The Lotus Project
A piercing vocal floats above dangerous sounding strums. These haunting, stalking almost-ballads are effortlessly evocative, calling to mind the desolate badlands of the Midwest. American Gothic, if you will.
A sharp dress code of sombre shirts completes the effect, and demonstrates the band making a real effort. None more so than in the front-woman, sporting thigh-high boots, spray on jeans and a tasselled jacket. She completes the look with a lazily hung Gibson SG. The SG was designed specifically to look great on female guitarists. On this evidence, they got it right.
It may sound odd to talk about appearance, but what the audience get is a complete experience. A scene is set, and characters are brought to life. Playing against this, the between-song beater shows real personality and ensures the audience warms to the players, and not just the characters.
As a final note, it turns out this was their first performance as a four-piece. You’d never have known. Ones to watch.
Homework
A solo snare drum intro is joined by squelchy bass, and later vocal harmonies. The two synths centre stage give the impression of an electro act. But this is a rock band. If any proof were needed, our frontman grabs a tambourine and does Jagger proud. There is a great interplay on stage, as the band show they are clearly enjoying themselves.
Guitars and synths are used sparingly to build the sound. It moves from electro tinges to tub-thumping indie. And it’s all funky as hell. Words are spat out with intent. The drummer is spectacular – reminiscent of Friendly Fires, but arguably better. It drives everything forward.
Having played at the goNorth showcases and a Belgian festival amongst others, this four-piece is starting to create a stir. If their performance tonight is anything to go by, that stir is justified.
Dead Boy Robotics
Beefy. Drums and vocals are in abundance. The three players face each other in a triangle, and batter the hell out of their various floor toms, keyboards and synths. There is a good measure of jumping around and posturing, and occasionally vocals are delivered with a petulant abandon that calls to mind Dananananackroyd. There’s no lack of commitment, which is obvious when they let rip.
Whilst the music is at times doom laden, almost like a dance requiem, the character of the band is betrayed by the tongue in cheek visuals backing them, featuring grainy, distorted clips from 80s action movies. Who’s have thought that Predator would go so well with grim, pulsing electro?
If anything, they could mix in more eccentric elements, and shoehorn in more hooks. But this is an assured performance from a band that continue to grow in stature in Edinburgh and beyond. Solid.
