Then it was the turn of Thanksgiving. It was only after the set that I learnt that Thanksgiving is basically one guy and his guitar, a guy from Portland, Oregon, at that. But, tonight, he decided to use drums too - so he got the drummer from Amy Hits The Atmosphere on the kit, Sheila from Wildhouse on one of her big drums, the guy out of Small Glass Ghost on another drum and the bassist from Wildhouse on yet another drum. The result was nothing short of astounding. While Mr Thanksgiving knew the songs, the others were very much "winging it" but you'd never have guessed. With a sort of late seventies/early eighties style, almost decelerated Tom verlaine-style drawl, the lead vocal was a sort of male answer to vintage Patti Smith - one moment quite tender then sailing into seas of angst, only in a still kind of languid way, in the blink of an eye, the guitar work from strum to full-on attack, equally so. But the drummers provided that extra something that was quite breathtaking. With the others providing solid support, it was the guy on the kit and Sheila of Wildhouse leading the way - the interaction betweeen the two almost organic as one would take a lead role with the other following, the two still providing a multi-rhythmic backing that was, in its own right, prety amazing to hear, but then, almost imperceptibly, for the roles to change as this powerhouse of drumming delight just charged through the airwaves and held you captive. I thought it was the most amazing drumming I'd witnessed in years - but that was before Wildhouse came on!!! Credit to Thanksgiving though - the songs, delivery and guitar work were his - on a good day that would be enough to witness as it was with its post-punk sensibilities and delivery - but tonight he allowed something very special to be created, something that will probably never be repeated.

Next up was Amy Hits The Atmosphere, a local band new to me, but yet another talent lurking in the Dundee shadows. A trio of guitar/vocals, bass and drums, they launched into the first track with a sea of riffing and a good song ensued but it wasn't until the second song that I started really to warm to the band - at this point my thoughts wandered to shades of nu-metal UK, a band such as Fony perhaps, only with a more anthemic American feel to things, and the song strucure simpler with some strong playing thoughout.The third track I noted as "nu-metal country" - by that it was a somg that had real structure and feel but then became highly charged as the band created this searing sea of riffs and rhythms on top - powerful but not really metallic, but seriously good stuff. By the third track you realise that this guy's actually got a great voice and is delivering the songs superbly, not too upfront in the mix but easlily heard, the track having a slow start but then it's full steam ahead as a slice of molten riffing Americana is unleashed on the best original track in the set. The band ended on a rendition of Camper Van Beethoven's "Take The Skinheads Bowling" which just suited them to a tee, and that more than anything gives you some idea of the style, strength and power the band possesses - must check them out with a longer set sometime.

Finally, it was Wildhouse. As you'll know if you've read the previous review, they knocked me out first time round. By now I'd been introduced to the band to find it is actually Sheila on drums, Paul on electric guitar and Peter on second electric guitar - no bass, and I'd not even noticed! But would it be as good second time around - the band prepared the stage - two huge drums at the back, Sheila,the drummer, standing up, all in black wearing shades, Paul also in black and Peter stage left wearing something more vibrant. This time around the set opened with a sort of dark, close harmony song that had echoes of late sixties West Coast-meets-NYC to it and a languid sea of guitar backdrop before, almost as soon as it had started you felt, it ended - a signal from Sheila - and then - boom!!!!!!!!!! - that drumming began - and the shivers run up the back of your neck as the band launch into a set that only they can deliver. This is power and Krautrock and originality and early Velvets all rolled up into one amazing sonic experience
The guitars begin a sonic barrage with a sea of sound rather than lead or rhythm but so dense and yet so hypnotic, as Paul's lush vocal becomes both song and textural layer, actual lyrics but almost buried in the mix, yet so necessary as a song content. As the set progresses, Sheila's drumming gather pace and strength - as if it wasn't strong enough to start with - the booming rhythms she plays, making the likes of Dinger of Neu and Liebezeit of Can look like also-rans, as this immense polyrhythmic thunder blasts out, the spectacle of Sheila standing there blasting out the resounding, resonant rhythms on these two floor-standing drums, simply jaw-dropping. Over this, the two guitarists burn, swirl and howl, a huge barrage of guitar textures surrounding you in rapturous waves of sonic delight. At some point in the third track, Paul, from out of nowhere, unleashes a guitar lead that I can only liken to a hi-inetnsity Neil Young, as this scorching electric guitar work, notes and chords glowing red-hot, surges from the speakers on a positively jaw-dropping solo, all the time the immense drumming powering out while the guitar assault from the other side of the stage is wrapped in feedback and drowns you in a sea of sound.
A final track is an extended improv that takes you places no other band can lead - even for this band, they up the anti - Sheila's drumming accelerates, her head down and buried in this mass of long black hair like a manic Damo Suzuki of the early seventies, becomes ever more intense and breathtaking, so powerful that you think the floor's gonna open up any minute and suck you into the depths, or that she's simply going to explode. All around, the guitars blaze with hi-intensity soundscapes as Paul suddenly stops, lays down the guitar and delivers his languid vocal along with the tinkling of thi s meallic percussion that is suspended in front of him, the mix so good that, even with drums and second guitar on fire, you hear this incredible slice of subtlety on top of it all - simply amazing!! The drumming becomes ever more intense as Sheila positively erupts while Peter's guitar work turns almost organically into a massive howl of feedback-laden electric guitar storm for the final minutes of the set, as the band go nuclear - then, almost as suddenly as it began - it stops - and you actually want more - much more.!!!
The day after the concert and all I can think about is this band's performance - they are one of THE most fantastic live acts around today - if they'd been on again tonight, I'd have been there, and I could almost weep when I think I missed them on Friday night at the University. They surely MUST be destined for greater things - you owe it to yourself to check this band out - awesome doesn't even begin to do them justice!!

WILDHOUSE SET LIST:
racism vs the wildhouse
string theory
ficca
me
vanilla/shh...sleping