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REVIEWS
'Vulcan Gas Company' by Viva Vertigo
The long-awaited follow-up to the critically acclaimed “Viva Viva” – Simon Beck’s vision – “Viva Vertigo” is now back. A full band now – the most significant difference is
the addition of guitarist and vocalist Sara Lewis Sorensen.
The title of the album pays tribute to a psychedelic rock club that went by this name, which was located in the lone star state of Texas (USA) in the late 1960’s. Apparently
the local authorities tried to close it down, when the establishment didn’t like the place or the bands that played there. However, legendary bands like The Velvet
Underground, Rocky Erickson’s “13th Floor Elevators” and even old blues legend Muddy Waters all passed through their doors.
Mick Grondahl makes a spoken word cameo appearance on the opening salvo “Vulcan Airwaves (intro)” -“Staining the airwaves with night time music - dark with a salty
blend”.
“Strip Dip Dipper” - Out of the box this song burns – with a churning rhythm over the verses – on to a chorus that has a brilliant Beach Boys like vocal enhancement.
Where “dip dip dipper sounds like “dip dip diva”. Well, how could she not be?. The addition of Sara Lewis Sorensen on background vocals give the band a new
dimension. Not only on the chorus, but in tandem with Simon’s principal vocals. “You’re so fast -- I’m sick” they sing. I have to agree. Nice extended feedback end out to
this. It leads perfectly into the next track.
“Baby Likes Dark Rock’n’Roll” “Peep show phone needs a quarter” – now that’s my kind of song. The chorus is huge – “I like the visual sweep – the sweep kills me”
Slashing guitars that churn and burn. Sara Lewis Sorensen is again the difference maker here (from the first album) with her feminine background vocals perfectly
complimenting Simon’s deeper tones – this time sung in alternating lines (rather than in tandem) – as well as her distinctive guitarwork. “What shall I do back there in
the dark?” she sings. Oh, I could think of something. “Its so good – when it’s rock & roll”. Amen. It should also be noted that the song itself is driven along by the
sturdiest of basslines, from third (full) member, Anders Wallin.
“Love Is A Dog From Hell” - Readily admitted by Mr. Beck as an “homage to Charles Bukowski”, the songs title references Mr. Bukowski’s book of poems from 1974-
1977. The rhythm paces out at speed that is somewhere between T-Rex’s “Bang a Gong” and The Sisters of Mercy’s “Doctor Jeep”. Fuzz instruments are the preferred
tools of craft as bassist Wallin adds it to his bassline, and guest vocalist and guitarist Lorenzo Woodrose (from the seminal Danish garage band *Baby Woodrose*)
ladles it all over his guitar line. Sara embellishes the chorus with rubbery lap steel guitar flourishes that completes a five guitar tour-de-force. Factor in Nick Torp’s guest
Fender Rhodes keyboard work, and you have a song that is sonically full, yet surprisingly uncluttered. All the layered elements fit perfectly together, and Mr. Beck’s
spotless production (capably assisted by mixer Anders Wittorff) should be noted here. “As I’m taking off – one fucked up gringo lost” sings Beck. Yeah, but that’s where
the poetry comes from.
“Candy Young” features guest vocals from singer/chanteuse Lisa Cabble. Over ten years ago she was the singer and songwriter in the Danish girlband Miss B. Haven.
Since retiring from singing, she has focused on songwriting for other popular artists. That is, until Mr. Beck convinced her to “unretire” and do a duet with him on this
song. And what a masterful performance it is. Harkening back to classic Lee Hazelwood/Nancy Sinatra duets of the 1960’s, this song takes that feel even further, and
merges it with Nico era Velvet Underground feel. “I’m lost in this – why even try,” Lisa sings. It’s a voice that is both tender and worldly. You can hear the heartbreak in her
voice, all the while getting the sense that she is now so far past it all. A gorgeous tune.
“No. 1 Tune” features the guest fuzzguitar work of another Baby Woodrose member, Riky. “Come, come, come along”, sings Beck. Acoustic and airy, it is one of the
“poppiest” songs on the disk. Of note is percussionist Kristoffer Sonne’s “finger cymbal” work.
“Dragstrip Girl” picks up where “Strip Dip Dipper” left off – both in sound style and lyrical attitude. The aforementioned Mr. Sonne breaks out even more percussion
instruments, this time cabassa, shakers and guire. In fact, it has been stated that an arsenal of percussion instruments was used on this album (21 different ones to be
exact). They are tactfully mixed against single line guitar patterns, creating a cool detective vibe – that is until the chorus, when the twisted Beach Boys vocal feel returns.
“Did you die for love?” is asked. “I never died for love” is immediately answered. The guitars are all clean and undistorted on this track. The vibe is total 1960’s raceway
cool. The legendary surf band *The Ventures* would approve.
“Wind Full of Diamonds” continues the uptempo 60’s tinged sound as Sonne taps out a straight four snare drum beat, this time enhanced by a prominent woodblock
percussion sound. The guitar notes are clean and singular in their progression. “Diamonds in the wind, swaying in the air, c’mon baby we’re gettin’ out of here, “ sings
Beck – all the while a guitarline harmonized along with his vocal line. Followed by a perfectly constructed bridge that states “I was made to take you on, I was made to
see”. The lovely Lisa Cabble returns to sing in tandem with Simon on the chorus. “You’re like Diamonds, swaying in the wind,” with twangy guitars echoing the vocal
lines. A clean cool, echo-laced guitar solo is near Wagner-esque (though the man is no where to be found on this record) – a tribute then? “And your darkness is getting
ready to sting” they sing out.
“Remember Me” Doing what many of my fave artists have done over the years, this song’s very first line is the title of the song that immediately precedes it. “Wind full of
diamonds,” are Simon’s opening words. What makes artists do this? Sometimes the song with the lyric that is the title to another of their song won’t show up until an
album later. I believe this is the first time I’ve seen it appear in the very next song. Besides the obvious fun that the writer is having with their listeners (or are they
checking to see if you are *really* paying attention) I often wonder if they deliberately switch titles from one song to another, just for fun.
Either way, this song is initially driven by Anders Wallin playing a glockenspiel – like you’ve heard on the early Rolling Stones classic “Under My Thumb”. Sara’s tremolo
guitar is David Lynchian in proportion. The chorus goes “Remember me, do you remember me?” So, yeah – correct title. Best line: “here it comes – the weird chill”.
Haven’t we all felt that at one time or another?
“Saltshaker” gives us yet-another “homage” – this time to the Gonzo Journalist Hunter S. Thompson. “We go riding this wheel on ephedrine,” sings Simon. Yup – that
would be “Fear and Loathing in Las Vegas”. The chorus is perfectly hooky, with dirty guitars lurching to and fro. “Careful with the stash, plenty of people pick my bones for
cash” – one can almost picture the Ralph Steadman ink-splattered drawing that would accompany this. The “instrumental break down” is actually a manic and trashy
build-up (and crash down) that practically peter-out into Sonic Youth territory – only to ultimately break back one more time into the stomping chorus.
“Psycho Girl” is launched off with a distant guitar-whine that almost sounds like police sirens. “All that I know, a psycho girl, Psycho” is the chorus both Simon and
Lorenzo Woodrose sing in tandem. Mr. Woodrose also adds e-bow lap steel guitar to the proceedings. Best line: “her eyes were filled with heart attacks and that
summer breeze”. Well, yeah – those two things always go together in songs.
“Fire Walk With Me” twangs with a spaghetti western feel, as Mr. Beck flexes his literary muscles. Lyrically ambitious, it’s Dylan-esque in narrative style, all the while still
maintaining a Quentin Tarantino cinematic feel. Equal parts “Pat Garret and Billy The Kid” and “Kill Bill” (Volume II, of course).
“This is the last song about you, crashing in sleep in dreams, I stagger in this wagon wheel, let me leave” is how the story goes. Dramatic acoustic guitar drives it all,
while twangy guitar punctuation, percussive castanets (as well as the frequently misunderstood “egg”) all contribute to the sonic picture.
“Marijah Leone” rounds out the album as its 13th and final track. Angular guitar signals it’s beginning, but soon this song is full on, and is even more “American Western”
than all that preceded it. Kristoffer Sonne’s sleigh bells match the kick drum in time, as Simon tells the tale of “the ecstasy of Marijah without her shirt, I caught a glimpse,
man did it hurt.” “I will be here to the end of the night,” Beck sings on the chorus, as Sonne’s castanets clatter with brilliance. A mandolin-like guitar is heard in the
background (could this be the “mando guitar” Sara is listed as playing?). All the guitar work is particularly tasteful on this track. The chords are bold and powerful while
the soloing and lyrical echo lines are piercing with just the right amount of twang and note bending. The song (and album) ends on this powerful chord sound. A
statement of finality. Undeniably, a great record from start to finish.
Dave H
The long-awaited follow-up to the critically acclaimed “Viva Viva” – Simon Beck’s vision – “Viva Vertigo” is now back. A full band now – the most significant difference is
the addition of guitarist and vocalist Sara Lewis Sorensen.
The title of the album pays tribute to a psychedelic rock club that went by this name, which was located in the lone star state of Texas (USA) in the late 1960’s. Apparently
the local authorities tried to close it down, when the establishment didn’t like the place or the bands that played there. However, legendary bands like The Velvet
Underground, Rocky Erickson’s “13th Floor Elevators” and even old blues legend Muddy Waters all passed through their doors.
Mick Grondahl makes a spoken word cameo appearance on the opening salvo “Vulcan Airwaves (intro)” -“Staining the airwaves with night time music - dark with a salty
blend”.
“Strip Dip Dipper” - Out of the box this song burns – with a churning rhythm over the verses – on to a chorus that has a brilliant Beach Boys like vocal enhancement.
Where “dip dip dipper sounds like “dip dip diva”. Well, how could she not be?. The addition of Sara Lewis Sorensen on background vocals give the band a new
dimension. Not only on the chorus, but in tandem with Simon’s principal vocals. “You’re so fast -- I’m sick” they sing. I have to agree. Nice extended feedback end out to
this. It leads perfectly into the next track.
“Baby Likes Dark Rock’n’Roll” “Peep show phone needs a quarter” – now that’s my kind of song. The chorus is huge – “I like the visual sweep – the sweep kills me”
Slashing guitars that churn and burn. Sara Lewis Sorensen is again the difference maker here (from the first album) with her feminine background vocals perfectly
complimenting Simon’s deeper tones – this time sung in alternating lines (rather than in tandem) – as well as her distinctive guitarwork. “What shall I do back there in
the dark?” she sings. Oh, I could think of something. “Its so good – when it’s rock & roll”. Amen. It should also be noted that the song itself is driven along by the
sturdiest of basslines, from third (full) member, Anders Wallin.
“Love Is A Dog From Hell” - Readily admitted by Mr. Beck as an “homage to Charles Bukowski”, the songs title references Mr. Bukowski’s book of poems from 1974-
1977. The rhythm paces out at speed that is somewhere between T-Rex’s “Bang a Gong” and The Sisters of Mercy’s “Doctor Jeep”. Fuzz instruments are the preferred
tools of craft as bassist Wallin adds it to his bassline, and guest vocalist and guitarist Lorenzo Woodrose (from the seminal Danish garage band *Baby Woodrose*)
ladles it all over his guitar line. Sara embellishes the chorus with rubbery lap steel guitar flourishes that completes a five guitar tour-de-force. Factor in Nick Torp’s guest
Fender Rhodes keyboard work, and you have a song that is sonically full, yet surprisingly uncluttered. All the layered elements fit perfectly together, and Mr. Beck’s
spotless production (capably assisted by mixer Anders Wittorff) should be noted here. “As I’m taking off – one fucked up gringo lost” sings Beck. Yeah, but that’s where
the poetry comes from.
“Candy Young” features guest vocals from singer/chanteuse Lisa Cabble. Over ten years ago she was the singer and songwriter in the Danish girlband Miss B. Haven.
Since retiring from singing, she has focused on songwriting for other popular artists. That is, until Mr. Beck convinced her to “unretire” and do a duet with him on this
song. And what a masterful performance it is. Harkening back to classic Lee Hazelwood/Nancy Sinatra duets of the 1960’s, this song takes that feel even further, and
merges it with Nico era Velvet Underground feel. “I’m lost in this – why even try,” Lisa sings. It’s a voice that is both tender and worldly. You can hear the heartbreak in her
voice, all the while getting the sense that she is now so far past it all. A gorgeous tune.
“No. 1 Tune” features the guest fuzzguitar work of another Baby Woodrose member, Riky. “Come, come, come along”, sings Beck. Acoustic and airy, it is one of the
“poppiest” songs on the disk. Of note is percussionist Kristoffer Sonne’s “finger cymbal” work.
“Dragstrip Girl” picks up where “Strip Dip Dipper” left off – both in sound style and lyrical attitude. The aforementioned Mr. Sonne breaks out even more percussion
instruments, this time cabassa, shakers and guire. In fact, it has been stated that an arsenal of percussion instruments was used on this album (21 different ones to be
exact). They are tactfully mixed against single line guitar patterns, creating a cool detective vibe – that is until the chorus, when the twisted Beach Boys vocal feel returns.
“Did you die for love?” is asked. “I never died for love” is immediately answered. The guitars are all clean and undistorted on this track. The vibe is total 1960’s raceway
cool. The legendary surf band *The Ventures* would approve.
“Wind Full of Diamonds” continues the uptempo 60’s tinged sound as Sonne taps out a straight four snare drum beat, this time enhanced by a prominent woodblock
percussion sound. The guitar notes are clean and singular in their progression. “Diamonds in the wind, swaying in the air, c’mon baby we’re gettin’ out of here, “ sings
Beck – all the while a guitarline harmonized along with his vocal line. Followed by a perfectly constructed bridge that states “I was made to take you on, I was made to
see”. The lovely Lisa Cabble returns to sing in tandem with Simon on the chorus. “You’re like Diamonds, swaying in the wind,” with twangy guitars echoing the vocal
lines. A clean cool, echo-laced guitar solo is near Wagner-esque (though the man is no where to be found on this record) – a tribute then? “And your darkness is getting
ready to sting” they sing out.
“Remember Me” Doing what many of my fave artists have done over the years, this song’s very first line is the title of the song that immediately precedes it. “Wind full of
diamonds,” are Simon’s opening words. What makes artists do this? Sometimes the song with the lyric that is the title to another of their song won’t show up until an
album later. I believe this is the first time I’ve seen it appear in the very next song. Besides the obvious fun that the writer is having with their listeners (or are they
checking to see if you are *really* paying attention) I often wonder if they deliberately switch titles from one song to another, just for fun.
Either way, this song is initially driven by Anders Wallin playing a glockenspiel – like you’ve heard on the early Rolling Stones classic “Under My Thumb”. Sara’s tremolo
guitar is David Lynchian in proportion. The chorus goes “Remember me, do you remember me?” So, yeah – correct title. Best line: “here it comes – the weird chill”.
Haven’t we all felt that at one time or another?
“Saltshaker” gives us yet-another “homage” – this time to the Gonzo Journalist Hunter S. Thompson. “We go riding this wheel on ephedrine,” sings Simon. Yup – that
would be “Fear and Loathing in Las Vegas”. The chorus is perfectly hooky, with dirty guitars lurching to and fro. “Careful with the stash, plenty of people pick my bones for
cash” – one can almost picture the Ralph Steadman ink-splattered drawing that would accompany this. The “instrumental break down” is actually a manic and trashy
build-up (and crash down) that practically peter-out into Sonic Youth territory – only to ultimately break back one more time into the stomping chorus.
“Psycho Girl” is launched off with a distant guitar-whine that almost sounds like police sirens. “All that I know, a psycho girl, Psycho” is the chorus both Simon and
Lorenzo Woodrose sing in tandem. Mr. Woodrose also adds e-bow lap steel guitar to the proceedings. Best line: “her eyes were filled with heart attacks and that
summer breeze”. Well, yeah – those two things always go together in songs.
“Fire Walk With Me” twangs with a spaghetti western feel, as Mr. Beck flexes his literary muscles. Lyrically ambitious, it’s Dylan-esque in narrative style, all the while still
maintaining a Quentin Tarantino cinematic feel. Equal parts “Pat Garret and Billy The Kid” and “Kill Bill” (Volume II, of course).
“This is the last song about you, crashing in sleep in dreams, I stagger in this wagon wheel, let me leave” is how the story goes. Dramatic acoustic guitar drives it all,
while twangy guitar punctuation, percussive castanets (as well as the frequently misunderstood “egg”) all contribute to the sonic picture.
“Marijah Leone” rounds out the album as its 13th and final track. Angular guitar signals it’s beginning, but soon this song is full on, and is even more “American Western”
than all that preceded it. Kristoffer Sonne’s sleigh bells match the kick drum in time, as Simon tells the tale of “the ecstasy of Marijah without her shirt, I caught a glimpse,
man did it hurt.” “I will be here to the end of the night,” Beck sings on the chorus, as Sonne’s castanets clatter with brilliance. A mandolin-like guitar is heard in the
background (could this be the “mando guitar” Sara is listed as playing?). All the guitar work is particularly tasteful on this track. The chords are bold and powerful while
the soloing and lyrical echo lines are piercing with just the right amount of twang and note bending. The song (and album) ends on this powerful chord sound. A
statement of finality. Undeniably, a great record from start to finish.
Dave H
The Sessions @ Death Disco, Notting Hill Arts Club, 2/5/07
With their casual dressed-down appearance, traditional set-up and onstage banter centering on Champions-League footie, the Sessions are every inch the 90’s style
brit-rockers. As an Alan McGee endorsed band it’s perhaps not too surprising that once the music kicks in the sound conforms to the kingle-jangle scally-rock blue-
print too. With tunes bordering on Oasis-lite, but with little of that band’s swagger and early promise (before they got over-blown, cynical and old) The Sessions cruise
through a set that is about as original as it is memorable. That is to say, not very. Some bright moments stick out through the dullness however, singer Taz’s description
of a tune as their ‘art-rock number’ before bassist Richard Bold comes in with a rolling bass line was decent enough. Also some of Dale West’s guitar parts were
almost Squire-esque, almost getting that funky, tripped-out Stone Roses vibe. Keeping on the football tip though, it was great to spot England boss Steve McClaren
bouncing around in an Iron Maiden hoodie. This may have been a look-alike. Whatever; when something like this is the high-spot you know you’re in trouble.
Rob Monk
With their casual dressed-down appearance, traditional set-up and onstage banter centering on Champions-League footie, the Sessions are every inch the 90’s style
brit-rockers. As an Alan McGee endorsed band it’s perhaps not too surprising that once the music kicks in the sound conforms to the kingle-jangle scally-rock blue-
print too. With tunes bordering on Oasis-lite, but with little of that band’s swagger and early promise (before they got over-blown, cynical and old) The Sessions cruise
through a set that is about as original as it is memorable. That is to say, not very. Some bright moments stick out through the dullness however, singer Taz’s description
of a tune as their ‘art-rock number’ before bassist Richard Bold comes in with a rolling bass line was decent enough. Also some of Dale West’s guitar parts were
almost Squire-esque, almost getting that funky, tripped-out Stone Roses vibe. Keeping on the football tip though, it was great to spot England boss Steve McClaren
bouncing around in an Iron Maiden hoodie. This may have been a look-alike. Whatever; when something like this is the high-spot you know you’re in trouble.
Rob Monk
BLOC PARTY LIVE @ ASTORIA
“Bloc Party is music for middle class hairdressers from the Home Counties; file next to Keane and Snow Patrol.” This is just one of the many reactions I have received
when I ‘admit’ to liking Bloc Party. I am not ashamed to praise them. I think they are one of the best home-grown bands of our time. Their lyrics - especially on the new
album ‘A weekend in the City’ - are current and relevant (although I don’t frequent the Joiner’s Arms too often). Their songs raise issues that most of us ponder and
examine frequently. Unfortunately, they appear to have been at the receiving end of a backlash from the ‘cool-kids’, who believe that they have become a victim of their
own media hype and are commercial sell-outs. Hmm…I think they actually just call this becoming successful? - I believe the evidence lies in the sell-out tour, and
outstanding 2nd album.
Unintentionally, after my overkill of Silent Alarm, Bloc Party soon became overshadowed by the likes of - often bleak – Interpol; screechy Giant Drag and the phenomenal
Yeah Yeah Yeahs. When I received a copy of their second album, by default, I began to play it and could not stop. I found that, like Silent Alarm, every song had
something that maintained my attention and kept me thoroughly engrossed. ‘A weekend in the City’ conveys a more honest and mature edge, recalling the sinister
elements of London encapsulated by haunting lyrics and tones which rattle around your head long after switching off the album.
Getting tickets to this sell out gig made me giddy – ok, it was no Glastonbury ticket-sales anxiety – but Bloc Party have nestled such a favourable wedge within my heart
that I was absolutely determined to fuel my addiction by watching them perform live. Biffy Clyro were the ideal support act as they ensured the crowd was suitably
simmering so when Okereke and his gang burst onto the stage raging into ‘Song for Clay’ the nauseatingly powerful combination of Matt Tong’s undeniable drumming
skill and Russell Lissack’s guitar bellowing around the beautiful listed building. The band surged through tracks from ‘A weekend in the City’ Including the feisty
‘Hunting for Witches’ and their current release ‘I still Remember’ which saw a chorus of accompanying voices from the adoring crowd. ‘Waiting for the 7.18’ (my current
favourite) reflects London and all that we all love and despise about it. - The frustrating unreliability of the northern line, the respite that a weekend away provides from
the, sometimes grim, monotony of the city. I was disappointed that most of the audience did not appear so smitten with the 2nd album quite as much as myself and
irrespective of the band’s energetic performance it was obvious that what the masses most yearned for was the comforting, reliable brilliance of Silent Alarm. It seemed
like the tide had turned when Gordon Moakes’ baseline on the superb Banquet tore round the magnificent Art Deco auditorium. Energy from all the songs performed
from ‘Silent Alarm’ ensured the academy was transformed into a gaggle of bouncing, deranged lunatics. By the time they had mesmerised the crowd with ‘So Here We
Are’ with its delicate guitar and haunting tones, Bloc Party had managed to seduce a 5000 strong audience. They then had their revellers yelping with delight whilst they
raged through a three song encore.
I apologise that it isn’t fashionable to rave about a band who don’t actively spend their days trying to beat each other up, and who aren’t ‘cool’ now because they have
become a permanent feature on Joe Bloggs’ Ipod…that they have lost their cutting edge. To me, none of this really matters, I appreciate Bloc Party for their –seemingly
effortless – ability to bewitch a huge auditorium of people and that they do appeal to such a diverse audience, but mostly because they are one of the most captivating,
musically tight, talented groups of musicians I have ever had the enjoyment of watching play.
Gabrielle Trundley
“Bloc Party is music for middle class hairdressers from the Home Counties; file next to Keane and Snow Patrol.” This is just one of the many reactions I have received
when I ‘admit’ to liking Bloc Party. I am not ashamed to praise them. I think they are one of the best home-grown bands of our time. Their lyrics - especially on the new
album ‘A weekend in the City’ - are current and relevant (although I don’t frequent the Joiner’s Arms too often). Their songs raise issues that most of us ponder and
examine frequently. Unfortunately, they appear to have been at the receiving end of a backlash from the ‘cool-kids’, who believe that they have become a victim of their
own media hype and are commercial sell-outs. Hmm…I think they actually just call this becoming successful? - I believe the evidence lies in the sell-out tour, and
outstanding 2nd album.
Unintentionally, after my overkill of Silent Alarm, Bloc Party soon became overshadowed by the likes of - often bleak – Interpol; screechy Giant Drag and the phenomenal
Yeah Yeah Yeahs. When I received a copy of their second album, by default, I began to play it and could not stop. I found that, like Silent Alarm, every song had
something that maintained my attention and kept me thoroughly engrossed. ‘A weekend in the City’ conveys a more honest and mature edge, recalling the sinister
elements of London encapsulated by haunting lyrics and tones which rattle around your head long after switching off the album.
Getting tickets to this sell out gig made me giddy – ok, it was no Glastonbury ticket-sales anxiety – but Bloc Party have nestled such a favourable wedge within my heart
that I was absolutely determined to fuel my addiction by watching them perform live. Biffy Clyro were the ideal support act as they ensured the crowd was suitably
simmering so when Okereke and his gang burst onto the stage raging into ‘Song for Clay’ the nauseatingly powerful combination of Matt Tong’s undeniable drumming
skill and Russell Lissack’s guitar bellowing around the beautiful listed building. The band surged through tracks from ‘A weekend in the City’ Including the feisty
‘Hunting for Witches’ and their current release ‘I still Remember’ which saw a chorus of accompanying voices from the adoring crowd. ‘Waiting for the 7.18’ (my current
favourite) reflects London and all that we all love and despise about it. - The frustrating unreliability of the northern line, the respite that a weekend away provides from
the, sometimes grim, monotony of the city. I was disappointed that most of the audience did not appear so smitten with the 2nd album quite as much as myself and
irrespective of the band’s energetic performance it was obvious that what the masses most yearned for was the comforting, reliable brilliance of Silent Alarm. It seemed
like the tide had turned when Gordon Moakes’ baseline on the superb Banquet tore round the magnificent Art Deco auditorium. Energy from all the songs performed
from ‘Silent Alarm’ ensured the academy was transformed into a gaggle of bouncing, deranged lunatics. By the time they had mesmerised the crowd with ‘So Here We
Are’ with its delicate guitar and haunting tones, Bloc Party had managed to seduce a 5000 strong audience. They then had their revellers yelping with delight whilst they
raged through a three song encore.
I apologise that it isn’t fashionable to rave about a band who don’t actively spend their days trying to beat each other up, and who aren’t ‘cool’ now because they have
become a permanent feature on Joe Bloggs’ Ipod…that they have lost their cutting edge. To me, none of this really matters, I appreciate Bloc Party for their –seemingly
effortless – ability to bewitch a huge auditorium of people and that they do appeal to such a diverse audience, but mostly because they are one of the most captivating,
musically tight, talented groups of musicians I have ever had the enjoyment of watching play.
Gabrielle Trundley
The Monkey in the Box Company - Sardine & Tobleroni
Self-proclaimed as ‘wholly individual masterworks’ this series of project by Silveira and
Rechsteiner certainly makes interesting viewing. Unfortunately more through mystified wonderment
than artistic enthralment.
The basic premise seems initially of interest. A series of 12 ‘celebrity’ portraits, split equally into
good and bad, centred around a tryptich of the last supper where the same replace the apostles.
Each canvas is split horizontally with one half painted by either artist.
Initial fears of a fractured, jarring aesthetic were some what up held, but not entirely. This
systematic approach has some successes. Mother Theresa is particularly appealing; both artists
faux naïve style gives a warmth and impact that immediately relates to the ‘good’ persona. It is the
application of ‘good’ and ‘bad’ however that I find rather awkward. The placing of the undoubtedly
well intentioned Ghandi as a comparable the epitome of the music industry harridan – Sharon
Osbourne – or the only impeached American President seems some what unreasoned. However
as the intention was a representation ‘of the evolution of Mankind from Jesus Christ to Angelina
Jolie’, perhaps this was the intention.
Self-proclaimed as ‘wholly individual masterworks’ this series of project by Silveira and
Rechsteiner certainly makes interesting viewing. Unfortunately more through mystified wonderment
than artistic enthralment.
The basic premise seems initially of interest. A series of 12 ‘celebrity’ portraits, split equally into
good and bad, centred around a tryptich of the last supper where the same replace the apostles.
Each canvas is split horizontally with one half painted by either artist.
Initial fears of a fractured, jarring aesthetic were some what up held, but not entirely. This
systematic approach has some successes. Mother Theresa is particularly appealing; both artists
faux naïve style gives a warmth and impact that immediately relates to the ‘good’ persona. It is the
application of ‘good’ and ‘bad’ however that I find rather awkward. The placing of the undoubtedly
well intentioned Ghandi as a comparable the epitome of the music industry harridan – Sharon
Osbourne – or the only impeached American President seems some what unreasoned. However
as the intention was a representation ‘of the evolution of Mankind from Jesus Christ to Angelina
Jolie’, perhaps this was the intention.
The uniform use of media eases the some what schizophrenic approach, although each artists’ not so consistent stylistic approaches undermines this some what.
This is somewhat evident in the ‘bad’ sextet. Angelina Jolie and Naomi Campbell sit perfectly as part of a group, with the contrast between an almost faux African
treatment of line serving to compliment the over smoothed counter part. This joyful juxtaposition is sadly lacking in their counterparts of Stalin and Hitler (a some what
harsh judgement with regards to the misses Jolie and Campbell you may think, unless you happen to be the latter’s Philipino maid perhaps).
Whilst this is certainly an interesting approach to a collaborative project, and many of the pieces have a teutonic stylistic appeal, with delightful Ernst-esque aspects
particularly in the last supper triptych, certain inconsistencies in composition, and perhaps in concept are less successful. There are happily compensated for by a
holistic approach to media, and an undoubted charm and imposed naiveté. For more information: http://www.myspace.com/themonkeyintheboxcompany
Ed Crutchley
This is somewhat evident in the ‘bad’ sextet. Angelina Jolie and Naomi Campbell sit perfectly as part of a group, with the contrast between an almost faux African
treatment of line serving to compliment the over smoothed counter part. This joyful juxtaposition is sadly lacking in their counterparts of Stalin and Hitler (a some what
harsh judgement with regards to the misses Jolie and Campbell you may think, unless you happen to be the latter’s Philipino maid perhaps).
Whilst this is certainly an interesting approach to a collaborative project, and many of the pieces have a teutonic stylistic appeal, with delightful Ernst-esque aspects
particularly in the last supper triptych, certain inconsistencies in composition, and perhaps in concept are less successful. There are happily compensated for by a
holistic approach to media, and an undoubted charm and imposed naiveté. For more information: http://www.myspace.com/themonkeyintheboxcompany
Ed Crutchley
| All images, words, site design Copyright © Soma Soma Scene 2007 unless otherwise stated All Rights Reserved |
'KEEPSAKE' BY LINDA DRAPER
Released on Planting Seed Records
Linda Draper’s 2007 release “Keepsake” is the classic late night music you need once you’re completely rocked out and crave some quiet introspection. The disc leads
off with “Shine”, a delicate track with sparse instrumentation. Just quietly strummed acoustic guitar, bass accompaniment and gentle vocals where she occasionally
harmonizes with herself. The lyrics spell out Linda’s declaration of love for someone special.
The title track “Keepsake” brings a slightly bolder sound. The singing is still quiet and confessional, but a bit deeper in tone. With the catchy hook “just like they do” the
story tells a tale of a bird outside her window, “waking her” with its song. The central verse quickly switches to the timeless male-female relationship mystery (along with
an gently ominous reference to “a great loser”). Just like they do? “Baby please don’t make me explain myself to you” is the sentiment.
“Cell Phone” Linda questions her actual need for one. Since “the only one I want to talk to is the one I’m sitting next to”. On the track “Too Late” the quintessential breakup
tale is told even though “Oh my love, I know we tried”.
“Traces Of” presents a distinct and dominant chorus that goes “Traces of ones you love linger in the air”. However, the overall story is of aging in a lonely and abandoned
state. The theme of “losing” reappears. “Everybody’s losing like you now. Everyone’s losing at something”.
“Kissing The Ground” reverses the failure mentality with one of the most clever twists of wordplay. “if you’re still around after you fall down, You’ll be kissing the ground”.
How’s that for a positive vibe?
“Sunburned” has the writer coming out more caustic, chastising “kiss-ass opportunists”. And really – haven’t we had enough of those? “Among Every Stone That Has
Been Cast” introduces sparsely placed piano notes to the sonic mix. It has to be noted at this point, that the bass guitar accompaniment provides necessary movement
for songs that are percussion free, and driven predominantly by a single guitar.
“Full Moon” introduces yet another instrument, this time a violin. Lyrically the theme of love and its eternal challenges are addressed. The violin almost adds a country
touch to it all. The final track “How Long” finds Linda covering the great Rick Nelson. With an echo added to her voice, the song has that classic “Sun Sessions” feel to it.
Textured slide guitar is added in to give it a classic overall feel.
The perfect record for those moments of soul searching and introspection.
Dave H
Released on Planting Seed Records
Linda Draper’s 2007 release “Keepsake” is the classic late night music you need once you’re completely rocked out and crave some quiet introspection. The disc leads
off with “Shine”, a delicate track with sparse instrumentation. Just quietly strummed acoustic guitar, bass accompaniment and gentle vocals where she occasionally
harmonizes with herself. The lyrics spell out Linda’s declaration of love for someone special.
The title track “Keepsake” brings a slightly bolder sound. The singing is still quiet and confessional, but a bit deeper in tone. With the catchy hook “just like they do” the
story tells a tale of a bird outside her window, “waking her” with its song. The central verse quickly switches to the timeless male-female relationship mystery (along with
an gently ominous reference to “a great loser”). Just like they do? “Baby please don’t make me explain myself to you” is the sentiment.
“Cell Phone” Linda questions her actual need for one. Since “the only one I want to talk to is the one I’m sitting next to”. On the track “Too Late” the quintessential breakup
tale is told even though “Oh my love, I know we tried”.
“Traces Of” presents a distinct and dominant chorus that goes “Traces of ones you love linger in the air”. However, the overall story is of aging in a lonely and abandoned
state. The theme of “losing” reappears. “Everybody’s losing like you now. Everyone’s losing at something”.
“Kissing The Ground” reverses the failure mentality with one of the most clever twists of wordplay. “if you’re still around after you fall down, You’ll be kissing the ground”.
How’s that for a positive vibe?
“Sunburned” has the writer coming out more caustic, chastising “kiss-ass opportunists”. And really – haven’t we had enough of those? “Among Every Stone That Has
Been Cast” introduces sparsely placed piano notes to the sonic mix. It has to be noted at this point, that the bass guitar accompaniment provides necessary movement
for songs that are percussion free, and driven predominantly by a single guitar.
“Full Moon” introduces yet another instrument, this time a violin. Lyrically the theme of love and its eternal challenges are addressed. The violin almost adds a country
touch to it all. The final track “How Long” finds Linda covering the great Rick Nelson. With an echo added to her voice, the song has that classic “Sun Sessions” feel to it.
Textured slide guitar is added in to give it a classic overall feel.
The perfect record for those moments of soul searching and introspection.
Dave H
BOOK REVIEW: Bernard Sumner - Confusion by David Nolan
With the explosion of the new Joy Division film, 'Closer' this year, it comes to no surprise that beady-eyed individuals are looking to jump on
the bandwagon and sell their stories or versions of other people's stories. The recent tragic loss of Tony Wilson will no doubt lead to the
emergence of more 'I was the brother of a friend of a friend of someone who walked past Ian Curtis once' stories.
David Nolan's book on the enigmatic frontman of New Order seems to hark more on the above rather than being anything new, revealing
and Sumner-approved. This is an unofficial biography however Sumner has read it and his thoughts of the manuscript are interjected every
now and then. It seems Nolan was hoping this would add kudos to the book but unfortunately, Sumner points our errors, things he doesn't
agree with and makes the odd sarcastic comment every now and then. His reluctant commentary deeply detracts from the potential weight
of what is being said.
I thoroughly enjoy reading biographies of musicians but unless they come from the horse's mouth, find people's assumptions and
supposed views on what percentage so-and-so scored at O-level Science, rather dull. There are a few pictures and early Joy Division gig
flyers enclosed but not as many as an avid fan would like to see. All in all, 'Confusion' has not left me any less confused or intrigued about
the genius that is Sumners and until the day Sumner decides to pen his own autobiography, I am very happy for my thoughts of him to be
left unanswered.
Dee Sekar
With the explosion of the new Joy Division film, 'Closer' this year, it comes to no surprise that beady-eyed individuals are looking to jump on
the bandwagon and sell their stories or versions of other people's stories. The recent tragic loss of Tony Wilson will no doubt lead to the
emergence of more 'I was the brother of a friend of a friend of someone who walked past Ian Curtis once' stories.
David Nolan's book on the enigmatic frontman of New Order seems to hark more on the above rather than being anything new, revealing
and Sumner-approved. This is an unofficial biography however Sumner has read it and his thoughts of the manuscript are interjected every
now and then. It seems Nolan was hoping this would add kudos to the book but unfortunately, Sumner points our errors, things he doesn't
agree with and makes the odd sarcastic comment every now and then. His reluctant commentary deeply detracts from the potential weight
of what is being said.
I thoroughly enjoy reading biographies of musicians but unless they come from the horse's mouth, find people's assumptions and
supposed views on what percentage so-and-so scored at O-level Science, rather dull. There are a few pictures and early Joy Division gig
flyers enclosed but not as many as an avid fan would like to see. All in all, 'Confusion' has not left me any less confused or intrigued about
the genius that is Sumners and until the day Sumner decides to pen his own autobiography, I am very happy for my thoughts of him to be
left unanswered.
Dee Sekar