It seems to be becoming something of a tradition for me to spend record store day on a vinyl quest followed by observing a gig in aid of charity. Last year I spent a long (but thoroughly enjoyable) afternoon and evening at The Brudenell in Leeds, watching I Like Trains head a stellar lineup in aid of the tsunami appeal. This year, I’ve returned to York with my (less than impressive) haul to watch Honeytone Cody head a stellar lineup in aid of Japan Earthquake Animal Rescue and Support. The venue is decked out with Japanese-themed decoration and the merch stall contains items of similarly appropriate design – with all proceeds to the cause, naturally. Such attention to detail makes a difference.
Undersex provide a challenging start to proceedings, the duo testing the audience with a set of avant-garde anti-music. It’s a radically different set from the last time I saw them perform: gone is the singer’s cardboard box head, and indeed gone are the vocals, and in place of shouty, angular leftfield punk numbers with punch, all efforts are focused on producing drones and scrapes and fighting any urge to play two complimentary notes in succession. The radical anti-tuning of the guitar helps achieve this, and the bizarre film playing on the wall just to the side of the band only adds to the disorientating nature of the experience. It’s high art, of course, and while it might not sound like music in the conventional sense, in that they succeed in creating mood and atmosphere with instruments, Undersex do a great job.
It may only be Burning Fences’ third gig, but they’re already looking like becoming a band worth taking note of, and not only because they boast former Federals drummer Jack Holdstock holding down the rhythm end. A power trio with a difference, inasmuch as bass is replaced by a second guitar, they deliver a solid set of US-style guitar-driven alt-rock. Taking the tripped-out drone of The Black Angels and adding a hefty shot of adrenaline, they lock into a groove and drive it, but instead of swampy density, Burning Fences’ sound is defined by a squalling treble-fest reminiscent of the Jesus and Mary Chain. Cracking stuff.
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Meanwhile, I never tire of watching Honeytone Cody. The Basement is a small venue, and they could fill it several times over with their immense, percussion-heavy sound that’s rich in atmosphere and swims in layers of feedback moulded to form sonic shapes of all dimensions. From the off, they assault us with a battery of beats that blast like artillery and beat us into submission, before thunderous, floor-shaking basslines rumble into the mix. The vocals are a little buries tonight, but it’s no great detriment to the overall performance, as there isn’t all that much singing, and, moreover, Honeytone Cody are a band you listen to for the holistic effect rather than any one key element. So, while all three band members are clearly exceptional musicians, each contributing in equal share, the sum remains greater than the parts. It might be the same set I heard only a fortnight ago, but when it’s this good, it doesn’t matter, and closer ‘Witch Hunt’ is almost certain to send shivers down my spine no matter how many times I hear it. It’s a great end to a very good night.
Honeytone Cody Online
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