The Clockworks have released their new single ‘Enough Is Never Enough’. Formed in Galway and drawn together by a mutual appreciation of all music, past and present, The Clockworks are a four-piece comprising James McGregor on Vocals/Guitar, Sean Connelly on Guitar, Damian Greaney on Drums and Tom Freeman on bass. The latest and last in a series for Alan McGee’s Creation 23 label sees the Galway four-piece take aim at the injustices and prejudices rife in our society with an assault of straight-up punk rock.
The Clockworks paint a vivid picture of our fractured society with new release ‘Enough Is Never Enough’; aconcise, energetic and hard hitting track which is sure to knock your socks off.
Clever and well placed lyrical content is where The Clockworks excel. With raw commentary and witty turns of phrase McGregor’s biting delivery wavers between emotional, disgust and nonchalant acceptance, “And everybody loves to bitch, Factions speak louder than herds”. The canvas for the track is a bristly energetic blend of harsh punk rock and moody grunge with a sweet peppering of indie to provide a buoyant light embellishment on top. A constant drum beat crashes between the rumble on bass while jaunty guitars meander between striking, acute exclaims and gentle laments accompanied by an infectious melody which coils underneath; the band use these contrasting elements to build diverse textures into the song which are a delight to listeners ears.
The Clockworks ability to wrap energetic soundscapes around an expressive lyrical delivery is impressive and makes the track entirely consuming. ’Enough Is Never Enough’ is a vigorous and catchy tune from a band that keep getting better with each release.
Speaking about the track James of The Clockworks says: “This was the last song we wrote in Ireland. I’d been working on the lyrics for ages. I like to write about the social or emotional by writing about a specific character or scene. I think focusing on the particular and the specific is the best way to get to the general and abstract… Musically, this song was all about getting the feeling right. We wanted it to be forceful and relentless but also for there to be enough space for melody and emotion.”
I caught up with frontman James McGregor from Galway quartet The Clockworks to talk about the band’s new single ‘Can I Speak to A Manager?’, their move to London as well as how they prep for live shows.
Written in 2018 while the band were still living in their hometown of Galway, McGregor found himself taking refuge from the drudgery of his 9-5 in a number of café’s and pubs during his lunch break. Infuriated by the plastic world around him and nauseous with the monotony of a rat-run routine, his paranoid thoughts and pent-up rage spilled into a song that dares to point out the failings of an ailing society. Inspired by the straight-up social commentary of lyrical icons like John Cooper Clarke, Mike Skinner, and Ray Davies of The Kinks, ‘Can I Speak To Manager?’ sees McGregor exercising his songwriting abilities with a similar no-nonsense and observational approach.
“Initially I had the idea of the first verse, so the idea of a really specific story of something just happening like a really mundane story and trying to make it sort of dramatic. That’s why, the first line is like “my god what a palava” because it’s just so mundane and you expect it to do with something crazy and dramatic, but it’s not. And then from there I wanted to see where I could go with that and the feeling of everything is kind of broken was sort of on my mind and came out through that. That’s the inspiration for it anyway, that’s sort of how it started. It was sort of written nearly in order. It was the first verse and a really particular story and then trying to make it, I guess…a more universal idea.”
I wondered when he was writing the track did he think of the vocal melody as well and how he was going to sing it, or was it just mostly words and getting it to flow.
“Oh that’s a good question, I haven’t been asked that before. The very first lines I had, so like that first line “my god what a palava” and the “Wrong model and no charger” and then, “Now at a loss, I’m sitting”, I had that straight away, it was the first thing that came to me and then the rest I guess was more rhythmical and then the melody followed.”
There is a sublime build in this track especially how the band venture from a hypnotic rhythm and then lead into a blasting crescendo.The band definitely enhance the instrumental backdrop to match and highlight the lyrical content to create something quite cinematic
“Yeah, we usually try to make the instrumental music reflect the lyrics in a way that maybe a soundtrack might, and so that song is about something that’s quite ridiculous and maybe light hearted, finding who you are. You could say it’s light hearted or not but something ridiculous that becomes crazy and the whole thing is, like, “when I become a cynical”, it’s one of the lines and it’s all about the descent into cynicism, that you might get from something as simple as your laptop breaking might just be the straw that breaks the camel’s back and send you into that frenzy toward the end where you think that everyone is all out to get you. Obviously I don’t want to dictate how anyone would listen to that song but for me, that was kind of the impetus. It was that something simple happens that isn’t really a big deal. You know, you’re not going to remember it five minutes later maybe or five days later, for sure, but at the time it just sends you off.”
Not only does the band provide powerful punk rock and an abrasive wall of sound they pack in some serious themes and lyrical depth. Themes of isolation, paranoia, and helplessness all glimmer through their songs and hit hard through their lyrical content.This is something McGregor strives to achieve when crafting the tracks, that all important connection with the listeners.
“For us personally it’s important. I’m not gonna speak for how I think every musician should be. Because I think everyone plays music for different reasons or writes songs for different reasons. But for us, it’s expressing a feeling, or an emotion and hoping that the message,I guess is that, this is something we feel, you know, this is something that we maybe think about, do you? I’ve always been fascinated with the fact that maybe if you’re feeling nostalgic you might listen to one song. You might listen to, I don’t know, Frank Sinatra, you might listen to maybe the early indie music or The Beatles or something if you’re feeling like getting back to the music you listened to when you were a child or something. Then if you’re feeling heartbroken you might listen to Damien Rice and these people speak to you in ways that they wouldn’t normally. I remember one of the lads, saying to me before that they’d never got Sam Smith, until they were heartbroken and then suddenly Sam Smith makes sense. I think it’s like, these people are putting an emotion out there, or, an observation or something that you could relate to, and it takes maybe a certain situation or turn of events to relate to that. That really fascinates me. It’s not something that I would think about all the time but it’s definitely something that we try to do across the songs. I would try to have different songs for different times, different songs for different rooms in your mind, that you might need to go to.”
.
The Clockworks relocated to London last year and the quartet signed to Alan McGee’s new record label ‘Creation23’ almost overnight. We discussed the advantages of moving to London for artists
“I think there are definitely more opportunities here than in Galway, I can only speak for living in Galway. I don’t think that’s any fault of Galway, as a place. I think firstly, there’s a slightly different cultural relationship to music or maybe our type of music, or rock music or contemporary music…and I feel people generally feel like it’s more of a young person’s thing to maybe go to gigs loads and stuff. I think secondly, obviously, it’s just the music industry itself, it’s all here. If we play, you know, here somewhere, we’ve had plenty of gigs where people who didn’t know us have turned up and they’ve been this person or that person in the music industry, you know,”
Like other bands of his generation The Clockworks have the power and influence of streaming platforms which gives artists huge exposure however it doesn’t make them money. They have the opportunity to reach more people but don’t reap the benefits as much as an artist would with album sales and touring. However McGregor doesn’t think it has bothered the band that much
“ I think we’re lucky enough as it’s all we know. So I think maybe if you’ve come from, the age where buying albums and making money from people buying your albums was the norm it would be a lot more shocking and maybe more overwhelming. For us we don’t expect people to have paid to listen to our music. So I guess it doesn’t affect us as much. I definitely do understand what you mean about like, you can see, Spotify plays, you can see Facebook likes, Instagram followers. All these numbers and then you see like, zero pounds or euros. Or you might have this many followers, and play a gig in Whelan’s to nobody. You know, in the past, especially when we sort of didn’t know how things worked as well, we would support a band, and be like ‘oh this band has this many followers. This is gonna be a packed gig. This is gonna be huge’ and then we’d be playing to nobody and they may be playing to a handful of people, and it never made sense to us. But because of the fact that we were post that change we have always played in the Spotify age, I guess, we are lucky because we don’t know any better. Sort of blissfully ignorant.”
The music scene in the UK and Ireland is very vibrant lately – there are so many amazing acts gigging and producing great music.I wondered is there competition between the bands and does McGregor feel pressure to fit into the scene.
“I think its cool. I think it’s good. Galway again, because its not Dublin it’s so far removed from 90% of music in Ireland, but it was great for us because we were just, the opposite to the thing you’re talking about, there was a handful of bands, a lot of singer songwriters or, you know, singers or instrumental musicians or whatever, who sort of all supported each other and there was no clique per se, so that was great. We were able to just do our own thing and we came over to London and I think we’ve carried that with us so we’re not too worried about trying to jostle through other bands in the same venue to be, like the cool band in this group of bands. We’ve never done that and I think, historically it always works out better if you just support other bands and make friends where you can and apart from that keep your head down and just get on with it. Again, I think we’re also lucky because we moved to Northwest London, which is the equivalent of Galway, London-wise. There’s no bands that we know of around us. Most of the bands are in South London, that we know. The bands that we know would be in South London, East London or West London or different parts of North London but Northwest London we’re kind of removed, so again there’s no scene here, there’s no scene where we are. It’s nice because we can sort of not worry about fitting into it.”
I saw The Clockworks perform a few years ago in The Workmans Club supporting BLESS. and SISTERAY. The intense energy they had and expression through their music was impressive. It’s no surprise they have had slots at festivals including Eurosonic and Electric Picnic. The band have also performed to a huge crowd at Sefton Park in Liverpool in support of Kings of Leon. Preparation is the key to a good live show but the band don’t overthink it.
“oh yeah and I burst in ( on Indie Buddie’s interview with SISTERAY at the time).We go in and play but we do give ourselves a little pep talk before we go on. We’ve always done that just, sort of like, jump up and down and say, you know, ‘this is it’ kind of thing.I think it’s especially important when there’s three people in the room and back in the day you know when you play maybe, Róisín Dubh for the 40th time. Some days would be busy sometimes it wouldn’t and we were lucky to be able to play there so much and really practice. Obviously you have to apply yourself in a certain way, when you’re playing to three people, you know, because you’re not playing to sold out crowd singing back your words at you and we’ve always thought that those three people are worth as much, every person is worth as much as every other person in the room, regardless of how many there are, of course. Just because there’s more people in the room you shouldn’t give them more of yourself. You should try and give everything to any gig because, what are you on the stage for if you’re not gonna do your best. So I guess we go in with the mindset of just giving everything we can. Every time and just before we go on, I guess we say that, but we’re not actors and it’s not like ‘alright, let’s go into costume and change character now’ it’s not like that, which is fine if you are like, David Bowie, he literally got into costume and changed his name.But that’s just not what we do. “
With live shows cancelled it’s easy to see how bands and artists can become overwhelmed with the pressure of making the most of their spare time and McGregor did fall pray to this at first.
“ I think I put pressure on it. Because, obviously, everyone was immediately super productive, you were just seeing people everywhere immediately like fit and healthy and taken up four new languages and cleaned their house and had done everything they have ever wanted to do. That isn’t what happened but that’s how you felt. Everyone was being super productive and for the first few weeks.”
“What I usually do is write lyrics in pubs, or cafes. I don’t know why, but I like to be that little bit removed from home.I haven’t quite worked out exactly why but maybe I don’t want to ask myself too much because I don’t want to ruin it if I find out the answer. But obviously without being able to do that sort of thing at home I found it a bit stifling for lack of a better word.”
“Once I got used to that it was alright. It was good. We got some good writing done. We got a few new songs on the go and because obviously it was so extended, initially we thought it could be a couple of weeks and for the first few weeks it was like, ‘Yeah, I can wait to go back to the pub or whatever to get some writing done again’. Then once you were like ‘no we’re in this for the long haul’ I sort of, had to surrender to it, and go right, ‘well if you don’t write them, what are you gonna do’…just because you technically have more time because you’re not, you know, going into work every day. It was, it was a stressful time. I think everyone, regardless of what, personally happened to you or your family, with this I think it was stressful for everyone at least a little bit and still is for a lot of people.”
The Clockworks have been touring and releasing music for a few years. From McGregor’s experience of the Irish and UK music scene and life as a band in general I wondered what advice he would give to someone who wants to start a band. His answer imparted words of wisdom which any budding artist should take onboard.
“Industry-wise I think everyone says it but then it is so true. I would say just write, write as much as you can and read as well. Or, take in stuff as well, listen to music, read books, watch films, whatever it is that you do to build your imagination and write as much as you can, because it’s like turning on an old tap that hasn’t been used. It’s like you have to run the water until it stops being brown. I think it’s easy to turn the tap off again. If you don’t write for a while. Personally I find if I don’t write for a while it takes me a while to get back into it, like I just said over the summer, so I stopped for a couple of weeks and then suddenly you know you get back into it again. Write as much as you can. You can have the worst gig ever, you can have terrible reviews, you can have every label, manager, agent in the world, turn you down. But as long as you’re still writing music, if you can still write music and enjoy doing that. Then, you know, all is not lost. You’re still doing the thing that’s the most fundamental thing and I think it’s very easy to get caught up in the peripheral things like reviews or bad reviews or bad comments from someone or someone turning you down or a gig that you don’t get or whatever it is. So I guess maybe for both industry and creatively, I think, to focus on the fact that writing is THE THING , and everything else is peripheral.”
“I can’t remember who said this, I read it the other day and I can’t remember – this could be anyone from like Oscar Wilde to like a gossip magazine. Someone said ‘Don’t take on criticism from someone you wouldn’t be prepared to take advice from’ which I thought was a great quote. It’s really difficult and a lot of people get very anxious about it. I think that’s what I was getting at with being in Galway and being now in North London is that we’ve tried to make sure that we don’t feel like we have to conform to a sound that’s been dictated to us by someone else musically, you know, or dress a certain way or whatever, You can’t be restricted by it because you end up running around chasing other people’s expectations and that can be very dangerous. To chase other peoples expectations of you, is probably impossible.”
The bands previous single ‘The Future Is Not What It Was’ was praised at radio by BBC Radio 1’s Annie Mac on her “New Names” showcase, BBC 6 Music’s Steve Lamacq on his ‘Recommends’ show. The track received day-time radio play on RTÉ 2FM, and even impressed the legendary Rodney Bingenheimer show in the States on Sirius XM. The band are keeping the momentum going with their new single ‘Can I Speak to A Manager?’ as well as writing and building for when live shows finally do return.
“Definitely writing, we’re writing a lot at the moment and recording as well at the moment. We’re trying to next year, consolidate the gigs that we weren’t doing this year and see what we can do.Hopefully, everything is good to go by then. It’s quite a weird thing to be booking gigs, that you’ve already cancelled that you may have to cancel again.It’s strange, but that’s what we’re trying to do and it’s good to try. So, that’s it, just writing loads because that’s the fundamental, that’s the important thing. We’re doing everything else we can too. We have loads of time, we’re not playing gigs. The first thing we have to do is write and record music and then after that it’s everything we can try and get gigs, do interviews like this, meet people as we can, you know zoom meetings and all that.”
The Clockworks have created a unique and intense sound all their own. Their ability to craft songs which blend moody punk with frantic rock outbursts is impressive and the lyrical content carries depth and masterful poetic insight. I can not wait to hear more from them. THE CLOCKWORKS are definitely a band to keep an eye on.
Our Worth A Listen Track This Week Comes From The Clockworks
Photo Credit: Oscar Ryan
The Clockworks are set to release their new single ‘The Future Is Not What It Was’ via the Creation 23 label tomorrow Friday 12th June.Written by The Clockworks, ‘The Future Is Not What It Was’ was produced by Michael Rendall and The Clockworks in Willesden, London.
The track has already grabbed the attention of BBC Radio 1’s Annie Mac on her “New Names” showcase, as well as legendary Rodney Bingenheimer show in the states on Sirius XM, and even received day time radio play on RTÉ 2FM.
The Clockworks are a four-piece comprising James McGregor on Vocals/Guitar, Sean Connelly on Guitar, Damian Greaney on Drums and Tom Freeman on bass. Relocating to London in 2019, the quartet signed to Alan McGee’s new record label ‘Creation23’ almost overnight. They have since impressed audiences across Europe with live performances at festivals including Eurosonic and Electric Picnic, performing to a huge crowd at Sefton Park in Liverpool in support of Kings of Leon, as well as a head-turning televised appearance on Sky 1’s Soccer AM.
‘The Future Is Not What It Was’ is an accelerated slap of The Clockworks intense post punk in all its exhilarating glory. The band create a hyper sound that pivots around chiming guitar lines and blood pumping drums while a raw gritty bassline rumbles through the foundation. The track has a hypnotic metronomic rhythm that buries into the brain while the sweet guitar laments with a soothing quality. The rapid lyrics are delivered with a relentless stamina as James McGregor sings the catchy chorus and spits the verses with fiery angst. Blurring timelines past, present and yet to be, ‘The Future Is Not What It Was’, sees the band comparing the once optimistic visions of ‘the future’ of generations past, with the bleak reality that we currently live in. The band portray this through a palpitating tune that rushes through to its blistering almost asphyxiating crescendo.The instrumental glitches and itchy texture of the song create quiet the unsettled and almost frantic wall of sound as The Clockworks continue their real, honest and punchy musicianship with another absolutely fantastic tune.
About the track James McGregor explains: “This song is about trying to bring together two main ideas: The feeling that everywhere you look things are going wrong, to the point of cynicism, and the way that the idea of the future is better that its reality. Art and articles in the past would talk about 2020 and expect us to be driving flying cars in houses that clean themselves where nobody has to work. In reality we’re driving third hand Fiat Punto’s to 9-5’s that barely pay the rent. I guess the point is that the lifestyle may change but a lot of the problems are the same.”
‘The Future Is Not What It Was’ will be available digitally on 12 June 2020, via the Creation 23 label.
Watch the video for ‘The Future Is Not What It Was’ below
Two of London’s hottest new bands BLESS. and SISTERAY joined forces for a sweaty night of Rock’n’Roll with support from Ireland’s The New 52 and The Clockworks in the Workman’s Club Dublin. It was a night to remember brimming with high excitement, top rate tunes and thrilling music.
Dublin rock band The New 52 graced the ears of the early birds with a set filled with their entire new EP ‘Green’. These guys have a sublime sound -its smooth, vibrant and just glorious to listen to. ‘We’ll Always Have Paris’ is a delightful number smothered in zealous guitar and a superb running bass. Their tracks are filled with that gripping heart warming vibe that makes you smile while swooning in sweet nostalgia. Darragh Cullen’s vocals are filled with emotion and the harmonies are just delightful. Kicking off a gig can be a difficult task, but I like how these guys went about it – they got up there, did their thing and encased us in their luscious tunes. There are some little gems in their repertoire, ‘Controlling The Night’ features some dazzling guitar moments from Conor McLoughlin while ‘Is There Revolution?’ gives, Mikey Deasy a chance to shine with his running rooted bass grooves and let’s not forget that foot stomping drumming from Sean O’Connor adding a healthy punch to each song. Track after track builds the good vibes even the sweet soppy ‘Love’ to start has that adrenaline rush that Springsteen’s ‘Born To Run’ possesses while remaining tender. It’s a tight display from the four piece.
Galway punk band The Clockworks take the stage with no messing about. They blast straight into ‘Rumours In The Stockroom’ the rapid lyrics fluidly rolling off vocalist James McGregor’s tongue. The tracks are snappy and quick and this four-piece waste no time in delighting our ears with a constant onslaught of punchy instrumentally deft tunes. The guitars are sharp and the rhythm about as pumping, groovy and elastic as you can get. It’s angsty, edgy indie punk that you can dance to at its best. They are a dapper bunch too- adding a slap of sleekness to their punk flavoured brawl. ‘Those Drunken Nights and Pointless Fights’ features a supple steamy bassline while the biting sting on guitar slice through your ears in the most thrillingly sharp manner. McGregor is an intense performer giving it all he’s got while Seán Connelly and Tom Freeman stand cool and collected at either side, effortlessly gliding from slinky bass grooves and sultry guitar licks to crashing mosh ready tempos. They write tunes to get you fired up filling your veins with adrenaline ‘The Pills Keep Coming’ is the perfect example of this – its catchy, accelerated and one you won’t forget anytime soon. I loved the “song about dickheads” ‘Mr Tight T-Shirts’ it’s witty honest and to the point with the instrumental backing to make it pretty epic and sticky mosh pit ready.
London’s Sisteray follow next. Whacking straight into ‘Faaast Food’ their staggering swagger coolly oozes through every note. It’s a professional display which seems to take hold when they get on stage. With sharp fuzzed guitars splitting the snappy drums and a driving bass its feisty punchy rock with some sleekness seeping through. The new single ‘Algorithm Prison’ is electrifying live there is the perfect shout along chorus to get any crowd riled up. They blend unbridled rock & roll, relative pop sensibilities and pure attitude to create a sound that is so damn riveting. Niall Rowan is a charismatic frontman who exudes charm and composure while the swagger of guitarist, Daniel Connolly and bassist Michael Hanrahan is undeniable, they are pros at those guitar poses and rock and roll facial expressions. Older tracks such as ‘A Wise Man Said’ explode with tuneful enthusiasm. A recording of the Queen speaking (which goes on a litter longer than normal) and a sweet jazzy jam which Calum Landau on drums kick starts introduces ‘Queen’s English’ as Connolly deals with a guitar malfunction, they assure us “we are not royalists”. When the track does finally begin its worth the wait, but it’s the new tracks that peeked my attention. These guys are growing as artists and that is exciting to see. Honing in on their skills and making their sound tighter and more intricately layered. ‘Rumour Mill’ (my favourite track of the night) with its rumbly rhythm and twinkling guitar to start teases the mammoth to come as they blast into the chorus. The steamy guitar whines contrast the rooted danceable rhythm superbly. There is a steady growth here as these guys are refining their sound without loosing the rough edgy rawness we love so much. That instrumental bridge is just magnificent. There is exciting things to come from this band they have not reached their full potential yet.
Finally London’s infectiously energetic and insanely enthusiastic BLESS. take to the stage like a hurricane whizzing through their set starting with the vibrant neck snappingly brisk ‘Old Man Jake’. Vocalist Joei Silvester is a riot on the stage- throwing every pose and shape that is imaginable. Using his guitar as a gun he shoots at the crowd,dances, hops and wiggles – it’s a spectacle for sure and thoroughly entertaining. Kieran Kearns on vocals and keyboard is another mesmerising character who can squat by the keys for nearly the entire set while also wiggling and dancing. It was a fun and enjoyable set that raced by so fast we didn’t see it coming. Their tracks are catchy with melodies that sneak into your brain and refuse to leave. Its difficult to resist the charms of this band the melodies are delightful, guitars jangly and sharp and the rhythm is set to dance mode – what’s not to love?. “what we don’t like is ignorant f*cking arseholes who are fat and talk a load of rubbish you wish you understood but don’t really wish you understood cos that would make you just as bad as them so you just keep you mouth shut so you don’t stick out and you hate yourself for it” is the epic introduction to ‘Fat Stan’. ‘Easy Lover’ is my favourite track on their set list. It’s sultry desert western riff seeps and creeps while a luring rhythm lurks behind building in intensity up to the manic chorus. It all goes a bit crazy here Silvester mistreats a tambourine and begins whacking it around while dancing suggestively. Short for time, they speed into the next few tracks. They finish their set the best way possible .. with a Halloween song – anyone who knows me knows my love for Halloween (its better than Christmas) so, ‘Skeleton Dance’ was the perfect ending to their frantic highly entertaining set. They do a surprise encore once Jake Barnett sorts his rogue guitar out. Ending with Silvester and Kearns sprawled out on the stage on their backs.
These are four fantastic bands that everyone should jump on the bandwagon and get familiar with. They are all ones to keep an eye on.
Indie: (n) an obscure form of rock which you only learn about from someone slightly more hip than yourself.
bassline while the biting sting on guitar slice through your ears in the most thrillingly sharp manner. McGregor is an intense performer giving it all he’s got while Seán Connelly and Tom Freeman stand cool and collected at either side, effortlessly gliding from slinky bass grooves and sultry guitar licks to crashing mosh ready tempos. They write tunes to get you fired up filling your veins with adrenaline ‘The Pills Keep Coming’ is the perfect example of this – its catchy, accelerated and one you won’t forget anytime soon. I loved the “song about dickheads” ‘Mr Tight T-Shirts’ it’s witty honest and to the point with the instrumental backing to make it pretty epic and sticky mosh pit ready.
frontman who exudes charm and composure while the swagger of guitarist, Daniel Connolly and bassist Michael Hanrahan is undeniable, they are pros at those guitar poses and rock and roll facial expressions. Older tracks such as ‘A Wise Man Said’ explode with tuneful enthusiasm. A recording of the Queen speaking (which goes on a litter longer than normal) and a sweet jazzy jam which Calum Landau on drums kick starts introduces ‘Queen’s English’ as Connolly deals with a guitar malfunction, they assure us “we are not royalists”. When the track does finally begin its worth the wait, but it’s the new tracks that peeked my attention. These guys are growing as artists and that is exciting to see. Honing in on their skills and making their sound
tighter and more intricately layered. ‘Rumour Mill’ (my favourite track of the night) with its rumbly rhythm and twinkling guitar to start teases the mammoth to come as they blast into the chorus. The steamy guitar whines contrast the rooted danceable rhythm superbly. There is a steady growth here as these guys are refining their sound without loosing the rough edgy rawness we love so much. That instrumental bridge is just magnificent. There is exciting things to come from this band they have not reached their full potential yet.
‘Easy Lover’ is my favourite track on their set list. It’s sultry desert western riff seeps and creeps while a luring rhythm lurks behind building in intensity up to the manic chorus. It all goes a bit crazy here Silvester mistreats a tambourine and begins whacking it around while dancing suggestively. Short for time, they speed into the next few tracks. They finish their set the best way possible .. with a Halloween song – anyone who knows me knows my love for Halloween (its better than Christmas) so, ‘Skeleton Dance’ was the perfect ending to their frantic highly entertaining set. They do a surprise encore once Jake Barnett sorts his rogue guitar out. Ending with Silvester and Kearns sprawled out on the stage on their backs.
