Word: basse
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...Lamb--craft excellent trip-hoppy pop in an unmistakeably British style, like a less morose Portishead. That comparison, however, belies the nature of the duo's music. The soundscapes that Barlow creates behind Rhodes's voice refuse to gel into the standard trip-hop forms; bebop, drum 'n' bass and harsh techno beats all find their way into an eminently digestible mix. The band has undeniable indie cred: they've sampled Charlie Parker, scored a British hit with a song based on the work of classical composer Henryk Grecki and had their songs remixed by Autechre, Bola and Global Communication...
...Lamb tried to do both, but fell somewhat short. The exuberance of the band was undeniable, with the overlaying drums, bass and trumpet adding immediacy, but the live touches all seemed rather incidental. Davy, for example, sounded like he was playing samples--live, to be sure, but the same notes to be found on the album. A couple of Thorne's bass solos were nice touches, as was Barlow's delight in distorting Rhodes's voice, but most of the tracks were indistinguishable from their studio counterparts. Lamb make excellent pop songs, but, judging from Saturday's show, there really...
...before. The band played a strong and entertaining set at Woodstock '99, but something went very wrong for College Rave. In between songs, lead singer Joshua Todd talked about little else other than doing lines. When Todd was not mumbling, he often sang way off key, and the guitar, bass and drums were rarely in time with one another. The crowd only responded mildly to the radio hits "Lit-Up" and "For the Movies" and spent the rest of the set awaiting the next performer...
...Burren was maybe not the ideal venue for the band, since space was tight, but folks were definitely moving to old favorites like "Hurts So Bad," a jumping reggae romp with a mercilessly catchy beat. Ty Gibbons' six-string fretless bass moved beautifully in some of their slower songs like "Sweet May Hill", while Ian Steams' precise guitar-work was more delta blues than plain ol' rock-and-roll. Refreshingly, there was no one lead singer or star to this show--the guitar and bass were mic-ed equally, the drums and Frisbay's scat were given their...
...Simon Face of Stone's sleight-of-hand technical leaning and wedged in everywhere with disco, ragga, R&B, Chicago house, techno, jungle, flamenco, breakbeat, punk, garage and all their lovely bastard crossbreeds. It was a musical food fight at an all-you-can-eat: felt beats and loud bass pelted the idolating house fiends sore and silly...