by Jaq Inglis / January 1st 2014 / No Comment
En route to the venue after crossing the bridge down from Jamaica Street, I encounter more than a few pairs or young gents who had been, I assume, politely asked to leave the venue after apparently “…just drinking a pint man!”. Their pleas and complaints fall on deaf ears however, as I am mentally otherwise engaged, looking to get to the Academy as soon as possible. These also come amongst oddly frequent requests for directions to either the nearest bank machine or bookies.
Having missed a couple of tunes, I interrupt “Tragic Magic” on arrival sounding as tight as always, time signature change and all. The content of the set is slightly unusual, with some tracks that rarely receive an airing; oddly this includes “The Don”. Odd in the sense that although, it doesn’t make sense to complain or not expect variation in a set from a band with five studio albums as one of their best tracks it should be included more often than not. It is in fact so rarely played that it may well have been the ‘surprise’ the band had promised the fans who would be in attendance but a few hours earlier on Facebook.
The band flutter between the old and the new with Kyle taking to the keys for a solo rendition of “Tacky Tattoo” and then “Face For The Radio” joined by the rest of the band for the latter as arguably the sing-along of the night. Kieran notes afterward “Aww he’s bonnie isn’t he?” Then the older tracks of “Skag Trendy”, “Wasted Little Djs” and the double tempo “Wasteland” followed by the far newer “Kill Kyle”, “How Long” and “Sour Little Sweetie”, the last of which lacks attack.
An extension of the old/new theme can be made to the crowd as well this evening. As well as the aforementioned youngsters are a large portion of presumably well seasoned gig veterans. The range out tonight includes mid-thirties couples following the band from the first record to older gentlemen who wouldn’t look all that out of place at a UK Subs gig. The younger ones are revivalists also in a sense wearing the Harrington jackets and Dr. Martens worn by their parents and uncles. It’s very much full circle in a sense.
They end with some of the hits in the trademark punky style which accounts for a lot of the generation bridging their music does, still musical and melodic but played with a ferocity and accessibility as many of the bands they are influenced by. “Superstar Tradesman” unites all groups in a sing along to rival “Face For The Radio” earlier. Also with the semi-inaudible “Sunday” played late on in the set the band finish strongly. Kieran thanks the fans for showing up on a Wednesday night but if this evening’s gig is anything to go by, the boys could play Glasgow on the 32nd of December and the place would be full.
by JSS / October 25th 2013 / No Comment
In a world where auto-tune and over production are industry standard it is refreshing when something comes out that is so polar opposite. Though the cue was taken from today’s pop music in the durations set for these noise masterpieces, these compositions are a far cry away from JT’s “Cry Me A River”. Jeff Carey‘s [3:30] album was released this past Monday on Forwind by way of CD and Download formats. I had listened to the teaser stream and the bonus track entitled “ffmod” posted back in September over and over and over again. But, nothing would have prepared me for what was contained within the sonic chambers of the full [3:30] experience.
This 6 song symphony of sound juxtaposed with chaos and long stills of almost nothing starts the only way I’d expect it to. The first track “Ballast” comes in with murderous hits, cracks, and drills. It’s hard to put into words exactly what you are listening to. And, that’s what I love about Mr. Carey’s tracks. But, somehow Jeff has forged a signature sound. I have been listening to noise for awhile now. I haven’t hear anything quite like it.
[3:30] as a full body of work is not just a digitally distorted camero with the gas pedal to the floor going through a time warp. It is dynamic and almost peaceful at times. With tracks like “Phosphor” and “Node” where you find yourself lost in an ambient sound scape of breathed gesters and things off in the distance. I admire Jeff’s way of knowing when to hold back or be minimal in his approach while yet still having some sort of rage you can’t quite pinpoint but you know it’s there and you can feel it and it’s about to burst and you like it.
I have seen Jeff live countless times. I got a chance to see him at one of his most recent performances at Club K where he performed a few of these new tracks live. Being a drummer for over 15 years I tend to latch onto the rhythm of any song I hear. Even in noise I somehow subconsciously makeup a beat I bop my head up and down to. I noticed that I didn’t have to magically make an esoteric drum section for Jeff’s performance. It was already there. Tracks like “1001” make you feel as a drummer or drum machine is being forced through a grinder with a distortion pedal in the chain.
It’s a very purifying experience listening to Jeff Carey‘s works on [3:30]. It’s not for everyone.. But, it sure is hell for noise enthusiasts like me. But, hey.. If you’ve never listened to a “noise” artist before or haven’t gotten down with that scene. Try it out. You might just like this one.
Jeff has his album release party this evening at The Red Room (Normals Books & Records ~ 425 E. 31st Street Baltimore) with: Seaton XOXO, Christopher S. Feltner, Guillermo Pizarro, and Justin Marc Lloyd. Check out the Event Page for more details!
, Jeff Carey
by Monica / August 29th 2013 / No Comment
by Monica / August 15th 2013 / No Comment
by Monica / August 13th 2013 / No Comment