The Corner, 10 May
Challenging the excavation works outside the Corner for loud, earth
shattering impact, Temples have captured the hearts and memories of a broad
age-range of tousle-haired rock fans, most of who respond warmly to the authentic
garage rock of The Frowning Clouds. This
weeks’ featured band on Spicks and Specks are no mere mimics, the triple guitar
drives short sharp blasts of addictive rock. The time-proven sound renders the songs
almost interchangeable, but you can imagine the band playing with identical
energy in 30 years and stilling winning new fans.
Like or loathe Deep Sea Arcade
the energy exuded by lead singer Nic McKenzie is a welcome change from the
typically instrument-bound vocalist of most rock bands. While his pitch wanders
as much as his feet, the songs are tight bursts of Anglo rock that benefit
hugely from McKenzie's strutting, mic twirling and swagger, performing like
he's trying to impress an army of NME readers. While it's not everyone's bag,
confidence goes a long way. Steam and
the closer Girls are stand outs from
a set that raises the bar for our international guests.
Packed behind the photographer-lined barrier,
the crowd greets the parting curtains with a chorus of shrill calls. “Hey,
how's it going?” mumbles Temples’ big-haired
singer and sparkly guitar slinger James Edward Bagshaw. Wearing a similarly
sparkly top and skinny jeans, Basgshaw eases into the microphone, bending his
knee and raising his heels to softly sing in a voice drenched in reverb. The
quartet’s loud - but never angry - opiate rock is essentially glam excised of
sex and charisma.
Boasting one of the best sounding shows this
venue has seen, Temples’ power is partly due to their careful control of effects
and textures. The glazed distortion of the guitar, the trebly crunching bass
and driving drums form a sound that moves like a marshmallow tank. The whole
band look like they should be mooching around forests with Bran in Game of Thrones,
and this sound and style merge to overshadow the songs themselves.
From a set of loaded with unthreatening fury
and unmemorable melodies, obscure B-side Ankh
is an unexpected highlight. The keening Keep
in the Dark is typical of their biggest strength (the glistening glam
stomp), and biggest weakness (a tendency to maintain and repeat instead of
elevate).
Closing their set with Sand Dance, the raucous crowd draw the band back from behind a door
signed “Dressing Room For Temples Only”. Minutes later, accompanied by a cloud
of potent pot smoke, the band emerges for an encore that sees them throw out
the rulebook to stunning effect. Mesmerise
is a ten-minute trip into Spacemen 3 / Krautrock territory is hopefully a sign
of things to come, before the exuberant Shelter
Song closes a night of carefully curated, and wildly received, rock and
roll.
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