God Is In The TV: Neville Skelly – ‘Carousel’ (Skeleton Key Records)

The second album from Liverpool singer songwriter Neville Skelly is a warming collection of songs highlighting his gift for graceful balladeering and hushed moods. Featuring a couple of relatives from The Coral and partly inspired by his experiences of being a father, ‘Carousel’ is an intimate, heartfelt record which has an atmosphere that could partly be attributed to it being recorded in the kitchen of a terraced house. An compellingly understated string arrangement lends itself wonderfully to the folk jazz backdrop of the opening title track, and Skelly’s alluring croon recalls echoes of John Martyn on the gentle acoustic breeze of ‘Falling Leaves’, one of the LP’s most captivating moments. 

Smoky shades of Van Morrison run through ‘House Of Saints’ before the haunting ‘White Roses’ takes the album to a temporarily darker place. With an evident presence of Coral members, ‘Silence Lies In The Sand’ is a laid back, soulful cruise that provides a sweet highlight, while sweet strings light up the elegant folk moods of ‘Catherine’s Song’. Afterwards the quality wears thin on country ballad ‘Love You Gave’ and the direct, almost Springsteen-like ‘Walking In The Shadows’, but there will doubtlessly be people who will warm to them. The tearful, captivating closer ‘Before She Was Gone’ is an example of what Skelly seems to do better at.

It’s probably a bit too laid back to hold the attention of certain listeners, but it’s definitely suitable for those looking for something warm, tender and sumptuous. Hardly original or groundbreaking, but a pleasant listen all the same. Rating: 3.5 out of 5 stars

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The Oldspeak Journal Genuine Leisure Is No More: Modern Day Leisure Is Too Much Like Work

Leisure in the ancient world did not mean time off, but was an activity in it’s own right. Illustration: Happiness by Harriet Russell http://ift.tt/NIo85T

Oldspeak: “Leisure for us, in other words, is a mere interlude in the productive process, a moment to unwind or recharge before the next bout of work. Indeed, a good deal of modern leisure is indistinguishable from work. We play squash in order to stay fit, party in order to network, invest quality time in our children in order to keep them sweet. No wonder a life of leisure fills us with dread! …. How can we recover genuine leisure? A first step would be to recall the original meaning of the term. Leisure in the ancient world – schole in Greek, otium in Latin – was not just time off work, but a distinct form of activity in its own right. It was what was done freely, for its own sake, rather than for the sake of something else. Leisure was a privilege of landed gentlemen. Slaves proverbially lacked it, as to a lesser degree did paid labourers, whose waking hours were devoted to servicing the needs of others.

Athenians called work of this sort ‘banausic’ or ‘mechanical’, words suggestive of servility and stultification. “We call those arts mechanical which tend to deform the body,” wrote Aristotle, “and likewise all paid employments, for they absorb and degrade the mind.” -Edward Skidelsky

“We’ve been so perfectly acclimated to the sick society we’ve created, we actually believe we’re NOT DOiNG ENOUGH. More, more, more, we’re driven to do more, more extremely, faster, harder, louder, bigger, swaggier. There is no connection of the infinite growth model & ever more consumption to the exhaustion of all vital resources and by extension life on earth a.k.a mass extinction. How much is enough ‘stuff’? Ask yourself, why are we being told that idleness is to be avoided at all costs; that if you’re not “productive” you’re not therefore valuable.  We must let go of our emotion-backed obsessions to be productive ALL THE TiME.  We must realize that we are not our “productivity”, or the “value” of it. We must stop trying to profit from our leisure. We must just let it be. We must reduce our slave-like connections to our devices; the new overseers, scheduling every second of our lives with some multitasked, partially comprehended, quickly forgotten activities that absorb and degrade our minds. it would do us well to reclaim our humanity, spontaneity, untethered to the matrix selves.  Don’t freely surrender your YOU time to forces dedicated to draining and profiting from your life energy. Don’t let you’re leisure time be privatized by the vulture capitalist forces that pay you to use your life energy for their gain.  Breath deeply. Meditate.  Do Yoga. Disconnect. Focus on powering down and really building and maintaining your vital life energy. Balance your consumptive activities with non consumptive ones. You will heal yourself.  it’s sooooo much better than pills, energy drinks & self-help books. Reject your subservience to the Cult of Productivity.  Resist the savage inhuman slavery that’s being passed off as “success”.  You’ll live a calmer, longer, less stressed, more balanced life.” -OSJ

By Edward Skidelsky @ The Ecologist:

To be without leisure and do everything for the sake of something else, is to be only half alive, writes Edward Skidelsky.

Conventional wisdom holds that we must work more. The unemployed should be employed. People in part-time jobs should be in full-time jobs. And even those in full-time employment should work harder in order to keep pace with the industrious Indians and Chinese.

I think this is topsy-turvy. The great mystery of our time is not that we don’t work harder: it’s that we continue to work as hard as we do. When I say ‘we’, I refer, of course, to the working population. There are many people in our society – the unemployed and partially employed – who would dearly like to work more. But there are equally many people who would dearly like to work less. This is a deeply irrational state of affairs.

The obvious solution is for all adults to work, but to work shorter hours. It is only our devotion to the principle of the 40-hour week that condemns a large (and growing) sector of the population to the grim fate of unemployment.

Wealthy, but not joyful
We belong, let us recall, to one of the wealthiest societies that has ever existed in human history. Yet we have failed to realise the chief benefit of wealth: leisure. This should surprise us more than it does. In the past it was generally assumed that as people became richer they would work less.

The great economist John Maynard Keynes shared this assumption. In his essay of 1929, entitled Economic Possibilities for our Grandchildren, he predicted that standards of living in the affluent world would rise between four and eight times over the following 100 years, leading to a decline of working time to 15 hours a week, or just 3 hours a day. Liberated from the burden of toil, ordinary people would be able to share in the spontaneous, joyful kind of existence once the privilege of the lucky few.

I see us free”, Keynes wrote, “to return to some of the most sure and certain principles of religion and traditional virtue – that avarice is a vice, that the exaction of usury is a misdemeanour and the love of money is detestable, that those walk most truly in the paths of virtue and sane wisdom who take least thought for the morrow. We shall once more value ends above means and prefer the good to the useful. We shall honour those who can teach us how to pluck the hour and the day virtuously and well, the delightful people who are capable of taking direct enjoyment in things, the lilies of the field who toil not, neither do they spin.

Still working 40 hours a week. Why?
Well, it hasn’t happened like that. Keynes got one thing right though: standards of living in the affluent world have indeed risen about fourfold. But hours of work have not fallen anything like as much. Today in Britain we work on average about 40 hours a week (down from 50 hours in 1930), but nowhere near the 15 hours Keynes foresaw. Why?

My father Robert and I wrote a book last year called How Much is Enough? in which we tried to solve this “Keynes problem”. We considered various explanations: the inequalities of power in the labour market, the increasingly uneven distribution of wealth and incomes, and the power of advertising to kindle dormant passions of envy and vanity.

But according to some of our reviewers, we overlooked the obvious explanation for the failure of Keynes’ prophesy. Human beings, they said, want to work long hours, because they are frightened or nauseated by the prospect of endless leisure.

Here is Alasdair Palmer, writing in The Telegraph: “The Skidelskys have nothing substantial to say about boredom – and it is why their analysis is doomed from the start. The reason why most people keep striving long after they have satisfied all elementary needs is not, as the Skidelskys claim, that they mistakenly think that money is the ultimate value. It is simply that striving for it keeps boredom at bay… Boredom is the serpent in the Skidelskys’ garden of idle delights – and you can be sure that, were we ever to achieve it, that serpent would soon eject us from it.

Modern day leisure is too much like work
Now I don’t deny that many of us would be bored by a life of leisure, and carry on working primarily in order to avoid that prospect. But that is only because we do not know what leisure really is, or might become. We talk, revealingly, of ‘taking a break’ over the weekend or over summer.

Leisure for us, in other words, is a mere interlude in the productive process, a moment to unwind or recharge before the next bout of work. Indeed, a good deal of modern leisure is indistinguishable from work. We play squash in order to stay fit, party in order to network, invest quality time in our children in order to keep them sweet. No wonder a life of leisure fills us with dread!

How can we recover genuine leisure? A first step would be to recall the original meaning of the term. Leisure in the ancient world – schole in Greek, otium in Latin – was not just time off work, but a distinct form of activity in its own right. It was what was done freely, for its own sake, rather than for the sake of something else. Leisure was a privilege of landed gentlemen. Slaves proverbially lacked it, as to a lesser degree did paid labourers, whose waking hours were devoted to servicing the needs of others.

Athenians called work of this sort ‘banausic’ or ‘mechanical’, words suggestive of servility and stultification. “We call those arts mechanical which tend to deform the body,” wrote Aristotle, “and likewise all paid employments, for they absorb and degrade the mind.”

True leisure vs recreation
The Greeks were well aware that slaves and workmen had to rest, perhaps even ‘unwind’ occasionally, but for them that was something altogether distinct from leisure. ‘Recreation’, as we might now call it, was simply the flipside of work, a necessary respite from its pain and constraint. Leisure in the true sense had nothing restorative about it. It took place beyond the work/recreation cycle; it was human activity unleashed from any external purpose.

Leisure could thus be strenuous in the highest degree – far more strenuous than work – without losing its leisure character. The modern identification of leisure with recreation, as embodied in the ‘leisure centre’, simply shows how far the concept has strayed from its original and deeper meaning.

Leisure in the ancient world took many forms. For most Athenians, it was synonymous with athletics and oratory, the conventional occupations of the propertied elite. But for a dissident minority, leisure meant philosophia, love of wisdom – an activity quite unlike the academic discipline that now bears its name. Philosophia was free, open-ended speculation, unconstrained by dogma or money.

Plato contrasted it with litigation, in which the goal is to win one’s case, and win it quickly. (“Law is philosophy on a stopwatch,” said a friend of mine who had recently switched from one occupation to the other.) For Aristotle, philosophy was a celestial activity, the closest we come to the contemplative bliss of the gods.

Not just a Western ideal
Leisure is not just a Western ideal: it crops up wherever a minority is freed from the necessity of earning a living. The Chinese cultivated the arts of leisure with a whimsy absent from the more strenuous Greco-Roman version. Here is Shen Fu, a failed scholar of the early 19th century, reminiscing about happier times: “We would spend the whole day doing nothing but criticising poetry and talking about painting. My friends were like swallows on the rafters, coming and going as they pleased. Yün even sold her hairpins to buy wine without a second thought, because we did not want to give up lightly such a beautiful time and place. But now we are all parted like clouds blown by the wind. The jade is broken, the incense buried! I cannot bear to look back.”

These visions of leisure, Western and Eastern, are in many ways repugnant to us. Aristotle’s gentleman philosophers would have lived on the labour of slaves – “human tools”, as he charmingly calls them – while Shen Fu, a local government secretary, received an income that was almost certainly made up largely of bribes. How can an ideal of life erected upon such murky foundations hold any appeal for us today?

Freedom from drudgery
I share these worries. Yet when all is said and done, what else matters, ultimately, apart from leisure? To be without leisure, to do everything for the sake of something else, is to be only half alive. Imagine a man who works long hours at a boring job to pay the school fees; eats brown rice not because he likes it but because it is good for him; reads books in order to increase his stock of knowledge and culture; and keeps fit for the sake of his ‘erotic capital’.

Such a man is perpetually looking forward to a consummation he can never, in the nature of the case, enjoy. As Keynes put it, “he does not love his cat, but his cat’s kittens; nor, in truth, the kittens, but only the kittens’ kittens, and so on forward forever to the end of cat-dom.” He will die before he has ever really lived.

Nor should we be overly troubled by accusations of elitism. True, some can enjoy leisure only if others dig the coal and wash the dishes, but in a technological age there is no need for those others to be human beings. Mechanical work can, and should, be done by machines. “Human slavery is wrong, insecure, and demoralising,” wrote Oscar Wilde in his visionary essay The Soul of Man under Socialism. “On mechanical slavery, on the slavery of the machine, the future of the world depends.” We now have machinery sufficient to free the affluent world from drudgery. It is only our failure of political organisation and ethical imagination that holds us back.

Edward Skidelsky is a lecturer in philosophy at Exeter University, and author, together with his father, Robert, of How Much is Enough: Money and the Good Life (Allen Lane).







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God Is In The TV: Make Wilko Johnson and Roger Daltrey number one this weekend!

Wilko Johnson and Roger Daltrey’s superb collaborative album ‘Going Back Home’ is currently sitting at number 2 in the midweek charts, one place behind the latest X Factor nobody. I don’t think I need to explain why guitar hero Wilko deserves a number one album more than whoever Simon Cowell’s latest puppet is. An utterly inspiration figure, Johnson’s terminal illness has not prevented him from blowing audiences away with some terrific gigs, and now this fantastic album which was recorded with The Who frontman last year in 2013. While Datrey’s vocals are powerful and spot on, it’s Wilko who steals the show as he gets stuck into riff after riff and delivers a brilliant set of no-nonsense RnB crackers. A number one record for this musical legend would be a fitting gift, and also a reminder to the industry that manufactured karaoke bullshit is no substitute for real music. Go out an buy the album via the links below…

CD: http://ift.tt/1hKgwK4


Download for only £4.99! http://ift.tt/1hKgulw


Thank the guitar god that is Wilko for all he’s given us. What a man.

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the finest kiss: Too Punk to Give a Fuck

Weekend with loaner bass

Sometimes you meet a microphone stand that you just want to fight. Last night at Barboza, moody post punkers Weekend were scheduled to play. Their alter ego’s who don’t seem to give a fuck are who actually played. Bassist and singer Shaun Durkham was clearly unstable, either off his meds or on the wrong ones. During the first song of their set the mic stand went floppy, drooping down to his knees, Durkham seemed slightly perturbed by this, but not too upset. The guitarist came over to fix it in the middle of the song and all was good.

Not quite. Durkham then proceeded to grab the mic stand and wrestle with it. Apparently the stand was more stable than he was, because he lost his balance in the mic melee and bounded out into the audience, in the process whacking his bass against the monitor and then the floor. Song over. He picks up the pieces of the mic and his bass with the help of the band and the Barboza sound guys. He tries to tune his bass only to discover that one of the tuning nobs is bent so badly that he can’t tune it. He hurls some incoherent insults at the audience and then asks with a smirk if anyone has a bass he can borrow. Nobody is eagerly volunteering their instrument having seen the damage he’s done to his own guitar so the band proceed to play another song with the broken bass and no vocals since the mic seems to have lost round one. The bass player from the opening band Haunted Horses takes pity and bravely offers up his bass. Another song is played with the loaner bass but the mic still doesn’t work. Durkham is visibly annoyed that the mic could not withstand his attack, so he walks off the stage at the end of the song. The rest of the band look like they’re not sure what to do so they walk off the stage while the sound guys fix stuff.

Eventually Weekend come back out and play Hazel and everything seems ok, but not for long. Coma Summer is next and it looks like Durkham wants to fight the mic stand again. It’s almost a like a total replay of the first round, except this time he’s fighting with someone else’s bass guitar. Not Ok. The sound guy rushes to the stage, grabs the bass from Durkham and walks off with it. Show over.

Upset that he didn’t get the chance to destroy someone else’s instrument, Durkham grabs his board of effects pedals and lifts it above his head and slams it to the stage. House lights, queue exodus. Not quite. Durkham comes back out yelling at nobody in particular and lumbers to the merch booth where he hopes to sell some t-shirts and records. Worst show I’ve seen since the Fall in 94 at the Black Cat in DC.


I missed first opener Haunted Horses, but caught Cities Aviv who is really just a guy and a laptop. He’s from Memphis and makes industrial noise come from his laptop. Sometimes it was abrasive loud, sometimes it was ambient loud. I couldn’t understand a word he was saying but it sounded cool.

Filed under: Barboza, Music, Post-punk, Punks, Seattle Tagged: Barboza, Cities Aviv, Seattle, Slumberland, Weekend

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God Is In The TV: Track Of The Day #473: Broken Records – ‘See You On The Way Down’

Following on from their critically acclaimed second album ‘Let Me Come Home’, March 24th marks the return of Broken Records with the release of their new EP ‘Toska’ and a short run of UK live dates. The four track EP precedes their third full length LP, ‘Weights And Pulleys’, which is due for release in May. Produced by Tony Doogan (Mogwai, Delgados, Belle And Sebastian, Astrid) the ‘Toska’ EP is according to the press release “a visceral cathartic body of work that revisits the masterful orchestration of the first album while combining the intense, relentlessly aggressive and turbulent sound of the last. “

The second track ‘See You On The Way Down’ is where a dark, graceful waltz meets unhinged, emotively intense vocals, sometimes a little reminiscent of Nick Cave. Brushed drums, striking piano and defined hums of bass feature in a brilliant arrangement that matches the quality of the songwriting and grabs the ear like nothing else on the four track EP. Formed in 2007, Broken Records are an indie folk band from Edinburgh, Scotland.


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God Is In The TV: Peter Hook – The Globe, Cardiff, 23rd March 2014

tn_PeterHook_463 (1)

Lets’ be clear first of all, this is neither Joy Division or New Order, and doesn’t  claim to be. So the assumption must be that this is a tribute or cover band then of which the answer is no. So what exactly is it then? 

To understand this you must see them live, only then will all the pieces to fall into place. Peter Hook’s story begins as we all know with the inception of Warsaw/Joy Division four decades ago and their untimely demise, from which emerged New Order. “Hooky” had played an integral part both live, in the studio and as a songwriter. Hooky’s baselines instantly recognisable as was the figure he cut on stage. But all was/is not well in the New Order camp (when was it ever?) leading Bernard, Stephen and Gillian to reform several years ago minus Peter Hook


So where does that leave Hooky?, well he’s been no stranger to striking out on his own thanks to diversions with Revenge and the moderately successful Monaco. There has also been a couple of books as well as stints as a DJ.  So what has driven Peter Hook to revisit the past and take this on the road?

There could be any number of reasons (as a direct response to the reformed New Order, a demand from fans to hear Joy Division songs played live, or Hooky’s need to get out and play) of course it could be all of these, or none of them. Either way what we have is the opportunity to hear these seminal songs performed live; something many assumed would never happen again. These songs are as much Hooky’s as they are Ian’s, Bernard’s or Stephens.


Which brings us to tonight’s sold out warm-up show at The Globe in Cardiff (incidentally his second warm up show in the Welsh capital in as many years) He must like us! As you might expect, large sections of the crowd are of a certain age. However it seems that there are a few younger faces in the crowd, many of whom were not even there first time around.

The sparse Kraftwerk like opening to “Your Silent Face”  is all the introduction we need tonight from Peter Hook. It’s lush, soaring, melodic electronica enveloping the audience and rendering them defenceless. Unlike  Monaco for example, with “Pottsy” was on lead vocals, Peter Hook & The Light sees Hooky stepping up to frontman as we take a brief tour through some of New Orders’ back catalogue (“Cries & Whispers”,”The Him”,” Homage”, “The Village”,  & “Ecstasy”) closing the first set with “Everything’s Gone Green”.


But tonight is all about Joy Division and between a further two sets, both albums “Unknown Pleasures” & “Closer”  are given the time, care and attention they deserve (from both the band and the crowd). Hooky is a man of few words live, preferring the songs to do the “talking”. When you have a back catalogue so loved, cherished and respected, there’s nothing more that needs to be said.

A truly spine tingling “Atmosphere” is emotionally charged and I notice a few eyes welling up in the crowd. You would have to have a heart of stone not to be touched or moved by it’s sheer beauty. The gig of course ends with “Love Will Tear Us Apart” in a surge of frenetic energy from the crowd who simply must sing every word back to the band.  Then….it’s all over.

Gone, but certainly not forgotten.

So are we any wiser, or more informed  than we were before?…perhaps not. But are we any richer for the experience?…the answer, a resounding yes!



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God Is In The TV: NEWS: Beacons Festival announces its next set of acts for 2014

The organisers at Beacons have done right. After their inspired announcement a few weeks back of this year’s festival headliners – Daughter, Jon Hopkins, Darkside and The Fall (pictured), no less – they have wisely waited until all the clamour has died down and the dust has just begun to settle before ramping up the excitement once more by unveiling the next wave of acts to appear at Heslaker Farmindex in Skipton, North Yorkshire between Thursday the 7th and Sunday the 10th of August.

To those four great names and an already excellent supporting cast that includes Hookworms, Eagulls, TOY, East India Youth, King Creosote, Sweet Baboo and Pins – not forgetting to mention, of course, the initial wave of DJs, Dixon, Roman Flugel and Daniel Avery – we can now add the following:

Those future bass and techno pioneers Joy Orbison; purveyors of countrified agit-pop and a band whose Fat White Family Band aself-confessed desire is to make your skin crawl, Brixton’s very own Fat White Family (pictured), Canadian power trio and one way ticket to permanent hearing loss, METZ; the marginally quieter but no less inspired indiepop of Brooklyn’s The Pains of Being Pure at Heart; the dark psychedelia of The Wytches; incendiary musical mayhem courtesy of GIITTV favourites Joanna Gruesome; their fellow Welsh compatriot, kindred sonic eccentric and person whose star is now most firmly in the ascendancy, Cate Le Bon; and spiralling hypnotic grooves spun by the King of British techno, Andrew Weatherall and his long-time collaborator and friend Sean Johnson who will be setting sail deep into the North Yorkshire countryside under the flag of A Love From Outer Space.

The roll-call of excellence does not end there because Erol Alkan, Charli XCX, Daphni, Rejjie Snow, Submotion Orchestra are all other names you will now find on the Beacons Festival advertising hoardings. For a full list of who is already scheduled to play, look here:Announcement Poster


Full adult weekend tickets can be got for £99.50 + booking fee and deposit tickets are available for £25 up front.  Ticketing information here:


Check out the full site here; it is already starting to look like something very special indeed:


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God Is In The TV: The Twilight Sad: Limited Double Vinyl RSD14

Scottish trio The Twilight Sad are reissuing their quite frankly incredible debut album ‘Fourteen Autumns & Fifteen Winters’ for Record Store Day on 19 April 2014.

The deluxe double vinyl edition of ‘Fourteen Autumns & Fifteen Winters’ will contain never-before-heard tracks, unseen original artwork and the remastered debut in full. The vinyl, limited to a mere 500 copies in the UK, will be available from participating independent record shops on Record Store Day.

Following on from their support slots with Manic Street Preachers in April The Twilight Sad will be performing ‘Fourteen Autumns & Fifteen Winters’ in full at the following towns:

29 April – Brudenell Social Club, Leeds
30 April – Hoxton Square Bar & Kitchen, London
1 May – Hoxton Square Bar & Kitchen, London
2 May – The Deaf Institute, Manchester
3 May – Exchange, Bristol
30 May – Primavera Sound, Barcelona


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God Is In The TV: The Moons/The Blueprints – The Duchess, York, 26th March 2014

Home entertainment is killing live music. Even allowing for the vagaries of the English weather and the fact that it is mid-week, there really aren’t that many people inside York’s premier live music venue tonight.  When further account is taken of local rising stars The Blueprints providing the main support, that number is even more disappointingly small. Recent sold out shows by Johnny Marr and George Ezra prove there is a market out there, but the fact that the evening’s headliners’ The Moons are giving away many pairs of tickets via Facebook to all of their up and coming shows on this tour is perhaps a reflection of some of the difficulties facing the smaller pubs and clubs in getting punters to come through their doors on nights like this.009a

But the show must go on and at a little after nine o’clock The Blueprints take to the stage. Opening with the warm effervescent charm of ‘Laws of Nature’ from their second EP The Mountaineer, The Blueprints populate their short set with songs from both this record and its equally eloquent predecessor, The Shipping Forecast. Theirs is a joyful sound and in Stu Allen they have a most charismatic of singers and guitarists. In his winkle-pickers and turtleneck sweater his appearance speaks of another time, and in their music The Blueprints do capture the essence of 60′s chiming pop in a quite perfect exercise of style and substance.

Two shows into what will be a nine date jaunt around England and Scotland to promote next week’s release of their new single ‘Heart and Soul’ and to announce the arrival of third album Mindwaves in June, The Moons’ frontman Andy Crofts quickly surveys the Duchess scene and wryly concludes that perhaps the band aren’t so big in York after all. Past support slots with Ocean Colour Scene, The Rifles and Beady Eye, as well as Andy Crofts’ ongoing association with Paul Weller should really prove otherwise. Having these names on their CV though, does point the listener firmly towards the musical currency in which The Moons deal. Most of the coins in their particular realm would date from the late 1960s and no doubt feature the heads of Ray Davies, Pete Townshend and Pete Ham on their obverse.

Perhaps it is the paltry size of the crowd or maybe the fact that most of those who are there seem far more intent in engaging in mindless chatter than actually listening to the music– at one point Crofts suggests 276athat the audience should continue to talk amongst themselves while the band just play quietly in the background – but whatever the reason may be, it does take some time for The Moons to properly ignite. But when they eventually do, they really start to crackle and burn. With more than a vague nod to Bowie’s ‘Watch That Man’, ‘Heart and Soul’ is a genuine glam-rock stomper. Another new song ‘Fever’ is positively febrile, beautifully counterbalanced by the whimsical pop of ‘English Summer’. And the final triple salvo of ‘Something Soon’ – with its twin-guitar sound, a song that surely would not have been remotely out of place on Wishbone Four – the jagged edge of ‘Time’s Not Forever’ and the rousing closer, ‘It’s Taking Over’ show what a truly wonderful live proposition The Moons must be if they were only playing to an atmospheric, full house.

The Moons remaining Spring tour dates:


28th         STOCKTON          Georgian Theatre

29th         DUNDEE               Buskers


3rd           NOTTINGHAM     Bodega Social

4th            LEICESTER          Soundhouse

5th            BRISTOL               The Lanes

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