyond his years whilst knocking out the impressively tight Libertines/Arctic Monkeys style tunes. All of the elements of a great rock band are here; musical proficiency, catchy hooks and attitude. Let`s hope girls and other teenage disputes don`t get in the way of these youngsters fulfilling their obvious potential. Rock on, little dudes.

By the time The Waysters finish the place has filled out quite a bit and we`re getting closer to the kind of hustle and bustle that I`ve grown accustomed to at Lennon`s. Apparently this isn`t good enough for Peter Lyons and his Fiction Theatre however, as two songs in he quips something about it being the "emptiest I`ve ever seen Lennon`s" which "has to be the night I`m playing". One song later he ends by remarking "thanks…" swiftly followed by what sounds like "…fuckers". By this point I am ready to completely disregard any of his musical expression. Why should I pay attention to somebody who thinks he is above his audience from the word go? Has he ever heard of winning over an audience? The posters describe him as what Brian Wilson would sound like had he `been in his prime in 2006`, although I`m not sure "Good vibrations…fuckers" would have gone down quite as well in 1966.

But I suppose I should give the guy some coverage. Maybe I am completely misreading him. Maybe I was blinded by the t-shirt that reads `fuck your 80`s fashion dance` as well as the total disregard for his audience`s enjoyment. Maybe I just really dislike angry self-obsessed artists who have ideas above their stations and then wonder why people don`t hear the genius behind their masterpiece. Or perhaps the reality is that despite moments of genuine catchiness and the occasional dual-vocal harmony success, it all just gets a bit too drone-y. Sometimes the injections of electronica work and sometimes they don`t, but it`s hard for me to appreciate anybody who thinks they deserve a sell-out audience by right. On the bright side, if Peter Lyons is even half as good as he thinks he is he will be signed and become huge. C`mon Peter, prove me wrong.

After that I am ready for anything remotely fun or danceable. With Lyons circulating the crowd I pray for an 80`s tune to come on so that I can do the robot on his toes and watch his face turn from white to a deep red colour. It doesn`t happen, so I return to reality and hope that our Editor was correct about Little Green when he complimented the creativity of their songwriting.

The place is packed when they begin, just as it was when the impressive Maccabees performed here a short while ago and blew me away in their own jump-started jerky fashion. Little Green`s driving chord-based distortion-laced riffs lend themselves to this crowd of half-cut young groovers, providing the soundtrack to quite a few questionable dance moves from clumsy movers such as myself (I try, but I always fail). Watching them onstage it`s quite hard to determine who the front man is as the guy stood in the middle keeps threatening to sing but never actually does. Eventually the taller, slightly off-centre guitarist takes control, accompanying the grunge with some crooned lyrics about something-or-other. The singing is not the main attraction of Little Green however, so I will speak of it no more.

As our Steve pointed out, creativity is their strong point. Little Green separate themselves from every other grunge rock band by putting together interesting song structures; taking the audience by surprise with tender moments that intersect verses of raucous fret-bashing and hair-flapping. As the set progresses the guitarists get more comfortable and start to really get into it, an invaluable asset to any band. In their enthusiasm tightness is occasionally forfeited however, in front of a crowd who want to be entertained, this can probably be overlooked. Tonight they provide the backing music for most people`s drinking conversations, but I`m sure with a bit of tightening here and there they will deserve more dedicated attention in the future.

Matt S.

Ladyfuzz, Rival Jousters live @ Southampton Joiners

Ladyfuzz, Rival Joustas live @ Joiners

Originally published at http://www.the-mag.me.uk/?ArticleId=957

After some initial problems getting into the venue (my name isn`t on the door despite assurances that it would be), I`m eventually let in and head straight for the bar, if not for a drink just for warmth and something to lean on. It doesn`t seem very busy for what I thought was a relatively well known band, but then again the current scene moves so fast it`s hard to tell what`s generally accepted as good and what isn`t.

After the initial bevy I go and have a look at the first band. Throughout UK Surf`s set some woman keeps backing into me despite having an endless amount of space in front of her. Every time she bumps into me (I`m backed against a wall), she turns round and gives me the glare of a maniac. If she didn`t have her bloke with her I might have thought she was coming onto me.

Despite this distraction I do manage to enjoy the band. The keyboardist has the nerdy Chemical Brothers look nailed and the rest of the band look equally as `uncool` (in current `scene` terms). This actually works for them as they are clearly just playing music they like, rather than what they think other people will like. It`s rocky and well structured but the singer`s voice is about an octave too low to successfully compliment the epic rock chorus they frequently produce. Entertaining but nothing too memorable.

The gap between bands gives me an opportunity to move away from the psycho lady, but the break is short-lived. I get nice and close for Rival Jousters and need somewhere to put my empty glass, the only option being a shelf on the wall that is directly behind... you guessed it... psycho lady. Thankfully she isn`t looking, so I sneak up and put my glass on the shelf buckaroo style. She doesn`t buck or even see me. Phew.

Standing close up during Rival Joustas is a risky affair. The frantic, jerky riffage is complemented by the singer`s set-long epileptic fit (disclaimer: not a real epileptic fit), during which he often spills out into the crowd. I watch peoples faces turn from delight to genuine unease as the front man convulses on the floor for slightly longer than seems necessary.

Each member is completely self-involved in the music, all four of them thrashing around in their own territory with never-ending energy that could either be attributed to their young age or artistic passion. The singer ends the set with his shirt over his head and a tambourine down his pants. Need I say more?

In truth I feel a need to write a whole lot more on Rival Joustas but I won`t, because Ladyfuzz are the headliners tonight and it would be unfair. The Jousters finish the set asking us to "stick around for Ladyfuzz"; a command that about a third of the audience ignore and disappear either homeward or to chat to members of their new favourite band. In a fantastic turn of fate, psycho lady is one of the disobedient members of the crowd who vanishes, although I`m never quite sure whether she`s really gone or just wants me to think she`s gone (paranoia is not a trait I`m proud of.)

I back against a wall for a better vantage point in preparation for Ladyfuzz, and it turns out I`m on the better side of the stage; the lady side. To say they look like the Yeah Yeah Yeahs would be a lazy comparison, however this doesn`t make it any less true. It`s not so much the female singer but more the guitarist`s elaborate pedal setup and the drummer`s menacing stare.

The three piece start with confidence and an energy that holds my attention for about two songs, after which it starts to get a bit repetitive.

A multitude of instruments (recorder, kazoo, cowbell trio) gives an illusion of ingenuity which I later perceive to be a cover to hide the lack of song writing variance. Even the singer`s seductive vocal presence begins to wear thin as the lyrics are reduced to whines, `ahs` and `ohs`; a crafty way of encouraging the gaggle of young female fans at the front to join in with their fashion idol. If they just looked over to the left they would witness a more talented musician to aspire to, as despite all my criticism the guitarist remains an inspirational live performer, using a range of effect and loop pedals to fill out the otherwise shallow three-piece sound.

As I leave I pass a Rival Jousta being backed into a corner by a group of young fans, followed seconds later by the Ladyfuzz guitarist standing on his own looking slightly bewildered. It is clear where the electricity of tonight`s gig originated, and it wasnt from the headliners.

Matt S.

Maccabees live at Lennon's, Southampton

Thursday, January 19, 2006

Maccabees live at Lennon's Category

Originally published at: http://www.southscene.net/reviews/live/article.php?id=2763

Entering Lennon’s is a bit like entering a Tardis, the surrounding run-down area gives no suggestion as to what lies within. This is my first visit and I’m impressed by the awkward friendliness of it all. A tiny stage in one corner and a makeshift dance floor in the centre, and of course a bar on the opposite side. I order a drink. I ask for cashback. They forget to give me the cashback but don’t forget to charge me for the transaction, but the less said about that the better.

The crowd start to congregate around the stage as Dais Corporation set up. The bass sound drowns everything else out, which is when I realize there is no bassist, nor a drummer. The drum and bass loop supports two drifty guitars that entertains but gets a bit repetitive. I hope for change and I get it when the two lads are joined by a striking blonde who straps on a guitar and looks out at the crowd absently. In fact all three of them have an absent look on their faces that suggests arrogance, but could just as easily be nerves.

The front man stomps on the loop pedal to start another similar drifty number, as the other guitarist dons a bass guitar. It’s all pretty uninteresting, and the crowd starts to chat amongst themselves and the big-haired lad is visibly peeved. A few songs later they beef it up a bit with something a bit rockier, but this only served in providing the front man with a reason to play a bit more aggressively and finish the set by smashing his axe on the floor, storming through the crowd to hug his mate stood just behind me. An odd way to finish a gig, and no way to impress potential fans and groupies (maybe I’m just being old-fashioned, if I wasn’t stone sober I probably would have shook the guys hand for it).

In between bands I realize that this little club is pretty packed, and the buzz surrounding the Maccabees suggests why. Steve Lemacq tips them for the top, or so the posters all over the place claim. I order a coke and find a nice pillar to lean on. I’ve never heard this band before and I want them to win me over.

The drummer is blocked from view by the other four band members who line up with supreme confidence, full of energy and polished showmanship from the off. They’re an odd-looking bunch, with cardigans and football shirts side-by-side. It’s hard to pigeon-hole them in terms of appearance, which can only be a good thing. I ignore theories that one of them looks a bit like Mark from Peep Show. Nobody deserves that kind of comparison.

The performance is tight and the sound is impressive for such a tiny venue. The singer shifts and twitches like Ian Curtis without the epilepsy (I presume), and the other members hammer their instruments with gusto. The tunes reek of Maximo Park, Bloc Party and Razorlight, but they’re great little tunes in their own right and don’t deserve such flippant comparisons (shame on me). The crowd responds with unanimous approval of every song, and a good number of them sing along to the single X-Ray, evidence that the Lamacq plug isn’t just for advertising purposes.

Amazingly the energy is kept up throughout, and afterwards there is a real sense of everybody being united in having witnessed something a little bit special. The band hang around in the bar as the DJ takes over, chatting to fans new and old with the sort of genuine friendliness that doesn’t make me feel like a fan boy for shaking a guitarist’s hand. ‘Check us out on myspace’, he suggests, a phrase you tend to hear a lot at small gigs like this. For once though, I think I will, and I suggest you do the same.

Check out the Maccabees at www.myspace.com/themaccabees

© Matt S.