Tag Archives: Gambler

Re-re-‘Sized

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If you loved Oceansize you’ll love The Demon Joke, the new album from former frontman Mike Vennart. The swathe of Unfamiliar material was a bit much for me to take in at the Brighton gig a couple weeks back – the potential was clear, but this isn’t music that gives of its best up front; it requires patience, the better to tease out the intricacies.

If you’re not familiar with Oceansize I’d fall back on ‘it’s Elbow (heartstrings) vs Mastodon (asskick) spiced with a little Faith No More (contrariness)’. And as much as I adore Oceansize‘s expansiveness I love that Vennart can satisfyingly cram as much into 4 minutes as his former band did into 8.

Mark Heron was all over the kit for four albums and as many LPs, and his Moon/Portnoy presence would be missed if new boy, Denzel’s math-y economy didn’t chime so well with the new music.. ‘He nails it, does he not’ opined Vennart at the gig: quite so.

The polyrhythmical plod of Duke Fame reels out tentacles of appealing melody whilst the easy singalong remains tantalisingly just out of reach, in the fine tradition of Money, or Turn It On Again. My favourite song here.

And maybe it’s the weight of taking the helm, but Vennart‘s vocal is suffused and enhanced by a new soulfulness previously only touched upon. FNM‘s Mike Patton was a discernable influence on Vennart‘s earlier work with Oceansize, and one that he audibly digs into once more, with added conviction. For the great soul singers – Gaye, Knight, Turner, Simone – sweetness and simmering aggression were like yin and yang: always in balance, even when unevenly distributed. Great rock singers, from Glenn Hughes, thru Morrissey, Mike Patton, Maynard Keenan to Andrew ‘Darroh’ Sudderth draw on this tradition; and Vennart exhibits it here too. Check out Don’t Forget The Joker.

Amends has the gravitas and compelling art-mospherics of the best of the ‘Size’s‘s closing epics, condensed into less than four minutes.

Sometimes less really is more. Vennart has succeeded in inhaling all that was great and memorable about Oceansize and expressing it with yet greater feeling, brevity and wit. ‘Prog’ doesn’t have to impose on our time to make its point.

This is possibly his best album… he compared it in recent interviews to the mighty, Everyone Into Position, which I still recommend unreservedly; though TDJ certainly gives it a run for its money…

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Fresh from the vault (10)

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Liverpool aside, is there a city in the UK more crucial in the history of our rock scene than Manchester? The Hollies, 10cc, Buzzcocks, Joy Division/New Order, The Smiths, The Stone Roses, Oasis, The Happy Mondays/Black Grape… The now defunct Oceansize continued that tradition of making daring, against the then-fashionable, superlative guitar-based rock music. Their trio of EPs in the late ’90s/early ’00s garnered attention in the British indie press, and debut LP Effloresce earned them an instant cult-following with it’s post-rock soundscapes, driving riffs and compositional complexity. Thanks to the likes of The Flaming Lips, Mercury Rev, Mansun, Pure Reason Revolution and Porcupine Tree, musicality and ambition were back in, and prog was no longer the dirty word it had been back in the Britpop years.

Second album, Everyone Into Position, though generally critically-acclaimed, lost marks in some quarters for attempting to be too diverse: to me that’s its strength. Over its 70-min duration, the mood is constantly shifting and evolving, both within individual songs and as a unified piece. It’s a cliche to talk of a ‘musical journey’, but totally apposite here, and it’s a journey at times as blissful and awe-inspiring as gently orbiting the Earth, at others more akin to an extended motorway pile-up; full of jarring impacts, life-before-my eyes slo-mo and time-stands-still moments. And on the subject of cliches, how many bands boast – exaggeratedly, in the main – of being musically hard to pin down? Oceansize were genuinely difficult to categorize, though: there are moments of metal intensity, sparse post-rock repetition and enough tricky time-sigs to please the prog-heads, with flashes of Manc rudeboy swagger. Deep, bowel-stirring riffage is interspersed with lush atmospheric passages, vocalist Mike Vennart employs similarly-diverse approaches from a darkly-seductive whisper to demented, unintellible screaming: he cites Cardiacs and Mr Bungle as his favourite rock artists, also slyly admitting to being a big Maiden fan in his youth – that’s an interesting mix of influences right there…

Imagine members of Tool, Deftones, King Crimson, The Beta Band, Radiohead and Gazpacho joining forces to form the ultimate art-rock supergroup: it’s that good.

Since the band’s demise following fourth long-player Self-Preserved While The Bodies Float Up, Vennart and guitarist/keyboardist Gambler have followed the more atmospheric thread with their British Theatre project, whilst guitarist Steve Durose has joined the ranks of fellow-Manc-based heavy space-rockers, Amplifier, following a stint as their touring guitarist. Both bands have created fine music, but for my money Oceansize combines the best of both: pummelling rock intensity and nuanced atmospheric beauty. Like Sweden’s Opeth, it’s the sheer contrast in musical mood from moment to moment, song to song that gives them their edge: the Home and Minor EP, like the latter band’s Damnation album, eschewed their more metallic leanings in favour of a more mellow vibe, and like Damnation, whilst undeniably beautiful it’s the band’s least interesting release. Everyone…, along with third album Frames is a record I come back to time and again and it never fails to blow me away.

British Theatre Pre-order

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Manchester (UK) based alternative music duo British Theatre are set to release ‘Dyed In The Wool Ghost’ on August 20th. It’s their second batch of songs this year following ‘EP’ back in February. Whilst the combination of singer Mike Vennart’s vocals and the atmospheric ebb and flow of the music bears inevitable comparison with the pair’s work as part of Oceansize (see below), the tone of BT’s songs are generally more low key. Oceansize were one of the most distinctive  British rock acts of the last decade and despite overwhelming critical and public acclaim never quite crossed over from a strong cult following to bigger things. Shorn of the former group’s more metallic leanings these fragile, beguiling, textured soundscapes evoke Radiohead ‘Kid Amnesiac’ period, Bic Hayes ‘Mikrokosmos’ albums, even latterday Talk Talk, yet still retain an appealing character of their own.

 

 

Like what you hear? Point your browser in the direction of BT‘s Bandcamp page (link below) where you can pre-order the 12″ for £7 ($10.92) + shipping or name your price (min. £2.50/$3.90) for the download (mp3 320, FLAC, assorted nerd-friendly formats).

http://britishtheatre.bandcamp.com/album/dyed-in-the-wool-ghost

 

And check out some clips of the boys in more rocking mode with Oceansize below: