Morning Star Monday October 26 2009

Morning Star Monday October 26 2009

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MUSIC ORIGINAL: Skindred

LIVE

Storming onward

A band that isn’t afraid to push boundaries finally gets its due, writes RICHARD HAYES Skindred Electric Ballroom, London HAILING from the south Wales town of Newport, Skindred were known as Dub War 10 years ago. They were a raucous mix of musical styles — from the New York hardcore of Bad Brains to the full-on metal stomp of Sepultura, but with a British and West Indian slant. Singer Benji Webbe remained the constant and he returned with a new

band Skindred and continued their assault of thrash, reggae and punk on the closed minds of most metal heads, preaching their message of in-yourface mash-up.  But Skindred never quite achieved the success their musical prowess deserved and seemed destined to be just another band flogging their way around the British circuit, with only minor success Stateside, where they supported larger US acts. But of late this seems to have changed and is completely justified for a band that have pushed the metal

BAND BREAK-UP

Quitting while they’re still ahead

envelope to extremes over the years and show no signs of letting up — despite a three-year gap from their previous release Roots Rock Riot, leading up to their recent release Shark Bites And Dog Fights. Tonight’s event at the Electric Ballroom was a sell-out — in keeping with their recent British tour. No mean feat for a band that originate from the same locale as indie acts the Manic Street Preachers and the Stereophonics. People are finally latching on to just how original this band are. This is largely down to the huge stage

presence of Webbe, who controls the crowd like Faith No More’s Mike Patton but injects a vein of funk into the show that always keeps the crowd smiling while they slam and mosh. But to only mention Webbe would be doing the band a disservice as they are extremely tight. But it is Webbe who steals the show, stirring up the pit when needed with ferocious social commentary, then injecting moments of much-needed soul, such as the cover of Eddy Grant’s Electric Avenue. This is where Skindred come into their own as they are a band that chal-

lenge you to push your musical horizons and not stay confined to one genre. They played old favourites such as Pressure, Set It Off and Rat Race among newer tracks Stand For Something and the aforementioned Electric Avenue. In response to Benji’s question, “Who here tonight loves music?” the crowd roars in affirmation as they slam, skank and groove to the end of Skindred’s set. An amazing performance from a band finally gaining the kudos their music deserves.

ALBUM ROUND-UP

The Broken Family Band 2002-2009 AND so it has come to pass that The Broken Family Band (pictured) have lived up to their name and broken up. After eight years and five albums the end came peacefully, with a simple message that it was time to “give it a rest” and quit “while they were still ahead.” So, sadly, no juicy gossip about dressing-room tantrums, departures to religious sects or drug scandals. Formed in Cambridge, they never had any long-term plan for global success — it was always just for fun. However, their first album Cold Water Songs was justifiably a critical success, mixing alt-country with indierock and some very dark lyrics. As with many bands, the second album was critical. Welcome Home Loser was musically their most varied album ranging from out-and-out country to hard rock. Both hugely accessible and musically adventurous, it was their high point and deserved to be the break-out album for them, but that wasn’t to be. After that the albums were increasingly dominated by indie-rock tunes and therefore always likely to obey the law of diminishing returns, no matter how

good they were. And they were good albums, right to the very end. None of this seemed to bother the band. They played to please themselves, which sometimes could be exasperating. Their gigs always seemed to go on for just too long — leaving the audience wanting more was an alien concept. But it’s doubtful that you ever read a bad review of one of their gigs. Maybe in 15 years they will reform to play their albums back to back in a sell-out week at the Barbican. Then again, maybe not. It would be nice to believe that they will go on to better things, but they won’t. Hopefully more successful things, but sadly, they are unlikely to be better things.

RICHARD HILTON

Adan Pedroso Esa Flor (Astar Artes Recordings)

The Queensberry Rules Take Your Own Roads (Fellside)

Memory Tapes Seek Magic (Rough Trade)

ESA Flor — or “that flower” — is Cuban guitarist Adan Pedroso’s first solo offering, a lightly sparking infusion of romance, politics and Latin spirit. Don’t expect any tub-thumping political anthems though. The 12, admittedly fairly similar-sounding, tracks all feature a strippedback sound, with Pedroso’s fancy fret-work and vocals creating the main vibe. Pedroso says of the title song: “That flower is about emigrating, facing and experiencing happy and sad moments, looking for a place to let your faith graze, to write adventures and misfortunes.” This type of romantic whimsy is engrained throughout this pleasant, gently uplifting album. Shades of the Cuban nueva trova movement add warmth and depth to this promising first offering.

FOLK music often has to walk a tight line between appearing relevant and yet maintaining the traditions of its past. This trio manage the trick with ease on their fourth album. When they sing about current events such as the credit crunch and climate change it’s marginally less successful, although When You Come Home Again looks at those left behind when the men go off to war. Songs where they look to their heritage are far more successful, like Canal Song about the bargemen and the demise of their trade or No Pardon about Admiral John Byng who was executed for failing to engage the French fleet at the Battle of Minorca. This collection hopefully signals the more historical road the band will be taking with their next album.

CURRENTLY going under the moniker Memory Tapes, enigmatic New Jersey native Dayve Hawk has created an impressive debut album of intricately layered electronic soundscapes. Hawk paints with a wide palette, each song crammed with musical ideas and catchy beats. Single Bicycle starts off with discordant strings before introducing New Order-style guitars and ending with a euphoric choral crescendo reminiscent of Primal Scream at their most blissed-out. The wailing synths on Stop Talking are pure Daft Punk while the shuffling, slightly edgy Green Knight samples the squeak of someone moving around on a basketball court to great effect. While it is never riveting, with its ambient, trippy atmosphere and Hawk’s ethereal vocals, Seek Magic is a rewarding aural experience.

ROS SITWELL

RICHARD HILTON

ian sinclair