Sunday, 18 March 2012

The Lukins.. The Water Rats...

Damn near perfect day yesterday, bit of blogging, bit of great computer game, lots of great book (Zero History now near un-putdownable, not had that with a WG since Neuromancer)

Rounded off with a trip up the road to a pub Rich recommends called The Water Rats, which seems to be the Intrepid Fox of the 1950s interior wise. Apparently Teddy Boys used to hide razors in the rim of their hats and do people across the face You can really see that happening in there..

Anyway.. the middle band on was The Lukins, who I'm delighted to find were from Plymouth and I must look out for them (sorry about blurry photo). Generally great poppy metal I thought was more "the new Garbage" than "QOTST molested by Blondie" on their myspace page.. until their last song which opened up like vintage Paranoid era Sabbath. Aside from being generally all round competent and like able they showed off some great songs, the only dud was actually a cover, a metal version of Cliff Richards Wired For Sound which you have to give them at least balls for trying.

They actually played the audience as well, a very underrated skill in band terms.

This was highlighted by the next band, Carlito (from Kingston), who I think in terms of musicianship were way ahead of the Lukins but got into an instant sulk at the small crowd in the Water Rats and hid their mood very badly. Perhaps too much fizzy pop beforehand. Britpop in fred perry shirts turned up to 11 is never going to be my thing but they could have won me over if they'd shown half of the humility of The Lukins. This might be a consequence of playing to audiences in the South West of course..

To follow on my blog from yesterday on the way London is going, I'll refer you to two albums about London both featuring the same songwriter, one written in 1994, one in 2007, with sharply different moods.

For all the mindless excess suggested in Parklife it is a mostly fun experience, suggesting the freedom and opportunity (seemingly) available in London in the mid 90s.

In stark contrast, The Good The Bad and The Queen, released supposedly at the peak of the Naughty Noughties just before the crash, is full of Dickensian squalor and doom. I wonder it it influenced PJ Harvey's Let England Shake, both seem to draw a parallel to the Britain of a century ago.

We should probably all be in Plym with The Lukins....

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