December Peepshow reviewed in Nightshift
Peepshow
The Bullingdon, December 18th 2004
Peepshow kissed goodbye to 2004 with yet another example of why everyone from The Guardian and DJ Magazine to your friendly local Nightshift just can’t get enough of Paddy Bickerton et al. After a year which has seen the collective introduce Oxford to the likes of Boomclick and Mylo, tonight Peepshow showcases some of its home city’s up and coming prospects. And as we’ll discover, there’s one group here (making their live debut) with the potential to make 2005 their own.
First things first, though, and while The Bullingdon’s much heralded new £15k rig is being fine tuned, Big Chill favourites The JBX are struggling to get their downtempo dawn choruses across to an audience intent on settling in for a party. When they do pick up the pace however (as on the reggae-tinged ‘Swimming’), the clouds briefly lift, and it’s suddenly clear why their come-down folk has found favour with Rob Da Bank, among others.
Headliners Captive State will be familiar to many as the sunny hip-hop/jazz troupe who’ve blown away the Sunday morning cobwebs at the past couple of Truck festivals. Coming onstage at 1am, however, we’re treated to a different animal – one which has swallowed up the nu-skool breaks of Klute and London Elektricity and spat them back out in the only way nine John Coltrane enthusiasts can – with soul, and in the delivery of vocalist Joe Kennedy – with venom.
Jason King is about to take The Spiralist from his laptop to the stage for the first time. “If this turns out shite, it’s because it’s the first time we’ve all played in the same room together!” A shocking admission, but one that’s quickly forgotten as dub basslines, jazz breaks and bossanova rhythms clamour for space amid Hari Teah’s Billie Holiday whispers and the soaring gospel intonations of Kim and Lian Warmington. One instrumental sounds like a collaboration between Kieran Hebden and Dr Dre. ‘Beans’ is Cannonball Adderley jamming with Dennis Bovell, with King bouncing up and down, triggering samples one minute, playing bass/guitar/keys the next. For one wondrous half hour, it’s impossible to stand, let alone sit, still. With luck, 2005 will see this band spiralling upwards.
Aidan Larkin
The Bullingdon, December 18th 2004
Peepshow kissed goodbye to 2004 with yet another example of why everyone from The Guardian and DJ Magazine to your friendly local Nightshift just can’t get enough of Paddy Bickerton et al. After a year which has seen the collective introduce Oxford to the likes of Boomclick and Mylo, tonight Peepshow showcases some of its home city’s up and coming prospects. And as we’ll discover, there’s one group here (making their live debut) with the potential to make 2005 their own.
First things first, though, and while The Bullingdon’s much heralded new £15k rig is being fine tuned, Big Chill favourites The JBX are struggling to get their downtempo dawn choruses across to an audience intent on settling in for a party. When they do pick up the pace however (as on the reggae-tinged ‘Swimming’), the clouds briefly lift, and it’s suddenly clear why their come-down folk has found favour with Rob Da Bank, among others.
Headliners Captive State will be familiar to many as the sunny hip-hop/jazz troupe who’ve blown away the Sunday morning cobwebs at the past couple of Truck festivals. Coming onstage at 1am, however, we’re treated to a different animal – one which has swallowed up the nu-skool breaks of Klute and London Elektricity and spat them back out in the only way nine John Coltrane enthusiasts can – with soul, and in the delivery of vocalist Joe Kennedy – with venom.
Jason King is about to take The Spiralist from his laptop to the stage for the first time. “If this turns out shite, it’s because it’s the first time we’ve all played in the same room together!” A shocking admission, but one that’s quickly forgotten as dub basslines, jazz breaks and bossanova rhythms clamour for space amid Hari Teah’s Billie Holiday whispers and the soaring gospel intonations of Kim and Lian Warmington. One instrumental sounds like a collaboration between Kieran Hebden and Dr Dre. ‘Beans’ is Cannonball Adderley jamming with Dennis Bovell, with King bouncing up and down, triggering samples one minute, playing bass/guitar/keys the next. For one wondrous half hour, it’s impossible to stand, let alone sit, still. With luck, 2005 will see this band spiralling upwards.
Aidan Larkin
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