Tag: Gecko

Gecko’s Big Picture

In 1998 a pair of pigs escaped while being unloaded off a lorry at an abattoir in Malmesbury and were on the run for a week. The brother and sister pigs were dubbed the “The Tamworth Two,” during the huge media sensation. I didn’t remember this bizarre scoop, I was told about it in 2022 by London-based artist Gecko, on stage when Kieran of Sheer Music used to do gigs at Trowbridge Town Hall, as an introduction to his new song; it’s a track on his latest album, The Big Picture, due for release this Friday, 7th March……

If the story’s location, or the gig’s, is a feeble excuse for reviewing something not locally produced, as I vowed to uphold, neither matters; I’m willing to make an exception for something so uniquely satisfying as Gecko’s humble and sentimental outpourings. For in these days where the pop song template is generally concerned with how compassionate someone is in the sack, or how ignorant someone was in the sack, that’s why they dumped them and now both parties involved are agitated, Gecko breaks the mould so absolutely ingenious and inventively. His singing of a song about two pigs escaping their fate is surely proof!  

Gecko

And if I’m intending to pigeonhole such outpourings I must go broadly with hip hop, though nothing remains of the ostentatious machismo stereotype of the genre, quite the opposite here. I’d only mention it with a flux capacitor in hand, ready with Doc Brown to form an alternative timeline where the mixture of sounds to suit a cosmopolitan society still resides in hip hop, and the bullshit doesn’t.

For Gecko is a inoffensive dreamer, like the rare influential teacher who inspired a class, his songs drizzled with the utmost sentiments, and innocuous observations, sprinkled with humour. In which case his intelligent writing better fits indie rather than hip hop, his DIY stylistic choice of lo fi electronica reflects the contemporary, and will suit the mood of the narrative.

There’s three songs as examples to what I mean, before the one about the pigs. Geology opens with a retrospective thump, elucidating the overall theme of The Big Picture rests on environmental concerns, though nothing about Gecko’s delivery is vexed, rather calm and reflective. Darn it, it’s a good start, I expected it would be. Though the second track threw me, in general the humour is subtler than 2020’s Climbing Frame, the sentimental wordplay remains, and this one, It’s You (That I Find) parodies a conventional love song, using a jazzy beat and favouring singing over rap, as if Jamiroquai is a Gecko tribute!

Whereas the third tune, In This Tree, raps over a tropical or tribal bassline, Iko Iko fashion. Gecko always fits the sound’s style around the narrative, in this case a luxuriant rainforest, the next a racing acoustic guitar celebrating the Tamworth Two’s break for freedom, orchestrated for the uplifting sentiment, kazoo applied for tongue-in-cheek underscore!

If heartfelt sincerity is key throughout The Big Picture it builds in layers of emotion. The Dawn Chorus is a piano based ballad to the morning reflecting an awakening, like the most memorable primary school assembly you’d ever be blessed to be present at! The lounge-jazzy Family to Me follows, extending the positive attributes of friendship. It’s a lengthy journey of goodness, ten family-sized tunes. The Lost Boys beautifully tells a story of precisely what it says on the tin, and the sense of adventurousness is so overwhelming you assume it’s a memory, only using J. M. Barrie as an analogy.

Gecko at Trowbrisge Town Hall 2022

Being The Tamworth Two has a backstory, I assume Bowling in Madison has too, but how Gecko makes the motivation of a bowling team so concentrated and purposeful, one can interpret it more vaguely, as the importance of any achievement. But if the run up to the finale has become the best possible saccharine vibe, the penultimate Take a Look Around is a formulated Gecko at his best, with the observational and uplifting rap sprinkled with humour. And lastly, The Universe is another lounge jazz parody which is the most perfect ending to a live show ever. It’s a goodbye message which incorporates every golden element to this most perfect album, the mindful study of deeper meaning to the everyday, pondering the stars above, and everything in between which nature gifts us with. 

It is, in short, beautifully executed with the best ingredients, thoughtful prose and ingenious blending, the sum of which can only leave you spellbound. Do not delay, listen to it, tomorrow, your ears will thank you.

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A Gecko in Trowbridge Town Hall

It’s always a warm greeting as you enter Trowbridge Town Hall, even if, like me on this occasion, you’re running late…..

Prior to my arrival I digested the fact I’d likely forgone the supposed support act, Gavin Osborn, but was dammed if I’d miss Gecko, as since reviewing his sublime second album Climbing Frame back in October 2020, I’ve been aching with the understandable desire to see him pull it off live.

Mellowed piano song oozed from the humble hall ahead, oh no, I figured, Gecko has already begun. Such it is that Gavin recently resigned event coordination at the hall to the capable hands of then sound engineer, Kieran Moore, I assumed he was billed as a kind of farewell to his previous position, unmindful I’d emerge from the Hall a Gavin Osborn fan too. Even by the evening’s culmination I was also dubious of suggestions the two were collaborative, or if it was just banter between them.

But it seems a tag-touring-team is a reality, and given I’d mistaken Gavin for Gecko in the vestibule, who could be more apt to work with for the reptilian-named poet-esque singer? For luckily, Gavin was still on the subtle stage, virtually stripped bare of instrumentation save a banjo, microphone, music stand and randomly placed hardback chair.

Yet a guy looking remarkably like photos I’d used of Gecko accompanied him on a piano, tucked away by a side door. After the song I’d made my stealth entrance to was over, the pianist sat behind me. Uncertain glances behind affirmed, if there was a gecko in the room it was undeniably him, giggling at Gavin’s witty prose. I suppose this, coupled with their styles so similar I mistook the pair, should’ve been damming evidence this was more than a headliner and support act thrown in for sentiment, but what can I defend myself with, naivety caused by surviving on powernaps?!

In this, is the delight of the communal venue too. If there’s a stage green room it’s unused every time I visit; awaiting performers merge into the audience. This is no venue for egotistical celebs, and with barely raised stage and modest lighting, it’s a non-gimmick venue which bases solely on performance rather than dazzling affects. Professionalism and proficiency given, if you can hold an audience spellbound with such minimal affects and props.

Both did with bells on, and while I suspected the case with Gecko, Gavin was the surprise element. Akin to Gecko, Gavin is more storyteller than singer, though splices of prominent points were executed through great folky vocals, and highly amusing prose. Unlike Gecko, Gavin’s baseplate is folk, who through exceptionally crafted verse reminded me of the sentimentality of our own folk hero, Jamie R Hawkins.

Perhaps more akin to Beans on Toast, lacking Ozzie tinge, through observational narratives he weaved through subjects with spellbinding accuracy, hinging on familiarisation; I identified with many, particularly the amusing banjo led ditty of an aged fellow sneaking out to gigs while his wife seemed blissfully unaware in her slumber! But with heart-melting twists, Gavin wraps them up amusingly, either echoing retrospective contemplation or hinting at his political stance.

Time for Gecko’s opening song; could be anything less than the hilarious start of his album, Can’t Know all the Songs, which counteracts those who shout requests. Virtually unplugged he executed highlights of the album acoustically, and gave us unheard of tunes too, passing off his lack of backing as witty repartee. Such as pausing the song to switch from singing to kazoo during an amusing and uplifting tale of the Tamworth Two pigs, Butch and Sundance, who escaped their fate at a Malmsbury abattoir in 1998.

On this note it’s appropriate to highlight the major reason Gecko is so utterly entertaining, for not through particular quality of musician, though he is a natural, rather his choice of content and subject is so original, and his method of metaphorically weaving it into a more general point. Who writes a song from the POV of escaping pigs, or a dog sent into space? But better still, who can bend such narrative into a point you identify with? It’s Jonathan Livingston Seagull, in song.

It’s a classic formula attributed to authors rather than songwriters, and Gecko reigns as either, acting with pseudo-confidence, encouraging audience participation to save him hiring a gospel choir, planning out a cliché encore by hiding behind the piano, even submitting profit margin differences between buying his CD here and streaming his music.

I think I put too much emphasis on hip hop in my album review, as his rap-fashion tendency contradicts his indie-pop overall, making it his unique style, part nerdy, part too cool for skool, but through stripped back live performance it is clear his devotion is with the latter, indie-pop acoustic goodness. A fashion with ageless attraction. But whatever pigeonhole you opt for, it’s undeniably entertaining.

If I’ve an only criticism the show was too short, the comeback is both Gavin and Gecko can suck you into their stories so time passes unnoticed, coupled with my late arrival of which I’ve only myself to blame!

Another wonderful evening at Trowbridge Town Hall, building a reputation for introducing a variety of interesting and upcoming acts, affordably; you need to be putting future dates in your diary.

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Song of the Day 38: Gecko

Never fails to bring a smile, Gecko breezes the feel good factor once again with this heartwarming, summery song. Backed up with the most wonderful video produced by Cas Janssen out of many quirky self portraits sent in from worldwide fans; how utterly brilliant can you possibly get?!

And that’s my song of the day!! Very good, carry on…..

Song of the Day 5: Gecko

Okay, so I’ll be brief; we’ve mentioned Gecko quite a lot recently and I wouldn’t want him to get big-headed! Can you imagine? That was a joke by the way, because in some light one could describe what Gecko does as rap, and could you imagine, in your wildest dreams Gecko being conceited? He’s got to be the most unpretentious rapper ever, though that’s not saying much; narcissistic is the occupational hazard of the average rap star.

If you ain’t got something nice to say, rapper…… Ah, that’s why Gecko is a breath of fresh air. if you need any more proof of how good he is, here’s yesterday’s released video of the title track of his album. Over and out. Have a good rest of the day. Carry on….

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Wiltshire Council Ask Gecko For Road-Crossing Song.

Not to make you feel old or anything, but Tufty, the safe road-crossing squirrel turns sixty this year, the Green Cross Code Man is not far behind at 51. Not too long before they’ll need some assistance crossing the road themselves, I don’t doubt!

Popular as retrospection is, Wiltshire Council have rightfully recognised a CJI Tufty makeover might not be best, and the Green Cross Code man is fighting his own conflicting interests between the Sith and Jedi.

How to teach kids to cross the road safely, needs a fresh approach….

They assigned Creative Studios to come up with this little masterpiece of a green cross code safety vid, and I couldn’t think of anyone more apt than the mighty Gecko to produce the song.

Yep, this works on so many levels. “I loved being a part of this project,” Gecko said, “I love the variety that this music life brings.” Well done Gecko, and a great choice by Wiltshire Council.

On the Climbing Frame with Gecko

If our last music review from Ruzz Guitar impressed me for its exploration of traditional blues styles, note I’m not conventional and you need not rewind progress to appease me; I love Climbing Frame, the second forthcoming album by London-based Gecko, equally, but for completely opposite reasons.

Partly, it reminded me of the time Louis Theroux rapped for one of his “Weird Weekend” episodes. In the mockumentary Theroux was advised by the US rap producers to “keep it real,” yet upon drafting lyrics about eating cheese and driving a compact car, sardonically citing as that as what is real to him, they contradictorily sniggered it off and recommended he rapped on cliché subject matter; bling, hoes, cold cash, etc.

If commercial US hip hop has lost its direction, UK rap thrives and remains faithful to the origins by pushing new boundaries. But if you feel the midway “cocknee” chat-come-singing style, the likes of Lilly Allen and Kate Nash, has come of age and flatlined for being samey, Gecko is a refreshing breeze of originality, and so multi-layered it’s difficult to pin it down and compare. Fact is, I’m uncertain defining it as “rap” is a fair shout, as hip-hop fashioned beats here have been left to the bare minimum and what we have is intelligent chat, often thought-provoking or comical, which slips into song over either acoustic indie guitar or retrospective electronica pop; as if Scritti Politti met the Streets.

If you’re contemplating, sounds rather geeky, I’d reply ah, it could head one of two ways, and in the hands of many it’d be bad news, but I’m happy to report Gecko accomplishes it in a proficient and highly entertaining way.

Awash with sentimental or witty verses reflecting on all manner of unique themes, the bulk of Gecko’s thoughts are honest observations, whole-heartedly personal, often retrospective anecdotes. Gecko does not uphold the ego or bravura of prominence; rather like Jarvis Cocker, there’s a contestant notion he’s opening his soul and depicting his innermost feelings, but is never without a punchline, and never afraid to show compassion. After a spoken word intro, for example, the opening song, “Can’t Know all the Songs,” is an upbeat riposte which any live performer could identify with; the annoyance of an audience shouting requests he doesn’t know. It’s ingeniously droll.     

But if the opening tune cites Gecko’s mature issues, the title track follows on this juvenile running theme, reflecting on childhood. The climbing in frame in question is a fallen tree, an amusing photo of Gecko estimated age of eight as the cover design reinforces this notion. Gecko perceives the unusual and expresses it inimitably, here, a reference to an age where we once recycled nature’s way for childlike kicks. Hope that the youngest people in this world will turn the apocalyptic hand that they’ve been dealt into something positive that we have not yet seen; “they weren’t trying to be symbolic, they were just having a laugh, but where most saw an obstacle, they just saw a path.”

Soaring does similar, but reverting to a simple acoustic guitar riff, it highlights the awe of childhood innocence in discovering something they think is exclusive, only to be knocked back by their parent’s clarification. I can’t detail it anymore without it being a spoiler, but believe me, if you don’t see yourself in this song and laugh out loud, you must’ve been born an adult. However, Gecko twists the narrative with genius writing akin to John Sullivan, and completes the track with a sentimental and virtuous moral. Hence my concern of my comparison; UK rap is not nearly multi-layered enough; don’t know why I even mentioned it really, only in desperation to pigeonhole this unique sound.

After this other recollection, Gecko proceeds to explain the theme of the next song, and performs a sublimely sentimental tale of Laika, a Moscow stray used to send into space, from the point of view of the dog. Perfect example of what I’m getting at with my originality angle; who dreams up a theme for a song on this subject? Gecko is part songwriter part author, Jack London in this case, and a damn good one to boot.

Furthering the childhood theme and his unpretentious tenet, he takes it to the next step with a real recording from his childhood, displaying the roots of his talent.

It’s a chockful album of twelve tunes, Breathe maybe the most commercially pliable with uplifting eighties synth-pop goodness. Yet Always and Pass it On plod like nineties indie anthems, Stereo MCs fashion. Whereas there’s a piano-based ballad, All I Know, and whoa, back to acoustic splendour with an immature narrative called A Whole Life. Here, Gecko writes from the perspective of a child just started primary school, giving a speech to a reception class about his experiences in ‘big school.’ This is, quite simply, ingenious writing and played out with sentiments so ultrafine and intelligently placed, you could listen to Climbing Frame over and over and still pick out elements you may’ve missed.

Best start then, as it’s released this Friday, 23rd October. It’s so multi-layered and original I’d highly recommend it to anyone, loving any genre, with an open mind, and perhaps a twinkling for nostalgic dreams.