It’s certainly a quieter week ahead, but I guess that the swings and roundabouts nature of things is just redressing the balance after a couple of weeks that spoilt us music goers. It’s also a week where most things on offer are going to be fairly familiar to you although today stands out as being a bit at odds with what is to follow.
Piano Wire are the new band from Sym and Andy, still smouldering from the wreckage of Eighties Matchbox B-Line Disaster’s final uncontrolled detonation. Sean and Tim fill out the four here and balance the scales.
Their “excellent debut” record, The Genius Of The Crowd, a “lurid post-punk gem”, packs in 8 great songs in under 24 minutes.
In support we have the return of Dead Royalties angular post-punk art-house indie and Sea Mammals post-rock noise
Tickets are £5 in advance or £7 on the door. Advance available from seetickets.com or The Vic. Doors 8.30pm, strictly 18+
Any conversation about the Mousetrap is sure to start with its startling attributes; the record breaking run – three score years and then some, its basis on a real life murder case, the lack of any real big film production to date and the fact that the author herself thought that it would run for less than a year. It is of course Agatha Christie’s best known and best loved play but in many ways is one of her most divisive.
Supporters point to the quality of the writing, the elaborate structures within and the plot twists that became her hallmark whilst detractors often cite that the characters are too archetypal, clichéd even. But maybe we judge the piece through too much of a modern eye and should remember that the play was written at the time when the murder mystery was at its height, Christie herself had done a lot to keep the format alive. No matter where you stand on the effectiveness of the writing, any production stands or falls on the ability to bring that story to life. The play’s the thing…right?
To say that Gaz Brookfield has remained a fiercely independent musician, DIY stalwart and cottage industry enterprise is like saying that he is partial to the odd tattoo or used to have a bit of a thing for cider. Gigs are booked without agents, he chauffeurs himself around aided only by his own assigned RAC man and albums are recorded largely under his own multi-instrumental steam. But there comes a point where it is time to up the game, head into the realms of bigger and slicker production, aim for a fuller sound, work with a band. What is a West Country Boy to do?