I'd seen Pretty Species play only a couple of weeks back at Chambers and the vocal PA at the small venue showed off the strengths and weaknesses of the band in sharp contrast, mostly the latter, the fault of the PA rather than the band.
But tonight, in the might and glory of the full-on Doghouse sound system, it all came together - sort of. The opening track caught my ear at Chambers, but the performance at The Doghouse simply confirmed what a fantastic opening track it is - there's a kind of almost Small Faces sneery pop attitude to it while there's a bluesy undercurrent and yet it has all the halmarks of classic contemporary indie youth, as the band whips it along and the lead vocalist, looking every bit the "wide-boy" frontman, delivers a muscular song with a flowing energy. Now, for the second song, the vocalist leaves the stage, and the song is sung by the lead guitarist who, in my humble opinion, hasn't got quite the vocal strength of the main guy. Although it was clearly a song he loved to sing, you could hear notes flattening and bending as he substituted the passion of it for the actual tunefulness of it. In many ways, it felt like the opener had just fallen a bit flat. That said, the guitar work really shone and the band played a blinder behind it, but I just felt that it would work better if the lead singer was carrying on. From there, bar one more track where the guitarist sang the lead and didn't make me feel any better about it, the band positivly flew through a scorching set that mixed the anthemic songwriting skills of bands such as Arctic Monkeys and even hints of Dundee's The Rise in some of the guitar work, mixed with punk atitude and the odd ska influence. The vocal harmonies from the two singers worked well, so you have to credit them both for that. You had to conclude that, since the last time I saw them, they are improving, with the quality and delivery of the songs becoming altogether sharper and more focused. The band can undoubtedly play and although it's too early to single out anyone in particular, that they play cohesively is enough for now. Some of the poses that the lead singer adopted were so right for the band, acknowledging the audience with a stretched arm, a pointed hand and a nod. Still climbing but still some way to go.
A footnote to this is that, two of the band came over to me, including the guitarist, after the gig and thanked me for the previous review I'd done. Of course, me being the ever faithful soul that I am, I said that I thought the guitarist's vocal wasn't up to the standard of the lead guy, but apart from that, a good set. Luckily, he didn't whack me one with the guitar and I did feel a tad guilty for saying it, but ya gotta say what you think, and I just hope I said it constructively. Of course, I could be wrong......but a band I'll be watching with interest.
I'd seen Val Verde also at Dexters not long before, and been thoroughly impressed - tonight was even better. They began with this track, "Diego", which I think they ended with the last time I saw them. However, with it's chugging rhythm foundations, the song had turned from 'spaghetti spoof western" to "hardcore, gun-toting shooting match" with a searing lead guitar break, equally uplifting lead vocal and great harmonies as the song exploded into its chorus, and came across much stronger and serious than before. With the opening to the second song, and I believed I might have used this rather obscure comparison last time, there's a decided feel of the little known American band Terry & The Pirates, to the lead vocal which is absolutely superb here. Solid, almost metronmic, rhythms and shimmering guitar move into a gorgeous, fluid, high register lead guitar break as the song flows and a real slice of spirited indie-meets-Americana, moves from chugging to thunderous in a heartbeat. The third track possesses an excellent hook with a solid band-played delivery yet sounding light at the same time, with a natural flow making it all sound a lot more "seasoned" than the band's short career to date would suggest. A thoroughly band-played performance with a really impassioned vocal delivery. On the fourth track, it opens with vocal as the whole band then flies into this romp of a track that kind of continues where The Draymin left off, every bit as purposeful with an urgent, emotive vocal and great bass work as the drums pound and the song erupts in a blaze of surging guitar riffs and multi-part harmonies. There's a slower mid-section with chiming guitar and minimal vocal that slowly climbs back up to storming effect. While the next track is a rock solid, rampaging gem of a song, the next track features a short intro with lead vocal dominating as a slow march develops with chiming, soaring slide guitar, as the track decelerates towards silence, the vocal emerging from the empty space, only then for the march to belt out with an addictive musical hook as a huge-sounding band performance lights the whole thing to perfection. The final track is another spirited song with driving rhythms, solid riffs, a high-flying lead guitar, really powerful almost angry, vocals heralding another songwriting gem as that guitar soars and dives to magical effect, and still they manage to make the song twist and turn effortlessly. The whole song is interesting musically, mesmerising to listen to and thoroughly enjoyable as the band climbs, rocks and rolls into this mighty top of the register lead guitar-driven finale that simply cooks. A magnificent set!
Beatnic Prestige were on tour in support of the newly released 4-track EP and began the set with the lead track, "9 Clicks", rousing enough on the CD but here, positively roaring its way through the PA as the band fired up and immediately endeared themselvwes to the audience with a song that's both catchy as hell yet something that's lyrically substantial and solidly arranged, the band just flying through with rhythms pounding and guitars hammering as fast, but not too fast, vocals deliver the song with a natural flow, all in a sort of sneery punk-like roar that kinda reminds you of early Squeeze in a bad mood. The second song featuredd a superb chorus in what was a surge of a song, a bit like an intellectual answer to a version of The Jam who've moved from three minute punk rock to a 5 minute mix of indie complexity and commercial immediacy. A seriously addictive multi-harmony chorus and some striking lead guitar break along the way leave plenty of room for the guitars to shine, despite the song's length. Third up was "Pearfect" from the EP with a stuttering, fast intro that rapidly climbs to its Brogues-esque arrangement as more multi-harmony choruses give the song extra depth while the lead guitar rises above the riffing briefly, as the song proves faster than the CD version and more intense, again well written to keep your attention on the words. A song called "Good To Go" started bouncy and solid with the guitar riff as hook while thefoundations lie in the driving rhythms and the sheer depth of the guitar riffs with a really strong lead vocal that soars, folies and rasps as the song strides ahead to electrifying effect. The harmonies, when added, give extra texture and the whole song becomes one big chorus with a striking lead guitar break. Fifth track is a slower electro-acoustic track with good 2-part harmonies as you hear the words against a delightful but striking electric guitar figure and deep solid bass. More well delivered harmonies make the song work so well as does a great guitar break from the hollow body electric guitar with a really full-bodied tone, as the song glides ahead effortlessly, charming and strong at the same time. The band described the next two linked tracks as forming part of a concept album on which they were working - the first part being a quite short marching anthem of a beginning then onto the next part that is dead similar to The Law only less Beatles-esque and more someone else who, for the life of me, I just can't recall. The vocal is right upfront with strummed acoustic guitar, ringing electric guitar, deep bass and crisp delicate drumming as a really enthralling, short but sweet, ballad, ensues. Next up was the magnificent band anthem "Doubtfire", as a red hot electric guitar lead serves up a rocking delivery that's even faster than the version on the album together with cracking chorus and rock solid bass thundering from the speakers as the fast-as-light vocal delivers the lyrically striking gem of an indie-pop anthem.
"Whizz Kid" is simply another surging gem of a song, and leaves you with the thought that if this is the quality of the songs that they left off the EP, then the album is going to be something extra special, for sure. They finished the set with a new tune called "Suck It Up" (I think) as a stuttering intro from the band led into a cascading bass line, steaming guitar riffing and solid drumming on a mighty blast of a track as the strong vocal powers up and drives into this massive chorus, as the song motors ahead and the lead guitar rises above the military might. A truly rock solid performance just blasts your mind, twisting and turning in parts, that guitar flying above but the main body of the song exploding to maximum effect with the most urgent and hollered in-tune vocal, shuddering and thundering, but essentially, in terms of feel, sound and structure, ending as it began. Overall, a strident, confident performance that didn't put a foot wrong, from a band with the confidence, the drive, the desire and, most importantly, the songs, that will surely take them to the top of the tree.