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see all the photos from this show here
Synthetic
Pro Jekt
Scary Bitches
Earth Loop Recall
Lupine
Upstairs At The Garage, London
Friday January 31
~photos and review by Uncle
Nemesis
Flag Promotions' Friday night gigs in the
small attic room over the Garage have previously been billed as 'Club Noir',
but this time round the club name seems to have been dropped. Does this
mean that Flag have acknowledged that these events are, when it comes right
down to it, just plain old gigs, pure and simple? Well, whatever the philosophy
behind the presence or absence of the brand-name, tonight we have a line-up
of five bands of such radically different styles it's almost as if Flag
plucked five names out of a hat at random and called the result a gig.
What the hell: that's one way of doing it, I suppose.
Lupine are an odd assortment of individuals.
They look less like a band than a random bunch of people who almost seem
to have wandered on stage by accident. The guitarist is a beefy punk bloke,
riffing away like a good 'un, while a skinny bassist
in a beige singlet hides in the background. There's also a female backing
singer in a mega-corset - but the real visual focus of the band is the
lead vocalist, who sports spooky make-up and a frilly shirt which looks
rather worryingly like it was half-inched from Nosferatu's wardrobe. He
belts out the lyrics (most of which seem to incorporate schlock-horror
fetish or vampire imagery) in a stentorian bawl, while maintaining a permanent
foot-on-the-monitor pose throughout the entire set. At regular intervals,
he throws his head back to keep his shaggy mane out of his eyes. He's obviously
got this movement down to a fine art: I haven't seen anyone toss their
hair with such debonair aplomb since I saw the Charlie's Angels movie.
The music is fairly straightforward riff-and-holler stuff, driven along
by a standard-issue bom-chucka-bom-chucka drum machine. It's entertaining
enough in its way, although over the years there have been many, many bands
in the goth scene who've done more or less this kind of stuff, and I'm
not sure that a certain talent in the hair-tossing department is sufficient
to elevate Lupine above the herd. However. They're still a very new band...sowe
shall see.
[Postscript: after the set, I was approached
by Lupine's lead singer who asked me to write a good review, to make up
for the fact that the band had apparently been 'stitched up' by Meltdown
magazine. Did I agree to his request? You decide!]
Earth Loop Recall are something different.
Apparently, they're the latest signing to the
Wasp Factory label, who are billing the band as the heirs to My Bloody
Valentine's crown. That's enough to grab my attention, and I'm pleased
to report that the band don't disappoint. There are three people on stage,
on guitar, guitar, and keyboards, with a one-off appearance by a Deathboy
bassist on one song. The music is dense, layered stuff, guitar-lines laid
down like sediment. The band have the knack of building and building and
building their songs, throwing in more and more until you wonder how much
further they can take it. When the music eventually arrives at some sort
of climax, a point of resolution, the release of tension is almost physical.
This is good stuff: the feeling that the band are pushing, pushing, pushing
their music until it breaks through a weird, intangible, barrier, is highly
effective. The stage-left guitarist is also the only man I've ever seen
who can play a Flying V without looking like a prat - and that's a recommendation
in itself. Yep, Wasp Factory have picked a winner here. I only hope the
label is aware that Earth Loop Recall have potential to make waves in the
world of alternative music in general. One of the bizarre traits of Wasp
Factory is that the label seems to aim itself almost exclusively at the
goth audience, even though I don't think they've ever had a goth band on
their books. It would be a great shame if Earth Loop Recall were shunted
into the goth ghetto by their label's strange marketing policy. If I see
the band suddenly playing a host of goffclubs, while ignoring the alternocircuit,
I will be most annoyed. Earth Loop Recall are too good for that!
I find it hard to get a handle on the Scary
Bitches. How seriously are we meant to take this band? The principal members
are a couple of elaborately-attired women, all decked out in fantastical
headgear and crazy costumes. Their show is more of a theatrical
presentation than a set of songs - which does beg the question, how much
attention are we supposed to pay to the music? Or should we simply regard
the band as something akin to the comedy musical interlude at a Christmas
pantomime, when Widow Twankey and her sister Twinkie come out to amuse
us while the scenes are shifted behind the curtain? The songs themselves
have a heavy-handed humour to them, as a glance at the titles reveals:
'You Always Eat The One You Love', 'Lesbian Vampires From Outer Space'
- these are just as funny (or not) as the titles suggest. Let me shoot
straight from the shoulder here. Once you've got over the costumes and
the rather over-contrived craziness, there's not actually that much of
interest to the band's music. It's all pretty much straight-down-the-line
bluesey rock. The guitarist riffs away - she's strictly rhythm, she don't
want to make it cry or sing - and, in truth, I suspect that if you stripped
away all the Scary Bitches' costumery and tomfoolery you'd probably find
a perfectly straightforward pub-rock band lurking beneath. I'm afraid that
for me, the Scary Bitches come across as a novelty that very quickly wears
off.
Pro Jekt are a relatively new outfit who've
picked up a decent amount of interest on the UK scene in a fairly short
time. The band name is not a typo - there really is a space between the
Pro and the Jekt. As I'm sure you can guess, this came about because
a certain US label objected to the band's choice of identity, so the gap
had to be added to avoid confusion - and legal action. Frankly, I can't
blame Projekt (the label) for objecting to Projekt (the band); and in any
case, the P-word is so overused these days that it hardly counts as a brilliant
band-name idea in the first place. There are already bands called Project
Pitchfork, Project X, Cyber-tec Project, New Project - and, of course,
everyone's got a side project! Still, here Pro Jekt are, legal gap firmly
in place, on stage before our very eyes. And what are they like? Actually,
rather good. They look like a bunch of diehard rockers, and there's certainly
an element of hard rock-metal sound in the music. But Pro Jekt's secret
weapon is the addition of banging dance grooves to the mix. Instead of
a drummer, the band has a programmer/electronix-wizard lurking at the back
of the stage, who feeds thumping great dance beats into the musical mish-mash.
It's a real collision of styles, but, incredibly, it works. The bangin'
beats drive everything forward in a full-on flow, while the guitar and
bass slap a layer of good old rock over the top. The singer commands the
stage with great presence, and the audience is won over. A thought occurs
to me: I'd like to see Pro Jekt support Mesh - the two bands have more
in common than you might at first assume, and it would be amusing to see
how all the Mesh-fans react to a band who have that same dance-floor sensibility,
but who also know how to rock. Surprising stuff.
Synthetic have been quiet for a while,
but now it seems they're back. They have a new
album in the works, and they're ready to hit the gig circuit again. I'm
pleased to report that the crazily disparate elements which make up the
three-headed Synthetic-monster are still present and correct. Paul Five
does his OTT guitar-hero act, leaping and posing all over the stage, while
somehow managing to remain absolutely in control of the music all the while.
Sarn V is a reassuringly sensible presence on electronics, but it's Tim,
on vocals, who grabs most of the attention. He's dressed in a bizarre combination
of Dickensian rags and cybergoth style, a dreadlocked street urchin from
the back streets of a future city, and he flops around the stage like a
demented rag doll. He raps out the lyrics in a clipped English accent,
while lurching and tumbling around the mic in an apparent state of other-consciousness.
It's amusing (and, occasionally, rather alarming) to watch Tim progressively
losing it as the gig unfolds: he really does seem to take himself off to
other planes as he throws himself - literally - into the music. And yet
Synthetic's ability to write a nifty pop song, with a cool dance-floor
beat and some nicely layered guitars, is always well to the fore. This
band is a precarious balance of randomness and control, but they haven't
fallen off the tightrope yet. Long may they continue to teeter, that's
what I say!
see all the photos from this show here
Synthetic: http://www.darktide.freeserve.co.uk
Scary Bitches: http://www.scarybitches.com
Pro Jekt: http://www.steamhead.com/projekt
Earth Loop Recoil: http://www.earthlooprecall.com
Lupine: (No website)
Flag Promotions: http://www.flagpromotions.com
Upstairs At The Garage: http://www.meanfiddler.com/version1/upstairsat_thegarage/index.asp
Reviewed by Uncle Nemesis: http://www.nemesis.to
02/10/03 |