The Organ were one of the so-called ‘buzz’ bands of the recent indie-industry backslap SXSW festival in Texas. This buzz must have stowed away in their guitar cases or somethig as they’ve only just released their debut (Grab That Gun) on a minor indie label but the Garage was sold out. This was possibly due to the relative hype built up around SXSW, but despite the album not been out too long here even the non-single/non-myspace tracks were afforded recognition and grand responses. So they must be doing something right. But first came others.
If the Kaiser Chiefs are Sesame Street, The Immediate would be Fraggle Rock. Slightly unhinged funky-punk with lots of instrument switching shenanighans. Recommended if you’re into Talking Heads and Franz Ferdinand. I started to worry that coupled with the headliners spiky movements there would be too much angularity in the evening and I may end up with an assymetrical haircut by proxy.
Dios (Malos) could well be the band to fill the void to be left by the soon-to-split-up Grandaddy.
Fortunately, along came Big Joel and his band to diversify proceedings. The downbeat Californian psychedelia of the likes of “I Want It All” and “You Got Me All Wrong” suggest that Dios (Malos) could well be the band to fill the void to be left by the soon-to-split-up Grandaddy. We’ll see.
The Organ, a Canadian gang of five, may not have had the hyperactive stage presence of The Immediate, but if anything they demanded more attention as they delivered their taut, edgy music. Like an awkward firing squad four of the band lined the front of the stage avoiding the eyes of their targets in the audience. (I could start talking about sound bullets, but that would be stretching an already creaking metaphor.) There was very little movement but they connected with us none the less, as the songs emotional pull resonated and the urgent music moved feet and hips with swirling organ and propulsive bass duelling with simple, nagging guitar lines.
Succinct, dark pop songs.
Their album is a good piece of work, but they still managed to build on here.”Brother” and “Memorize The City” were, as on record, terrific. Succinct, dark pop songs equalling anything that Editors have recently presented. “Steven Smith” was a brief sigh of a song that became a shout (“Come On! Lets Go!”) and “I Am Not Surprised” was a manifestation of Debbie Harry fronting the Smiths. In addition, songs that slightly lack the punch of those particular songs on Grab That Gun (like “There Is Nothing I Can Do”) seemed to gain more depth and power as they were thrown out into the ether.
As they departed before a one-song acoustic encore, having played the whole record, singer Katie apologised for the short set (“We’ve only got one album!”). But it was refreshing for a band to not fill time with extended jams or cover versions, and this was a simple but effective introduction to their world.