Author Archives: OI

The Young Knives

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by Jo

Norwich Waterfront 1.4.07

The strange threesome attack Norwich for the first time – and love our Morrisons! Hurrah!

This was something I’d been waiting for, circling and approaching with caution. You never know, do you, with some bands? I’d gone to the trouble of ebay for tickets, so the will and flesh were strong.

Blood Red Shoes were pretty good, I thought. I might go catch them again when they come back in June. Still got that female vocalist shouting vibe going. Aagghh. However, worthy of more attention than I gave last night, thanks to tiredness and a dodgy tummy.

The Young Knives. Check shirts, tank top, green tie – nice tidy dapper boys. Blimey, they rock. Starting with ‘Postcard’ they ripped their way through a bevy of tunes, some from the new album, with aplomb. Jumping round stage with the agility and energy of skaterbois half their age. It was packed in here, hot (but not quite as sticky as last time thank the lord) and good natured. Gentle banter and fine lyrics kept me well amused when my feet weren’t tapping.
Another Hollow Line, Weekends and Bleak Days and She’s Attracted To took the biscuit, and indeed the latter would have stolen the show for me if it weren’t for the final number MY Decision. My Sunday night ended happily with fine music in my ears all the way home.

Remember, I am the Prince of Wales, and you won’t go far wrong.

Nemo – Car Crash Eyes

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by Lucie

More people should know about Nemo, simply because they’re fucking ace (yes, I’m bringing ace back). This glorious month sees the release of the Lahndahn electro-rawk quartet’s second single, Car Crash Eyes – a darkly sexy poprock piece, deliciously anthemic with sharp electro tendrils scraping through each lick.

The song is an ode to the disturbing world of the obsessive e-groupie, (with a matching video that features Alice Lowe as one of the above mad-eyed nutters); frantic and contagious in its thumping beat. And a chorus stuffed with vocal harmonies plus a climatic key change…? What can I say? I was already won over by Dance Rock (which, incidentally, you really do need… Seriously, it’s life or death), now I’m in love all over again.

The two B-sides, Erase – Escape and Timebomb are stolen straight whence electro was first born; the eighties. The rock is softened, the electro polished and pointed. These lads are genre spanners.

Our very own Jettica has wangled getting them featured on musicfinity.com in the near future – look out for that badger, along with a little gushing plug that will no doubt appear in my later Electro article.
Electro-rock is back, with a vengeance. As are afro’s on white men, apparently…

www.myspace.com/nemointernational
www.nemointernational.com

Roadstar – Glass Mountain

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by Tezza

The anticipation is over, Roadstar have realised their 2nd album, Glass Mountain, and there are only to words to describe it…… FUCKING AMAZING!

Anyone who has ever spoken to me knows just how much I love these guys, awesome musicians and 100% genuine, just what you need to enjoy the music that little bit more. When I got their first album, Grand Hotel, I will be honest and say that I was shocked at just how much I liked it . It’s all killer, no filler and is still one of my favourite albums. The second album is the same. All killer!

I always find that with certain albums, you want to skip a certain track because you’re not impressed with it and although, I do have a couple of tracks on Glass Mountain, like ‘Feel Me Come Alive’, ‘Steam’, ‘If You Say’ and the new version of ‘Last Survivor’, I still don’t feel like skipping tracks, which shows just how much of a fantastic album this is.

I’m a very hard person to impress and I have compared Roadstar to likes of Aerosmith, Bon Jovi and The Darkness, which was meant as a compliment, there’s nothing wrong with that, but I feel I can’t do that anymore. Roadstar are Roadstar! I can hear the influences from other bands, but you hear that in all music, you can listen to certain AC/DC songs and go, ‘Ooohh, that sounds like Aersomith’. This is a sign of a great band, using their influences to make it their own.

‘Feel Me Come Alive’ has a fantastic drum beat, vocals that grab your attention and the guitaring can only be described as classic rock. It’s the perfect song to start ‘Glass Mountain’ with, something you can feel yourself moving to, whether it be tapping your feet or full blown head banging! Then the second song, ‘Around Again’ has a darker feel, so it’s not a song you can bounce around to. However, all the instruments are once again used to the max. Throughout the album Richie shows that he doesn’t need to music or a beat to sing along to, he could easily sing on his own with no backing and get a crowd going. Amazingly talented musician.

‘Bite The Bullet’ has a bit of a blues feel to it especially when listening to the guitaring, it sounds a little like a guitar rift you would hear from Aerosmith legend Joe Perry. The drumming is once again absolutely flawless and ‘Bite The Bullet’ could easily be played to a crowd and get an epic reception. Track four is a new version of ‘Last Survivor’. This song has always been a personal favourite of mine and has some of the most beautiful lyrics I’ve heard to years. Throughout the entire of ‘Glass Mountain’ Richie shows that he’s not just got a voice, he knows how to use it and pushes emotion across through all 11 songs. The drum beat through ‘Last Survivor’ is something that anyone with a decent taste in music will find themselves tapping along to, the guitaring is noticeable but doesn’t take anything away from the rest of the song, which is the difference between a good rock song and a great one. The ending is new and instead of fading out there’s what can only be described as a some of the best guitaring Britain has heard for a long time. Remember these lads are still young and with talent they’ve shown already, the world better be ready to rock.

Another track with a blues feel in ‘Hold My Love’. Whenever I’ve listened to this song I want to be wearing a cowboy hat and shouting ‘YE HA!’, and I’d never do anything like that so it’s obviously pretty damn impressive. There is no point attempting to sit through this song or this album with a frown on your face because you can’t do it. You can be in the worse mood possibly, but listen to this and you’ll have a big grin by the end of it.

I listened to this album as soon as I’d scared the postman and received my copy and I love all the tracks for all different reasons. ‘Rays’, which is an incredibly catchy tune is very 80’s. What I mean by that is if feels like it should be played during a film like ‘Rocky’ when Stallone is training for the big fight. This, in some ways, makes this track even more enjoyable then it would be. I did enjoy the song beforehand, but it brings back memories of watching films from the 80’s.

Another personal favourite is ‘Steam’. Oh how I adore this song. Perfect drum beat and bass line, fantastic vocals and a chorus everyone will find themselves singing to. Again, very rock guitaring by Jonny. This would be a great song to finish a set with, the ending is awesome, it makes you believe you’ve got to the end of the song when in fact there is one more taste of that jaw dropping talent! ‘Whatever Make You Feel Good’ is another darker song, like ‘Around Again’. Amazing bass line throughout, many people focus on the drumming, vocals or guitaring but block them out just for a second and you will see just how much talent Rob has, and like I’ve said before, at a young age.

I found that ‘Glory’ and ‘Bring On The Good Times’ both had a Red Hot Chilli Peppers vibe about them, especially when listening to the guitaring in them both. ‘Glory’ mainly focuses on the guitars and vocals though, of course, the drums and bass can still be heard. ‘Bring On The Good Times’ is another song, therefore a sound coming from the wonderful Roadstar. The guitar solo is something Joe Perry and Santana would be impressed with. Perfect sound throughout all the songs and these two are no different.

The “ballad” comes in the form of the last track, ‘If You Say’. I say ballad, this because it is lighter then the rest of the album and has a tendency of making people feel all happy and warm, however, this is not the stereotypical rock ballad as I can’t imagine the lads stood on the top of a cliff, instruments at the ready, with the wind blowing through their hair! It reminds me a bit of Bon Jovi, possibly another influence on the lads. Gorgeous lyrics, beautifully delivered.

All of the lads have done a brilliant job, I can hear Rob’s bass in there and always brings a smile, the guitaring is just out of this world, the drumming I can see being played to thousands of people, because Chris can drum!! And the vocals! I’ve always said that Richie sounds a little like Steven Tyler, but you know what, scrap that, Richie sounds like Richie! He’s up there with the likes of Tyler, Scott and Hawkins for me, and how do I know this? Because he has a voice that no matter how much anyone tries, will NEVER be able to do it better then him!

All the songs on ‘Glass Mountain’ are fantastic rock songs, and yes you can hear their influences through their music, but I predict it won’t be long until we hear bands who are influenced by Roadstar.

I am so impressed by this album – if you haven’t ordered it yet, why not? This album has brought such a huge grin across my face, I can see me listening to it for at least the next 2 months, non stop!

So WELL DONE LADS! YOU SHOULD BE PROUD!!!

The Likeness

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by Laura

The Likeness are 4 men from my home county of leafy Cheshire. Simon Hall (Who is a hypnotherapist in his other life and goes by the moniker ‘Psy’) plays Justin, Chris Connolley is Dan (and has a guitar uncannily similar to the one JH claims ‘some cunt stole’ by the way……), Bryn Bardsley is Frankie (the group prefer the first Darkness album and base their shows and appearance around The Darkness of that era. Plus maybe Bryn doesn’t want to shave his head). Jamie Muncaster takes Ed’s place behind the drum kit.
Shamefully I had never even heard of the group until around Christmas 2006 when I came upon their website while googling something Darkness related that I can’t recall now. (Need to get on myspace guys!) With The Darkness themselves in a bad way as it were, The Likeness seemed to have followed suit and didn’t gig for about 6 months before, out of the blue, announcing a gig in a Macclesfield pub for 30th March this year. Jumping at the chance to turn back time, see my favourite songs performed live, celebrate handing in my last EVER university essay or at the very least have a good laugh, I decided to go. It wasn’t all plain sailing from there however. The first problem was to find someone to go with me. You would not believe how many people told me ‘I wasn’t into The Darkness so I definitely wouldn’t go to a tribute band to The Darkness.’ How rude! Finally I found a friend (with a car to drive the hour or so to Macc) and we were off. Well nearly. For rock star impersonators, even for pub rockers, The Likeness proved rather elusive and seemed to want to make attending their gigs more difficult than necessary. They didn’t post the times of their appearances on their websites nor any details such as whether it was paying entry. Nor did they reply to emails to their site or send out any information to the mailing list members as claimed. Eventually a telephone call to the pub landlord revealed that the band would be playing from ‘about 9/9:30’ and there was no entry fee.
In reality Dave and I arrived just after 9 (after walking straight past the pub and about half a mile in the wrong direction) and sat for an hour or more listening to strange bangings, laughter and microphone feedback from behind a huge white sheet that was stretched across half of the cleared pool hall area of The Old Millstone, ‘The Likeness’ projected onto it in the style of The Darkness’ name logo. Through the sheet we watched the band, in silhouette form, tune up their instruments, drink and get changed. Frequently one or other of them would come out from ‘backstage’ and stand around talking with significant others drinking and mumbling about the amps and the bass-line, how it wasn’t coming right and how Psy wouldn’t stick to the set list. Then came the ominous words from behind the sheet ‘Ok everyone we’re going to do a sound-check. Don’t worry- we always fuck it up.’ Laughter from the assembling audience, which consisted of already very drunk boys in their late teens – early 20s, a few older middle aged couples and a couple of die hard Darkness fans (I include myself here) wearing obnoxiously bright t shirts that proclaimed their love for said band and silently challenging The Likeness to live up to their music. I must admit that I half had it in mind to try and make The Likeness slightly uncomfortable by requesting something more obscure from the early days of The Darkness such as Hell’s Gazelle or a personal favourite, Dune Patrol. Maybe even a British Whale cover? But the band got in there first and immediately won my respect when their sound-check track, blasted out at stadium rock sound levels in the little pub, proved to be British Whale’s version of This Town Ain’t Big Enough For The Both Of Us. Well half of it anyway. As Psy’s glass shattering falsetto screamed through the highest notes like a banshee, I felt the proverbial shiver down my spine. This man can really sing. He may not be Justin Hawkins himself but he’s sure as hell the next best thing.
After a little more clattering around The Likeness came to the conclusion that they were ready. The lights went down and the audience stood up. As Bareback began to blare through the room, a dry ice machine began to spew out clouds and clouds of smoke and the white sheet finally came slowly down and was bundled away by the band’s ‘crew’ of wives/girlfriends. Looming out of the mist and ripping the hell out of their instruments, full of attitude and audacity, The Likeness made a stunning first impression.
Psy on a white Gibson Les Paul (what else?!) with long hair flowing free and outrageously terrible trousers was topless to display the Justin-esque flame tattoo adorning his lower midriff. Chris was going hell for leather on his own Les Paul wearing the tightest of tight trousers, obligatory Thin Lizzy t shirt and wristbands with his hair flying around his face in classic Dan Hawkins head banging head banging tradition. Bryn appeared, legs splayed and head swathed in bizarre but outstandingly accurate headscarves to make him appear scarily Frankie-ish. Behind Psy was Jamie, battering away at the skins of his ‘Likeness’ emblazoned drum kit, looking for all the world like Ed Graham at his most serious.
After this stunning entry The Likeness never looked back and steamed through an hour long set of Darkness tunes with barely a foot wrong. There were a few tiny lyrical discrepancies that only the most nitpicking purist would point out. (‘We’re not the same as we used to be’ in Love On The Rocks….. and a stumble over the exact positions of the extracurricluar activities in Friday Night. I think the infamous ‘need a wank on Thursday’ may have featured as well but I cannot be sure….)
The band had obviously done their homework and set was a faithful reproduction of a vintage Darkness gig with Psy strutting around harassing the audience, kicking Jamie’s cymbals, hugging the pillars, sprawling on tables and asking for a choice between the clean and dirty versions of Get Your Hands Off My Woman. They even included a gloriously extended version of Love On The Rocks With No Ice, complete with arm swaying, audience sing backs and a seamless meander into Queen’s We Will Rock You and back out again.
The Likeness’ bias was made apparent early on when Psy declared ‘One Way Ticket. That was point I realised That The Darkness, and we, could go no further. Let’s return to the first album and more familiar territory!’ The whole performance was punctuated with other such cheeky, good natured jibes from the front man – ‘I always used to say this is what the Darkness will look like in 10 years’ time. And this is where they’ll be playing too. I didn’t know how right I would be!’ And when Bryn retaliated to his comment that ‘ Frankie’s put on weight hasn’t he?!’ Psy retorted ‘Hey if you saw Justin at the start of the last tour I’m bloody sylphlike!’
After brilliant and faithful performances of such songs as Givin’ Up, Is It Just Me? and Love Is Only A Feeling, The Likeness crescendo-ed with I Believe In A Thing Called Love then finished with a spectacular rendition of the Darkness’ cover of the Radiohead song Street Spirit (Fade Out).
The only shame was that Psy didn’t dust off one of the catsuits that are apparently languishing in his attic. He explained as his band mates launched into the long version intro to Stuck In A Rut ‘At this point I would usually do a costume change but there’s nowhere to get changed here without showing you everything and trust me you don’t want to see that! So these guys are just going to play you a tune while I have a drink.’
After the last Darkness song the band retired for a drink and set list discussion while a dazed and grinning audience flocked as one to the bar. But the evening was far from over. After 15 minutes or so The Likeness were back on ‘stage’ looking less Darkness-like (Psy had put on a vest and Bryn had gone through a dramatic de-Frankie-fication by removing his facial hair and headscarves and changing his shirt). Declaring that they could no longer get away with 2 and half hours of The Darkness the band launched into 90minutes of sing-and-dance-along songs from the likes of Hendrix, Bowie, The Cult, Tenacious D and even Wheatus and Orson (‘The only new song we’ve learnt this year’ according to Psy).
The pool hall turned into a dance floor and whenever he was free of guitar playing Psy capered about amongst us with his microphone, dancing with whoever was closest to him and thrusting the mic at whoever took his fancy at opportune moments. (Incidently, guess who was singled out to sing the female part in Wheatus’ Teenage Dirtbag?!)
It was after 1am when The Likeness finally reverted to type and rounded off almost 3 hours of high quality entertainment with (of course) I Believe In A Thing Called Love. The ‘dance floor’ was suddenly filled with screaming air guitarists and the night definitely ended on a high note. (Pun intended sorry, couldn’t resist).
There are certainly those (The Likeness themselves included) who wonder how much demand there will be these days and in the not too distant future, for a tribute act to a band dismissed by many in their hey day as ‘novelty.’ A band who no longer even exist and whose popularity is apparently fast waning. But as far as I’m concerned there will always be a place for Darkness tributes if they are as much fun and as true to life as The Likeness. If they feel the need to add in some songs by other acts in order to retain their popularity and pull larger audiences that’s fine by me. And to be honest if you pay to see a band you might get an hour long set; ninety minutes tops. Getting nearly 3 hours of your favourite songs that you will never be able to hear live any other way, for free, has got to be worth another look. They’re playing next Sunday. I intend to go again…

(We did do a review of The Likeness back in the paper copy days – nice to see them back in OI. Jo)

Aurally pleasured by Justin Hawkins

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by Jo

Justin has landed! Or pounced. The Hawk has turned into a panther (silly arse, he’s a lion) and slinked his way back into our ears, causing purrs of deep contentment and a state of consciousness akin to an aftercatnip experience. We had warning of a one day 2 album record fest with Magnet Watch, fuelled by at least one Chelsea bum. I mean bun. General mayhem ensued therefore when not one but three new unheralded Justin songs arrived on his profile, then on a new myspace account which is a showcase/info only place. Link at the bottom!

All of the songs were written, performed and produced entirely by Justin, and are unmixed and unmastered. They all stem from early Darkness days, well before Permission to Land. There is information on the profile’s blog, so I’ll try not to reproduce all of it.

As we have three, then, let’s go, one by one.

You Can’t Hurt Me Any More

A home demo from 2001, played once live in Sheffield but it truly does have weird bits in the middle. You don’t want to get those sorts of things wrong on stage, so it was dropped from the set. (I bet 4000 people claim to have been at that gig, now.) It has a very rock AC/DC intro and some hard thumping drums. A nod to Van Halen, too? Well, why not. Rocking riffs, a smashing bit of disco keyboards in the middle and Bob’s your oyster.

Whichever

Fans’ favourite at the moment, judging by the responses. It has a massive 80’s rock feel, with really strong bass and rhythm lines. That solo bit doesn’t quite fit seamlessly somehow… Stupidly catchy, too, which we know is Justin’s forte. It’s songs like these that melt a girl’s heart. Who wouldn’t want a song like this written for them? Open heart, open feelings. It’s one thing to write those lyrics for effect, another entirely to do it for real. How do you get that huge rocking out to match such sweetness of sentiment?

I’ve Met Jesus

This is my favourite, I’ve been bouncing off the walls singing it badly, annoying the cat. It’s harder, rocks immeasurably, bounces you around. It’s –umm – aahhhhh I love it! The chorus reminds me of ‘I Want Candy’ (Bow Wow Wow’s version, not The Strangeloves’) but I’m not sure that’ll be relevant to many of you. I can see this onstage, see the crowd jumping up and down for it. Hugely singalong, fast, stomping rock. Bless you, my child.

He sounds so good! Every note is stamped with his name, every vocal trick classic Justin. It couldn’t be anyone else. Shivers and thrills just to hear it, but extra to feel the quality sting and caress of sharply sweet voice.

These should have been TD songs. Should have been B-sides or on OWT. They would have fit so well. I’m not sure that they would have got away with ‘I’ve Met Jesus’ – the press would have crucified them for it and misinterpreted it on purpose, just because. There must be so many other good stuff that we never heard, in the archives. BUT onwards and upwards. This is Justin’s work, not TD’s, and it never was. There are, from what I make out, more songs from that era, and another set of new stuff for the album. If he did that sort of work then, with these songs still sort of in the rough, then what has he still up his sleeve? Certainly not just pretty tattoos.

I’m waiting. We’re all waiting – for the Rebirth.

http://www.myspace.com/justinhawkinspanther

(note – this is now www.myspace.com/barbecuerock)

Jeff Collins

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Rockfield Rocks in Print

by Jo

Something of a departure, this. I don’t think we’ve done anything book related before, have we? TADAAAA.. the first, and a special one it is. ‘Rock Legends at Rockfield’ charts the history of this famous rock studio – famous for its successes and excesses. Interviews with said legends crammed in to give a glorious insight to something we never see, and several things we might not ever want to! The place that looks like the décor is unchanged from the 70’s, and probably unchangeable. Where the vibe in the studio makes you shiver, whether you thought it existed or not. Detailed and exclusive, photos aplenty, this is something you need to have. It’s plain that author Jeff Collins loves his subject, knows bucketloads, and his heroes are all here too. His history and Rockfield’s are intertwined, being almost of an age… Watch out for the TD extract at the bottom.

Out 15th September, links to Amazon, Waterstones, W H Smith and Welsh University Press at the bottom. £13.99, a snip.

I spoke to the lovely Jeff via the wonders of msn messenger, and barring the football gossip, this is the result:

Jo: You’ve got a lot of journalistic experience, of which I’m very jealous. It’s predominately on the presenting side, not the written form. Was this project always going to be a book, or is there a documentary in the offing as well?

Jeff: Well when I was working at BBC Wales I was a sports presenter on BBC Choice Wales, the digital channel. As such the editor of the channel was always asking us for ideas and I thought Rockfield would be a good subject for a documentary. As I explain in my opening chapter, the book is like a journey. As a teenager I always wondered why these great records had “made at Rockfield, Wales” on them. So the book starts out as a journey to discover how Rockfield was able to compete with the giants like abbey Rock, Record Plant, Air Studios etc. So I proposed it but the TV commissioners went cold on the idea. Next I proposed it for an article for Classic Rock magazine
My editor said she’d consider it. In the three months she spent mulling over this idea, I’d interviewed Lemmy, Paul Carrack and the Tokyo Dragons and realised that there were so many interesting and funny stories that this would make a great book. So it took off from there really (And Classic Rock eventually appeared to lose interest though they did later publish my day at Rockfield with Robert Plant as a lead story!)

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The Horrors – x2

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The Horrors – x2

by Jill and Jo

24th March – Manchester Club Academy

Looks like it’s pretty much OK to come out of the Goth closet these days. I mean, everybody’s at it. There’s a plethora of Nu-Goth bands, while the old ones are hitting the live circuit again. You can’t even switch on the TV without Russell Brand popping up sooner or later. Judging by the largely teenage crowd here tonight, everyone’s had a good rummage through the Romantic Victorian dressing up box – it’s all winklepickers and velveteen smoking jackets as far as the eye can see. And it’s good to see old faithful Insette doing such a roaring trade in their Spikey hairspray again. I certainly don’t have a problem with all of this. I don’t really have a problem with the Horrors’ spectacular debut album ‘Strange House’. It’s just that there is something niggling me, and to get to the root of it, we’ll have to look back in time, just like they do on ‘Lost’.
About 20 years ago, I lived in Liverpool, and while I was there one of my friends had his house broken into and his entire assortment of indie and goth vinyl looted. To cut a long story short, the thief was swiftly grassed up by his fed-up neighbours, and my friend was able to retrieve his complete collection from a nearby second-hand shop. Now imagine such a scenario occurring in Southend, the seaside resort for people who really, really like silt. And let’s say that the album collection remained unrecovered, languishing in that dusty backstreet emporium for two decades, until one day a lanky, fresh-faced teen stumbled upon it and bought it up in its entirety, took it home, listened to it, all the way through, from Alien Sex Fiend to Zodiac Mindwarp, then, with these newly unearthed sounds still ringing in his ears, formed a band which had lazy, goldfish-memoried music hacks sitting up on their haunches and declaring Faris Badwan – for ’tis he – to be the saviour of the British Music Scene.
This, then, is my problem with The Horrors. The best new band in Britain? No, I don’t think so. To me they sound and look like they have been carefully bolted together from a Build-Your-Own-Goth-Band construction kit. A pinch of Bauhaus, a dash of Gene Loves Jezebel, a large slice of the Birthday Party, a hefty spoonful of The Cramps…well, I’m sure you get it. Original they are not. And while I admit that all music is derivative, and applaud The Horrors for giving the Britpop scene the shake-up that it currently needs, there are worrying signs that they are starting believe their own hype.
The crowd are happy to buy it all though. There’s a restless anticipation hanging over the room in the minutes before the band finally make the stage, with fans already powering their way to the front. A lengthy howl of feedback and the inevitable clouds of smoke herald their arrival, and the place erupts to the angry slashes of ‘Jack The Ripper’. Beer flies, and bodies soar over bodies; a continuous torrent of crowdsurfers, who are pulled into the pit by overwrought bouncers then force their way back into the throng to do it all over again. With the rest of the band hunched up behind him on the cramped, low-ceilinged stage, it’s very much the Faris show: Faris writhes, Faris howls, Faris stalks, Faris swings from the lighting bars, Faris plays kittenishly with some tangled red wool, in fact Faris looms over all like an etiolated Robert Smith and has everyone eating out of his spindly hand, whether barking out the lyrics to ‘Count In Fives’ or mumbling incoherently between songs.
Ah, the songs. There’s the thing. Horrors tracks are brutal short psychedelic punches of noise, rage and pain, and of the ones in evidence tonight I counted seven. Largely drawn from the album, with the welcome inclusion of a glorious ‘Crawdaddy Simone’, the set does not even amount to half an hour. If you’re going to pull that sort of stunt, you need to be offering something pretty special. You need to be as jawdroppingly startling as the Sex Pistols. I’ve seen an early Jesus And Mary Chain do it as well, and emerge as heroes. The Horrors are just not extraordinary enough to get away with it. There’s an air of disbelief as it becomes apparent that the band are not going to return to the stage and it takes a while for the crowd to start to drift towards the exits. I daresay that the most disappointed are those who had previously seen them play sets lasting twice as long. It had the potential to be a great gig. It wasn’t. While they probably didn’t lose any fans, I doubt they gained many new ones. It takes more than big hair and skinny jeans to change the musical landscape, no matter how much media attention you get. I just hope that The Horrors don’t learn this lesson the hard way.
Jill

Second round.. 3nd April – Norwich Waterfront.

This was not the goth revival convention described above – in fact, i didn’t see some of the usual faces one comes across at these events. Mixed crowd. Excitable teenagers, the curious, a tiny smattering of goths and one or two that really should have known better than to go out looking like that at their age.
Yeah. This ain’t the saviour of goth, even if it is kicking arse. It’s all derived as Jill described, but with a little bit of vaudeville and burlesque in there. It reminded me of certain Christian Death eras in parts, but my partner in crime didn’t agree. I think it was emotional response rather than reality.
Emotional response – I think i have it! This was a pretty good gig. I haven’t felt so involved with one for a while, to the extent that I felt moved to go and mosh. It lasted longer than half an hour, because I watched from the back for a while before heading off. No banter, apart from mutterings from Faris about a fight in the crowd. There was music, strobe hit stage, the strange gyrations of a goth cabaret. Good strong hairspray! Keyboards never left alone, Mr Webb looking very dapper and not afraid to jig about in a most unkeyboardist manner, which is all to the good. Couldn’t see much of the others apart from and explosion of hair over on the left, and a back. Faris though was much in evidence, as Jill said. I think this touched all of my decades old goth nerves, set them atingling, and gave me a rocking good time. It was fun. Noisy, moshy, bloody odd and not for the fainthearted. Lovely nostalgic stuff. I feel for the pipes running across the ceiling. Faris used them as a set of symmetric bars, gripping them with had and knees while singing and having his shirt pulled. Dangling face down into a frenzied crowd is slightly foolhardy – but not as much as coming down into them. He’s no sylph! The rest of the band left the stage quietly, leaving feedback, while he extricated himself after the song ended. Took a while, but he left without another word.

We didn’t get an encore either, in fact we were out by 10, a most unseemly hour.

Still, the moon was very big and bright outside..
Jo

Travis with Brinkman

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by Jill

Warrington Parr Hall, 22nd March 2007

“I’m sorry that you turned to driftwood

But you’ve been drifting for a long, long time”

What a lot of top gigs we’re suddenly getting in Warrington! Damon Albarn’s latest project, Arctic Monkeys, Editors in a few weeks, and tonight seminal Britpop giants Travis. It’s been a bit quiet from them lately, but with a tour to mark the impending release of their first album proper in four years, they’re back among us and looking good.

First though are rising London threepiece Brinkman. It’s hard to miss them as the roads to the venue are paved with publicity for their new single ‘I Wish’. They make an understated entrance to say the least, strolling onto stage in such a modest and nonchalant fashion that the houselights don’t go down until halfway through the first number. Powerful drumming coupled with tuneful guitar musings and witty lyrics serve to grab the audience attention and hold it. Their melodic harmonies are reminiscent of Teenage Fanclub, with ‘Pillow’ perhaps the most Bandwagonesque-esque. Elsewhere they hint of the Byrds and Squeeze, and they engage with the crowd between tracks, particularly telling the tale of ‘Carol Simpson’. I like a band who takes time to have a chat with us! ‘I Wish’ is received with some affection, showing that the band are already gathering themselves quite a following. Certainly worth checking out, which you can do here.

Huge cheers greet Travis as they join us, like returning heroes. They begin straight away with ‘Eyes Wide Open’, a number from the forthcoming album ‘The Boy with No Name’. It’s old-school Travis, melodic, crafted, both throwaway pop and anthemic singalong at the same time. The set is a satisfying mix of old and new material; new single ‘Closer’ and tracks like ‘Selfish Jean’ rubbing shoulders with the older, established classics like ‘Writing To Reach You’ and ‘Driftwood’. Fran Healy’s voice is sweetly powerful, sweeping effortlessly beween joyful and melancholic. Musically they are as close as ever, Dougie Payne and Neil Primrose providing a solid backline as Andy Dunlop indulges in rock god postures and power chords, falling to his knees, scrambling up to the balcony, rolling around on the floor, while still giving us those harmonious Travis breaks at the same time. A familiar chiming of bells heralds ‘Sing’ and the audience respond with a single united voice:

“For the love you bring won’t mean a thing
Unless you sing, sing, sing, sing”

The new album includes some intensely personal moments, named as it is after Healy’s new son (the boy now has a name, you will be glad to hear) and you get the impression that he is proudly introducing them to the world like new offspring: the celebratory ‘My Eyes’ is dedicated to the baby. The new material fits so easily within the back catalogue that ironically it is one of the older songs, ‘Good Feeling’, that sits least comfortably in this set. Healy gives us the pleasure of his harmonica playing during the Payne-penned track ‘Closer’ and actively encourages the crowd singalongs for the old Britpop anthems, hankering perhaps for those good old when they ruled the stadia and festival fields.

Healy returns to the stage alone for a sincere rendition of ‘Flowers In The Window’, before the rest of the band return to wind up with “Turn” and “Why Does It Always Rain On Me”. They leave the stage in triumph, aware now that they have a killer new album in the pipeline, and that the affection for them is still there.

Making yourself a laughing stock

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by Jo

The BBC, not Justin.. whatever you thought about him entering, this was a… some words fail me.

After hearing all the songs, and wincing in parts, it became clear that this was a Big Brovas/Hawkins and Brown sing off. There little originality or talent elsewhere, a ripoff of the most wonderful ‘Preacher Man’.. and I’ll never understand why a foreign national can represent another country in this sort of thing.

It was gonna be tight, this one. Despite the huge Darkling support, Justin had to win over the public, and he is after all someone about whom there are few middle ground opinions. Big Brovas are knocked out in favour of Cindy. When the unbiased neutral BBC make it look like Justin and Beverlei are up against the dire Scooch, a rat began to stink. The voting most certainly wasn’t between the two, cos if it had been.. we wouldn’t have got that result. Set up and fix sprung to mind. Well done to Justin for leaving the stage that way. No doubt he had a few choice words to say to someone.

Post show, and via Justin’s myspace, information started to flow. People not getting through to vote, text votes failing, Scooch having had Helsinki final tickets on their site for 10 days – that was from the fans’ side. From Jus’s end – his supporting banners were confiscated, Scooch’s were not. Scooch had 2 hidden vocalists in the wings singing the girls’ parts. Now, that’s not playing fair, is it? And really, announcing the wrong winner at the end..

I was waiting for Jus’s blogs after that fiasco of a show. Do have a look. If anyone does want to complain to the authorities, then:

http://www.bbc.co.uk/complaints/

http://www.ofcom.org.uk/complain/progs/specific/?itemid=286480

I would have thought that phoneins were in enough trouble at the moment. I’d also like to know how fans of the other acts got on with their voting.

Everyone vote for The Ark now, ok?


SixSister goes to Surrey

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by Jo

Top Gear of the Pops. A disaster in the filming? Not quite..

Thursday night. Happily plonking along on the laptop, not a care in the world beyond the next day’s maths lesson and what on earth I was going to say about baptism by immersion. google alert Justin Hawkins. Oh yeah.. I heard of him. Nice boy with kittens. I haven’t been reading the alerts much, they’ve all been the same stories about Eurovision, but as things were quiet, I had a look. A link to some blog, saying something about Comic Relief. WHAT??? Justin/TOP GEAR/band???? I’ve never moved quicker to a website. Okay. 50 top pledgers to RND2007 get a pair of tickets to filming on Sunday. Closes at midnight. Quicker than a.. a… fast thing I pledge, conveniently managing to forget to mention it to Mr 2. Oh well, plenty of time for that if I win, which I didn’t think was terribly likely once the news gets out. I don’t have huge amounts of cash right now. BUT I did win! What a nice way to finish a school week, finding that email. Mr 2 took it surprisingly well, I must say, and it was his idea to set off on Saturday morning and stay in the wilds of Surrey overnight. (Not that he had that idea until we were on our way to Sainsbury’s on Saturday morning, but a very good one it was.) Guildford is very nice, readers. Anyway, less of the ramble.

After floating round Surrey all day and checking we knew where we were going, we arrived in a carpark at about 6 and had to kill time until collected for a short yomp round the back of the airfield to the studio. Huge hangar – oo those stretch limousine things they made last week are here. Silly buggers. Had a good wander round, took one or two photos of the set. It’s cold – not unexpected, but it’s seeping up into my boots from the concrete floor over the hours. I guess we arrived in there at about 7.45. Naturally we’re asked to take coats off as they don’t look great on camera. Neither will I, I’m having a bad hair week. There’s a fair amount of setting up going on, health and safety announcements. No loo in here. I must have gone about 5 times in the mobile loos before, after the marathon bladderfilled experience at the Friday Night Project.

As most of you know by now, this was Top Gear of the Pops. Enough to make you 0_0 on its own. But as we know that Jeremy, Richard and James will BE in a band with Justin singing, it was quite intriguing to say the least. Filming starts, with presenters wandering in. We’re over by the band stage. I’ve come all this way to see Jus, and I’m gonna be at the front, although naturally this is purely for journalistic reasons. Can still hear what’s going on over there, where the presenting bit is going on. People being moved by the floor manager all the way through, machinery being moved about. Rooney the warm up man. I have a few walks round the place to stretch. Standing about a lot gives me backache these days, you know. Lethal Bizzle are on first with their new single, of which I understood not a word. Personally, I find rap/hiphop etc impenetrable. They’re well received, though. McFly are there! (there’s another tiny stage in the far corner) and are given a challenge. Write a new song without the words ‘love’, ‘baby’ or ‘heart’ but WITH ‘sofa’ ‘Hyundai’ and ‘administration’, to be performed at the end of the show. Interesting.. Mr Hammond looked remarkably fit and well, all three on good form, the usual cockups abound and lots of applause being rerecorded. I’m not going through all of the programme, you’ll have to watch. There is a general music history lesson, and a chart rundown, though. Scuse me if I’ve lost track of the EXACT order of things but you get the idea.

Travis appear onstage with their new single, a pleasant sound.. three times they do that, with rugby banter flowing. Apparently there was some game that Scotland lost. They played to a backing track with live singing. Supergrass were pretty good, played completely live and had ADE EDMONDSON playing guitar. A god amongst comedians. Unannounced. Doing very silly rock god impressions and playing that axe like Comic Relief depended on it. Still, not bad, if a bit of a feedback freak aagahhh. This was run through twice, an untainted version, and one where TG intervened. Dry ice, enough to suffocate everyone on stage, billowing out of twin exhausts behind Mr Goffey’s drums. A HUGE wind machine blowing the living daylights out of the band. And.. doves and pigeons. James was in charge of releasing them in an overblown rock gesture. Not while the wind machine was going, I might add. They didn’t want to play, though. Fluttered and landed about 5 feet from the unfortunate James, flew off over the crowd into haircuts, and crawled under the barrier at my feet. I picked it up and looked after it until the end of the song, poor thing, it didn’t need big people stamping on it. Even the chicken placed very carefully on stage refused to play. I don’t know what will get cut out of that..

McFly managed to perform their cracking new tune with great aplomb, getting all the words into a rocking little tune. Not bad work, lads!

Finally finally the stage is set up for the big event. A massive set of drums, Jeremy won’t know what to do with all of those! Three backing singers, two keyboards, guitarist.. Jeremy banters with all and sundry. He’s had seven lessons, and predicts a disaster. This is the first time they’ve played together, after a quick rehearsal yesterday. James’ music degree is cruelly brought up, but the poor boy reminds him that this is a far cry from the Bach he plays at home. Richard looks like he can handle a bass, but also looks terrified, as well he might! Justin is introduced at last and appears in black shirt, dusty lilac trousers and leopardskin boots. Never one to dress down if there’s no need! We’re getting Billy Ocean’s ‘Red Light’ thanks to Clarkson. Those backing singers are REALLY good, and indeed carry the whole thing right through. Justin has idiot boards with the lyrics.. they do get a long way through on the first take. Justin gets himself warmed up. Second take – Jeremy somehow loses a drumstick, claiming that his hands banged together. His drumming is awful, I’m reliably informed, but he does know he’s speeding up and slowing down, and threatens to do it on purpose. Richard has SOME idea of what he’s doing! He said last time he played a bass he broke it on someone – I’m sure that’s what he said! Jus stops two takes, doesn’t seem comfy, plainly confused cos he’s singing but it’s not matching the music – is it his fault? Ah. There’s a line of lyrics missing. ‘I’m a professional! I sing what I’m told to!’ The guy looking after the idiot boards is immediately banished to Gardeners’ World. The vocals/music match a lot better after that! Justin relaxes into his singing take by take, adding flashes of falsetto and vocal flourishes. Knickers appear on stage and are festooned round Richard – they are returned to the audience for the next take, to be thrown again. It was difficult to hear Justin at first, but that mike was quiet for Supergrass, I thought It’s a triumphant finish when they run it all the way through for the last time, I suspect partly in relief!

Yeah, it was a shambles, that last song, but it could have been so much worse! It was recognisable, they had professional help, and we were willing them on, greatly entertained. All that could be asked for. Top Gear will have another series, which is just as well, as the three lads need to stick to the day jobs.. Kudos for doing it though.

Now for the Justin bit. He looked healthy and smiley. As gorgeous as ever, no trace of any kind of arrogance, of which he’s often been accused. No scene stealing (although he can do that without doing very much, tbh). Doing his job quietly with no fuss, standing in the crowd and talking to people. I overheard several people behind me saying he’d spoken to them. To see him back on stage and to hear him singing again was just sublime.I was proud. I don’t know how he felt. Am I right in thinking that it’s the first time on stage since last summer? A few qualms would have been perfectly natural, and the contrast between this and a TD gig could not have been greater. I find that the more time passes, the more time I have for the man I’ve been following for so long. I think he’s more of a man than he was, my friends.

He’s a very busy man just at the moment. Good luck for Saturday, Justin, and Happy Birthday.

Lyrics follow! Plus photos. We weren’t allowed to take many, and the one of Jus didn’t come out somehow! WAAAAAHHH!!!!

Red light spells danger
Can’t hold out much longer
‘Cos red light means warning
Can’t hold out I’m burning

You took my heart and turned me on
And now the danger sign is on

Never thought the day would come
When I would feel alone without you
An’ now I’m like a child again
Calling out his mama’s name
You got me on a ball and chain
Doin’ things that I don’t wanta.

I can’t stop running to you
Feel love coming through you
Girl with you beside me
Hold on, heaven guide me.

Red light spells danger
Can’t hold out much longer
‘Cos red light means warning
Can’t hold out I’m burning.

Red light spells danger
Can’t hold out much longer
‘Cos red light means warning
Can’t hold out I’m burning

I had my funk
I played around
Without a love to tie me down

I always used to kiss and run
I never wanted love to catch me.
I thought I had a heart of stone
But now I’m in the danger zone

I can feel the heat is on
Soon the flames are gonna catch me.

I can’t stop running to you
Feel love coming through you
Girl with you beside me
Hold on, heaven guide me.

Red light spells danger
Can’t hold out much longer
‘Cos red light means warning
Can’t hold out I’m burning

Red light spells danger
Can’t hold out much longer
‘Cos red light means warning
Can’t hold out . . .

Confused and possibly dazed

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by Jo

This is an updated article.. Since this went out , the band via Richie and Toby have issued statements apologising for something that wasn’t their fault in the first place. All respect due to them for that, it was seen to and the fans kept informed. Thank you, boys. Your input is like rain on a very thirsty desert! The link is..

http://www.thedarknessrock.com/news

Now.. I’d like to apologise if this article gave offence to boys who weren’t aware of any problems and didn’t cause any, either. My job for OI is to report, reflect, comment – wouldn’t be doing this right if i didn’t include what the fans tell me in myriad ways. I got a lot of good feedback about it, and if the situation changes, more info comes to light – hell, I ain’t afraid to put things right, say sorry. But.. I’ll NEVER say sorry for making clear the current mood, to any of you, cos that’s not journalism, however amateur. Gone are the days when I was terrified of criticizing for fear of being ostracized. There are one or two people out there that would like me to sink without trace, but I’m not going to. And no one questions my integrity or commitment as a fan for doing it. The people who matter are aware of my feelings about this and everything I do for the band, so…

The original piece, then. Unedited.

Ok.. lots of boy news in the press again. A poorly rehashed version of several weeks’ myspace blogs hits the press – well, the Sun and the internet anyway. All such old news. ‘At least the PR engine HAS spluttered into life’ I thought. ‘That means something will happen soon.’ Good. Excitement all round, all sorts of bouncing going on across cyberland.

Now, by the end of the week, some things have become clear. There appears to be some kind of press battle on between Justin and the other lads, what with the Eurovision thing being made public. (Please note that this is not coming from Jus’s side) Pushing and shoving to keep the lads in the public eye. This was compounded with the release of the new homepage and evidence of a new photoshoot, which unfortunately does not coincide with the new band name release. ‘The Darkness’ is still plastered over that photo.

A good many fans are just happy to see a new pic. BUT.. another good many are expressing disquiet. (paraphrasing of blogs and posts follows) They’re tired, bored, fed up of being kept hanging on, being drawn into what looks like a PR war. They want it sorted. Want to be treated like adults. Longterm fans are now talking about walking away before they hear the new stuff.

Fans are confused, a little dazed.. and now they’re infuriated. Not to mention incensed, frustrated, incredulous, infuriated… Waiting is not a problem. Being treated like children, idiots, merchandise fodder IS. When your most dedicated start to be angry, you should really start thinking hard.

Towers Of London at Bristol Academy 2

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by guest writer, Sez

Towers Of London, eh? A lot of mixed reactions are often received when mentioning the Towers – often such comments as if they are a joke. Let’s face it, they haven’t got the brightest of reputations.

Arriving at the Carling Academy in Bristol, it wasn’t to long before THE Rev of TOL made an appearance, strutting out of the venue with a blonde on each arm. He made a couple of trips around the block…. Each time passing the now growing queue, receiving the odd whistle and shout – there is something weird but funny about GUYS screaming out “rev, I want your babies!”.
So, Eventually entering the venue, once in this small room the wait was an hour…. seemed to go on forever.

First support arrives on stage, local Bristol band called ‘Bare Knuckles’- hearing influences of Ash maybe, but heavier. Playing for a good half an hour or so, cheers were often received and no bottles thrown. Not bad.

And so waiting for the second support, the sounds of Wednesday 13 was keeping the crowd entertained and a smile on my face…. The waiting continues.
A rather amusing set of people starts to appear on stage. A tall-ish skinny guy with a black glittery cardigan, a silly hat, and big blue glasses – accompanied by a dreadlock headed lead guitarist, a small lady with sunglasses and bear ears on her head and other band members. They start playing- the sound is very reggae-rock, perhaps a bit ska. This then carries on into a very Gogol Bordello sound and look. I didn’t catch their name.

Here it goes… myself and my mate get crushed as the crowd push and move forward, side to side and back, whilst the singer of this band jumps into the tide. Mind your glasses mate! He gets mauled and then dragged out by security.
And so the waiting game starts again. We decide to move further to the side, as obviously, the crowd antics are only going to get worse. The waiting music is appalling, and often chants of ‘towers, towers’ arrive, but are sadly short lived… were the towers ever going to appear?
At last, the glorious sound of an air raid siren…I’m A Rat!

Unfortunately we get totally crushed, and we have to manoeuvre ourselves to the back. Within the first two minutes of bursting onto the stage, Donny jumps into the crowd. He is strangely adored.

Each song played, was played well – and everyone was loving it. A couple of new songs appeared in the middle of the set, they are great- yet more sing along anthems for the future. Each sound from the band is great- considering what people may think. Guitar solos to blow your socks off and punk-rock anthems, what more could I ask for? Donny enters the crowd a second time- this time he gets swallowed up, and re-emerges what seemed like quite a time after he disappeared…. Security sweep in. As Donny is pulled out from the crowd, he is now vest-less, and very hyper… security struggle with him to stop him from entering the crowd again!

Their set seemed short… everyone was sad to see them go offstage, and no chance of an encore.
And so the slow struggle to leave the venue starts…. Whatever you may think of this band, their live performance is not to be mocked. Fans of TOL will love, and have loved seeing them. Although it is a shame that they are not playing the little bit bigger venue!
That was rocking indeed!

The Fratellis at The Carling Academy, Birmingham

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by Lucie

Oh, the anticipation! The rapture! The promise of sweet sweet rock! It was one of those gigs where I wanted to rewind and start it all over again as soon as it was over. Minus the support band, who were wank stains in trackies, and I simply stared indifferently at for a full half-hour.

An awesome-o gig was just what we (myself and my EMOtional gig buddy Leah) needed after a blustery day in sunny Birmingham, and adorned with feathers and sparkles we entered into the realm of Scotland’s finest. We were treated to a slide show of various famous images with the words “‘Mon The Fratellis!” photoshopped in to distract from hairy roadie arses (my favourite being the yellow ‘Baby Fratelli On Board’) sign, and we had to wait a mere thirty minutes before the glorious ‘Henrietta’ shagged our ears senseless. Perhaps a teensy bit of the effect was lost on Leah and I, who spent most of the song trying to find a spot away from the manic moshers thrashing in the middle, but once in a position where we should shake our finest bits, we let go and had, simply, THE most fabulous time! ‘Chelsea Dagger’ rocked the middle of the set big time, and our boas (which were bought exclusively for us to strut around in showgirl Dagger style) got a severe workout. We’re still washing pink feathers our of our hair.

The acoustic version of ‘For The Girls’, previously my least favourite Fratellis song, was a massive highlight, as little Jon Fratelli gave his bandmates a rest and took the limelight. It was a real lighter-in-the-air moment – “Lucie was there as well…”

We all went insane for ‘Baby Fratelli’, screaming along with “she was sucking fingers aaaaaaaaalll niiiiiiiight”, in grand Fratling/Fratelling/Frat-fan style. We were a fucking ace audience, if I do say so myself. If Jon congratulated us, I couldn’t understand, but I like to think he did. He did appreciate the two totally different shoes that were thrown onstage, if I remember correctly…

The band even showcased a couple of new tracks, which were more of the same and even better, excelling themselves again and again. Those buggers just can’t help being awesome! I’d been waiting for ‘Cuntry Boys and City Girls’ for about 45 minutes before they satisfied my craving, and I nearly lost my trousers and an eye from frantic jumping. But then, gigs were invented for dancing like a mentalist and nearly being blinded by your own breasts.

An incredible climax to the show was the fantastic threesome’s version of Goldfrapp’s ‘Ooh Laa Laa’, which gave me groinshock. TOO sexuous to even describe, too gorgeous an experience. Better than the original, but don’t tell Alison.

I truly would recommend seeing The Fratellis live, even if you don’t know their music. They’re so incredibly fun to listen to, as well as Jon’s side-to-side head bobbing being just quite cute. And he has such a lot of hair, which is worth it in itself. Every single song was just superb; the album alone gives me chills, so you can imagine the anatomical reactions that occurred hearing the whole thing live.
I pretty much wet myself.

“Of all the shitty little places I meet you, it’s here, and now I’m freaking out…”

www.myspace.com/littlebabyfratelli

www.thefratellis.com

James Morrison – Manchester Apollo

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by Jill

It’s a very couply crowd at the Apollo tonight, packed to the gills with gangs of girls dragging less enthusiastic-looking male partners. The age range is huge; I spot families with young children rubbing shoulders with the older members of the Cheshire set on their way up to the balcony seats, indicating the universal admiration that this soulful singer-songwriter has attracted since bursting onto the scene last year. Since the release of ‘Undiscovered’ in July 2006, Morrison has been riding the crest of a steadily growing wave of approval and recognition; the album is still high in the charts and scooping awards and acolades for its creator.

The band precede Morrison onto the stage, and his arrival is greeted with appreciative roars which drown out the first few bars of album-opener ‘Under The Influence’, followed immediately by ‘Undiscovered’. All of the familiar James Morrison elements are there: his fusion of jazz, blues and rock, the practised musicianship, the raw, gravelly voice, the honest lyrics hinting at a troubled upbringing – but tonight something seems to be slightly adrift.

Morrison has worked a punishing schedule over the last few months, no doubt pushed by a record company hungry to capitalise on his meteoric success, and it is apparent that the workload is starting to take its toll. I’ve seen him perform twice in Manchester since August, and a friend has seen him three times. I get the feeling that being on that endless touring merry-go-round, returning to the same cities again and again must have lost its novelty by now. When I last saw him, at the considerably more compact Manchester Academy 2, the singer seemed brighter and more relaxed, bantering and indeed flirting with the audience between every song and really enjoying the gig. Tonight, although he does chat to the crowd and assure us that we are a great, rowdy crowd, and makes fun of the male members, it does seem a lot more strained. Added to this is the fact that the sound levels appear to be poor and the audience chatter is clearly audible throughout.

It is by no means a bad gig – far from it. The band are perfect, and Morrison’s voice is flawless. Drawing comparisons with Otis Redding, Ray Charles and his namesake Van Morrison, he does, in fact, sound unique, showing that it has been unfair to lump him together on the current male solo singer scene with the likes of Damien Rice, Richard Hawley, Paolo Nutini and, inevitably, James Blunt. With only an album of songs to work from, he is hard pressed to stretch out his set beyond an hour, but the favourites and crowd-pleasers are there: after a singalong ‘You Give Me Something’, Morrison loses his guitar for a soul-yearning version of ‘The Pieces Don’t Fit Anymore’, followed by equally refreshing renditions of, among others ‘The Letter’, ‘This Boy’and an outstanding ‘One Last Chance’. Throughout, girls’ voices call out encouragement, and Morrison now takes it in his stride – only a few months ago he seemed happily and endearingly bemused by all of the female attention. As the girl behind me demands that he take his shirt off, he winds up the set with a rousing ‘Wonderful World’.

Returning to the stage with only his keyboard player, Morrison remarks that he had forgotten how big the Apollo was. Maybe the muted atmosphere was due to him being slightly overwhelmed? But any doubts on the integrity of his performance are shelved by the subsequent rendition of ‘Last Goodbye’, his powerful voice enhanced by the solo piano, the atmosphere further charged by the glittering reflections from a pair of mirror balls. I would have been wholly swallowed up – were it not for the poor sound levels! I can hear people talking throughout this song, and lots of them. It actually makes me feel angry that fellow audience members could be so rude! Finally Morrison concededs to the multiple audience demands for ‘Call The Police’, then then he is gone, hopefully for a well-earned rest. All I can hope is that, now he has proved himself to be a talent worthy of recognition and has worked hard to put his music into the homes and hearts of a broad section of the population, that the record company ease back on him and give him time to develop his unique style to its next natural level.

CSS – Norwich Waterfront

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by Jo

CSS – Cansei der Ser Sexy

Bit chilly out last Monday night, but we popped along anyway to see CSS at the behest of Mr 2. MONDAY???? first day of the week and I’m out? blimey. Big crowd.. I’ve not seen such a silly collection of haircuts and clothes sense since the 80’s. Oh to be young.
First up we had Crystal Clear (i think. can’t find me flyer)Now, I do like a girl based band and we had two tonight. What I don’t like is girl vocalists who shout instead of singing. There’s no need! And that ballsy in your face angstvoice has been done so often. Tell you what, though, they made a bloody good noise. I didn’t dislike them at all.

CSS, fresh from Brazil and taking over the planet, bounce on, and they’ve got everyone jumping. SO much energy, punk disco singalongs exciting and pleasuring their fervent adherents beautifully. Crowdpleasers abound. This was a sweaty, dancy, moshy and friendly gig. As it should be. ‘Off the Hook’ and ‘Let’s Make Love’ made glorious appearances. Actually, I wouldn’t mind seeing this lot again!

But.. please.. SING if you’re a vocalist. Don’t shout, and don’t SPEAK your lyrics. It may be just a personal thing that… judge for yourself.

www.myspace.com/canseidersersexy

Eurovision

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by Jo

Justin has got together with his mate Beverlei Brown in a bid to be the Royaume Uni’s entry into the Eurovision Song Contest this year. The decider is on Jus’ birthday – 17 March – and there are promises of catsuits if they get through to the Icelandic final. If you don’t like the song, that in itself is worth voting for. Ahem. Personally I’m not impressed by the competitors but the Public is an odd school of fish. Jus is excited about it, and tbh I’m not surprised that he decided to do it. He does what he wants to, not what people prescribe that he should, and he does things with all his energy.No half measures. If you don’t know that by now..
Right, he’s just about to be on Richard and Judy. BRB… I hope he tells them big time he’s not in TD anymore. they KEEP saying it. Pffttt Brian Harvey..
Mmm lovely straight glossy dark hair. He looks goooood.
Jus has got the right angle on this. ESC is not about credibility, clinging to it desperately, it’s just about entertaining and having fun. Like TD – definitely not about being cool, cos that was never their aim. The song is ‘They Don’t Make ‘Em Like They Used To’, written by Jus and with long term friend Beverlei involved by trying things out one day in the studio, is a pure pop song with gorgeous falsetto much in evidence. And Beverlei’s fine voice, of course. Let’s not be tooo biased here. She’s worked with LOADS of artists, has plenty of talent and industry experience. It’s a perfect song for Eurovision, even judging by such a short clip. pffftt to the rest. dull dull.

Both seemed confident, with Jus less nervous appearing than in previous interviews. Is it 1-1 he doesn’t like?

Making Your Mind Up. 17 March.

Toby MacFarlaine

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An e-dalliance with Toby MacFarlaine

by Lucie

Interviewing via t’internet is never ideal, but it can occasionally be productive. And I think this was. Never have I conducted such an in-depth and noggin-straining interrogation, and my questions became so deep, probing, and personal, that myself and Tobias are no longer on speaking terms. Also, I’m paying for his counselling.

Actually, that’s all bollocks. The following interview suits perfectly.

Tell me Tobias, what are your musical influences?
Wide and varied, innit. First record was Fore! by Huey Lewis & The News when I was about 10 and they got gradually heavier the older I got. The first band I saw was Megadeth with Alice In Chains and The Almighty in support. I still cite Hank Williams as a major influence. Love a bit of yankee folk moosic, me. Nirvana changed it all for me. They kind of reintroduced me to my beloved Beatles, too.

Top three bands:
The Beatles, Nirvana, Huey Lewis & The News

Top three albums:
At the moment… ‘Back To Black’ by my mate Amy Winehouse, ‘Ys’ by Joanna Newsom and a best of Talking Heads compilation. These change regularly. I’m not good with favourites.

What got you into music?
Been singing since I could breathe. My dad plays Jazz drums and my mum was briefly in a hippy band called The Wayfarers (don’t look for them, they’re not there anymore). Music was always in the house. I’d say trying to attract the attention of girls made me pick up the guitar (7 years old) and I kept on doing that because I was shit at sports and general conversation. I’m still shit at sport.

What’s on your iPod/MP3?
Far too much to list. Rock, country and alternative from most bands you could mention.

How long have you been playing?
A reallllly looong time

What’s your perfect festival line-up?
The Beatles, Nirvana, Megadeth, Blur, Pavement, Joanna Newsom, Amy
Winehouse, Goblin, Slayer, The Social and this new group what I’m in… Not in this order. I’d have to be playing because I can’t deal with not having a dressing-room to hide in at festivals anymore!

Favourite sandwich filling?
Cheese and onion. Classic.

What style/pattern of underwear are you sporting right now?
Some very expensive green Paul Smith trunk things I got in Japan. Very supportive.

Is there any celebrity that you’d just take an orgasmic
pleasure in slapping across the face? And why…
Jade Goody for her racist thickery. James Blunt for ruining singer-songwriters for everyone.

(Amen.)

Are you quite prepared for the task of satisfying a hoard of starved, half-crazed Darklings?
Yes. Nourishment shall be provided forthwith. And possibly psychiatric help. Hopefully everyone will realise that I’m not some kind of indie spy hell-bent on deconstructing rock.

Gimme a little insight into how this incarnation differs from The Darkness (besides the members, smartarse).
No catsuits or operatic wailing. The sense of fun will remain, because we all share a similar sense of humour. It’s big-arsed good-time rock music. Riffs aplenty and just great songs. Tougher than that other group.

Tell me about the plans for your glorious emergence. Are there big sparkly schemes going down?
Schemes bigger and sparklier than you can possibly imagine.

How do you feel about so suddenly being in the limelight? So many more people know your name than did a month or so ago…
I’m used to a bit of limelight, innit. Done alot with Graham over the years. Indie limelight, I suppose, but half-light nonetheless. Reflected glory is something I’ve basked in for the last few years. I don’t really know what that means actually. If you mean people looking at you like you’ve got two noses when you’re walking around, or being stopped and asked to write my name on something or pose for a photo and that, then I love it. Great fun! I love massive gigs and audiences and stuff. Interviews, the whole shebang. Great. People knowing your name is all part of the fun, for me.

Are you going to be “styled”, and have glamorous photo shoots? Or is it all down to grass roots, now?
I think we’re gonna try to avoid any over styled stuff. It’s all a bit fake and uncomfortable to me and, indeed, us. Obviously we’ll be
coordinating our “Look” so we don’t look as if we’ve just fallen off a bus. There will be some roots involved because Ed’s allergic to hair-dye.

Who does the cooking in the band?
It’s a shared experience.

What would you say on a soapbox on Hyde Park Corner?
“What the fuck am I doing on a soapbox on Hyde Park Corner?” followed
swiftly by something nice and comforting like “The nend is high.”

Who would win in a fight between Sonic and Mario?
Sonic. Mario’s too busy thinking about that darned princess. And his
inimitable moustache.

What IS the air-speed velocity of an unladen swallow?
Roughly quicker than a chaffinch in a parka.

There you have it, fruity as a nutcake. Just the way we like it.

PS The new site for the lads will be online VERY shortly. Watch this space.

Arctic Monkeys, Warrington Parr Hall

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by Jill

28/02/07

Looking Good On The Dancefloor

“This town’s a different town today

This town’s a different town to what it was last night”

The long cold queue of the night before seems a long time ago in the warm crush this evening of the Parr Hall bar. With showers, food and a few hours sleep under our belts we are champing at the bit in anticipation of the climax of this escapade, one that started the previous day at noon when this secret gig was officially announced. The rumours that the Arctic Monkeys were coming to Warrington had been bouncing about for about a week, so the reality of actually being at the gig has ensured a sort of giddy euphoria amongst the crowd.

First up are the hotly-tipped Liverpool band The Little Flames. Firmly standing in the 80’s post-punk camp, they work at a high velocity, with evocative female vocals over stabbing guitar riffs and galloping drums. This appearance should win them over some new fans in good time for the release of their new single ‘Isobella’ and their debut album.

The crowd buzzes with excitement during the interval between bands, with people jostling for position and chanting. There’s a huge surge forwards as the Arctic Monkeys finally stride onto the small stage, and without ceremony they introduce us to a handful of numbers from the new album ‘Favourite Worst Nightmare’. These are received enthusiastically and are not a million miles away from the existing back catalogue, much to the relief of anyone who suspected a major change of musical direction. There is much joyful dancing and bouncing around at the front, but the place truly erupts with the choppy opening bars of ‘I Bet You Look Good On The Dancefloor’. It’s like the reunion of long-lost friends. Feet literally don’t touch the ground.

Alex Turner and the band don’t say much, other to greet us briefly and to introduce numbers, but they seem to be enjoying themselves as much as us. Every note, every riff is spot on. The Monkeys have given themselves a hard act to follow with their first album still receiving kudos. But it seems from the evidence here tonight they will deliver the follow-up everyone expects, seemingly effortlessly. The clever wordmanship and the artful, danceable licks are very much evident.

Any air of aggression, so often apparent in such a vigorous crowd is thankfully absent, perhaps due to the sense that we are all on a great big adventure together. The band play a mixure of classics and newer material: ‘Still Take You Home’, ‘When The Sun Goes Down, and ‘Leave Before The Lights Come On’ alongside new single ‘Brianstorm’, and it all triggers a jubilant audience reaction. Crowdsurfers roll regularly over our heads; in fact members of the local rugby league team are seen launching potential surfers skywards.

“I’ve had a nice time. A very nice time indeed” Turner confesses before introducing the final number ‘A Certain Romance’. And as the lights do indeed come on, we look at each other, and everyone is hot, sticky and sweaty, yet grinning, incredulous that it all actually happened. Yes, Alex, we had a very nice time too.

Nine Inch Nails with Ladytron

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by Jill

Manchester Apollo, 25th Feb 2007

Black As Your Soul

The first thing apparent on walking into the Apollo tonight is the a range of people that this band has attracted. There are old-school goths (*ahem*) and the multi-pierced long term, hardcore fans, through to indie teens and the odd achingly cool poseur. I pity the poor studenty neophyte standing behind me, whose friends have managed to convince her that a roadie’s torch, gripped in the mouth, is actually an oral implant that they have when they start the job. Boy, is she in for a surprise tonight!

I’m determined not to miss the support act, Ladytron, but by the time I am ensconced in the crowd clutching my frothy Carling, they are already one song into their half hour set. The Liverpool-based band do not disappoint. Their electronica vs. guitar-rock soundclash is clearly heavily influenced by 70s and 80s Krautrock, and their darkened set complete with a flickering black and white cine film behind the band completes the ambience. They draw heavily from their defining album ‘Witching Hour’, with a set that includes ‘Soft Power’, ‘Fighting In Built Up Areas’ and culminating with a driving ‘Destroy Everything you Touch’.

“You only have to look behind you

At who’s undermined you

Destroy everything you touch today

Destroy me this way”

It’s about 45 minutes before Nine Inch Nails take to the stage, and as the crew work, the arena is pumped with smoke to the extent that visibility is obscured to all but the first couple of rows. There are glimpses of a stripped-down minimalist set. ‘Like a cheap sci-fi set’ someone close to me says. Personally, I think it’s more reminiscent of a slaughterhouse, with low hung pendulum lamps that swing casting eerie Texas Chainsaw-type shadows below. Reznor and fellow band members eventually power onto the stage to raptuous roars, and the crowd of the pit surges forward to the high-turbo thrash of ‘Mr.Self Destruct’. It’s a full-on industrial rush for the first few numbers, including ‘Sin’, ‘Terrible Lie’ and ‘March Of The Pigs’ I am trapped in the crowd, I can’t move my arms, I’m soaked by flying drinks and almost crushed by a flying guitarist, but it’s wonderful. It isn’t until a haunting ‘Something I Can Never Have’ that there is a pause to catch breath. The respite is only brief though, as Reznor leads us all down the path of aggression and dark self-doubt that is ‘Closer’, and the venue resounds with the roared back lyrics:

“My whole existence is flawed

You get me closer to god”

There’s the sense that everyone is satisfied, that this gig has lived up to everyone’s expectations and that Reznor can do no wrong. With the band on the eve of the release of their latest album, ‘Year Zero’, it would have been very easy for them to indulge the opportunity to showcase their new material, but instead the set is heavily weighted towards the back catalogue, with ‘Ruiner’, ‘Only’ and ‘Hand That Feeds’ all making an appearance. Reznor takes to the stage with only a keyboard for a spiritual rendition of ‘Hurt’. The set climaxes with a ferocious ‘Head Like a Hole’; Reznor launches his guitar skywards, and then they are gone. There is no encore. I move away with the rest of the crowd – I’m drenched with beer and water, battered and bruised and I’ve a sneaking suspicion that the bloke behind me mistook the back of my leg for a urinal. It doesn’t matter. It’s only the end of February and I already feel like I’ve experienced my gig of the year. Other bands beware, you have a long way to go to top that live experience.

The Season

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Marvellous stuff happening, this year. The veil enrobing <strong>THE</strong> new band is slowly and teasingly being lifted, in the manner of a seductive Arabian belly dancer of rawk. I can’t help imagining Toby draped in skimpy pink silks, pouting through his Kenneth Branagh beard… It’s not pretty, I wouldn’t recommend such a fantasy.

 

Anyway, we’ve got a nice little interview with him this month, which nuzzles deep into indie boy’s cranial tissues for answers. Well, I tried, anyway. As soon as the band name is revealed, us sorting aahht a spanking little website for the boys can really get to work on whoring their asses to the masses and such. Meanwhile, we glorious purveyors of greatness at OI will have various journalistic treats for you, just you wait and see. There will be gig reviews, CD reviews, all the corking usuals. And articles are added throughout the month, so keep visiting, stay tuned, and Choose Life.

 

Relax, we’ll be gentle.

 

PS the new site for the boys will be online every shortly – maybe within the week!

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