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Review of: Beverley at The Pleasure Unit (7/4/04)
They are on a mission to knock things over, lick their band mates and play fast and outrageously loud rock music, all at the same time. By the end of the second song of this potentially deafening set, the three-piece have done just that by showing examples of how to throw guitars on the floor, knock over microphone stands and, conveniently enough, how to lick a fellow band mate on the face. I hope I remember how to do that when I see one later.
So they have done all that after just two songs, and the lead singer is showing some signs of tiredness as he resides on the audience floor for a short while. At the same time though, he manages to sing ferociously. This is impressive. The only noise that most people can muster whilst lying on the floor is a droning snore which annoys anyone close enough to endure it. Nobody near the lead singer appears to be annoyed at singer and his horizontally challenged vocals.
One other noise that usually sounds unwelcoming to the ears is feedback. The guitarist manages to avoid such a cliché by choreographing the feedback, using his guitar as he faces the amp next to him. There is motion towards the amp using his guitar, clearly done to create this deliberate feedback. It works well in a set that could easily be classified as ‘listenable, entertaining and chaotic’.
The chaos continues sure enough when a member of the audience claims his five minutes of fame up on stage using a spare guitar to create more feedback from the amp. It was not choreographed and just a smidgen less listenable than the previous attempt by the actual guitarist.
More crazy antics took place during the set; including the singer openly displaying his affection for a pillar and more audience members randomly gate crashing the stage. There is lots of loud clapping and some jumping from the enthusiastic crowd as a result of the band’s wild behaviour. Anyone for a spot of pole dancing?
BEVERLEY
Halfway through first song 'Jenny 73', everything goes a bit mental,
and the whole song sound like it's being pushed through the blades
of a helicopter. I'm not sure whether this is intentional or due to a problem
with the cd, but it's damn impressive, and pushes what up to that point
had been a good, rather than great attempt at recreating The Pattern's
glorious recreations of late 60s garage punk
- warning: liable to give you a migrane if you listen to it for more
than 5 minutes at a time.;
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