Tag Archives: Vennart

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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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Pre-ordered my copy of Vennart‘s debut album week before last. Pretty excited. For those unfamiliar (no pun…) Mike Vennart achieved artistic, if not financial longevity as singer/songwriter/guitarist with indie-rockers, Oceansize. Negotiating a scarcely-categorizable line between Post Rock, Nu Prog and Art Metal, this sadly-short-lived, Manchester-based crew infiltrated the hitherto-unimagined no-man’s land between Elbow and Mastodon, jamming to fondly-remembered tales of Cardiacs, Faith No More, Tool and Radiohead; refreshed by lashings of mushroom tea. Heady brew? Fuck yeah! And a finely-balanced one too: heaviosity aplenty for die-hard metalheads and cool for the too-cool Guardian fashionistas.

The best rock band to come out of Manchester for a decade.

A year to the day following that band’s dissolution, Vennart and fellow Oceansize cohort, Richard ‘Gambler’ Ingram launched British Theatre: a canny proposition, streamlining the distorted, glitchy and lush atmospherics of the former, whilst substituting a full backing band for laptop dancing. Not a million miles from Radiohead‘s Kid Amnesiac days, albeit grimier, more louche, sordid.

Ingram, and former Oceansize guitarist, Steve Durose both contribute to the new record, The Demon Joke, but to all intents and purposes it’s a one man show now. He launched the new tracks – or some of them at least – at a gig downstairs in Sticky Mike’s Frog Bar here in Brighton last week and I’m not ashamed to say that I couldn’t make head or tail of them. I felt the same way the first time I heard Effloresce (much like Trout Mask Replica, Angel Dust, Second Toughest In The Infants and Spirit Of Eden: sometimes brilliance takes time to absorb and process, even when it’s presence is instantly recognizeable).

In interview, Vennart references (second Oceansize LP) Everyone Into Position, both musically and personally, suggesting ‘I’ve not believed in a record as much since…’ which is good news for me, since EIP is my favourite ‘Size album, though follow-up Frames comes bloody close, and Trail Of Fire (from Frames) is not only my fave Oceansize track but perhaps my favourite song of all time. They didn’t play that at the gig, though they did pull a few classics out of the bag, including Music For A Nurse, Ornament (The Last Wrongs) ‘really long and fuckin’ hard to play’ and Part Cardiac. Even the deceptively-basic, Sabbath-y grind of the latter – from Oceansize swansong, the uneven, Self-Preserved While The Bodies Float Up – conveyed more emotional depth than their support act, Lithuania’s Mutiny On The Bounty, whose selection of sub-Depeche  Mode b-side material merely served to confirm the futility of industrial, post-rock instrumentalism. The wank dripping from a sea of dumbly-nodding post-hipster beards. The ‘Size stood out from the crowd and one has a feeling that Vennart‘s new collection – written whilst on the road as Biffy Clyro‘s live utility guy, studio-enhanced and mixed by Gambler and Durose will too, thanks to a lifetime of musical geekality absorbed from Maiden to Radiohead. The live presentation was augmented by Durose on guitar and b/vox, Gambler on bass and keys and newkid Denzel on drums, who along with Jo Spratley (Spratley’s Japs) also appear on The Demon Joke. The latter is winging it to me as I type, whereupon the chance to make fuller sense and fall once-again in love will surely present itself…

Can’t wait, chaps 😉

Another track, Infatuate is also available upon preordering here

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