The Junta is having technical problems. The truculent sound engineer can handle guitars, bass, drums etc but can’t seem to be able to cope with/entertain techno/electronica. Soundcards are not working and the AV laptop has developed deadly embrace. Notwithstanding that The Junta powers through 30+ minutes of old, new and cover material, the latter being a very interesting version of a Rammstein tune. Some of the crowd like it but this is perhaps this is not the ideal place for The Junta to ply his trade. The track “Ron Jeremy” stands out (obligatory Carry On joke time), and gets a least one lady up off her seat to throw some shapes (she will reappear regularly throughout the evening). In addition, at least one new fan has been made as he comes up to congratulate Monty towards the end of the set. Some thoughts on current technical limitations of The Junta live setup are discussed in the car on the way home. Can’t help feeling he would better placed playing in a sweaty techno club in Manchester or Ibiza rather than in a pub in Oldham Town Centre? Regardless of my musings, I admire his boundless enthusiasm in the face of uncooperative gremlins.
Stepping back slightly. I seem to have spent most of my day on the tram network. It’s given me chance to listen to the new Lancashire Hustlers album (which is excellent) and to chill to Enrico Pieranunzi playing Fellini film scores. Eccles to Oldham takes longer than I anticipated due to the long wait at Cornbrook for the Rochdale Connection. For an early Saturday evening, the carriages seem extremely full. Late shopping commuters perhaps. By the time I get to Oldham (….. she’ll be rising etc) it’s dark. Ominously a gaggle of police officers join the tram at Freehold and there are one or two worried glances around me. The much-troubled network has suffered from an “unprovoked attack” violent incident recently. There is a claustrophobic feel to the King Street tram stop. Fortunately, there is only a short walk from the tram stop to the Bank Top Tavern where The Junta. Four Candles and Drink and Drive are playing.
Four Candles have been somewhat busy recording the important second album, I’ve heard most of it. It will confound, impress and delight many. It’s certainly different from the first one. Tonight there is a subtle change from what was seen at The Peer Hat in January in that is delivered like a sledgehammer to the head. Phil has ditched his electric drum kit which seems to add a huge punch to the overall sound. Mr Moss appears intent on ridding himself of several demons this evening. His mojo has returned with vengeance. The crowd becomes enthralled, Mr Moss becomes more animated and manic. The reciprocal exchange of energy between band and audience builds to a huge climax. The impressive new tracks – Stranger Things, You Can’t Be What You Pretend, Chastity Belt and a massive C33 dominate the old favourites. The hypnotic guitar figure of “You Can’t Be What….” is glorious, the impressive “Angels, Not Angels” will not be on the album but is a stand-out on the night. The crowd love it. People are dancing, Mr Moss becomes even more animated his shirt becoming soaked with sweat as he drives the band on. It feels like the edge of chaos, it is intriguing. These guys need to gig more and build the audience they deserve. “Stranger Things” with its consideration of dark political arts is a track which is both apposite and demands your attention.
What can I say about Drink and Drive? A Hometown gig will clearly bring their already large fan base out. The pub fills, people dance. Starting off with “Itch-Scratch Cycle” they demonstrate their intent. Powering through 15 tunes they cover most of the latest album, they try out a new one, and they dig up some much older material. The Adult Pig Suit makes its semi-regular appearance conjuring up memories of Peter Gabriel with a foxes head at the Oval in 1972. Both humorous but also oddly worrying. The band leap between the jaunty Country and Northern of “Dakota Hotel” to the full-on punk rancour of “Recession Man” with ease. “Spring Time For Drink and Drive” and “Greg’s Fault” are most impressive. If you want to fill that huge “Fall-Shaped” hole in your gigging life you should see this band. Whilst the manifestos and content are significantly different from “das gruppe” the underlying intent is the same. Repetition plays a huge part, and the juxtaposition of that with complex and far-reaching lyrical content, a benign astrigency of complex metaphors and rhythm, creates a dark matter heavy mass of emotive music which draws the listener toward it with an irrepressible gravitational force. They remain German Shepherd Records biggest success to date and they ought to be getting national recognition for what they do.
The night has been great. At one point during the D and D set Ben makes a remark about a lack of places to see live music in the Town Centre. Free entry tonight and a reasonably good turnout. No tribute bands. Seems like a winning formula to me. Two good gig weekends in a row for me. One wonders why impressive new live music is suffering when the quality was as good as it was tonight. Landlords should be happy to fill a pub and sell lots of ale etc. It’s a conundrum. The journey home is long and convoluted as for some reason the M60 is closed between junctions 6 and 12, I get home at 2pm, tired but pleased. The psychedelic carpet in the Bank Top Tavern seems to be imprinted on my retina.