Third
in the recent run of local ones, this; a “Songs Of Praise” night from that
excellent and under-appreciated two-headed promotion beast Dave and Ed, and
this one also represented the first of a clutch of gigs attempting to bring some
higher-profile names to the ‘don, for the Swindon musical fraternity’s general
consumption and delectation. Johnny Foreigner and Faith No More’s Chuck Moseley
in the pipeline, but for starters here’s Piano Wire, the band who emerged from
the wreckage of The 80’s Matchbox B-Line Disaster. A band I was never really
enamoured of, in all honesty, but checking out Piano Wire on YouTube, they
seemed more coherent and tuneful, so supporting this venture was the least I
could do…
Picked
up the like-minded Dean, and parked in our usual spot for a walk up the hill
and a convivial drink in an unfortunately deserted looking Vic. Joined a very
small smattering of folks (mainly the other bands, from what I could see)
downstairs in advance of openers Sea Mammals, on at 9. Apparently vocalist Adam
had a hand in arranging tonight’s gig through connections with Piano Wire, so
props for that. However I wasn’t sure about his band, as a dirty and beefy
blues rock instrumental opener segued into a tub-thumping and hairy-chested psych/
proto metal follow-up. Uncompromising and hostile (no word or acknowledgement
to the crowd between songs), their numbers were either thrashing dystopian
hellrides, or primordial howls from hideous creatures violently birthed into nightmarish
prehistoric swamps, half-formed and inarticulate. Possibly the band least
likely to attempt a cover of “Shiny Happy People” I’ve ever seen, they should
change their name to Primal Scream if that wasn’t already taken – it would fit
them more aptly than Gillespie’s lot! Did I enjoy them? Not really sure… endured them would be the better word
here…
Dead
Royalties, next up after a short break in the pub to regain our hearing, were however
a much more together and listenable proposition. Their itchy, insistent and amphetamine-fast
opener recalled the likes of Placebo, early Biffy Clyro and even the Sex
Pistols in its’ strident chorus and iterative guitar groove, whilst subsequent
others featured some taut, angular math rock rhythms and Primus like stop start
herky-jerky structures, whilst still retaining an ear for hooky and loud
guitar-propelled terrace chant choruses, bellowed by the blond vocalist for all
he was worth. “Bring Out Your Dead” was a tuneful little rocker which featured
some Matt Bellamy-alike falsetto, whilst the subsequent number (about the
descent into madness, apparently, so a cheery ditty!) recalled the dark
art-rock of “Dirk Wears White Sox”-era Adam And The Ants, and thus was my
favourite of the set. Young blondie collapsed at the conclusion of final
number, the buoyant punk rush of “Do You Feel Good”, having put a shift in and
garnered a favourable impression in the process. Coherent, inventive, tuneful
whilst still being challenging, this was a band I’d like to catch again.
Ultimately,
the same could be said of the headliners! Beef joined us midway through Dead
Royalties’ set and we chatted in the bar afterwards, before I wandered back in just
after 10.30 for a word with co-promoter Dave during Piano Wire’s soundcheck.
However the chat was cut short, as da Wire perversely decided to launch,
intro-less, into their set… They kicked off in front of a sparse crowd with a
swaggering, strutting Stooges/ Heartbreakers NYC proto punk bluesy groove,
overlaid by an impressive dual vocal attack from the two guitarists. This seemed
to set the tone for their set, with influences such as 70’s proto punk and
heavy glam informing their sleazy, growling and primal material, making me
think they would have been right at home in the recent 70’s New York cocaine
and sex-soaked record biz drama “Vinyl”, blowing off The Nasty Bits for the
honour of house band. “Fifteen Year Comedown”, an unhinged punky thrash with a
lovely descending guitar line and a great hooky chorus, was my set highlight,
although closer “All Roads Lead To God” ran it close, with young guitarist/ vocalist
Sean launching offstage early doors, before its’ sinister groove reached a
thrashy climax leading to a lengthy Bob-Mould like ear-splitting feedback fest.
Complimented
Sean during a chat with Dave afterwards, then left the boys in the pub and
headed off for a post-midnight arrival home. I confess there were a few Piano
Wire numbers I didn’t enjoy (notably the faster, more 80’s Matchbox-like
numbers such as “Hooligan in The USA”, but there’s a promising band here, who
play with commitment, energy, attitude and a strut and a swagger. I’d certainly
catch them again – and in a bigger (and hopefully more populated!) venue next
time, more likely…
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