EDITED TO ADD: we’ve confirmed that we’ll be appearing in the Red Kite Bar Stage on Saturday evening at 6.30pm (after the Bowie-oke) and 8pm (after Turtle Yama).
So that dastardly duo Thee Monkey’s Claw and Prince Reelfoot will be making their first appearance as Hickeysonic since we played Supersonic Xmas Party back in 2014. We’re going to be playing the Red Kite Stage (ie, the bar)at Supernormalbetween some bands on Saturday evening, and also putting in an appearance in Farmer Glitch’s Big Pink Shed at some point.
This isn’t Farmer Glitch’s Big Pink Shed, we don’t have a picture of that. This is EVERYBODY’S Small Wooden Compost Toilet. But it’s probably about the same size, and if Thee Monkey’s Claw decides it’ll be funny to play the Venetian Snares remix of Skelechairs *again* it’ll be a far more pleasant place to hang out.
here at Hickeysonic House we’re a little giddy today having secured tickets for Polly Harvey’s tour later in the year. I’m sure all right thinking people agree the new album developed the sound of ‘Let England Shake’ into something stronger and the televised Glastonbury performance was an absolute triumph. So obviously we’re happy about that, and what a band she’s got at the moment as well – just incredible. Anyway, I popped along to the you-toobs, watched a bit of Glastonbury and searched for some clips of the ‘To Bring you My Love’ band with Eric Drew Feldman. I discovered a couple of things along my way. Firstly there actually are people who don’t like the newer stuff and pretty much wish she’d never grown or changed as an artist. Because people are idiots. And secondly this great little early live set from a few months before ‘Dry’ was released. Being long in the tooth and sore of back we’re old enough to remember way back then and how very striking her arrival on the scene was. It was almost immediately obvious, certainly by the time ‘Dry’ came out, that it was more than just a good indie rock band, that Polly was a unique voice, a major artist and she’d soon leave us behind and go out and conquer the wide world. She didn’t know it yet though, it’s an occasional reward of going to see a lot of gigs that you sometimes catch people who don’t yet know just how good they are. She caught on pretty fast to the power she has though and (after a brief wobble about doing music at all) has been using it to continually impressive effect ever since.
I’m not the biggest fan of a lot concert videos on tinternet but this one is worth your time. A short half hour set from what is basically a hometown show. The footage is endearingly shonky and dim, shot from the the mixing desk most likely on old vhs but nonetheless pretty good. I find it preferable to the ultra high def super close up footage you get from Glastonbury. It wasn’t a such problem with PJ but watching some of the other sets it seemed to suck the life and presence out of the bands. More importantly, while there are a few old school tape wobbles later on, the sound is fantastic and captures the amazing full tilt roar of the early trio just beautifully. There are already songs that would turn up on ‘Rid Of Me’ in the set and the end on ‘Water’. God, I used to love it when she did that, still one my favourites . It’s fierce. It’s had me leaping around grinning.
Naming themselves after a 50’s US Sci-Fi TV series does make you think there’s going to be a lot of Shadowy Men Or Astroman? about their sound but these guys aim more for your actual space rock. Being as they’re Dutch I guess you could say kosmiche. This latest effort ‘Subversive II: Splendor Of The Wicked’ came out a couple of weeks ago. While they don’t really sound like any of those great 70’s German bands particularly they avoid the blues rock chug and prog noodling that can so often blight UK psych efforts. ‘You Filled the House With Merciless Sand’ is a wonderful title and fades in on an ominous drone before building up and up in familiar fashion, there’s a touch of that 50’s twangy guitar about it too. As open and expansive as they get there’s always a sense of everything being measured and orderly – it never just hangs about waiting for something to happen. Imagine Fuck Buttons were a garage psych band. Things get more and more rhythmic and frantic from one track to the next until closer ‘Translucent Concrete’ which has a rhythm track worthy of something on perc trax and wouldn’t be too far out of place, if a bit upbeat, on the new JK Flesh record. Ideal for playing loud and dancing about like a fool, it’s also pay what you like on bandcamp so, you know, austerity smashing bargain too