Song of the week this week comes from Brighton’s singer-songwriter Lewis McKale, a Billy Bragg-ish harmonica and guitar combo breakup song from his forthcoming album, Self Help Tape.…
Retrospectively shouty, Thanks For Nothing is as anti-Against All Odds, as Dylan’s Positively 4th Street, but if that’s not selling it to you, it’s a moreish grower with a unique composition, ideal for a damp spring evening as you watch rain drizzle down the window with lukewarm tea in a chipped mug….which is what I’m currently engaged in, because it’s better than BBC1.
Got to rain, though, hasn’t it?! Likewise, musicians must express themselves, and this is heartfelt simplicity at its best.
No video to this one. Do we need visuals? Not when it’s this good; my favourite track of Brighton-based contemporary ska heads, Dakka Skanks.
They’re lively, diverse, lots of fun, and I think we’ll be hearing a lot more from them in the near future.
If the Duallers have reached a pivotal point akin to the Specials, and Death of Guitar Pop are providing the tongue-in-cheek Madness equivalent, I believe these guys could be The Beat of this era, as there was a band unafraid to experiment.
Dakka Skanks are majorly ska, but throw a lovable but carefree punk attitude, and a wide range of other influences, such as soul, into the melting pot, and concoct something uniquely entertaining.
Catching up with more stuff on a quiet(ish) Sunday, this got pushed towards the bottom, I’ve no valid excuses. Taking you back to April 2017, Brighton’s misfit leftist comic poet-acoustic performer performed at Trowbridge’s Town Hall for Sheer Music. It would be a gig on his last ever tour. After twenty years Chris announced he was giving up his music career, and finalised it with an autumn farewell concert in London.
The recording was released on Chris’ Bandcamp page at the beginning of the month. It’s a pay-what-you-like and he waivers all fees to the Music Venue Trust.
Since 2014 the registered charity MVT, was setup to protect the UK live music network by focussing its support on grassroots venues, but since lockdown it’s understandably become essential. Grassroots venues play a crucial role, nurturing local talent, providing a platform for artists to build their careers and develop their music and their performance skills. We need them back; we need them open. Hearing this album helps you to understand why, makes you remember what you’re missing.
It’s easy to hear the influence of upcoming artists like Gecko, as Chris weaves unrelated subjects like an observational stand-up comedian, and also, with the same comical timing. His guitar picking is quality and together it makes for a highly entertaining show. Stabs at the establishment come thick and fast, songs randomly seriatim through motorways, anti-hunt rants, gorilla gardening, his own self-worth and musical talent, even a jab at Trowbridge’s political demographic in Love me, I’m Liberal. There’s a beautifully played out winter portrayal, Tunguska, and more intelligently drafted thoughts to boot.
This is folk upfront, with woven narrative and amusing rudiments, chronicles the now, and highlights the passion of the simplest gig, man with thoughts and guitar.
On the night he was supported by Phil Cooper, and Kyle D Evans, the show recorded by Bromham’s Owl’s soundman Gareth Nicholas. Makes me wish I was bobbing about on the scene at the time, but Devizine was a year behind in the making. Still, albums got a picture of Trowbridge on it, any monies you can give helps a charity, but most of all, this is just the enjoyable and proficient performance we’ve come to expect from Sheer.
devizine.com 