Tag: london

Old Habits of Treetop Flyers

Mega-retrospective bliss, this album from London’s Treetop Flyers, got me reminiscing…..

An expression of mixed emotions hung on my dad’s face as he sauntered past my bedroom. “What you listening to?” he grumbly enquired. He’s joined the dots between my music listening habits and his diminishing record collection, “yeah? I used to have that album….”

Property is theft for the anarchist, least this isn’t even theft, just relocated within the same household, and I’d like to think, flattery and the notion his records were getting revitalised befell my father. Not my fault this was the mid-eighties, a void between creative post-punk electronica and house, when we, the youth, were fully aware the hit factories was mugging us off with a monotonous catalogue of samey bullshit. Finding good music prior to my own days was a must, and we hadn’t YouTube, we just had these treasure chests of hand-me-down records.

Everything about Treetop Flyers’ new album, Old Habits suggests I should despise it, yet nothing could be further from the truth. The divine retrospection delivered the aforementioned fond memory; close your eyes and you can see the Ronco logo revolving at 33rpm on a mahogany music centre. My mind even sees the autochanger arm hinged aside. The only gender neutrality in the seventies was hair length; ladies played singles, men albums, big, hairy men with chest rugs you could lose a prawn cocktail in. And Old Habits could’ve nested between those long-players, not looking out of place.

This is Old Habits’ follow-up to 2018’s critically acclaimed eponymous album, which held a distinct American West Coast vibe, yet Old Habits moves away from this, guiding into the wonderous era of seventies British rock n roll pop; absorbing late mod soul, subtly hinting at psychedelia, but wallowing in Carnaby Street cool. Just like its influences, the Faces, Van Morrison, George Harrison, The Who, Ronnie Lane and Traffic, Treetop Flyers has produced a mellowed masterpiece now, which if it was recorded back then, would remain equally classic.

You will tingle akin to the saxophone riff of Gerry Rafferty’s Baker Street throughout this absolutely spellbinding journey, that much I guarantee. Treetop Flyers were formed in 2013 by frontman Reid Morrison, Laurie Sherman and Sam Beer, who met whilst playing in other projects as part of the West London folk scene. I went in blind, this is their fourth studio album, I was unaware of them, I came out the other side overwhelmed with a sense bliss.

From the off, Golden Hour, the opening track sets the scene; drumbeat retrospectively sublime, the piano and guitar combo marries, vocals enchantingly cool, and the tempo of each following tune blends into another; you’ll be tingling by the second tune, Dancing Figurines, hooked by the third.

If the horn-blowing Cool Your Jets is the most upbeat and beguiling, with essences of scooter culture, Castlewood Road calibrates the whole album and brings it to an apex. It’s dripping of Curtis Mayfield, or how you’d like a later Weller song. The theme is a street on Stoke Newington which the band’s lead guitarist Laurie Sherman lives, and the accompanying video was shot in Laurie’s house. “There have been many a British song about places where people lived or grew up and this is our kinda take on that,” explains Morrison. “We spent a lot of time there over the years writing and chatting, drinking coffee listening to records etc and Laurie actually mixed the new album (Old Habits) in that house too. So, I guess it’s a love song and thank you to those walls really.”

After a couple of listens I’m determine to dive deeper into this, and come out singing the songs; if you need me, I’ll be in a beige flowery shirt flowing across an oversized belt buckle, slouching in the corner of the front-room of a house party in 1976, next to the lava lamp, bellbottoms swishing, with headphones fit for Godzilla affixed, paying attention to nothing other than this absolutely gorgeous album.

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Freya Beer’s Beast

Driving my inner-goth, I’m comfortable with this, because London-based Freya Beer’s voice is hauntingly alluring, similar to Nina Persson of The Cardigans, or more obviously, Siouxsie Sioux, rather than the gritty vocals common with arch art-rock. So, despite not being the black hair dyed and leather friendship bands type, I devoured this long-awaited debut album, Beast, with the emotive response it evokes, and thoroughly deserves cathedral-sized praise.

Beast is out today, 7th October 2021, via her own Sisterhood label. I’m going to nail it to a few words after only an initial listen prior to this review, lyrically it needs time to fully digest with the clarity it warrants, but I can appreciate the echoing expression and exceptionally grafted narrative of disheartening passion. Savour it, this is a keeper.

It’s perhaps the crashing drums, almost the Burundi style slued upon eighties post punk pop by Malcolm McLaren, through Bow Wow Wow and Adam & The Ants, added with Fuzzbox frenzy, which gives it this welcoming retrospective tangent, or the mainstay All About Eve feel of the aforementioned sublime vocals, like Kate Bush at her darkest moment.

Yes, Beast is all these things, yet a contemporary, calculated record of primal power and animalistic instinct, carnal; hence its name, I guess!

Expressing her joy at finally setting her first collection of songs free, Freya Beer said, “it feels really exciting that I’ve released my debut album. I would never have been able to achieve the album without the incredibly talented people I met and worked with along the way. At my upcoming live shows, you can expect everything you hear on the album because my band is bigger now.”

Recorded between studios in Manchester and London, ‘Beast’ features longstanding drummer Owain Hanford on percussion, Arnoldas Daunys on bass, and lead guitars from Peter Hobbs (The Boy Least Likely To), who also produced the album. Additional contributions come from Dave Fidler and Andy Hargreaves. The album artwork was photographed by Paul Johnson (Say Goodnight Films), accompanied by Jupiter – the Sphinx cat.

Swiftly following the album’s release, Freya will be embarking on a major UK tour throughout November and December 2021. Full dates and details on the website. Closest to us is The Lanes, Bristol on Wednesday 10th November, or on Sunday 5th December at The 1865 in Southampton.

It conjures visually like Hieronymus Bosch, literate, a tangle of Edgar Allan Poe, but through sensual masochism, felinely elegant but eerie, all unpromising, like goblins will materialise out of inimical misty woods to corrupt your most emotive moment, or, something like that!

Website: http://www.freyabeer.com

Facebook: @freyabeerofficial

Twitter: @freyabeer

Instagram: @freya_beer

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Spearmint’s Holland Park

As spacey as Spaceman 3, I get a whopping chunk of cleansed retro Madchester with the opening of Holland Park, the new album from one of ‘Britain’s best kept secrets’, Londoners, Spearmint. The album drops tomorrow, September 17th, on WIAIWYA Records, and is produced by acclaimed journalist and musician Rhodri Marsden, known afor playing in Scritti Politti.

Story checks out, with there’s a clear Scritti Politti influence going on here, The Boo Radleys, Belle & Sebastian comes over in waves too. The follow-up to their acclaimed 2019 album Are You From The Future? This is one rich, uplifting record.

It mellowly plods but picks up with the third tune, Walk Away From Hollywood, only to be followed by a strings-based honour to Bowie, in a kind of Mike Berry’s Tribute to Buddy Holly. Shirley Lee, frontman of Spearmint explains the meaning behind the first single released from Holland Park, “Since Bowie Died isn’t about David Bowie, it’s about the rest of us. I remember hearing the news at the start of 2016: it didn’t seem real. Then as things came to pass that ear and since, I felt like our world had become a harsher place from that moment on, as though it had ‘opened the floodgates’. I know others felt the same way, so we wanted to capture this feeling in the song, but add some hope too.”

The spirit of Bowie courses through the record as a leitmotif, and hallmarks their typically sublime mellow brit-pop infused melodies. A record that “explores what it’s like to be in a band, what it’s like to have walked away from being in a band, what music means to all of us, and how it feels to lose your heroes.”

A concept album in the vein of the subject it depicts, Holland Park has a running theme of a seventies rock group who never quite hit the big time, based on the singer Shirley’s father’s band. It comes to its apex at The Streets of Harlesden, the following title track with an everyday chit-chatty quality, similar to Scott Lavene we reviewed yesterday, and a striking instrumental called Black Vinyl. All mood setting like a slumbering Who rock opera. There’s a dreamy but uplifting ambiance here, and it’s beguiling.

Once it winds back to the mellow Britpop for a few tunes, the penultimate is the oddity, a sudden blast of sonic punk, called She Says She Wants to Save the Pigs, and it returns with its hallmark for an uplifting romantic finale.

Spearmint plan to premiere the album live in London in November, followed by shows in Brighton and Bristol, with further gigs being planned for 2022.

win 2 tickets here

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Everything You Are, Onika Venus

You remember being given some coursework, when back in higher education, with various objectives and your task was to choose one to complete? Not really wanting to do it, you go to the student at the top of the class, and ask them what they’ve done. They reply, “ah, not much,” and this gives you the cue to do absolutely nothing. Then, on the day of handing it in, they’ve unexpectedly produced the single-most awesome project, covering all the objectives in one ingenious combination, and you stand there with zilch, except a jaw hanging and an implausible excuse, which you made up on the bus coming in?!

I’d imagine Onika Venus to be just like that. Now Bristol-based, Jamaican-born Onika plays Trowbridge Town Hall on September 18th, so, given reggae is cited as an influence, I thought I’d check out her debut solo album, Everything You Are, which was released back in March.

The title track was chosen as Songsmith’s Song of the Year 2020, and it’s easy to hear why. I’ve not been this blown away by a female vocalist since discovering Minneapolis’s Mayyadda.

Immediately this pushed my buttons, but if this opening title tune is decidedly acoustic blues, with a distant harmonica resounding in the background, there’s a truckload more going on than the first impressions here.

The premise from the beginning is as simple as, Onika Venus has the prevailing soulful voice to carry whatever genre is thrown into the melting pot, and drizzle it over you like hot sauce. It only leaves you pondering how far she will take it. The second tune I pigeonholed as RnB pop, a contemporary Macy Gray or Erykah Badu, aiming for chart success. When I’m Broken carries this concept to a higher height, and is simply, the model formula of popular music every song should aim for.

Yet, three songs in and here comes the Caribbean influence. Friday Love has a clear mento feel, it’s immediately beguiling, a good-time chugging song in the face the despondent romance theme. This will occur again towards the middle the album with Who’s Been loving You. Again, with Shotgun there’s similar appeal, perhaps the most definable as “roots reggae,” and, for me, they’re the favoured sections.

But it swaps back to the mainstay for track four, steady soul with an orchestrated ambience; Everything has its Season, is the ideal equilibrium to bless that heavenly voice and compose this euphoric moment of bliss. After a surprising modern dancehall intro, we’re back to an acoustic guitar riff for the poignant The Storm, using sax to mitigate jazz. I Need You, though, has kick-ass funk, Ike & Tina Turner in their prime.

With only three tunes to go, just when you think influences have been exhausted, there’s a duet with a male voice, supplied by husband, Mark, Mary, sounds classic Americana, as if Joe Cocker just walked into the studio and said, why don’t you try this?!

To keep you guessing what the last couple of tunes will hold, yeah, folk is strapped onto soul, Reaper Man aches of Aretha Franklin, but by this point you just know Onika Venus can carry this off with bells on. Raising the bar of comparisons is justified, believe me. For when it’s funky I’d give you Randy Crawford, Chaka Khan, and when it levels with acoustic and folk, her voice dishes out notions of reggae heroines, of Phyllis Dillon or Marcia Griffiths, and the gospel finale, yeah, Aretha will be justified, if not Sister Rosetta Tharpe; it is this magnificent.

Yet, unlike all these aforementioned legends, the style here is not monocultured, neither does it jerk from genre to genre without consistency and flow. Onika Venus gives volumes to the eclecticism, and it moulds efficaciously into one melting pot, beautifully. Prior to this solo launch, in a band called Slyde, her voice customised their breakbeat, techno and house style, to great effect, and I can well believe it. The flexibility of her skill is captured here, I’d imagine as comprehensively as she chooses personally, and just as the student who bursts in effortlessly, with the homework complete and to an exceptional standard, Onika Venus makes this look easy!

Win 2 free tickets here!

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Cult Figures; Deritend, Yes Mate!

It’s not just me, is it? Eighteen seconds into the Cult’s She Sells Sanctuary, you know, when it breaks, and you’re like, that’s it, right there. It matters not what youth culture you were into, at the time, or even now, it doesn’t give a hoot about your favoured genres, haircut, colour of anorak, age, gender or race, it just does it, and you, you’re like, as I said, that’s it, right there.

Something similar happens with this Cult Figures album Deritend, out last week; heck, if they haven’t even got a comparable name. Perhaps not so nostalgia-filled, as these are all originals, though the sound harks back to an era or yore, when cookies were in a biscuit barrel rather than your web browser, Tories were governed a demoness made from iron rather than a clown made of teddy bear stuffing, and a wet wipe was when your mum spat into a handkerchief and wiped it over your Space-Dust covered chops.

Mind, as happens when I’m sent files not numbered, it lists them alphabetically rather than in the running order, so the opening track is actually the penultimate Camping in the Rain, but it makes the perfect intro into the world of these London-based masters of retrospection. From its off, it’s, well, off, leaving me to reminisce about those classic post-punk new wave bands of the eighties. At times though, as it’s a mesh of this and reflective of the scooterist mod culture of same period, I’m thinking of the likes of the Jam and Merton Parkas too. Contemplate the musical differences are subtle, though worlds apart at the time, and this sits comfortably somewhere in-between.

To add to their perfection of authenticity, one must note this is the second album from Cult Figures, and is comprised of tracks written in their earlier incarnation between 1977 and 1980, just recorded more recently.

The real opening tune, Chicken Bones, has the same impact, something beguiling and anthemic, setting the way it’s going to go down. Donut Life, which follows, sounds like carefree pop, the Chords, for a comparison. In fact, as it progresses the guitar riffs of next tune, Lights Out, is sounding more pre-gothic, Joy Division, yet with a catchy whistle more akin to The Piranhas. Things get really poignant with Exile, almost dub Visage meets the Clash, and Omen extenuates the seriousness of a running theme.  

“Deritend draws a line under the past,” they explain, “all eleven tracks composed and recorded since our 2016 comeback, simultaneously reflecting a maturity gained in 40 years of life experience, whilst still embracing the accessible three Ps of the early days; punk, pop and psychedelia.” The album’s title owes to a historic industrial area outside Birmingham’s centre, “a few miles from where Gary and I grew up.”

The mysterious iconic name was a bus route terminus and has a strong emotional connection to the band, “evoking the nervous excitement of those long rides into town on our way to Barbarellas. But it conveys so much more: Deritend is an album that reflects on the past, speculates on the future, but for the most part is fairly and squarely a comment on the lives we are living now.” They convey this well, for through its retrospection, subject matter, growing up with the dilapidation of a working-class industrial chip, could equally apply to then, or now.

A timeless piece of art within a captivating musical style which embraces the traditions of generation X, just curled up at an edge like an old poster on the congregated iron fence of a closed factory. I mean Silver Blades and White Noise crave you dive back into punk; there’s a definite Clash feel to the latter. As girl’s names for titles generally do, Julie-Anne is archetypical upbeat but themed of desire, and the sound of it is particularly challenging to pin down, there’s Weller there, but a drum roll you’d expect Annabella Lwin to surface from (of Bow Wow Wow if you need to, Google it, youngster!)

Most bizarre and experimental is the brilliantly executed talky sound of Concrete and Glass. Cast your mind back to 86, if poss, remember Jim’s tune, yeah? Driving Away From Home by It’s Immaterial, and you’re not far from the mark.

The aforementioned Camping in the Rain which could’ve been the opening track, is next, and it’s the epithet of all we’ve mentioned. This combination is not juxtaposed cumbersomely like a tribute act, rather the genuine article lost in time, and it, well, in a nutshell, absolutely rocks. The finale, Privilege is plentiful to summarise; Clash-styled punk rock, themed on the expectations of irritated propertyless youth, akin to Jimmy Cliff’s You Can Get It If You Really Want.

But, unless all you want is a zig-a-zig-ah and to spice up your life with commercialised bubble-gum pop, nothing here is oven-ready for criticism, just relish yourself in a bygone era, and rock.

The Lost Trades Live Stream their new album on Friday; tickets here

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Tankus the Henge’s Luna Park

London’s Tankus the Henge’s third studio album is released today (4th Dec.) Tis a quixotic rock’n’roll fable, a utopian realm of wonderment with ingenious prose and the composition of a variety performance….

Picked on this new release to scribe a few words about based upon Devizes Arts Festival organiser Margaret Bryant’s thrilled expression when she leaked booking Tankus the Henge for the 2020 line-up, that sadly never was. Yet, sadder is the reality of the era, where so other many events didn’t happen either, and the decline of live music venues. Such is the subject of this inimitable London-based group’s Luna Park, an album out today.

If the pandemic has been a catalyst for music production, and often the theme too, from all I’ve heard it generally focuses on the virus itself. Although Luna Park centres around the decline of music venues, an allegory for what is happening on London’s Denmark Street and all across the UK, one should note while it may resonate of lockdown fever, it was actually recorded during the winter of 2019.

Though nothing comes across melancholic with Tankus, it’s all clouts of glam-rock and funk wrapped in a showy, big top magnificence. They describe their sound as “five-wheeled, funk fuelled, open top, custom paint job, rock ‘n’ roll jalopy that comes careering around the corner on a tranquil summer’s day, ruining the silence and disturbing the bats.” While rock n rolling songs blast, there’s refined moments, as with The only Thing that Passes Here is Time, but it’s gawdy big band fashioned horn-blowing. Picking it apart there’s so much on offer here, like a variety performance in one album, and for this, despite I’m grinch for glam, it’s ingeniously composed and addictive.

Glitterlung, is borderline downtempo “Portishead” triphop, for example, while the incredible Susie Sidewinder comes across as if Lloyd Cole and the Commotions wrote Sgt Pepper. Of course, it relies heavily on the glam side of rock n roll, but there’s rudiments of everything; Deacon Blue to Zappa is showing a bit shoulder here. Each influence it throws into the melting pot is taken with a pinch and is wholly fun. Particularly noted for the amusing element, Staying on the Side of the Dirt was the tune which swayed me, it’s terribly Dennis Waterman theme tune fun, and I mean this is a good way! Chas n Dave are legends, given electric guitars and told to work with Noddy Holder, you might get something along similar lines.

During listening I pondered if this rock opera, and decided more on rock circus. I usually reserve that fairground comparison for the two-tone sound of groups akin to Madness, but it applies here too. It’s not a concept album as such, more a vision. A fantasy of a realm where creativity is celebrated and live music thrives. A place where venue closures are a thing of the past, and corporate gentrification is a non-entity. A refuge from greed and capitalism, and the salvation of independent music, free thought and good-times, packaged in dark, wry satire with a neon glow.

Speaking about the underlying themes at play, frontman Jaz Delorean said, “I don’t think the public knows the entire truth when it comes to the hardships and thin margins of running a venue, and most of the time we don’t want them to. They go out to have a good time and forget about life for a while. Thousands of people work all hours to keep venues, and festivals alive, and at the moment all of it is under threat. The ripples will be felt in every household eventually… We learned and started honing our skill in Denmark Street, in clubs like 12 Bar Club and Alleycat, both of which have closed. Jamboree, Passing Clouds, The Peel, 14 Bacon Street, Madame Jojo’s. All these venues were haunts of ours and are now closed permanently too.  We need to support these small venues so much more.”

Yet Luna Park is more then the sum of its parts, there’s gorgeous portrayals and the well-grafted, thoughtful characters of a novel, in disordered or decisive situations. If anything twisted my opinion on flares and glitter it’d be this very entertaining scrapbook of sounds.

https://www.tankusthehenge.com

1/2 Dove – 1/2 Pigeon with Micko and the Mellotronics

Had to chuckle to myself, trying to find this album stored on my phone I kept thinking about Mike & The Mechanics! Just, No, leave it; nothing of the sort, London’s Micko and the Mellotronics debuted last year with the single The Finger, the accompanying album 1/2 Dove – 1/2 Pigeon is due for release Friday (27th November.)

We’ve come so far since Television’s Marquee Moon, neo-avant-garde anarchism comes across cleaner this decade. You Killed My Father, now you must die, is a tune lesser aggressively executed than you might imagine from the lyrics. There’s a fairground, vaudeville style to Micko & The Mellotronics, wrapped in wryness, at times; which you don’t get with Sonic Youth, but unpredictably often spawned cringeworthy from the Velvet Underground.

Melancholic free, though; there’s nothing retrospective on offer, this is post art-punk, a distant cry from Talking Heads, feistier, it floors the vox, elevates to high-fidelity and fires on all four cylinders. At times it shadows Pulp, and at others Blur creeps in, but throughout, it’s fresh and exhilarant. Welcome to the eccentric and individual biosphere of Micko Westmoreland, actor and creative, hitherto renowned for solo releases and material as The Bowling Green.

The Mellotronics initially began playing out as a three-piece with founding member Nick Mackay (drums) and the enigmatic addition of Vicky Carroll (band “wicket keeper” and bass player). In 2018, the band were joined by revolutionary guitarist Jon Klein (Siouxsie & the Banshees/Specimen, and founder of the iconic Batcave club) who also adds his flare to their upcoming debut.

A stellar array of special guest musicians feature too, including The Specials’ bassist Horace Panter (a friend & collaborator who has worked with Micko on an annual charity record alongside Rat Scabies for the last 7 years), horn impresario Terry Edwards (PJ Harvey/Madness/Nick Cave) and alternative violinist in excelsis Dylan Bates (Waiting On Dwarfs/Penge Triangle), plus the late Monty Python/The Rutles/Bonzos great: Neil Innes. Early videos for featured singles ‘The Finger’ and ‘Noisy Neighbours’, have also seen the band working with actors Paul Putner (Little Britain) and Susy Kane (The I.T. Crowd, Gavin & Stacey) respectively.

½ Dove – ½ Pigeon is elated trialling, chockful of historical and philosophical references, palpably paranoid of a modern apocalypse and merged in citations to pop-culture, at times rocking, others a tad unnerving. But while power-driven guitar impediments contribute to the discomforting moments, off-kilter horns counteract it with this sardonic glee.

Contradictory this arrangement puts your defences up, akin to walking into a modern art gallery not knowing what to expect. I wanted at times not to like it, as tracks like The Fear does what it says on the tin, but Good Friend is having-it joyously and bought me around. If I remain undecided it’s due to my own personal preference, and have to tip my hat at the ingeniousness of the writing and composition. It took me some adjusting to fully appreciate, yet I feel those leaning harder to post-punk rock and emo-indie will take Micko & The Mellotronics as new idols.

This is especially true of the next single released from it, Psychedelic Shirt. A coming of age theme, eighties set, when the culturally cool was at loggerheads with Thatcherite careerism, and tribalism was rife on the dancefloors of the local disco. Micko sums his notions, “Psychedelic Shirt tells the story of venturing to an out of hours school disco in a dishevelled scout hut in Leeds. Where Top Man flick heads had seized upon my newly procured paisley shirt and sought about destroying it. I’d taken it off because I was too hot, left it on a peg in the boy’s loos. Later, I found the article, ‘mopped up in the fluid, screwed up in a ball’ on the lino floor as the song’s lyrics state. I was forced to make a choice between victimhood or empowerment but left contemplating shades somewhere in between…”

It’s one slick album, razor-edged rock’n’roll meets avant-garde pop-art meets satirical Edgar Allan Poe short story, but in a cracker of fun.

PRE-ORDER HERE: Facebook: Twitter:

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.

Grupo Lokito Brings a Cuban-Congolese Fusion to Devizes Arts Festival

Images by Gail Foster

 

Can’t come out to play today, despite the finale of Devizes Arts Festival is all totally free. Three fringe events across town; The Hot Club (opps, nearly typed hot-tub then) at the Three Crowns at 1pm, Josephine Corcoran reading her poems and an open-mike session at the Vaults at 5pm and last, but not least, they’ve Circu5 closing the festival at the Cellar Bar, Bear Hotel at 8pm.

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For me, what’s been the best Devizes Arts Festival line-up ever, came to an explosive and marvellous conclusion last night when the Corn Exchange filled with the absolutely unique and gorgeous sound of Grupo Lokito. A packed Saturday night of the widest demographic you’d expect in Devizes, proves word is out; they’ve made a fool of anyone who attains this pompous, straitlaced pigeonhole they’ve so wrongly picked up. It has been a surfeit of talented and quality entertainment, amazingly diverse, and something our town should be very proud of.

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My thanks and praises go to all the organisers, who’ve worked their socks off but retained a smile and positive attitude throughout. So as the band members of Grupo Lokito mingled in the foyer, there was an atmosphere of delight for if this sundry group blend into a city’s world music setting, they were certainly a breath of fresh air in Devizes.

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The further away our ears travel from our perceived impressions of music, taken from what we’re exposed to at home, the harder it is, I think, to pinpoint and define the variety of styles. That’s what makes world music so fascinating. But, without recognisable covers or pastiches, and such a free-flowing sound, it does make a review somewhat tricky to write. Not helped by our brilliantly informative interview with Grupo’s keyboardist and manager Sara McGuiness, who outlined the nature of the band’s style.

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It intrigued me, Sara labelling the sound of the Buena Vista Social Club nostalgic and polarized, despite its positive effect in spreading Cuban music, to just how this night was going to go down. Indeed, Salsa dance classes had congregated, with their magnificently sassy style and gracefully romantic moves, yet I questioned if the music fitted. Salsa dancing tends to make use of traditional Rhumba, this was definably not. It was contemporary dance, do-what-ever-you-like dance, so while the salsa dancers didn’t look out of place, some arbitrarily bobbed along (myself included) and others tried to mimic the frontmen’s choregraphed hip movements, like guests on the Generation Game, none of it mattered. The concentration was on pure enjoyment of this glorious and peripheral style of music and it was thus.

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Evenly paced throughout, I observed this Cuban-Congolese fusion ecstatically. Noticing African sounds, like township jive in a particular tune, only for the next to be decidedly Cuban, and what followed them, a curiously exciting blend of the two to the point it neither mattered nor favoured one over the other; it’s just marvellous music without labels.

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I tingled when popping back to the foyer to ensure Devizes Market Place still existed and I wasn’t at Womad, informing photographer Gail it felt like I was on was holiday, a holiday I couldn’t actually afford!

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And that, in a nutshell, is the indication of a quality and exotic night. A big group hug for the Devizes Arts Festival, what a super conclusion…. Can we book Ziggy Marley next year, otherwise how are you going to top that?!

 

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