Something caught our weasel ears when we pressed play on New Beard City, the recent album by New Beard. It was the freshness of the sounds, the kaleidoscopic nature of their music and the tuba attack (of course) what made us repeat customers. After chasing them for a while (and then them chasing us…they do fight back!), we got a cool Q & A with Ben Wigler (vocals, honey-drippin’ riffs):
A while ago, Milk Maid‘s Martin Cohen gave us an interview and he mentioned “A reverb pedal might try to simulate how a room sounds but doesn’t quite get it, and I like the reverberation of a room, specially for vocals.” (more…)
#IFOWONPRO. That’s the only thing you need to think when you listen to Trojanhorse. Well, you could also think about socialism, space fights in ships resembling F-14 Tomcats (with T. Rex’s in the pilot seat, of course) or what would happen if you do an impromptu interview with a super friendly singer/guitarist with a penchant for prog loveliness, a voice like Simon Pegg in Spaced and an army of well armed finches in his beard.
So, yeah, Nicholas Wyatt Duke from Trojanhorse, a man wanted in 4 boroughs for baptising sweet lyrics and bootlegging overdubs, is sitting across me in Nexus Café, in Manchester. The coffee is excellent and the music is just the right shade of suave, so I ask him a few question while the finches steal my eccles cake. Selah. (more…)
It was a strange, funny day when Retribution Gospel Choir came back to Sheffield. It snowed heavily in the morning (not a problem for the Duluth trio of rockers) and by the time their set ended, the snow was all but gone. There’s some possible witty remark/pun/fanboy musing about their music melting snow, but can’t think of any.
Drenge opened the night. Loudly and fast, the way they know how to do it. Some of their zines (Blood and Milk, just like their rocking track) were available for free, which included a good pisstake on The Kooks. The sounds of Drenge are loud and fast, jazzy and punk.
Retribution Gospel Choir were in pure rock mode. Their psychedelic sounds are amazing, even if it might have been a bit overbearing for some of the ones in the audience. “That was fucking ridiculous!” yelled an anonymous heckler, after ‘Poor Man’s Daughter’ placed the band on jam mode. It’s a song that I enjoy and I loved the rendition that was played that night, but if you’ve never heard it before (or seen the band before), you’ll be in the “befuddled heckler” section.
The Revolution EP (which we totally reviewed - cheap plug) was played in its entirety (loved ‘Maharisha’) and some classy tunes from their previous albums were played too. ‘Kids’ always makes me think of Red House Painters‘ ‘Make like paper’, ‘They knew you well’ is always an appreciated punch, ‘Take your time’ works well in both Low and RGC form and ‘Hide it away’ is the poppier, happier side of the band.
Had the luck to talk to both Alan Sparhawk and Steve Garrington about their recent albums. The same question was asked to both: “Do you feel the albums by Retribution Gospel Choir are becoming less stark than the first one?” Interestingly, both replied “no” with a sly smile. Both were quite friendly too.
As much as I love Low, it’s Retribution Gospel Choir the band that connects the most with me. Superb and intimate gig with two very rocking bands.
Words: Sam J. Valdés López (a gushing fan from hell, I guess).
PS: We featured ‘Poor man’s daughter’ in a radio drama a while ago.