Well, it's not easy..it completely affects how you're instantly perceived by future fans, labels, managers, the lot of them. When people
read or hear about you for the first time, they immediately form an opinion which helps to determine whether they want to follow you up
or leave you hanging in band oblivion. Yes, band names do give a lot away and give you a 'yay' or 'nay' feeling pretty much straight
away. So when I come across a band named after Arabian head gear, I'm left, well...rather intrigued.
The sense of mystery altogether disappears when I find out the band are from Wales (praise be to the Welsh, I grew up there and love
them for it). However from the moment I hear the intro to 'Route,' I know I'm on to a very, very good thing. The band sound like the
vomit of a washing machine that has spun round and soaked The Stripes, The Libertines and The Futureheads. But Fez don't sound
like direct rip-offs and in fact have managed to create a warm, wonderful sound. Yes, you can certainly make out their influences but
they don't sound boring or similar to the Doherty-worshipping congregation that are many new UK bands these days. For my
soundalike-bashed ears, Fez are pretty magical. 'Gone Too Far' and 'Count Me In' are edgy and dynamic and should certainly be
downloaded from their site: www.feztheband.co.uk. A cracking 3 song start and I definitely hope to see and hear more of this band
soon. Right now, I'm off to buy a fez...and if you give them a listen, I'm sure you will too...
Dee Sekar
I don’t know if it’s because I’ve just watched ‘Ray’ or heard Alicia Keys’ ‘You don’t know my name’ on the radio, but Simone Elizabeth’s
latest EP, produced by Think Tank Productions, has a great jazzy quality to it. Listening to ‘Coffee’, I feel like I’m sat in one of those
old-time smoky jazz bars in New Orleans sipping on a Mojita cocktail, watching performers do their thing.
This five-song EP has soft soulful beats and sexy vocals that work well together to provide stylish and chic songs. The songs are not too
heavy and have a real smooth texture, a bit like a good chocolate cake. ‘Instant Attraction’ will have you believing that you are
listening to a classic En Vogue track, while ‘Call Me’ is reminiscent of a young Mary J. Blige mixed in with a little Dina Carroll for good
measure. ‘Hold Back’ is the point where gospel meets smooth R&B and again, doesn’t disappoint. The last track on the EP is ‘Smile’
and is great to listen to whilst drinking a glass of white wine in your back garden and soaking up some rays.
Brought up in North West London, this R&B singer/songwriter has been influenced by a diverse mix of musical genres including
Classical, Soca, R&B and Calypso and this is definitely reflected in her sound.
For more info on Simone, check out:www.simoneelizabeth.com.
SJ
I genuinely enjoy songs such as this that manage to slightly switch up tempos and vary sound effortlessly. I can’t exactly put my finger
on their “sound”, if you will, which in this case is excellent. Jazzy, chunky, maybe even slightly Ska-ish?, guitars, and vocals combine with
satisfying riffs and musical breaks that slow down just enough before picking up again. Not to mention that guitar solo makes me truly
want to dance. Scratch that-- the entire song makes me want to bounce about. Bonus points for the line “stole my cherry and whole lot
more” which makes me giggle every time I listen (please forgive my dirty mind). A song to put on repeat, shut the door, turn up the
stereo, close your eyes, and groove to.
LARA McCLEARY
Five O’ Clock Heroes: June 1st, The Social, Nottingham.
What can you say about Five O’ Clock Heroes? Well, sit tight and prepare to get excited….They’re the ‘HOT NEW THINGS’ (T.M) from New
York!!! Isn’t that the way these things usually work? A bunch of good -looking indie kids emerge from a, perhaps mythical, land of indie
culture in America’s hippest city, and descend on these shores in an endeavour to drink, party, and sleep with the nations population of
indie girls, see The Strokes and The Bravery? Well keep any such assumptions to yourself, because Five O’ Clock Heroes are anything but
illegitimate children of the Casablancas ilk, for a start, they have a British band member. Not that the last bit of information has any
relevance in terms of musical integrity, I just feel its worth a mention before some die-hard fans decide to dissect my every word and
correct my brash references in terms of the guys being registered as a N.Y.C band!
After a little time parading across the stage, or perhaps setting up their equipment, ‘The Social’ crowd fell silent and offered their
undivided attention to the four young men staring blankly, apparently unphased, into what must only of been a mammoth void between
the stage and crowd…for such a small box, the venue was half empty! Not an encouraging start, but, as always, the proof is in the pudding.
Tearing straight into opening track ‘Run To Her’, Five O’ Clock Heroes immediately command the entire stage by firing of round after
round of frenetic pop/punk in the same vain as early ‘Elvis Costello’ and ‘The Futureheads’. If there was any scepticism to be found
anywhere in the crowd tonight, it was surely squashed within the first few minutes of the ‘Heroes’ set. Continuing with the same sense of
untamed enthusiasm, Five O’ Clock Heroes preset us with short, sharp, hook laden tunes that one can only describe as pure disjointed
dance floor fodder…ask the two girls in front of me (Do you ever stop dancing??).
Although the guys only played for a little over 30 minutes, the set was full of vigour and displayed a sense of professionalism that is
clearly lacking in many of their contemporaries. Songs such as recent single ‘Head Games’, and potential indie anthem ‘Stay The Night’,
push Five O’ Clock Heroes into the bracket that could well contain, in terms of commercial success, next years Franz Ferdinand or Kaiser
Chiefs. I’m sure that amongst the revellers reading this, whether present at the gig or not, there will be one or two disapproving
comments at this last statement, but consider this; When watching and/or listening to Five O’ Clock Heroes, can you honestly see them
perpetuating these tours of tiny clubs, or are they rather more suited to the successful heights of Brixton Academy and the Manchester
Apollo etc?
I know what my answer would be……Quiet at the back!!!…this is success calling…
MATT SMITHURST
UK Release July 25th
“The Heavens” Can somebody say “Sun Sessions”? Sune’s vocal phrasing is so “American south” it is uncanny.Sharin provides just the
right touch of harmonic accompaniment here. This could be the b-side to Elvis’ “Love Me Tender”.“Seductress of Bums”- Cool that the
structure has Sune’s verses in one tempo, and then Sharin’s “chorus” in another. Film and television epic maker David Lynch would *love*
this song. Could Sharin be “channeling” Julie Cruise here? “Sleepwalking”- Good uptempo rocker. Great blended vocals from Sharin and
Sune. Nice keyboards adding to the sonic wash. This hasn’t been listed as one of the Martin Rev songs - could that just be a writer's
oversight? “Pretty in black knows what to do."
“Uncertain Times”- I love the crisp, class acousting-style guitar strumming that is the structural underpinings.Those percussive castanettes
are, well, so ‘ettes’. A love song set against the backdrop of the harrowing times we live in. The twangy guitar line is gorgeous and sets up
the point-making vocal breakdown. Most amusing line - “I want to go where my thoughts take a nap” ;-) and “if the *atom bomb* should
end us both . . . “ -- well, the *atom bomb* was a threat in the 50’s and 60’s. We now live under the threat of a *nuclear holocaust*. The
song addresses these fears today, but charmingly sets it against a backdrop of yesterday.
“Here Comes Mary”- Hey - I’ll be the first one to say its totally cool to nick a melody for a verse. “All I have to do is dream,.Dream,
dream, dream.” The Everly Brothers would be proud. This song is so sugar coated I almost need a shot of insulin to get through it.
The guitar end-out is uniquely the Raveonettes own, however. Poor “Mary” - She takes a gun and kills herself. David Lynch! You must
make another movie and use this song. Martin Rev is credited with contributions here, but on initial hearing they don’t stand out. Will
listen more to find them. “You Say You Lie” Another great song. I’m reminded of the Pixies a bit. With the “theremin-like” melody echo.
The new “clean” guitar sound featured. But, there is an abrasive background there as well. This is one of the Martin Rev contributed to
songs - so, I guess he gets the credit for that. Could be a little higher in the mix, though.“If I Was Young” Another entry that could fit on
a country & western jukebox. An interesting and clever strategy. This kind of crossover potential enhances the chances of bigger success.
“My Boyfriend’s Back” Rather than evoking the obvious comparison to the Flying Lizards “Money” - the song actually sounds so much
more Blondie to me. I know there’s a connection there somewhere. This version is coated with sugar and I love it. Yeah, Sharin does her
best Ronnie Spector impression on the loud end-out background vocals. This would fit perfectly in the next Mary Kate & Ashley movie.
“Red Tan” -The featured Moe Tucker performance. Her style is unmistakable. A great 50’s-style “stroll”. Love those magnificent
“sleighbells” too. Sune & Sharin return to the classic dual-vocals-as-one-entity sound. “One summer’s night - red tan”. “If you and me
should go to hell . . . come on, lets go there right now” -- my fave lyric from that song. Some of the guitar lines call to mind a hybrid of
something both The Cure’s Robert Smith and the renowned William Reid would be proud of. “Somewhere In Texas” More tasty twangy
guitar licks. Verse 2 lifts the song to a new level. The natural, live-in-the-studio drumming breathes additional life into the song. Jacob
finally gets to shine on a Raveonettes record. I’m blown away each time I hear how Sharin kicks it up a notch on the second
bridge/chorus -- the guitar behind it (that tremolo/staccato bit) is brilliant. Totally kick-ass ‘live-in-the-studio’ drumming -- even
a press roll in there. The controlled feedback endingis candy all over. “Twilight”-a most clever reference to the twilight zone theme on
the opening (and underlying) guitar lick. There’s a bit of Blondie’s “Heart of Glass” lurking there too (minus Georgio Moroder’s now clichéd
production techniques). Sune and Sharin sing in total blended voice mode. The buzzing keyboards and percussion rhythm makes it a
natural for the dance floor. The dance-remix possibilities are endless. Someone call Busface right now. But there is enough raw guitar
power chords and “rock” drumming to keep it real. “Ode To LA”-Sharin’s dominant presence is a “tasty slice”. When
Ronnie makes her appearance the song goes to a whole new level. At that point it becomes a pure duet between the two femme fatales.
Ronnie’s voice sounds exactly the way it did in the early 60’s. Can we really be sure Phil Spector didn’t “guest produce” on
this song? “Here Comes Mary” I am totally in love with this song. I love the way their voices go “up” to that note when they sing the word
“rain”. It makes me think of all my favorite things in this life. I’m “high” on this music.
Dave H
Very, very, very few men have made me feel like getting down on one knee and proposing to them by singing me a song. Nicholas Hirst
is one of them.
Having dropped a line to join the SSS mailing list, it was our sheer curiosity which led us to stumble across his website and download a
collection of his songs. The song ‘Little Black Holes’ found its way on to my computer and this is one little miracle I am so grateful for. His
guitar playing reminds me of Guy Buttery, a South African guitar-prodigy I was introduced to by a friend. Multi-faceted rhythms and a
wonderful range of superimposed melodies act as a six string orchestral accompaniment to the glorious voice that serenades; high,
slightly rough around the edges and enchanting.
‘Tell Me How You Feel’ is a fragile commentary on a troubled relationship; Hirst’s other half worryingly growing distant. This is a song that
all women out there would love their partners to learn the words to as those four words are usually missing from all men’s vocabularies…
The bass line to ‘Boxers’ is slightly reminiscent of Floyd’s ‘Wish You Were Here.’ Another beautiful love song with inspiring lyrics: ‘I really
don’t know what it is that sets you apart/spins me and drops like a boxer.’ Hirst’s words are prophetic as this is exactly how I feel listening
to his music.
‘Nightlight’ is another accolade to Hirst’s powerful yet simple lyrical command: ‘Sweetheart/Don’t lose heart/Don’t let the dead eyes get to
you/Just call if you need me.’ Hearing Hirst singing this plea will ground the pretentious and dumbfound the cool. I can imagine even a
hard-nut like Tracy Emin cracking under Hirst’s whispers and happily painting pink roses for eternity.
There is little I know of Hirst except these four songs. It turns out he's in another one of my favourite new bands of the moment, The
Conway Story. He wasn’t even one of the many who bombard us to listen to their music and assure us it is ‘the best ever!!!’ and never
usually is. The fact that he didn’t, makes him even more special. He studied Literature which helps explain his aptitude for lyrics although
the two don’t necessarily correlate. The true magic is his voice, his tremendous musical ability and his silent acquiescence to create what
comes naturally.‘This is the last place I ever thought I’d find you in,’ he sings in ‘Boxer.’ How true. Some of the best songs I’ve heard in a
long while.
Please, please give him a listen: http://www.nicholashirst.com
Interview with The Conway Story coming soon
Dee Sekar
Waking up at 6.30 AM is never going to be top of my list of things to do on a Saturday, but in order to spend it with thousands of pilled
up ravers
I’ll gladly make an exception. I mean, who wouldn’t?
So it was that after a few bleary eyed hours on the national express I found myself trekking up a pretty serious hill side just outside the
party capital that is Winchester. I had barely recovered from the most exercise I had experienced in over a month (really) before it was
time to catch the media circus known as Babyshambles. These slapdash urchins, led by crack toking tabloid pin up Pete (Mr Kate Moss)
Doherty seemed an odd choice to kick off a dance festival but kick it off they did (and lets face it, with Doherty it usually does). Aside
from Pete’s trademark incoherent vocals the band were on form, moving from terrace style sing-alongs to demented ska tinged punk with
surprising alacrity. Despite the rabble-rousing nature of the band’s sound and the odd game of chuck a bottle, the audience was fairly
restrained. Whether this was to do with the early hour of the performance or because the booze and drugs hadn’t kicked in yet I can’t say.
Probably a bit of both.
Whatever the case, the ‘Shambles deserved more of a crowd response than the main stage’s next act, The Bravery. This bunch of artless
posers surely are the living embodiment of an extremely dodgy 80’s hairspray advert. In their minds they rock the ass out of everywhere
they play, blowing the cool kids away. How? By stumbling around like a half cut Thompson Twins tribute band, apparently. They did at
least have a few songs you could have an ultra ironic boogie to but for a band that’s more hype than talent this just ain’t good enough.
And frankly their on stage chat of smashing instruments and riding around in helicopters is like, way lame, dude. Or maybe I’m just
jealous... After a few swift ales to dissolve the post Bravery trauma we moved over to something a bit more, well, British. Namely the
effusive Skinnyman. The Kiss tent was obviously not enforcing a Bluewater style hoodie ban and pretty soon these obscured heads were
bobbing along to some disappointingly average hip-hop beats. That is, they were once the sound levels got sorted out. Most of the time
you could only here the skinny one’s entreaties for the kids to ‘stay in school’ and other such helpful snippets. Which is all well and good,
of course, but we came here to dance, man. That said, it was worth hanging about to see the MC’s toddler son who ambled around the
stage full of gangsta swagger. Watch out for that one, bloods!
After that lot I felt it was time for a bit of glamour, so it was over to Felix Da Housecat who spun his brand of future funk and er, electro-
clash with admirable style and panache. This got the people (and me) on to the floor and soon all kinds of ambitious dance moves were
being attempted. Probably the less said about these the better.
After stumbling past the usual festival tat of legal highs, badly made carpets and nasty looking food stalls it was time for Radio 4. Not that
I was tuning in to The Archers, or whatever it’s called, you understand. Nope, this band is even funkier than that. They seem to have lost
their way a bit since their first album and the punk-funk explosion (!) of 2001. And it looked like the punters thought so to as there were
only about 30 of us watching them. Those that weren’t missed out on a mighty set - all souped up bass, weirdo disco percussion and
frantic yelped vocals. They’re really rather good and deserve another shot at the big time.
Keeping with the funksome theme Hot Chip were next on the itinerary in the marvellous sounding Strongbow Rooms. These guys play
strange electro pop with a soul. Their geeky look - think slightly punked up 70’s Open University students - only heightened the weird
nature of their angst disco. Cue more ‘original’ dancing. It was only early and I was definitely getting into it! Even when the band slyly
slipped in a verse of Fleetwood Mac it didn’t bother me (or anyone else) unduly. Totally different scene back at the Main Stage where
Roots Manuva kept it toasty with a more dub fuelled set than many would have expected. ‘Relaxed’ smiles and some shuffled skanking
abounded until one of UK hip-hops finest moments ‘Witness’ blasted out to the packed crowd.
This only served to build expectation for of the festivals most eagerly anticipated draws - the enigma wrapped in a puzzle wrapped in a
shell suit that is Beck. The funkiest white boy around got the place moving with a collection of oldies and songs off this years ‘Guero’,
which highlighted what an accomplished performer he is. This was the first time I’d seen Mr. Hansen play live and on this evidence I would
do so again. Aided by a robotic dancer dressed in some kind of ski instructer’s garb the party was well and truly on.
Taking us into the small hours was national chav treasure The Streets. With a tight rhythm section putting out a heavy sound Mike
Skinner’s party bandwagon rolled on. Copious amounts of drink flowed on and off stage and it soon became clear that no one was in too
much of a hurry to go off to bed. Even to my strictly beer and fags head I could see that this was no time for flagging. Old favourites ‘Too
Much Brandy’, ‘Let’s Push Things Forward’ and a mad sprint through ‘Don’t Mug Yourself’ got things moving before everyone got their
lighters out for the hard-lads-do-cry weepie of ‘Dry Your Eyes’. However there was no let up before the Parklife-esque guitar of ’Fit But You
Know It’ kicked in and everyone lost whatever remained of their marbles. This was a show and a half, dispelling doubts about Skinner’s
range and his ability to stay ahead of the game.
Taking Skinner’s advice to keep the party going the night descended into more drinking and dancing and, not so raucous this one,
keeping warm. It was so freezing in fact that a couple of my companions were forced to buy one of those dodgy carpet/blanket things. At
some point I realised it was 5.30 in the morning and I was moving half-speed with my eyes closed to Grooverider’s seriously frenetic
drum n bass. Time to go back down that hill to civilisation (well, Winchester) and wait for a coach that never wanted to come. It had been
worth it.
Robert W. Monk
Though I haven’t formally checked, I believe that all reviews of the Decemberists are required to use the word “literary”. I will not challenge
this unwritten law, mainly because the great appeal of the Decemberists is the seamless blend of frontman Colin Meloy's lyrics, which can
be more accurately described as Dickensian character sketches, with well formed melodies. At first you are taken in by the catchy and
sometimes melancholy orchestration, and then after a few run-throughs the gravity of the lyrics sets in. I recall the first few times I
listened to “Leslie Anne Levine” on 2003’s “Castaways And Cutouts”. I was mainly taken by the sound of Meloy’s strange enunciation and
the songs slow, haunting blend of guitars, bass and accordions. Yes, accordions. And yes, it works. Then I realized I was listening to a
dead child’s account of the death of herself and her mother. As macabre as it sounds, this, too, works. If you illustrate this song, and
many others, they might look something like an Edward Gorey drawing. The Decemberists’ songs draw the listener into a world inhabited by
a number of anachronistic characters, from “chimley sweeps” and “barrowboys” to a whole slew of pirates and sailors. Note: Meloy
apparently really, really likes writing about sailors.
Another requirement of a Decemberists review is to compare “Castaway and Cut-Outs” and 2003s “Her Majesty the Decemberists” to
Neutral Milk Hotel; the band is similar on these albums in that they are quirky and just sloppy enough to be charming. The bands is tighter
and more layered on their latest full-length release, “Picaresque”, (2005, Kill Rock Stars), and it is a progression that serves them well.
While “Castaways and Cutouts” and “Her Majesty” are the sort of albums that often need to grow on you after several listens, “Picaresque”
draws you in from the start. The bursting, rousing “The Infanta” is followed by “We Both Go Down Together”- a song that is still energetic,
but subtly different enough with its strumming violins to keep the listener’s interest. It also has to be one of the most cheerful sounding
songs about a potential suicide pact I’ve ever heard. In "The Engine Driver", Meloy sings that he is "a writer, a writer of fictions." If there
were any doubt left about this, the almost nine minute “The Mariner’s Revenge Song” holds the listeners attention like a good novel,
despite its length. My personal favorite track, “Sixteen Military Wives”, is a poppy-driven combination of guitars and horns. In addition, it’s
somewhat unusually contemporary lyrics, “Seventeen company men, Out of which only twelve will make it back again… Cause America
can/and America can't say no/And America does/if America says it's so” are the perfect anthem for a frustrated American who feels the
need to slap, or least gently chide, her government on a daily basis. And though I digress, it is this digression that perhaps best illustrates
the appeal of “Picaresque”. The album’s cover portrays what appears to be a scene in a play, and like any good play, it is sophisticated
enough to make you listen and care, unique enough to make you remember, and yet still leaves room enough for the all important
personal spin of interpretation.
Lara McCleary
It is my firm belief that British music is presently at it’s most exciting and exhilarating. Since The Libertines shook indie music viciously by
the throat a few years back, there has been an inexorable surge of young bands reviving the spirit of Rock n’ Roll with as much passion
and integrity as anyone before them. The bands that, probably as you read this, are creeping out of obscurity and plying their visceral craft
on stages up and down the country, are creating such a buzz and cult following, that it is practically impossible not to be seduced and
enchanted by the scene they command.
With these thoughts, it was tonight that my assumptions on the British music scene were cemented….by a group of teenagers no less!
Upon entering Nottingham’s ‘Old Angel’, with its theme of grimy punk glamour, the intensity of Milburn’s cult following is on view for all to
see. Pushing past hordes of immaculately groomed indie boys and girls, the rickety floor of the ‘Angel’ trembles as the jerky rumblings of
opening track ‘Send In The Boys’ resonate from the tiny stage, and slices straight through the eager revellers dancing as if their lives
depend on it. Immediately followed by the ‘Cheshire Cat Smile’, you begin to understand the diversity of Milburn’s musical influences, this
track in particular, harking back to the glory days of Morrissey and The Smiths.
Lead singer Joe Carnall, along with his brother Louis on guitar and backing vocals, is the sort of level-headed, and endearingly Norther,
front man, refreshing in what seems to be a band culture primarily interested in ‘haircuts and Converse All-Stars’. Essentially supported by
frantic drummer, Joe Green, and the Graham Coxon-like Tom Rowley, you are presented with a unit of musicians who are well rehearsed,
and if there’s any justice, anything but a flash in the pan.
John quips with the crowd all night long, easily blending in with the largely teenage audience, and doesn’t seem the least bit phased when
the stage is stormed during the frenetic second track of the evening. Heads nod, girls scream, and bodies begin to surf towards the
exhilarating sound that streams from the tiny, beer soaked stage. But Milburn’s leading quality is, unarguably, the high level of
professionalism they exude as a band. One forgets that this is a group of young men barely out of college, because what is produced can
only be hailed as some of the most electrifying live music I’ve had the pleasure of hearing for quite some time. Throughout the entire set
there is barely a dropped note or strained smile from the guys…they REALLY love what they do!
When ploughing through songs such as ‘Lipstick Lickin’’ and ‘Storm In A Teacup’, Milburn genuinely exhibit as much passion, and
charisma, to rival any of their contemporaries, such as The Futureheads and Maximo Park, with perhaps a little more exposure and
touring. It’s clear from the people in attendance tonight, that the band already have a loyal following, many of whom belt out song lyrics
with as much force as lead vocalist, Joe.
Playing for just over thirty minutes, Milburn leave the Nottingham crowd enthused and clearly satisfied. I myself, admittedly, arrived at
tonight’s venue with a sense of apprehension, perhaps music snobbery, at the thought of a group of Sheffield teens being held in such
high esteem. Well, I was proven wrong. Milburn, in short, were fantastic. These guys WILL be moving onto bigger things, catch them while
you can….next stop Brixton Academy?
Summary? In the words of Roger Daltry; “The kids are alright!…”
Matt Smithurst
Released June 13 on IRL/KOOBA CUTS.
Probably the most exciting prospect of receiving demos from new bands is that every so often, they can tend to quietly blow you away.
The best thing about The Conway Story is that their singer, Nik sounds like no one else. Usually with singers you can spot the homages to
Chris Martin, Bono or even Elvis. However with Nik, he sounds wholly unique and gorgeous.
'Ghostwriter' is an upbeat, melodic guitar-based track which stands apart from the legion of new Brit-rock bands solely on Nik's vocals.
And that my friends, is a true accomplishment. When you try to imagine the band, think along the lines of more mature and less
pretentious Brit-rock bands a la Idlewild.
B-side 'Hopeless With Our Hands' is truly magnificent. It is a shame that this is not the title track but at the beginning stages of their
career, a simple piano and vocal track may not be the first choice by their record company for a single release. Oh well, shame. With a
poignancy that I've not heard since Jeff Buckley and tender lyrics that beautifully accompany the solitary, graceful piano, this is a real
treat to the ears. Sweet honey sprinkled with a pinch of salt. Wonderful.
The band commence their UK tour in May and if this single is anything to go by, are well worth buying the tickets for.
Dee Sekar
*****
Bliss Abyss + Winterville + Kalena: Upstairs at The Garage 11.05.05
First out on stage were Kalena, with their brand of power-driven Indie rock. Entertaining enough, it’ll be difficult to see whether this
Leicester band will manage to rise above the hoards of similar sounding melodic rock and roll groups. Singer Andy resembles Tim
Wheeler of Ash and sounds similar as well. Whether those slightly strained vocals give justice to the fast-paced songs, it is difficult to
see. Next up, Winterville with the singer sporting the usual ‘shaggy hair over the eyes’ trendy haircut. I was expecting much of the same
melodic by the numbers Indie pop, however what occurred was a Led Zeppelin and Jimi Hendrix influenced jam session hiding some
reasonable tunes. Technically an excellent band, the main problem was that somebody had forgotten to tell them that the aim is not to
show off your skills with one minute solos but to entertain, and unfortunately this tendency to over-elaborate bored some of the crowd
to tears. It would be fair enough if the singer had the charisma of a Hendrix or a Plant, but that wasn’t the case. By concentrating some
part of their obvious talent on putting on a show, and maybe their brand of rock will manage to convert a few new fans.
By Ash
Like most music lovers, I’ve lost count of the number of gigs I’ve been to and especially the number of forgettable bands I’ve seen over
the years. However, from the moment the delightful boys of The Blue Van took to the stage, I knew that my gig going experiences to date
were going to be stamped on, spat on, jumped on and kicked in the ribs just for luck. As Heraclitus once said, ‘the only permanent thing is
change.’ And that is what The Blue Van are guaranteed to do to you. Sit back, relax and bring it on, I say.
It’s hard to explain exactly what blew me away – was it singer Steffen’s incredible vocals or guitar wizardry (he sounds phenomenal on the
album and nothing but the best live), or bassist Allan’s tremendous energy and fun-filled stage antics (helping drummer Per crash his
cymbals with his bass). Perhaps it was organist Soren’s beautiful harmonies whilst playing the ivories or Per’s passionate abuse of his kit.
In fact, I don’t know. In fact, it was all of this. In fact, I’m still left reeling from the sonic experience that is The Blue Van.
The boys' album ‘The Art of Rolling’ has been my constant companion over the last few weeks. An album which I badger my friends to buy
as there’s no way in hell I’m lending mine to anyone. Life without The Blue Van? No thanks.
The band play a short set of their songs which includes ‘I Want You,’ 'Coeur De Lion,' new single ‘Revelation of Love’ and the mighty ‘New
Slough.’ The band are a tight quartet and play without any off-key moments but somehow keep off any feigned qualities. These guys are
so damn lucky. They are the rare breed of contemporary musicians who are not afraid to jam live and after playing together for 10 years,
the glue that binds them is as sticky as ever. They just have it. A natural passion for music and each the master of his instrument. When
these guys play, they release their souls to the rest of us.
We, the music listener/gig goer, have been sent a precious gift from the Danish farmlands. A gift that is as dangerous as a time bomb, as
beautiful as a Matisse, as loud as a foghorn but also as quiet as a whisper. Get excited, open it and cherish The Blue Van.
***************************************************************
Dee Sekar (There are not enough stars in the sky to rate them).
INTERVIEW WITH THE BLUE VAN HERE
It’s funny how music changes according to what bands think people want to hear…and often it's not what bands want to play but what
they think they should play. Currently, many have taken to floating on the Coldplay/Keane/Snow Patrol cruise ship entertainment show
for just a bit longer. That’s why it’s soooo refreshing to hear a band who have hijacked a pair of jet skis and are heading straight for a
crowded dock. The Red Star Line have arrived.
SSS received an impressive 10 song ‘demo’ from The Red Star Line with equally impressive CD inlay and design. Funky artwork always
goes down a treat with us. They certainly look professional but how do they sound? ‘Commercial Suicide’ is the all-important song number
one and is immediately notable as it takes over a minute and a half for the vocals to start. This serves as a great reminder that bands
create music and sometimes this alone can set the pace, mood and direction much more effectively than a repetitive, catchy chorus.
This track has many instrumental breaks and overlapping riffs and the vocals serve as an accompaniment to the dark, atmospheric
sounds reminiscent of current Queens Of The Stone Age, ‘Little Sister.' Good stuff. The last minute of the song turns direction with the
introduction of guitars a la ‘She Sells Sanctuary,’ which in my book, if you’re going to sound like The Cult, that’s not a bad choice at all. In
fact, brave move, boys and one which will no doubt pay off.
‘Katabatic’ begins with staccato guitars and vocals and definitely fits in with the contemporary prog-rock of bands like Jet. Tim Crosby’s
vocals contain a strong smell of Cobain’s in ‘Territorial Pissings’ but this is a style he should continue to adopt as it works much better
than his half talking/half singing style in songs like ‘Please Stop/Don’t Stop,’ which make him sound a bit out of tune. It’s a great style to
try and emulate and perhaps Tim will able to smash this in the near future but until then, it’s still patented by the amazing Joe Strummer,
with very few contenders vying to steal his crown as King Sleep-Talk Singer.
The penultimate song ‘Piranha Lounge’ gives drummer James Rixon the chance to shine and I’m a sucker for drum solos, so this one wins
my vote from the word go. The guitar solo sounds a bit dated but is complimented by Tim’s screams and James’ syncopated jazz-
drumming sound. A belter. The final track ‘Dead Man Driving’ starts off as a beautiful acoustic song and culminates in a terrific mesh of
poignant lyrics and loud guitars. Tim sings of ‘cautionary lust for fame through god-forsaken people.’ Well after hearing this album, The
Red Liners better get used to the idea, and perhaps should start calling the ‘god-forsaken’ their ‘fans’ as no doubt, hoards are coming
their way. All aboard The Red Star Line….
By Dee Sekar
*****
AC/DC and Free, singer Henry Rundell's vocals were just a bit too much for me. I need to be able to feel the reasons for screaming and
shouting in a song and I just wasn't getting much from the lyrics apart from the repetitive 'Oh Yeah' yells and something about not
getting out of bed on time. If you're a fan of Justin Hawkins (which I'm wholly not), you'll probably love this.
The slightly slower 'Giving Up' is pure thievery of everything Steve Tyler has ever sung but is much more tolerable than the first track.
It's something which the young folk will love and I can imagine hoards of teenage girls singing along and flashing their training bras at
Rundell. Currently playing showcases with Reef wannabes, Rooster, check 'em out with your ageing rock fan dad or McFly-loving
younger sister. How Rundell pulls this off live is something I'd like to see. I may even end up falling for fellow act Rooster and listening
to 'Oh Yeah' on repeat for eternity. Then again, I might not.
By Dee Sekar
**
ALL RATINGS OUT OF 5 *
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