Very good audience tape.
"Get on with it" shouts some wag as "Spencer" starts a very short set packed with a huge amount of material. A very good but sloppy gig. Mark is swathed in washes of reverb for "Touch Sensitive". Neville's guitar, whilst being excellent, is a little too loud on "Anecdotes".
A attempted castrati on "Perfect Day" fails miserably but the song is wonderously delivered with a sort of cack-handed venom that echoes the early days of punk. Similarly "The Joke " is a tour de force taken at mid-tempo with a para-rock ethic and some excellent bass playing from Helal. Machines are utilised for a while prior to "F-oldin'" which suffers from dropped beats, microphone issues, feedback, and an odd tone on the guitar.
"Shake-off" is magnificent. Mark is buried in layers of echo, drums play a fleet dance across chunky chords. Both menacing and compelling. An early visitation from the word reformation sticks out. Mark continues the "Shake-off" lyrics over the intro to "On my own" - Neville does some noodling - guitar is unfortunately out of tune against the machines.
A very shouty and heavy rock version of "Antidotes" (wailing banshee time from MES) leads to a strange version of "And Therein" which appears to mostly Mark and Tom with some minimal guitar from Neville.
"Jet Boy" is a mad melange. Shouty Mark and high fret from Neville. "Mad Men" is a mumbled intro into an utterly compelling - mainly due to Nevilles excellent guitar. Encore call leads to excellent improvisation around "Hurricane Edward". There is a very short version of "Prinz" on the copy I have which is mostly audience due to loss of microphone and which unfortunately finishes abruptly.
A good gig although somewhat teetering on the edge of falling apart.
"Get on with it" shouts some wag as "Spencer" starts a very short set packed with a huge amount of material. A very good but sloppy gig. Mark is swathed in washes of reverb for "Touch Sensitive". Neville's guitar, whilst being excellent, is a little too loud on "Anecdotes".
A attempted castrati on "Perfect Day" fails miserably but the song is wonderously delivered with a sort of cack-handed venom that echoes the early days of punk. Similarly "The Joke " is a tour de force taken at mid-tempo with a para-rock ethic and some excellent bass playing from Helal. Machines are utilised for a while prior to "F-oldin'" which suffers from dropped beats, microphone issues, feedback, and an odd tone on the guitar.
"Shake-off" is magnificent. Mark is buried in layers of echo, drums play a fleet dance across chunky chords. Both menacing and compelling. An early visitation from the word reformation sticks out. Mark continues the "Shake-off" lyrics over the intro to "On my own" - Neville does some noodling - guitar is unfortunately out of tune against the machines.
A very shouty and heavy rock version of "Antidotes" (wailing banshee time from MES) leads to a strange version of "And Therein" which appears to mostly Mark and Tom with some minimal guitar from Neville.
"Jet Boy" is a mad melange. Shouty Mark and high fret from Neville. "Mad Men" is a mumbled intro into an utterly compelling - mainly due to Nevilles excellent guitar. Encore call leads to excellent improvisation around "Hurricane Edward". There is a very short version of "Prinz" on the copy I have which is mostly audience due to loss of microphone and which unfortunately finishes abruptly.
A good gig although somewhat teetering on the edge of falling apart.