Fourteen performances - Hyper Syper headlining |
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| RaWTurksFest @ The Turk’s Head
4th October 2008
Photos & Review by Pete |
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Fourteen performances played out on both floors of The Turk’s Head over seven hours meant there was certain to be something worth catching. Anyways, with an admission of just three quid that works out at 22 pence per act, so while for me some weren’t actually worth quite that much there were some moments when even the full three quid wasn’t sufficient either.
Internus had the challenge of opening the event to a handle for early birds downstairs at 5pm and started with some quiet playing. Missing their drummer this was apparently a reluctant acoustic set and so it was a bit tentative. The vocal did show quality, in a deeply X-Factor kind of way.
Upstairs in the bigger space the east coast’s finest, Djune promised more heat and power. Setting up was a bit rushed and perhaps as a result it was immediately obvious that the slick guitars were bullied around by some madly overbearing drums. Things only balanced a bit better ten minutes in, probably due to fatigue. Some rushing metalesque chord shifts kept the intent shifting and the breathless momentum relentless. When some cheeky fan shouted ‘Can you play a fast one?’ there really was no answer to that. They finished with a cover of New Order’s ‘Blue Monday’ which they have daringly filleted and made their own. This was an orgasmic rock out and so unexpectedly exciting I was rating it up there with how someone must have felt seeing Hendrix at Woodstock, that kinda wows experience. It’s a feeling that transcends what you reasonably expect at a gig and as the long outro squealed - to what turned out to be an oddly clumsy, slighly overwhelmed final chord - it was met with a thunderous, ecstatic shriek from the worthy crowd who then proceeded to leap about hugging each other with lots of shouty clamour, eyes wide as saucers.
The next set down in the bar had started and was wonderkid Elliott Morris who has not only got the looks required to star in Hollyoaks but he can also zing out some near faultless virtuoso playing on that acoustic guitar of his. His techniques of playing with both hands up on the fingerboard, use of a high capo and the constant sharply percussive splapping are flamboyant and smile-inducing. There's an important freedom from inhibition in the voice, too - such as when late on it tips into shoutyness showing there's far more to him than just sweetness and light.
Little Imp is one of RaW’s very own stable of popular acts. Absolutely no doubt about the fact that this woman can front a band and make the venue her own. Like some irrepressible little sister she’s smiley and there’s a big love vibe filling the room both from us out in front and from her own band behind her. She’s only little but has something and would look great on TV.
Songstress Viv Murrell looked loved up and well happy to be playing and didn’t seem too fussed about the increasing levels of bar noise - and just got on with it. She wasn’t helped neither by a dodgily tuned guitar but still the voice (and the words) are something a little bit special for round here and it was deffo worth staying put to catch the whole set.
Then it was a rush upstairs to catch Joes A Fiend Josephine, the remnants of darkly urban hipsters Lipstick Entourage - maybe having taken a wrong turn. Having band members living in different cities can’ t help and for me there was a haphazard waywardness to this performance. BUT! But - just when I was cringing a bit and feeling regret something unexpected happened up there. It got totally fantastic. It went insanely south London rap rock - but no, really, really good. The two vocalists bitching dialogue sparked off each other, playful but fully in the role, more than slightly camp. Cue more big joy feelings as they pulled off a thrilling, staggering masterpiece of a song. That was extraordinarily gooooooood. Fanx!
The Rays similarly disbanded this year and similarly some former members are back in action - and yeah, The Deadline Social look real good. They look upbeat and give an honest account for themselves when it matters. Their fans are still passionate, still holding on. The target sound is mainstream rock and the obvious effort put in during rehearsals should justify them some success but for me it lacked wider ambition and had probably even then had been practiced into something a little too unadventurous. It’s just a matter of choice thing but they look like they should be awesome! Set up wise the guitars were just too indistinct in the mix (again) and some pretty cool moves were to limited effect.
Meanwhile Gaucho were definitely not doing the acoustic thing downstairs by the bar - they were well and truly rocking out at volume - with a dependably intense vocal from their surfer dude frontman.
Up top RaW promoter Chris himself was on stage sound-checking his bass - blimey he’s in yet another band? - before The Red Stops made a lively and enjoyable opening. Yeah, alright, the rhythm section was well sorted and there was plenty of exuberance but as the crowd eventually thinned I was left wondering if yeah maybe it’s just too pub rock. Soz, like.
Electric guitar and drum combo Rovente (two middle aged blokes) looked so naff it was seemingly time to go across the road for mushy peas and chips or even hang around sitting it out upstairs but despite the minus fifty cool factor image wise the playing turned out to be undeniably skillful. It was all about that electric guitar, really and the ensuing 60’s rock masterclass. The amount of determination put in to getting to this level is scarily unimaginable. The almost predictable Cream cover says a lot - and was performed with integrity.
Fest faves Owsley Sunshine took a long time to sort themselves and were most obviously down a saxophone. But their jaunty world fusion ska reggae concoction is still full of flavours whatever the actual combination of collective band members. Crowd dancing ensued - as it always does with their special following of lovely people. A shock announcement from the band came just before the end - that ten years of the thing that is Sunshine over Owsley were now over - the band were finished - this was to be their final gig. Partners apparenty would no longer be taking second place to the band. The news silenced the room for a few moments and it appeared a genuinely tearful moment for one or two of the band members. Then the others cracked some jokes and they then played out in the typically warming fashion that makes the world seem such a happy place to be.
Last of the ground floor acts was inappropriately named Satisfaction who had few interesting ideas, both of which were poorly executed. Having said that the fast tempo 12 bar blues number was a bit of a guilty pleasure.
Festival headliners Hyper Snyper took things on through till the finish. They had gone completely ironic with a super-chav white gear look which was a brilliant response - and while undeniably a bit scary it was also a bit fantastic. Nice. That ahead of the game approach continued as they opened with an unexpectedly dirty low electro intro on synth. Combined with some wild bass playing and an inventive vocal mix it was a compelling way to batter on through to the midnight finish.
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| More pics at www.shine.clara.co.uk/gigs webspace. |
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This page was last updated Monday, 11 January 2010
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