Saturday, 24 March 2012

Thick Creamy Podcast 22-03-2012

According to my FourSquare checking last Thursday was my first visit to The Buffalo Bar in over a year, crikey, how times have changed. There was once a time when Songkick reckoned that I was The Buffalo Bar's most frequent visitor, but now they've taken away that sort of functionality from the site.

Anyhoo, I toddled along for a How Does It Feel to Be Loved night, it was only a fiver to get in and for four bands, that's awesome value for money.

First up were The Empty Set. They were pretty quiet, had violins, and were nice and relaxing, almost soothing me into the evening.

Second up were Big Wave from Torquay. I've never been sure where Torquay is, or even if its a real place, its possibly near Mu and R'lyeh, although I remember Torquay had a pretty good team on Football Manager on the CPC, so it must be real. They were a lively band, guitars, keyboards, girl-dominated, a little like Elastica I guess. I hope they play London again soon.

The third band were Knickers, featuring Dan and Jonny from Pocketbooks and some other folk, they were a decent stomping band with gallic sixties chanteuse sort of vibe. They had a couple of stand out tunes, Candy, My Baby's just a Baby and Wowie Zowie, but the sound mixing was a little stodgy.

Headlining were Tender Trap who were as lovely as usual. It looks like Elizabeth from Allo Darlin' has been replaced from Emily from Betty and the Werewolves, but the overall sound is the same, twee harmonies, corny jokes, jangle.

So here's the podcast thing I've put together of the gig, I'm not sure about the sound levels, they looked a bit weird on Audacity, let me know what you think.

Have a listen. Feel free to download it, stick it on your iPod so it comes up on random from time to time.

There's a chance that the bands themselves or the promoters or whoever might object to me recording their show and putting it out there like this, in which case I'll take it down, or edit out the bands in question. Also there's a chance that the bands and promoters would want a copy of the whole set that I recorded, not just the bits I edited together, in which case, if they got in touch I would send them everything I've got.

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