'Wishbone Medallion' from Tom Brosseau's recent Bandstand Busking. Taken from his forthcoming album on Fatcat 'Posthumous Success'.



Check out another couple of songs and interview here: http://www.bandstandbusking.com/artist/tom-brosseau

CLOWNS - THE FREEBUTT, BRIGHTON, 4/11.08

Are you afraid of clowns?

If you’re going to form a band comprised of members of Electric Soft Parade, The Poppycocks, Brakes and Restlesslist then you’d be right to expect some surprises along the way.

A four-piece going by the name Clowns, tonight they make their live debut in typically unpredictable fashion. Decked out in creepy clown attire (you get the immediate impression that they would have been kicked out of the circus for scaring the children) they launch straight into what is sure to become the bands calling card ‘We Are The Clowns’ while front-man Miles stalks the stage, lost in the songs and his own musical world.

Guitarist Clangers scuzzy, garage rock riffs are a prominent feature throughout, especially in standout tracks such as ‘Trousers’ and the crazed, lurching ‘Terror In The Big Top’. Built on the solid foundations of Matt Thwaites’ bass playing and Thomas Whites drumming, Miles delivers his often sinister and peculiar tales.

Musically it’s a mind bending concoction - twisted and slightly disturbing yet darkly playful, managing to combine the rockabilly swagger of Eighties Matchbox B-Line Disaster with the pop sensibilities of early Squeeze, all underlined by frenzied Fugazi-esque guitar attacks. This proves to be one of their greatest strengths, combining such disparate sounds to create something truly cohesive and wholly unique.

Finally ‘She Says I’m A Clown’ brings things to a perfect conclusion, building to a climatic sprawling whirlwind of sound with all four band members chanting the repeated chorus. It’s fair to say that no-one else is making the sounds of Clowns at the moment – its primal, raw, rocking and ever so slightly fucked up. And all the better for it.

www.myspace.com/shesaysimaclown

Ian Chambers, Nov '08

DRIFT NIGHT 3 - WEST HILL COMMUNITY HALL, BRIGHTON 10/12/06

A blustery and stormy December night, tucked away in the backstreets of Brighton in a small community hall ? that's where they'll be found tonight - the Drift Collective. For around a year now the independent Brighton / Devon based folk label Drift has been quietly going about its business - in the process releasing a number of elegantly produced and magical records. Infact Radio 1's Huw Stephens liked them so much he made them his DIY label of the week. A quiet revolution perhaps? Quite possibly. This evening though sees Drift Night 3 - a showcase of four of the labels bands / artists.

Firstly we're treated to a welcoming solo set from Willis, tonight playing without the backing of his band The Tandy Hard. Not that this matters in the slightest though, as with or without a band, Willis' songs stand up brilliantly however they're played. Combining the rich and personal influences of Dylan and more recently Richard Hawley and Will Oldham, his songs are warm, intimate folkish tales that capture the contrasting emotions of love and life with brilliant lyrical effect. The stunning 'War Song', 'Desperate Measures' and 'Shrinking From View' being just a few highlights of an impressive bunch.

Next up is the lonesome figure of Birdengine, who proceeds to astound us with his haunting finger picked guitar folk tales, drawing you into his own strange and eerie world. Taking American alt folk duo A Hawk And A Hacksaw as a starting point, then stripping it down to something sparse, minimal, but none the less enchanting. With songs such as 'Alone With The Beast Folk' and 'You Gave Birth To A Horse' it all comes together perfectly ? seemingly placid on the surface but with a distinctly dark undercurrent. Birdengine is crafting his very own sound.

After a breather its back to the action, this time it being the turn of one half of the Drift label team RG Morrison - with a set of bleak yet positively uplifting acoustic tunes, the majority of which are taken from his debut record 'Learning About Loathing'. With Morrisons soft yet pained vocals, and some delicate guitar work, the effect is not dissimilar to that of Nick Drake, with highlights being the tender 'Ruder Me' and 'Summer Bride - before an inspired set-closing rendition of the Joy Division classic 'Love Will Tear Us Apart'. Magic.

Finally its over to Thirty Pounds Of Bone to finish the evening - playing tonight as a full 4 piece band, led as always by singer and multi instrumentalist Johny Lamb. Their take on the traditional folk sound is both challenging and inspiring - combining guitars, bass, harmonium, and bozouki to create their elegantly crafted, and somewhat world weary songs. From the hushed and delicate 'The Homesick Children Of Migrant Mothers', to the sprawling harmonies of 'Waves For Ketches' via a short upbeat Pogues influenced jig 'Drinking With McGee - the Bones set is an atmospheric and personal journey that never fails to be captivating.

And so ends the evening, safe in the knowledge that its all looking very bright indeed in the world of the Drift Collective. With records forthcoming in 2007 from Willis, Birdengine, Matt Eaton and Cottonmouth as well as a host of new faces ready to join the label, its shaping up to be a good year for the people at Drift - and never a better time for you to go and discover some inspiring new independent music. Spot on

Ian Chambers, Jan '07

http://www.driftrecords.co.uk/
http://www.myspace.com/driftwillis
http://www.myspace.com/birdengine
http://www.myspace.com/thirtypoundsofbone

BEST OF 2006

ALBUMS

BRAKES - 'THE BEATIFIC VISIONS' (Rough Trade)
Following up last years 'Give Blood' record, 'The Beatific Visions' proved to be a slightly more focused, yet none the less rocking affair - clocking in at just under 30 minutes of superbly chaotic country punk to keep everyone suitably entertained with shouts of 'SPIKEY SPIKEY' for a good while to come.
www.brakesbrakesbrakes.com

SPARKLEHORSE - 'DREAMT FOR LIGHT YEARS IN THE BELLY OF A MOUNTAIN' (Capitol)
The enigmatic Mark Linkous somehow managed to follow up the stunning 'Its a Wonderful Life' with this - an enchanting and mysterious collection of songs, that in perfect Sparklehorse fashion proved to be a heady mix of the beautiful and downright odd.
www.sparklehorse.com

EUROS CHILDS - 'CHOPS' (Witchita)
Debut solo effort from ex Gorkys main-man that doesn't stray too far from the playful path of the early Gorkys sound. Folk-pop combined with the odd psychedelic experiment and some wonderfully simple yet effective songs about seagulls, donkeys, pigmys and all manner of things in between.
www.euroschilds.com

TREECREEPER - 'GRAIN' (Ironweed Recordings)
The debut effort from London's Americana / Country influenced Treecreeper proved to be a reflective, and in parts rocking collection of songs, all rounded off with frontman Will Burns' world weary lyrical drawl, and sounding something like the middle ground between the Screaming Trees and Neil Young.
www.treecreepermusic.co.uk

JARVIS COCKER - 'JARVIS' (Rough Trade)
With a little help from Richard Hawley and ex Pulp man Steve Mackey, Jarvis returned with a first solo record packed full of simply brilliant pop music and trademark lyrical tales of middle England. Melody and craft coupled with energy and spirit - this record is right up there with Pulp at the peak of their powers. It was good to have him back.
www.myspace.com/jarvspace

THE LEMONHEADS - 'THE LEMONHEADS' (Vagrant)
Roping in ex Descendants Bill Stevenson and Karl Alvarez, Evan Dando's reformed Lemonheads were back doing what they do best - effortlessly catchy power pop. Incandescent harmonies, lazily immediate, catchy songs and crunching guitars, it was like they'd never been away.
www.thelemonheads.net

TOM WAITS - 'ORPHANS: BRAWLERS, BAWLERS AND BASTARDS'
A staggering 3 CD set, each disc sticking to a different musical style - yes, it can only have been Tom Waits. Comprising of 54 songs - song brand new, some rarities, there was plenty of gems to be found amongst the bar room haze of this record, made by a man who through his songs celebrates life, and somehow draws happiness from the gloom.
www.myspace.com/tomwaits

THIRTY POUNDS OF BONE - 'THE HOMESICK CHILDREN OF MIGRANT MOTHERS' (Drift)
Thirty Pounds Of Bone cleverly managed to combine the dreaminess of Sparklehorse, the intimacy of Will Oldham and the sentimentality of Shane MacGowan on their debut record - in the process creating dark and intimate modern folk songs. Yes, its essentially folk music but approached from a challenging and interesting dimension.
www.myspace.com/thirtypoundsofbone

BRUCE SPRINGSTEEN - 'WE SHALL OVERCOME: THE SEEGER SESSIONS' (Sony)
When Bruce when Bluegrass. Gathering together a mighty 11 piece bluegrass band, Springsteen hand picked his favourite American folk tales made famous by legendary folkie Pete Seeger, transforming them into something hugely joyous and uplifting. About as far removed from the E-Steet Band as it was possible to get and all the better for it.
www.brucespringsteen.net

MIDLAKE - 'TRIALS OF VAN OCCUPANTHER' (Bella Union)
Pastoral rock songs wrapped in subtle charm that perfectly envisages Midlake's vision of a beautifully natural and wild existence. Songs about hermits, chasing deer and bandits all combined to make an enchanting and refreshingly different album that progressed perfectly from their Grandaddy inspired 2002 debut.
www.midlake.net

SINGLES

MISTYS BIG ADVENTURE - 'FASHION PARADE' (Sunday Best)
A tongue in cheek ridicule of the current 'bland age' of music all wrapped up and cunningly disguised as an eccentrically bouncy and quite brilliant upbeat pop song. Extra top marks for featuring Noddy Holder and for surgically removing the piss out of the Kaiser Chiefs and Franz Ferdinand. Listen and rejoice.
www.mistysbigadventure.co.uk

ACTRESS HANDS - 'HALF AN HOUR' (Life Is Easy Records)
From Brighton, Actress Hands offered up a glorious Wedding Present inspired slab of scuzzy, fast paced guitar rock - complete with some effortlessly catchy chord progressions and breezy vocal harmonies. All in under two minutes.
www.actresshandsmusic.co.uk

CAMERA OBSCURA - 'LETS GET OUT OF THIS COUNTRY' (Elefant Records)
Enchantingly twee, heartfelt Scottish pop - a countrified take on the sound of The Pastels et al with more than a nod to the current crop of breezy Swedish acts such as The Concretes.
www.camera-obscura.net

MONSTER BOBBY - 'HEAVEN HIDES NOTHING' (Remake / Remodel Records)
A short, nostalgic tale of longing, set to strummed acoustic guitar and scattered electronic effects - highlighting perfectly Bobby's wonderfully unconventional vision of pop music. Like a one man Magnetic Fields from the South of England.
www.myspace.com/monsterbobby

RESTLESSLIST - 'BUTLIN BREAKS' (Life Is Easy Records)
A mind-bending concoction of instrumental post rock and dancefloor electronica was the debut single from Restlesslist. Lavishly cinematic, yet rocking as hell at the same time, this was a great intro the weird and wonderful world of 'the 'list'.
www.restlesslist.co.uk

GIGS

SUBURBAN KIDS WITH BIBLICAL NAMES - Jamm, Brixton

MISTYS BIG ADVENTURE + RESTLESSLIST - Pressure Point, Brighton

MIDLAKE - Hanbury Ballroom, Brighton

SPARKLEHORSE - Old Market, Hove

EUROS CHILDS + THE POPPYCOCKS - Hanbury Ballroom, Brighton

BRAKES - Pavillion theatre, Brighton

THE LEMONHEADS - Concorde 2, Brighton

Ian Chambers, Dec '06

THE ELECTRIC SOFT PARADE - 'LIFE IN THE BACK SEAT'
ACTRESS HANDS - 'WHY THE SALE'

Here's the concept - a series of ten 7" singles, to be released periodically as a countdown to next years Truck Festival. Sounds like a well formed plan, and even more so considering the first release of the series is a Brighton double whammy of The Electric Soft Parade and Actress Hands. Splendid work - well played you people at Truck Records.

First up we have The Electric Soft Parades offering 'Life In The Back Seat' - and it proves to be everything you could have hoped for, highlighting perfectly their wonderfully bastardised vision of pop music that they've been busy honing on the live circuit. What we're treated to is a splendidly driving song - propelled along by quick-fire drumming, progressively choppy guitar chords, coupled with some clever complimentary keyboard melodies and electronic effects. Tom Whites voice is also becoming more and more self assured - in this instance he handles the verses while letting brother Alex takes centre stage for the harmony laded chorus.

Like a joyously upbeat clash between Guided By Voices and Magoo, it sounds nothing like anything the band have done or released so far, and is proof again if needed that by constantly evolving and exploring the musical landscape The Soft Parade aren't happy to simply plod along into musical mediocrity like so many others. Life in the back seat? Not for this lot anymore.

Flip things over and the fun continues thanks to 'Why The Sale' by the ever amazing Actress Hands. With a first record label backed album 'Show Madelaine' due for release early next year, it looks like 2007 is shaping up to be a big one in the world of the 'hands. While you wait in anticipation, enjoy 'Why The Sale' ? a lush slab of slightly jangly guitar pop, recalling a similar spirit to some of the C86 bands of the late 80's. Starting off as a mid tempo guitar strum, as the song progresses, so do the guitars ? getting louder and nicely distorted, before a Dinosaur Jr / My Bloody Valentine like rock-out-finale. Or perhaps the band put it better themselves? "Loud shoegazey pop coupled to jazzed out country rockisms". Whatever it may be, it's certainly impressive, and is what Actress Hands are all about.

8/10

Release Date: Out Now

Ian Chambers, Dec '06

THIRTY POUNDS OF BONE - 'THE HOMESICK CHILDREN OF MIGRANT MOTHERS'

Adrift at sea with only a banjo for company??

ohny Lamb is a busy man. Not content with simply playing bass in Brighton power pop types Actress Hands, these days he can also be found fronting lo-fi rockers The Small, as one half of the dark alt country duo Cotton Mouth, and playing bass and supplying backing vocals for Willis' band The Tandy Hard. Aside from all that, he's gone and hauled together a talented selection of musician friends to form the four piece Thirty Pounds Of Bone - drawing on his lifelong love of folk music to write and record an album full of elegantly crafted lo-fi folk roots. The album is 'The Homesick Children Of Migrant Mothers', the outcome of six months of recording and fine tuning in a friends basement by band member and Drift Records in-house producer Steve Grainger. And so our journey begins?..

"So your a liar / now your on fire / my matches wouldn't let me down again" ? is our welcome note, as we're greeted with a cautionary tale of boat arson - the snare drum march of album opener 'When She Goes Up'. The lonely drone of a harmonium and distant thud of a bass drum form the basis of the haunting ballad 'Uyeasound', a slow lament celebrating love and living; while one of the albums more upbeat moments - the instrumental 'Trawler Trash' is a breezy and light hearted affair, with a wonderfully hypnotic bouzouki riff. And its not everyday you can say that.

Title track 'The Homesick Children Of Migrant Mothers' glistens with atmospheric ambience - gently picked acoustic guitar coupled with Johnys hushed delicate vocals that deliver a homesick and world weary message - bearing comparisons to the lyrical themes of Shane MacGowan. The Pogues influence rears its drunken head for an oh-so-brief minute or so, as we're treated to a brilliantly upbeat drunkards jig - complete with tin whistle, banjo - the full works. Its called 'Drinking With McGee - and its quite simply superb. No doubt Shane himself would approve.

Its worth saying at this point that praise could quite easily be singled out for any of the ten tracks on this record, but a man knows his limits - so finally a mention must go to the closing track, the sprawling six minute 'Waves For Ketches'. Things begin with nothing but a simple vocal and guitar strum ? but changes are afoot. When the chorus arrives so it brings a tide of upbeat choral-like backing vocals, and with that the song glides along on a wave of euphoria. A flourish of elegantly controlled distortion and electronic harmonies rise and fall, before fading solemnly into a beautifully haunting sole harmonium melody line. Cloaked in floating upbeat harmonies from beginning to end - a fitting way to end a very special album.

Yes, what we have here is essentially folk music, but approached from a challenging and interesting dimension - equal parts the dreaminess of Sparklehorse and intimacy of Will Oldham as the sentimentality of Nick Cave or Shane MacGowan - condensed and added to a melting pot of traditional folk influences.

This is a dark and intimate record, inspired throughout by some visionary arrangements that elevate the songs to another level, whilst not allowing them to stray from their fragile and atmospheric path. The album flows gracefully from theme to theme in an effortless manner - allowing these reflective and personal songs to bathe in their own reflective glory. Magical.

Ian Chambers, Nov '06

9/10

Release Date: Available Now

www.driftrecords.co.uk

www.myspace.com/thirtypoundsofbone

THE BLACK KEYS - 'MAGIC POTION'

"I liked them so much that I invited them to stay at my house". So uttered John Peel upon first stumbling across Ohio blues rock duo The Black Keys. That was back in the late 90's - fast forward to 2006, and save for the great Mr Peel sadly no longer being with us, not a lot else has changed in the world of The Black Keys as we're presented with their fourth studio album 'Magic Potion'.

Sticking to the basics they know best, and returning to their hometown basement recording studio, 'Magic Potion' is the sound of The Black Keys honing and perfecting their signature blues rock sound, whilst not losing any of their raw and powerfully stripped down energy for which they've become known.

Imagine if you will, rifling through your parents collection of old blues vinyl, immersing yourself totally in the music, before roping in a friend with a Hendrix and Led Zeppelin fixation and forming a band - a duo comprising of just guitars and drums. That is essentially the kind of thing The Black Keys are about. Its one hell of a low down, dusty, dirty sound, with blues soaked riffs and foot stompers round every corner.

Album opener 'Just Got To Be' sets out their stall early on - all fuzzy guitar chords and plodding drums, before making way for the albums first single, the sweaty attitude and gritty strut of 'Your Touch'. Quite some opening salvo. Throughout the course of the album, singer / guitarist Dan Auerbachs trademark liquor soaked blues howl is evident - sounding like a slightly demented version of Jon Spencer of the Blues Explosion. Its not all fast paced action though - they kindly allow us to catch our breath and slow things down to a steadier pace with the hypnotic ballad 'You're The One' and the slow burning groove of 'The Flame'.

As a record as a whole, this is a solid collection of songs - arguably the best of their career so far. The only downside being a few tracks towards the end of the album tend to lack focus - trailing off into forgettable territory. Cut the tracklisting by two or three tracks and you have here one fine album.

There are definite moments when comparisons to early White Stripes records can be made in abundance - although unlike the Stripes, its fair to say that the music of The Black Keys lacks the pop and mainstream sensibilities to crossover to a wider audience. But that's not what their music is all about - by sticking to their love of blues and rock they're paying their respects to their heroes, and wonderful musicians who went before them. I think Mr Peel would have approved.

7/10

Release Date: Out Now

Ian Chambers, Nov '06

MR . WINCHESTERS CAT - 'OUR CARAVAN' (Life Is Easy Records)

Imagine if you will, a world wherein the music of Godspeed You Black Emperor, Themselves, and Mogwai ruled supreme. People went about their daily lives not humming the latest Arctic Monkeys song, but with that haunting guitar line from the new Mogwai single swirling through their heads. Well, that is the vague sort of world in which Mr. Winchesters Cat inhabit.

Comprising of Ben Elliott and Matt Thwaites of fellow Brighton experimentalists Restlesslist, Mr Winchesters Cats debut album 'Our Caravan' is one hell of an oddball, twisted journey of pure experiments. Essentially this is the more intriguing and underground side of the Restlesslist blueprint - expect loop and sample ridden instrumentals, with the odd flourish of guitar, bass and drums here and there. Lavishly crafted Electronica that would by no means sound out of place being released on the well respected Warp records label.

As an album 'Our Caravan' makes for a strange listen - the tunes being somewhat disjointed, short affairs that leave the listener never quite sure what's going to happen next - whilst at the same time the tracks flow oddly together, as if forming one half hour beast of a track. Infact it comes across as more like an eclectic DJ mix than a normal album.

Opening track 'Clip Clop' starts proceedings with a burst of beats and organ, before breaking down into a steady hypnotic groove that's not dissimilar to Missy Elliotts 'Get Ur Freak On'. Elsewhere we move into more electronic territory with the distorted beats of 'Numb Tooth' - with the whole idea being centred on a recorded conversation. Throughout the course of the album, samples of old records are spliced together, filtered, sampled and played with in odd and mysterious ways, before being added to the bands own melting pot of ideas. Infact there are certain similarities here with the work of underground American collective 13 & God.

Like taking a walk through an obscure alternative world - in parts spooky carnival beats combine with moody electronic effects, before long making way for mellow finger picked guitar lines. That's the essence of this record - unpredictability, and compared to a lot of music these days, it strays so far off the beaten track that its only gone and got itself lost in the dense heart of the forest.

Its perhaps best not to think of this as a collection of songs - more as a collection of snippets, strung cleverly together to create a collage of tunes and styles. Mainstream this ain't - but if you like things a bit different then give this record your time. Interesting.

7/10

Released: Available Now

www.lifeiseasyrecords.co.uk

Ian Chambers, Nov '06

ELECTRIC SOFT PARADE - KINGS CROSS WATER RATS, 12/10/06

The small Water Rats theatre in London?s Kings Cross is quite simply packed. Maybe not totally sold out - but still very much on the busy side. Why? Because it?s a rare London gig from Brighton?s re-energised rockers Electric Soft Parade, that?s why. And yes, they?ve only gone and bagged two quite stunning support acts as well.

First of who also hail from Brighton - the hotly tipped 4 piece Actress Hands, who in the absence of their usual drummer, feature Soft Parader Alex White on stick duties for the night. ?Boys Need Jazz? is a slow builder, featuring a climatic guitar freak out ending, ?The Reducer? comes across like a meaner Teenage Fanclub with intent, whilst new single ?Half An Hour? is one fast paced, guitar driven bastard of a rocker - in a similar vein as The Wedding Present. Effortlessly catchy chord progressions, some breezy vocal harmonies and most importantly some wondrous songs. Quite simply brilliant!

With such a hard act to follow, you have to feel relatively sorry for The Hazey Janes. But to be fair, they don?t disappoint - with a set crammed full of country tinged power pop, like a less irritating version of The Magic Numbers with hints of early Delgados, complete with some lovely boy / girl vocals. When it works its damn near prefect, as on the sublime pop of ?Don?t Look Away? and ?Fire In The Sky?, and they?re also joined onstage by Tom White of the Soft Parade to add his guitar stylings to their closing number. Someone mentioned they don?t have a record deal?.if that?s the case then why the hell not?!

By the time the Electric Soft Parade amble onstage, they really do have to pull out all the stops for fear of being shown up by the two support acts - and its not often you can say that. The pressure is on.

Things kick off with a new instrumental, the 6 minute psychedelia of ?The Friday Before Christmas?, before pleasing the crowd with two old numbers - the rocking ?Things Ive Done Before? and ?Biting The Soles Of My Feet?, in which the guitar and vocal duties are shared by brothers Tom and Alex. By the time ?Human Body EP? tracks ?A Beating Heart? and ?Cold World? are dispatched, rock star shapes are being well and truly pulled by Tom White - and things are clearly going to plan. Alex White steps out from behind his keyboard to take over lead vocals and guitar for ?Lose Yr Frown?, much to the delight of sections of the crowd who duly partake in some mosh pit action down the front - whilst being keenly egged on by bassist Matt Thwaites.

Throughout the night the band are clearly chuffed at the turnout, as Tom continually thanks everyone for bothering to come and see them. Opportunities are taken to also air a few new tracks - the best of an impressive bunch being the partially acoustic ?Secrets? - sung and played beautifully on acoustic guitar by Tom, and featuring some lovely harmony vocals and gentle keyboard backing by Alex. "Keep your feelings well hid / they will only get trodden on / there are secrets to keep / you don?t have to tell everyone", as the spirit of Elliott Smith looms large.

The set is finished off with the slow space orchestration of ?Everybody Wants?, before the baying crowd urge the band triumphantly back on stage for an encore. "Do you want two new ones or two old ones?" asks Tom - which proves to be quite a silly question. Old it is then, and what a treat - two fan favourites from their debut album - ?Red Balloon For Me?, which sounds as wonderful as ever, and finally they?re joined by their old keyboard player Steve Large for a roaring version of their 2001 debut single ?Empty At The End?.

Triumphant return to the capital? Most definitely - in quite epic proportions!

Electric Soft Parade set:
The Friday Before Christmas, Things Ive Done Before, Biting The Soles Of My Feet, A Beating Heart, Cold World, Lose Yr Frown, Secrets, Misunderstanding, Silent To The Dark, If Thats The Case Then I Dont Know, So Much Love, Everybody Wants, Red Balloon For Me, Empty At The End

Ian Chambers, Oct ?06