A Page of Punk / Leif Ericsson / All the Best Tapes / Werewolves on Motorcycles @ The White Star, Stoke. 3rd August 2012.

Review by Robert Egan

For a small venue, the upstairs room of The White Star can be heard across the town centre which doesn’t bode well for my ear drums. I arrive to a pretty full venue with the first band Werewolves on Motorcycles pounding out their already sweat-laced set and I get a feeling that tonight is going to be something special. 

We have been featuring their track Dr. Love on the Stoke Sounds Radio show for some time and it is nice to be able to transcend the recording to the live experience. Werewolves are a powerful three-piece and all members eventually take turns on the vocals which gives a nice difference to their already varied songs. Being excellent musicians the band are impressively tight and the music seems to be a more traditional/pure punk sound one minute, then they hit you with a Doom laced edge the next. The sheer volume of the PA and Bass/guitar amps rocks the soul and I am cursing not bringing my earplugs for all of the right reasons! With an impromptu vocal performance from Dave Collins (Leif Ericsson guitarist/vox) for 2 tracks covering Ramones numbers, their set is heated up further, exacerbated by their animated stage presence and Animal-esque antics of the drummer. Before too long the set is finished and I am left wanting more; Werewolves will well be worth catching the next time…

Second band up tonight are  All the Best Tapes and to be honest, from an outfit that are not challenged in the age department as yet, I was not expecting the wall of sound that came crashing out of the system. The vocals are being screamed across it seems at ten times the normal volume and  it’s causing considerable damage to my already strained ears. 

The band have a layered sound which is at times quite mellow and at other times somewhat stomach wrenching. The drums come across clear and precise and the amp distortion is just enough to add suitable depth to the music without being overpowering. The sound is dynamic and thought through with a sincerity, which for a punk outfit really surprises me; it is a more accessible style of punk than you might be expecting with some interesting changes from loud to emotional content. Some tracks sound truly epic yet the vocals remain clearly defined in the mix, which considering the sheer level of the volume is quite impressive. 

The third band is The Leif Ericsson, who quickly settle into their set. It’s immediately apparent that they are tight and polished and seem well used to performing. The instruments and vocals come across clearly yet the distortion is just enough to give an edge. Leif want to take you on a musical cruise through their repertoire and as we sail through what seems like a few different genres, we ultimately arrive back to where they began, which interpret as punk with a more mainstream feel. The most appreciative crowd are enjoying their set and if the bands sweat levels are anything to go by; Leif Ericsson are utilising every joule in their performance.

Headlining tonight’s showcase is the Japanese band A Page of Punk. Now I must admit that if a band are going to take the time to come all the way across the world on a tour and pay Stoke a visit, the least we can do is go and see what they have to offer and from the opening track, I am in a bit of awe. Their sound is as loud as it is encompassing. It might be an often used sentence but the audience are going nuts for these guys and the band ride the wave of sentiment higher and higher, morphing from the front and into the crowd so that they are almost indiscernible. Page of Punk are certainly not going to conform to the ‘stage’ area nor the stereotype aesthetic of their genre; their front man Chiaki is decked out in a sparkling gold jacket and with lashings of eye shadow and slicked hair looks more a new romantic. He manages to keep most eyes on his antics as he gradually undresses to underwear whilst throwing himself around the room frantically. The music is tight and well played, loud and driven, energetic and yet playful at the same time. I like this band, they have the bravado and excitement to draws your attention and keep it firmly in the palms of their hands, until it’s all over and you wonder, what the hell just happened? Let’s hope that they come over more often…

Faux Feet EP Review

Review by Jake Carter

 

 

Faux Feet's latest EP is certainly worthy of your attention if you're a Stokie who doesn't mind spending a pound or three supporting local artists. Since home recording has become increasingly less expensive I don't think I'm the only person who's become a little tired of wading through a sea of mediocre releases trying to find a gem. For a mere three pounds I don't think you can go wrong with this release and the recording quality combined with decent tracks definitely leaves this self titled EP sounding above the rest around these streets.

Opening track Handlebars begins more like something you'd hear from Four Tet than Faux Feet. I'm quite the fan of dreary and bleeping intros, but for those who're not don't threat; it doesn't take long before we're back to the familiar sounds of Faux Feet that you'd expect if you'd ever had the chance of seeing them live. Obviously Sian's voice above glistening and sometimes distorted guitars is what makes Faux Feet what they are, but it definitely feels that from the very start of this EP they've upped their game and all aspects of their music has improved.

The next track Down has bright and clear verses which transcend into extremely catchy and quite epic choruses. It's a solid middle track which I think does a fantastic job of pulling the EP together and complimenting it's surrounding siblings. Something I value is a well thought out collection of songs which flow together throughout - and this is something immediately apparent on this EP. The last minute and a half have to be the best part of the track and if you're anything like me you'll be walking around singing "Down down down" after a few listens.

Sleep Paralysis is in my opinion the best track from the EP and I could also see many a gig being ended with this number. The first thing that hits you is the vocal processing which is present at various parts of the track. You have to give credit to the person who produced the track as there's currently much hate for processed vocals, however on this track they're spot on and in my opinion are what makes this song stand out. It helps of course that the lyrics on this track - and throughout the EP for that matter - sound like they've been worked on and not just thoughtlessly scribbled down to make ends meet.

Overall I think Faux Feet have done an excellent job with this EP. Three tracks long, easy to get into and most importantly after listening a few times I was left wanting more. I think as long as the quality remains, a future, longer release could be an even greater local success.

The Black Widows @ The Old Brown Jug 25th July 2012

Review by Robert Egan

It’s hot tonight and the Jug is no exception. The room is muggy and close; so understandably most of the patrons are taking the opportunity to sit outside in the beer garden…The problem is that the Black Widows are about to play and they want a crowd, cue one of the best teasers that I have seen; the group decide to venture outside and perform an impromptu acoustic set. Scott the frontman is up onto one of the tables doing what every good frontman should be doing & entertaining, as the back line (or those that can rather) add their various elements. This has the effect of quenching a little of the audience’s thirst and entice them just enough that when after a couple of tracks the band announce that they are live upstairs, a fair proportion decide to go follow.

Their opening track ‘Post Golden gate blues’ is loud and jumpy with an encouraging tempo leading well into the second track ‘Arkansas Sound’ which has an appropriate country root and more than noticeable Punk stem. I like how the main vocals have been taken on by the lead guitarist too which adds to the variety. The third track ‘Take the Gun’ has a Dire Straits backline sound but with a clash style evident from the front instruments. The lead guitar gives a piercing accompaniment sounding not too dissimilar to The Cribs at times.

When the Black Widows appeared on the Stoke Sounds radio recently they chatted about how they like to convey a story with their lyrics rather than just create a song for its own sake and this is evident in most of their repertoire, as we are invited to listen to the tales being spoken. ‘What might have been’ is the fourth track and one of the songs that they played live on the radio show, so it is nice to be able to listen to it in all of its live and amped glory. By the time of ‘My World’, which has a gorgeous lead intro and an interesting drum pattern, I am slightly entranced and I want to listen to the story just as much as I enjoy listening to the song itself. The lyrics are important and the music accompanies them, the guitar is sparse and accentuates the vocals rather than drowning them out and gradually the music drives further and further taking you with it to a climactic crescendo. If you like The Doors and Jim Morrison’s ability to take you on a journey, then you will get an idea of what I mean.

‘Dead like you’re alive’ is about a girl sitting in a café and the seaside organ sound is evocative, as I visualise a picture, which I suppose is exactly the effect that the band wished. It is easy to hear a distinct Black Widows sound, but it’s hard to categorise them; country/blues with a hint of the late 60’s/early 70’s rock and punk for perhaps....?  Think the Velvet Underground without Reed or Nico, or the more modern Midlake, but on Prozac…Not that you should assume that this band are quiet or subtle in any way.

‘Turn and run’ has a guitar sound not dissimilar to Soundgarden’s, ‘Black hole sun’ in its uneasy effect and along with the bass notes, promotes a dystopian view as the title suggests. The music accentuates the vocals again and gradually the tempo increases taking us along for the ride, suddenly releasing the lead guitar with a lick you could race Formula 1 cars to. No sooner have I jotted those ideas down than they have just tripped the sound-o-meter for the venue and half of the instruments are cut off. This is just how good The Black Widows can be....it’s not about keeping it low key, it’s about delivering a message with clarity and the minimum of distortion, whilst still possessing a volume enough to blow the venue’s trip switch.

Musically The Black Widows are tight and sound polished and professional; with a particular nod to the lead guitar, and Scott Francis’ vocals which have a slight transatlantic twang which I don’t normally go for, but it is slight and works well in this outfit. They seem possessed with a new spirit ready to take you on a shamanistic journey, and who knows, you may just emerge from the trance ready to heal your own tribe…

The Situation presents Adam Atkinson / Suzie does it / The Blue Yellows @ The Foxlowe 21st July 2012

Review by Charlotte Lunt

This was only the second gig for Adam Atkinson, who was treating us to a set of his bluesy melancholia this evening. From early on it was clear he was playing to his friends and supporters who had come along as there were plenty of in-jokes and banter between them.


His optimistic lyrics and creative melodies show his potential as a writer, although he has chosen the route of being a frontman without a band rather than taking an acoustic pathway. This is betrayed at moments when it is not a massive leap of the imagination to envisage a full line up behind him both visually and musically, with the potential for intertwining backing vocals being very apparent. However he holds his own with a set comprising of his own compositions such as ‘Shining light’ and a couple of covers to boot.

Suzie does it, are a duo, who perform close harmonies and very tight playing. Throughout their set they perform tracks from their new EP, and also provide a generous sales and social media pitch, showcasing some really rather good guitar playing, and also some stunning vocals. They played a consistently strong set with hints of Country and Folk. This is clearly a duo who know they’ve got nothing to prove and who enjoy playing for the sake of it.

Just as the Blue Yellows take to the stage, in what seems like a per-arranged move, the room filled with a substantial audience, it looked like I wasn’t the only one anticipating a foot stomping set from Jonathan and Co. Opening with ‘Killing me’ a jaunty rock number which had a clear sense of humour lurking in the keyboard hooks, before moving to a more mellow number featuring the not often heard accordion, these guys really do pack a punch, with the song ‘Cry Cry Kill’ really echoing round the room and getting people off their chairs and onto the dance floor.


The thing about the Blue Yellows is that they’re not a one trick pony; each song is distinct and has its own personality, whilst maintaining a definitive Blue Yellows sound. Through a number of the tracks the melodies are punctuated with humour and light hearted keyboards as well as acerbic lyrics.

Hitting a more mellow note the audience were permitted a breather before they launched into Stoke Sounds favourite and championed ‘Summer anthem’ ‘No Tobacco, No Jesus’. Jon offered a curious explanation about the title involving missionaries and their converts (which to be fair I haven’t done justice to here) and with the crowd nodding like a flock of pigeons singing along, they all seemed like they were enjoying it too.