Touch The Leisure

Hot, isn't it?

PREMIUM LEISURE/ QUARTERMELON/ MICHAEL FOX, Beanie Tapes, Cellar, 14/6/18

Is Michael Fox his real name?  If so, it couldn’t be more perfect, adding one more late 80s reference to a fog of hazy retro delights.  Although Fox’s voice has a soft, sweet sentimental folk tone, not a thousand miles from Kris Drever, the music is all submarine guitar shimmer and vintage drum machine and synth pad cushioning.  Imagine crossing Black’s “Wonderful Life” with Raze’s “Break 4 Love” under the watchful gaze of The Beloved, and you’re pretty close, although “London Burning” has a gruffer sincerity that’s more “Streets of Philadelphia”.  If occasionally slightly hesitant, this set proves that even today’s teen wolves appreciate a vintage Balaeric comedown hug.

The excellent Quartermelon keep us in the same era, but their Brat Pack party pop, like their palm tree print shirts, is brasher, throwing dumbass jokes and gloriously unnecessary whoops into songs that swoon with a sultry lilt.  Their totally tropical tastelessness is perfect for people who secretly think “Kokomo” is better than Pet Sounds, who know they’d rather sink some tins at a gig than stroke their chins, who want to go home with head full of euphoric tunes instead of wry couplets.  There are doubtless people who’d find songs that sound like Santana played by Wham! crass.  They may be right, but we’re not inviting them round our house Saturday night.  We won’t be in anyway, not if Quartermelon are playing within a ten mile radius.

As if this gig was put together on temporal lines, Premium Leisure move us on a few years, not only adding a soft focus slacker vibe to their eclectic rock that is pure early 90s, but also swapping the adolescent saturnalia of Quartermelon for a more sophisticated muso groove that might entice young professionals looking to kick back from a week of strategy huddles and working lunches.  They’re impeccably tight, yet retain a playfulness that keeps the music light and lithe, as you might expect from a band featuring Willie J Healey (hey, perhaps he could loan that middle initial to Michael Fox to complete the effect), but on occasion the music feels hollow, nothing more than an assemblage of rock references without a joyfully beating heart; for every track with a clattering bleached funk rhythm a la G Love & Special Sauce, there’s an airbrushed blues sting that sounds like a cut scene from the Canadian Broadcasting Corporation’s shelved Seinfeld clone.  The best track is a long multi-riff confection that makes us think of a Hollywood reimagining of Focus in their non-yodelling moments, and overall the set is strong, but they have neither the intimacy or the insouciance of the other acts on the bill.   

What Comes After The Velvet Musical?

Another month, another review, another failure to recall the password for this site.  Hello to both of you who read this.  I was a tiny bit generous to Underground Youth in this, they really weren't very interesting until the last 7 minutes or so.

UNDERGROUND YOUTH/ SHOTGUN SIX/ CIPHERS, Future Perfect, Cellar, 17/5/18

We say it again and again, turn up for the first acts on the bill.  Not to “support the scene”, just to ensure you don’t miss a great band you’ve not heard of.  Those who arrive early tonight get a real treat, an opportunity to tour Ciphers’ charred cathedral of dark-hearted pop.  The first number moves from the brooding menace of Mezzanine-era Massive Attack to the melodic ire of Skunk Anansie, and the set blossoms like les fleurs du mal from thereon.  The sound is vast, but there’s still space for intricately interlocking guitars and chunky unfunk bass a la 23 Skidoo.  A new but deeply intriguing band.

“Just because a record has a groove, don’t make it in the groove”, sang Stevie Wonder, and how right he was (as well as presciently predicting a time when Truck Store would stock more vinyl than CDs).  It’s not just funk and soul that ride on the mighty groove, though, many genres benefit from a deep rhythmic furrow, such as the stoner grunge of Shotgun Six.  They make a huge, satisfying noise for a trio – though the giant gong should possibly count as a bandmember – seismic at the bottom end and psychedelically shimmering at the top.  Our single criticism is that the set is back to front, starting with the two heaviest, most hypnotic tracks.  Scrub that, they should have only played the first two tracks, for 15 minutes each.  The groove abides.

At Nightshift, we don’t believe in style over substance we believe in honesty, quality, talent and – wait, Underground Youth look really cool.  Black leather, floppy hair, stand-up drummer bashing out elemental Mo Tucker/Phil Spector beats, insouciant stares, the lot.  The music is good, too, impassioned yet unruffled scuzz pop with an Andrew Eldritch baritone, that’s not far from Black Rebel Motorcycle Club doing Joy Division.  Their songs start brilliantly, but do tend to stumble to an end when you want them to explode (or go on forever).  The last two numbers, perfectly balanced and building to an inverse stage invasion crescendo, are so good you almost begin to suspect they were fumbling on purpose earlier to ensure a big finish.  That’s a dangerous game, but, on this evidence, one they’re winning.