We don’t write about every tiny band in the world in a hope to one day claiming that we wrote about them first. Take a look at our Future Hits section if you want proof. We DID however tip Turbowolf, Black Moth AND Wet Nuns, though. They played a gig together in London so of course we sent David Keevill down to watch them whilst feeling unnecessarily smug to ourselves.
Six things we learnt from Future Hits alumni in Highbury:
1) As line-ups go, tonight is pretty hard to beat. For good reason, Thrash Hits has championed (at various points) all three acts on the bill this evening, so the opportunity to see how this definitively British maelstrom can take apart the reasonably sized climes of downstairs at the Highbury Garage is too good to miss. The ensuing human-rubble, slick-wet floors and massive shit- eating grins carved onto every punter’s face is a testament to how these studio-young bands have forged such a rapport with audiences through enigmatic appeal and sheer graft.
2) And as much as we don’t want to have to re-mortgage our houses due to the sky-high price of middling lager at The Garage, it proves almost impossible not to punctuate each of Wet Nuns‘ filthy riffs by slinging lukewarm Tuborg down our throats. The seedy swing of Rob Graham’s guitar provides the bluesy-thrust against which the percussive blitzkrieg of Alex Gott’s thunderous drumming batters. Vocals are lost amidst the racket as the spirit of the Deep South erupts from this two-some like some grizzly amalgam of John Lee Hooker and Trap Them.
3) Black Moth on the other hand may boast a similar swagger to their recently departed stage-mates, but Harriet Hyde’s vocals remain a dominant feature of their particular tour du force. Sinister, brooding and expressive, she commands the venue as the band’s debut album, The Killing Jar gets a good airing.
4) Not known for its acoustic sensibilities, The Garage lends itself to the large and droning walls of noise that Black Moth foist. Like some bastard child of Sleep and Deep Purple, and bound together by anthemic Sabbath-esque song structures, The Killing Jar feels healthily swollen by this blunt aural assault; ‘Blackbirds Fall’ crashes down upon the crowd inciting madness through its swirling psychedelia and crushingly heavy groove.
5) Chris Georgiadis, Turbowolf’s vocalist and focal point, may be just about the strangest incarnation of a frontman we’ve ever come across. From his Zappa mo and dress-sense, akin to some Jefferson Airplane throwback, expectations are for a measured, albeit spacey conduction of affairs. Instead Georgiadis is a wailing, frenetic performer who channels every mite of energy into a punishing and raucous delivery, whipping the audience up into a rabid frenzy. It’s behind his masthead that Turbowolf have become the most exciting live offering that British music has to offer.
6) The spectrum of people who drag themselves to the show tonight are testament to the sheer genre-spanning versatility of Turbowolf and their electric live performance. Turbowolf honour the packed-out venue in the best way they know how; songs aren’t delivered with panache, but instead erupt like a sonic orgy on the last days of earth. Crowd favourites like ‘Seven Severed Heads’ and ‘A Rose For the Crows’ fling synth in vast rhythmic waves at the mesmerised gathering whilst a disgustingly sleazy cover of ‘Somebody To Love’ sees the audience mashing into the rapidly swelling pit at the front. It’s all frenetic and brilliant, but also nothing less than we’d expect from these guys.
Turbowolf’s self-titled debut album and their recent covers EP are both available now from Hassle Records. Black Moth’s debut album, The Killing Jar, is available now from New Heavy Sounds. Wet Nuns’ latest single, ‘Why You So Cold?’, is available to buy direct from their official Big Cartel page.