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Physical Format-20190424

  • Published in Columns
March 2018 saw the Flying Vinyl debut of Our Girl, a band who our contributor Steven Velentzas was touting back the autumn before when we had our one outing at Blogtober. Like the tortoise I get there in the end. Though he got there first in the tale. Whatever.
 
Tracks 'Our Girl' and 'Sleeper' are housed on white vinyl and it's obvious I've been missing out through my tardiness. Shoegaze elements, soaring bits, pleasant vocals all combine to form a very appealing sound on the lead song. 'Sleeper' further states the trio's case for being amongst the best thought of indie bands of the past five decades. This one stays here. Online it shows that the band have a number of live dates coming up in the summer although I doubt I'll see them until Rockaway Beach in 2020.
 
Sharky gets turquoise vinyl for her efforts 'Hawaii' and 'Cause And Effect'. I had to check I'd not put the deck onto a previously unknown 78rpm setting, such is the Pinky & Perky sound of the falsetto which eminates from the first song. It's debateable whether an auto-tuned voice would actually sound more natural. Beat-wise the song is pretty good but the vocals are too comic for me. The B side is in fact Sharky's first single and was apparently played a lot on 6music a year ago. I don't recall hearing it. Nobody's bought a copy on Discogs since last summer but I'll see if I can get £4 for it. Rather hard to find Sharky's online presence but it doesn't look like much has been happening (here) since this disc came out.
 
Boniface's 'Phantom Limbs' rushes out of the speakers to begin with but, before you can get all arm wavy, it calms down for the verse before giving you the release at the chorus. Unfortunately Flying Vinyl have decided that the band's hometown of Winnipeg is in the USA rather than Canada but, that error not withstanding they've done them a solid by releasing this upbeat number. Sylvan Esso fans will be quite taken with it. 'For Love' is a piano-led beast of a different nature entirely. Pleasant but not a keeper. Facebook shows the band are still getting shit done and that you'll possibly see them if you're off to see Foals.
 
Juke Lucid seem to aim for the middle of the road and a future as a wedding band with the pallid 'Move Maker'. This is not the sort of music that will inspire you to do anything other than become an Estate Agent, or to radically change what you listen to in ordr to avoid such a fate. 'Parallel Vision' works well as an instrumental and it's clear why it was the band's debut single, being more assured than the A side on this disc. That trick though perpetuates that annoying moment in the '90s when record companies decided to start releasing multiple versions of songs across different formats, in the hope (no doubt successful at the time) of conning punters into buying the same thing often just for (often crappy) B sides. For sale it goes though as it turns out it has vocals after all. Online it seems the band have been silent since last summer.
 
Brandon Can't Dance keeps it moody on 'Pop Queen Of The Teen Scene'. Apparently it's led to him being compared to Morrissey. I'm not sure who comes off worse with that association. 'Dead Growing' is raw, groany & a bit more upbeat at least but Evan Dando he ain't. No one's bought the disc recently on Discogs despite (as is the case with the previous disc) 10 folk selling it and four apparently wanting it but I'll list it all the same. BCD doesn't have a large online footprint but his bandcamp indicates not much has been going on since last summer.
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The Orielles, The Scala, London

  • Published in Live

 

I'm leaning against the wall near the exit of The Scala, non-nonchalantly, looking at a coat hanger dangling three metres above the cloakroom window. It's hanging off a steel conduit run that traces the room, I can't help wondering how it got there. Lost in wonder I slowly start to realize that almost everyone in the foyer after party is staring at me, are they also pondering the coat hanger? Turns out they're curious for a different reason, the lights are going on and off. I've been leaning against the light switch triggering the chandelier house lights for a couple of minutes now, so much for blending in. I move away and watch someone else hole up in the now vacant (too good to be true) spot, I give them no warning and continue to float away pondering the coat hanger and The Orielles (@TheOrielles) performance I've just caught at The Scala's 20th Anniversary Party.           

Coming off my bike at speed down Caledonian Road I realize, too late, that the rear mudguard has come loose and locked up the back spokes of my bike. Fortunately it's garbage pick up for the local residents that evening and I land softly in a pile of discarded trash bags, you cannot make this up. Miraculously unscathed I pick myself up out of the trash and remove the remnants of the mud guard, turned mud offense, and kick my back tyre and rim into place, and we're off. I make it in time for doors open and clear security who after a pat down ask me what the ear plugs were for in my pocket, obviously you're not a golfer I think to myself. Clearing this minor obstacle I head to the bar where drinks are half price, I double-up and make my way to the stage. First up on the docket are Crewel Intentions (@CrewelIntent).

The members of this quintet have a motif that can only be described as a mashup of styles, predominantly Western Wear meets up-and-coming Mobster Foot Soldier, their duds move along nicely paired with their classic looking instruments and music with assured confidence to match. Only frontman Chilli Jesson (sounds like a name that has outstanding debts with bookies in Vegas) stands out in his leisure suit and white scuffed up brogans, most likely from kicking the shit out of the air and stage all night long, the man has bundles of energy throughout their performance. The band is in good spirits and Chilli's got energy with the moves to back up someone auditioning for Chippendales; running back and forth around the stage, jumping to and from the stage to barriers and making intense eye contact with those of us at the front when he's not jumping into their arms. Intense isn't the word I'd use for the contrast in riffs and twangs coming off the small slide guitar, keys during the set, they're great and wash over you like a Coen Brothers soundtrack. Their set finishes and I pick up my book (The Elephant Vanishes – Murakami) and crack open a chilly frothie between sets.

Juggling the book and the beer I'm enjoying at '90s prices along with the '80s hip-hop pumping out the speakers (JJ Fad – 'Ya Goin' Down') the crew setup for the main event. I see Henry's (lead guitar/backup vocals) head peak through the stage door. I catch his eye and give him the horns, he smiles and reciprocates in kind and the door closes. The crowd is elbow to elbow in chill anticipation but unlike the audience the stage is set with personal space in mind. I can't remember the stage setup at The Scala ever being so sparse but much like their last performance I caught in the Butlin's at Rockaway Beach the setup is spread out giving each member a comfortable space to play in but it's not alienating either. The Halifax natives putting the old H back on the map make their way onto the stage metaphorical Silver Dollars chiming loosely in their footsteps. They're all rockin' mid-'90s Smashing Pumpkins-era threads (trust me on this, I lived through it). Esmé's (Bass/Whistle/Vocals) look is Liv Tyler straight off the Tower Records poster and I'm wondering if it's rude to interrupt the set to ask Alex (Keys/Vocals) what model OG Reebok's he's wearing because they are legit as all get out (if you're reading this Alex I must know!). Not a minute lost and the gang is straight into it with 'Old Stuff, New Glass'. The stage throughout their set is a, jumping, nodding, dancing, and head tossing from side to side akimbo marathon, they sing and play with a joyful and carefree effervescence. All members (aside from Sid anchored on percussion) take turns visiting each other and spend their set chatting and smiling about inside jokes I'm so close to but not privy to hearing, frustrating I must take up lipreading! Henry, as per usual busts out the banter and a couple of guitar strings along the way, one on each guitar, but soldiers on. Alex not to be shown up destroys an instrument I can only assume is a cousin to the cowbell? Esmé and Sid retain intact their civility and instruments, good work ladies. The Orielles knock out a 13 track set in just over an hour. True to their word (see last interview) they've been writing during their downtime between tours (liminal space?) and lay a new single on the audience called, 'Sound Of' and end their set with 'Sugar Tastes Like Salt' no encore but a great track to finish off a solid set with.

Back in the foyer of The Scala which is packed with fans and members of both Crewel Intentions and The Orielles, I lean against a wall without a light switch for a change still having the coat hanger, and mystery there of, both literally hanging over me. It's been a great evening and the party looks far from being over with the bands mingling, smiling and chatting with friends and fans alike. I make a quiet exit and get a message on my way out from an acquaintance to check out instagram which is blowing up with news about The Social in central London. There's been a fundraising gig put on this very night by Wrangler with Yak/Shame and Talk Show on the bill that's saved the tiny venue with a massive history by raising the £95,000 necessary to keep the doors open. As The Orielles and myself are huge fans of the joint I thought it a fitting ending to the article and renewed lease on life for The Social.

 

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