Review: The Pretty Things at Sensataria, Dec 2015

Digbeth’s Boxxed venue was adorned with the finest psychedelic, Triassic and yuletide decorations for another Sensataria event on Saturday. A diverse crowd combined people reliving past glories of the psychedelic age and a younger demographic trading on borrowed nostalgia.

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ALBUM REVIEW: Fuzz – ‘II’

At the nexus where Sabbath, Stooges and King Crimson meet exists II, the second album from aptly named Fuzz and one of the most exciting records to be released since their eponymous debut. Continue reading

REVIEW: Lush ‘INTERGALACTIC’ Bath Bomb

Never stand up when you can sit down. And never sit down when you can lie down.

I imagine bathing and grooming beyond The Final Frontier would be a quick and efficient process, like slip-on shoes or Amazon lockers. This is to assume that, by the time humanity reaches further out into space, we have not evolved beyond the need for bathing (either by losing our stink-producing capabilities or by evolving beyond being bothered by human stink).

Lush seems to think otherwise. Continue reading

[Flashback] GIG REVIEW: Blood Red Shoes @ Birmingham O2 24/4/2014

Last summer, I entered a writing competition to win a job reviewing gigs.

I didn’t win, and the review is available to view here, but I felt it wouldn’t be inappropriate to reprint it here for the sake of Root Fifth Blogtave‘s content quota.

If you’ve followed my social media channels over the past 12 months, you may have seen this already. Well, see it again! Continue reading

GIG REVIEW: Doyle Bramhall II @ O2 Shepherd’s Bush 18/2/2014

db2

I’m more used to seeing Doyle Bramhall II in the role of Clapton’s right-hand man, carrying the bulk of Slowhand’s solo work and bringing his unique tone and feel to Clapton’s sets. This time, Bramhall himself is taking charge and sharing guitar duties with Rich Robinson of the recently disbanded Black Crowes. The contrast between Bramhall’s fuzzy, sixties-inspired tones and Robinson’s distinctly southern rock feel evoke sounds reminiscent of Clapton in the 1970s with Duane Allman, particularly thanks to the mixture of southern rock, Texas blues and gospel that recur throughout Bramhall’s original songs. Continue reading