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Bad Sounds Review

Review by Andrew Locke Scobie

With a distinct sound, crowd engagement like no other and theatrics that create a feel much like that of Bowie or other cult musicians, Bad Sounds are beginning to cement themselves as a firm jewel in the crown of up and coming UK Indie Music. Recently they performed in their home town of Bristol and Benny Wu and I were lucky enough to experience this instalment of their ÔÇÿGet Better MovementÔÇÖ.

The stage opened with two very talented warm up acts: Dylan Cartlidge and Indoor Pets and once both of their sets had finished, we were left eagerly awaiting the main show. Bad Sounds set opened with a very minimalist sketch of a lone light bulb flashing on stage accompanied by a voice booming through the speakers explaining how we would leave the gig as ÔÇÿgood peopleÔÇÖ and it was their aim to help us ÔÇÿget betterÔÇÖ. This was very in keeping with the general essence and charm of their debut album ÔÇ£Get BetterÔÇÖ and so the show started.

Opening with such a well-loved song like ÔÇÿWagesÔÇÖ was the perfect choice as the crowd cheered and danced throughout, when it comes to this band, the audience atmosphere seems just as important as the set they are playing. Dressed in their classic ÔÇÿGet BetterÔÇÖ overalls the band continued reeling off hit after hit from their album with songs such as ÔÇÿEvil PowersÔÇÖ and ÔÇÿCouldnÔÇÖt Give It AwayÔÇÖ among others. We were then treated with a short interval with another get better speech as well as a costume change for the band, this time losing the overalls and donning clothes from an array of their music videos.

The fans screamed as Bad Sounds treated the second half playing one of their older hits ÔÇÿMeat on My BonesÔÇÖ. They continued with an incredible set eventually ending with the perfect final song ÔÇÿNo LuckÔÇÖ and, as the front runner brothers Ewan and Callum wrestled around on-stage, confetti and balloons covered the crowd and the show came to a triumphant close. This might have been the best gig IÔÇÖve ever been to and anyone that cares at all about this band would be greatly missing out if they did not see them live.

Acts Of Fear And Love- Slaves Album Review

The bastions of middle class youth disillusionment return for a shorter, more consolidated and more heartfelt third outing, delivering what is without question their best record to date. AOFAL drops the Speakers Corner-shoutiness of their previous work in favour of something far more personal and emapthisable, dealing with themes of social media, self image, boredom, hate and good old fashioned break-ups too. Suddenly you’re not just screaming along with them, you’re in the same boat as them thematically too.

AOFAL also sees a welcome change in direction in sound. It’s more post-punky and original, though they haven’t lost their rough edge, which pokes its way through the album at all the right moments. The big punches come, however, when Slaves go off kilter and go quieter; ‘Daddy’ stands out in this regard. Though ‘Photo Opportunity’ kills it with the Weezer-esque structure and is anthemic chorus, which so effortlessly sums up life in the south east of England. Slaves arenÔÇÖt just moving on; moreover, theyÔÇÖre becoming cleverer with their sound, and wielding it with the same ferocity and dexterity as their lyrics.

A prominent online reviewer – whose opinion I’ve always respected but on this occasion I thoroughly disagree with – said that Slaves are a band who “just use punk as a fashionable veneer to make somewhat edgy, substance-free pop rock”. I’ll give him pop rock in regards to AOFAL given that it’s got plenty of singles potential and is far less abrasive sound-wise than previous Slaves records (just listen to ‘Cut And Run)’, but to call them “substance free” is an insult to the fact that Slaves have cornered a niche of the UK music scene and turned it into some of the best records of the last 5 years.

When you’ve grown up in the same sort of placer as Slaves have, Acts Of Fear And Love comes across as a record that just speaks your language. It’s personal not just in terms of its tone, but because it knows exactly what you’re going from. Oh, and it absolutely rocks at some points.