Friday 21 st February Wednesday 26 th February Thursday 13 th <strong>March</strong> Wednesday 19 th <strong>March</strong> MELLOWTONE February - May <strong>2014</strong> Listings Saturday 17 th May UPCOMING GIGS: PAUL STRAWS, Ivan Campo, Jessica Mary West LEAF, BOLD STREET PAPER AEROPLANES, Cousin Jac THE KAZIMIER STEFAN MELBOURNE, Carrianne Hayden, Michael Reeve THE SHIPPING FORECAST KATHRYN WILLIAMS LEAF, BOLD STREET JOHN BRAMWELL (I AM KLOOT) THE KAZIMIER Between the live music at all shows, Mellowtone’s resident Beaten Tracks DJs and guests play a selection of dusty and forgotten gems ... funk, soul, jazz, psyche, blues, hiphop, reggae and more. You can also find them spinning at Leaf Tea Shop every Saturday night, The Attic on the 3rd Friday of the month, and Friday evenings at the Shipping Forecast from 6pm. effectively embodies the band's sound. The acoustic guitar is fragmented and delicate, offering suggestions at musical direction rather than any definite structure. The bass and drum parts, in tandem with one another, echo the implications of the guitar and give the songs their distinctly progressive feel. Against this backdrop, which is also intoned with elements of funk, the tin whistles of John McSherry and Tyler Duncan blast away. The melodies are delicate in composition, yet played with such ferocity and pace that the crowd appear breathless by proxy. This lip-blistering whistle section is what differentiates The Olllam aesthetically from other bands, and gives them their distinctive Celtic-roots sound. There is clearly a wealth of musical ability in the band, with every member playing with flourishes and zest. The impressive tin-whistle display is matched by some top-drawer drumming. The rhythm section expertly signals the numerous time changes of the music clumsily but aptly labelled Neo Acoustic Celtic Post Rock. The bassist and drummer not only rise to the challenge of these many time changes but adorn them with various idiosyncrasies that make the rhythmic components of the performance as breathtaking as the melodic aspects. In fact, some of the more beguiling moments of the show are somewhat smothered by the relentlessness of the whistle players. There are times when the subtleties of the other musical arrangements should be left on their own to develop, and perhaps become more prominent. This is only to minor detriment, however. Before leaving the stage, Tyler Duncan informs the audience that this is the first time the group have ever played in Liverpool. Due to their roots in Celtic music and the rash of gigs they have played on the other side of the Irish Sea, this seems quite surprising, but this gig will surely not be their last. If the rapturous applause and calls for an encore are anything to go by, then next time they might even be in the programme. Alastair Dunn THE DEEP DARK WOODS The Springtime Anchorage Harvest Sun @ Leaf If their name is anything to go by, THE DEEP DARK WOODS must be fairly uncomfortable being exposed to the urban environs of Liverpool. Consistently praised for their moody and instantly depressing approach to traditional folk rhythms, the band’s songs serve as portals into another reality, one that is far sadder and features a lot more people getting hanged. Indeed, one needs only to look over their back catalogue to get a hint of what’s in store: Hang Me, Oh Hang Me; The Gallows; Back Alley Blues… the list goes on. Before we dig up that particular corpse though, local indie country rockers THE SPRINGTIME ANCHORAGE arrive on the scene with their pleasing blend of rockabilly rhythms and contemporary style. Bar a couple of beards, they all look fresh out of uni, which is why their mature and tight sound is initially so surprising; vocalist Marc Hannon has the sugary grit of a far older man, and the songs are immaculately and carefully formulated to ensure each country lick hits with the most power. The musicians work fantastically together to build arching crescendos and climaxes that hit home with untold force, and their individual skills shine equally brightly. Electric guitarist Phillip Ryan-Melville in particular stands out for his excellent axe-wielding – his quality only serves to help mark The Springtime Anchorage as an act to watch out for. With such an excellent and, at times, energetic opening band, The Deep Dark Woods would have good reason to be sadder than usual. It certainly seems so when they meander onto the stage – there is no introduction and the band launch sullenly into heavy-hitter The Place I Left Behind. A gorgeous whisky-based cocktail of bittersweet melodies and soaring regret, The Deep Dark Woods certainly are taking no prisoners with this opener – and it is only a sign of things to come. One of the key mechanisms in the band’s melodies is the contrast between the voices of vocalist Ryan Boldt and bassist Chris Mason; the former’s mournful and gruff utterances are beautifully complemented by the whimsical and bird-like echoes of the latter. This secret weapon is utilised to full effect in The Sun Never Shines and All The Money I Had Is Gone, which come later in the set to startling effect. The songs from Jubilee seem the more technical and self-indulgent, and with such long instrumental sequences certain portions of the crowd become restless, which soils the experience somewhat by breaking through the bubble of melancholy the band work so hard to construct. Thankfully, just when the chatter is becoming its most threatening, they launch into such favourites as 18th Of December and Hang Me, Oh Hang Me to regain control over their setting. It’s just as well – the music, more varied and indulgent than on the recordings, is certainly worth paying attention to. Although they systematically avoided playing my three favourite songs, I can heartily recommend The Deep Dark Woods. HOUSE OF TREES Parr Jazz @ Studio 2 Fred Johnson Parr Jazz has turned out a slightly younger crowd than usual this evening, and it’s no doubt a sign that these LIPA alumni have left behind a lasting impression since they met here in 2002. Tonight they are joined by Sweden-based HOUSE OF TREES, the venture
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