31 HOURS/ ZURICH/ DAISY, Daisy Rodgers, Jericho, 23/3/18
Hypothesis: many performers portray characters, but some
performers come to believe in them.
David Bowie donned theatrical masks, and Randy Newman’s vignettes are
all voiced by different characters, but they were obvious artistic techniques,
whereas Sun Ra really actually seemed to believe his interstellar back-story,
and Anton Newcombe apparently doesn’t realise he’s talentless arse rather than
rock saviour. Although Daisy’s early
recordings were strong, we were worried that their violent, obsessive imagery
was proof of incipient stalkerism rather than a taste for macabre
trappings. Thankfully newer material
veers away from this theme – and is, if anything, musically superior. The new quartet is tight but light on its
feet, decorating emo-pop tunes with mathy curlicues and post-rock
textures. There’s still a little
darkness in the lyrics though: the new songs have more obvious hooks, but they hide
plenty of barbs.
Hypothesis: you can love music, without being
particularly knowledgeable about it. We
may have spent more of our life than we like to remember studying sleevenotes
and sitting through support bands, but our experience is not necessarily deeper
than someone whose record collection consists of Rubber Soul, the best of ELO and a Motown compilation strewn in a
passenger seat footwell. Similarly,
although we can get everything Coldplay has to offer from elsewhere, they don’t
deserve the abuse they get. Zurich is
another band that provides a handy, one-stop rock digest for the busy listener,
squishing together a world of epically sad pop stretching from Joy Division to
Maximo Park, via Doves’s dusky disco bombast.
Zurich might deal in broad strokes, big themes and barn door targets,
but their arranging skill and melodic ear make them well worth the effort.
Hypothesis: prog has its plus points, but decent tunes
isn’t one of them. When 31 Hours starts
up, with a web of impressive polyrhythms masking an anonymous composition,
we’re inclined to agree. However, it
doesn’t take long for the set to reveal subtly catchy tunes hidden amongst ELP
wigouts and late Floyd billows – we had David Sylvian jotted in our notebook
before being treated to a one- Japan cover – and we realise 31 Hours has more
in common with the carbonite-frozen pop of Glass Animals than anything Gong
once wafted out of The Manor’s back door, with single “Castile” a window on a
world where Gomez made Kid A. Top tunes married to muso structure, in other
words. Hypothesis: even we aren’t right
all the time.
