In a turn of events that can only be described as Jurassic Park-esque, The Bomb have discovered prehistoric pop-punk’s DNA and set it out on show. The crashing powerchords of opening track “Up From The Floor” elicit a Pavlovian desire to dress all in black and mosh furiously with a can of cider (mine was a sheltered upbringing), and this sets the tone for the whole album.
When Beecher first arrived years ago they were championed for their blend of metal, melody and electronics. Nowadays all of these factors remain in some form but at least in the live act, or at least tonight, they are pure metal – the more emotional moments being swallowed up within the onslaught of noise.
LCD Soundsystem, the rock’n’roll dance band brainchild of James Murphy (DFA), have always sounded a bit flat on CD, but their live show injects verve and excitement to every song thanks to Murphy’s almost obsessive enthusiasm to entertain every single person.
Starting with a fattened-up metal version of the more introspective “Vultures” before fully announcing their arrival by blasting into the frenetic “A Day in the Death” the new album tracks were impressively performed in the live show, and gained a whole extra intensity and loudness.
The crowd was quiet up to this point, but once “Panda”’s stuttering drum intro burst forth into driving Zeppelin-fuelled blues rock I knew any unbelievers would soon be converted. “Festival”’s bucolic Woodstock folk (that’s the original not the frat boy riot sequel) was an uplifting joy.
Now on their third tour of 2005, The Chemical Brothers wasted no time laying down the heavy beats with “Hey Boy, Hey Girl” before getting everyone up to speed with newer tracks “The Big Jump” and “Galvanise”. They were already working up a sweat on the dancefloor as the crowd erupted into all manner of arm waving, pointing and jumping like loons on a basketball court.
Kind of a strange, beautiful night really. It started with James Bourne from arena-touring, punk-pap fools Busted unable to blag into this grimiest of venues for free and having to pay like a mere mortal and ended with a fully grown man being applauded for swearing and playing with Fisher Price toys.
no matter how good the support seemed at the time, along came the Japanese mentalists and all were blown away. Playing basically the same set as that played in support of Cell-Scape on its release a couple of years ago the band blasted through material of that album and others such as the classic Charlie.
What happened to the Thrice we know and love? The band that would rock so hard that their guitar straps would tear apart mid song? The pop sensible hardcore band that was able to interchange gutteral screams with high flying sing along choruses? Tour. Tour happened.
Theirs is a music for the winter months, for grey skies and wrapping up warm in black clothes definately not sunny beach adventures! Lucky they released it now then…
This year saw the doom world reaching new lows with the almighty incantations of a strenghthened ASVA, originally formed in the droning wake of Burning Witch by B.R.A.D. and G. Stuart Dahlquist and now with the pair having forged allegiance with Jessika Kenney, Troy Swanson, John Schuller and Trey Spruance.
First track “Kill the Dog, Tie Them Up, Then Take the Money” is an archetypical doom track, with epic downtuned, downtempo progressions in the tradition of Black Sabbath or the aforementioned Burning Witch.
This debut mini is produced by A’s Jason Perry who manages to forgo his band’s pop-metal bludgeon and bring The Riverclub’s melodic sensibilities to the fore. Opener “We’re on Empty Again” rattles along with the requisite buzzsaw guitars and shouty chorus and “Call If You Want To” does exactly the same – but even better.
“Sailing By Night”s folky melodics develop into a darker keys, synth strings take over and enveloping drum repetitions build and finish the song along with keyboard dramatics
the comfortably small Freebutt was filled and its foundations almost threatened by the mass barrage of sound created by the five men inhabiting its small stage
The lead track on this EP, “Bootprints” is a gorgeous hammond pop swoon. The parping horns and catchy chorus of Blur or Badly Drawn Boy coupled with the King’s almost Ian Dury vocals.
organised by the wonderful Eat You Own Ears night and Kieran Hebden (Mr. Four Tet), and they put together a flawlessly cool line-up in support of Four Tet’s multiple-tronica’s (i.e. folk, jazz, glitch): German legends Faust, Aussie DJ Kid Koala and Texan sky scrapers Explosions in the Sky.