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:: The Permissive Society :: SAY (Say Jansfield) :: Dead Fly Buchowski :: Yena Veldt ::
19 November 2004 / Star and Garter / Manchester
By Manuel Ecostos

Yena Veldt offer a trial that will challenge even the hardiest and more established musicians. And on their debut it all seems to go right. Introducing their post rock, often intricate stabs of sharply pointed distortions, Yena Veldt take the poise of Wire, street corner soap box vocals and literally weld it to the thickest wedges of Mid West USA indie-core Ė with lots of lovely retro, distorted, workhorse grinding guitars. Sort of like showgazing whilst furiously head banging. More to come.

Say Jansfield also makes his Manchester debut. Surely a proud MM moment. Featuring Jay Stansfield (ex-Translelent), the very first demo output has been snapped up by Creeping Bent for release before Christmas. Itís strange seeing Say play alone, but capably backed up by an armoury of sequencers, samplers, keyboards and mixers, plus his trusty guitar. Which has itís own song. ďThe Mind Of The GuitarĒ is an upcoming single and fits in with half of the new compositions tonight. Jansfield provides us with the missing link between Brian Wilson, Bill Nelson and Brian Eno. With a more electronic slant, thereís song after song dripping in pop. But itís the kind of pop, where you expect someone to be hiding behind the curtains with a big knife or gun in their hands.

Onto the The Permissive Society, who not only grab the gig by itís throat, but swing it around their heads for their entire set. But the old permissive sound of assault crafts, helicopters and a generally-shouting-orders, has been transformed into a mix of their original angst and the sound of rattling guitars, widescreen ambitions and anthemic chorus lines. The Permissive Society provide their own frightening agenda that tears the head off psychedelia and transplants it onto the body of rock and roll. Itís an awesome prospect too.

Dead Fly Buchowski drop into Manchester on their first ever UK tour and itíll be interesting to see how the UK public will take to the Beggars labelís latest signings. A young quartet in the original bass, drums, guitar, singer format, DFB arenít fashionable or deliberately cool or stylised. Youíd probably be best taking a trip back to the Hope And Anchor in itís glorious pub rock era (1974-1976). Because DFB know the blues and have re-invented it for the 21st century. Their version careers down the road like a cement lorry doing 90mph. True, straight , heavy, unstoppable. The guitar thunders with big chords and pretty massive sounds, as the bass strings survive life on the edge of being snapped. The songs are often guttural, but heartfelt affairs, bouncing off the melodics and thereís not much room for any nonsense as DFB launch into a set, most of which will probably make it onto their debut album next year. If you missed this youíll be hearing about will, you know.

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