First up is 5 piece band The Heyse. After a cinematic Pink Panther opening, their intentions are made clear with a run of stomping Boogie Woogie numbers. Catchy ones like ‘Magic Lemon’ incorporate early Stones beat with R ‘n’ B grooves. Middle of the set tunes contain elements of simple cowboy music, with hints of Johnny Cash and even Del Shannon. After this its back to the familiar bluesy stomp, which, does enough to keep the foot tapping but their loose-ness, personified by a raggedy Postman Pat- alike Scotch singer, detracts from this. They pack a punch, but maybe one thrown after lots of booze.
The Murmurs of Tension make a definite and lasting impact. An impressive array of instruments, which include a mandolin, harmonica, lapsteel, xylophone and organ, are utilised to perfection throughout the set, which draws heavily from current folk faves The Fleet Foxes, with their multi-harmony, Oregon trail feel.
The set is littered with beaufiful occasions of music entwining with the vocals, both lead and backing, and it happens regardless of the style. The musicianship is obvious, with time changes conquered effortlessly, always surrounded by layers of soulful and sincere melody from all instruments and vocals.
Standout track Showdown is a miscrocosm of the whole set, changing from Portishead drones to a Hoo-Haa Strip music, via Mcartney-esque key changes.
An accomplished band, with great depth, will need more listens to be appreciated fully.
Described as 'Psychobilly,' The Swingin Bricks, offer revved up 1950’s rock and roll with a twist. Fast paced, raucous, and energetic, there’s a hardly a moment to collect your thoughts as they plough through a set which is in turn meant to plough through its audience.
Its pandemonium with Walking Down the Line, and last number Manbird sounds like Rockin’ Robin on speed. It was no surprise hearing later on that the superb Double Bass player is a session musician, such was his steadfast, consistent string twanging. The novelty begins to fade however, a result of the shackles created by choosing this genre.
Headliners The Cubical are hotly anticipated by a devout following, and with a set that strengthens the atmosphere as it goes along it seems they are not let down. I guess they feel lucky, being able to revel in the sounds of the early 60’s greats The Zombies and Captain Beefheart (Safe as Milk era), up close and personal in the here and now. Maybe it’s due to seeing an unseen member of the wacko family in Tom Hanks movie ‘The Burbs,’ playing frontman.
The opening song, with its tight, fast chord progressions goes one step further than Beefheart, in actually accomplishing the sonic translation of a Victorian Madhouse.
The songs are laced with sandpapery twangs, each has punch and energy. They contain dominant and colourful Stones/Beefheart riffs, whose attacks are impossible to recoil from.
The Cubical rely heavily on the rhythm section for their sound to shine through. It was on form this evening and so said twangs, prevalent throughout, are allowed first place in queue of what reaches the listener.
The whole set is polished and hot, but you do have to force yourself back in time, with more than a spattering of musical perspective to ‘get it.’
No comments:
Post a Comment