Wood Festival braziers park

wood braziers park

Truck’s Wood off shoot pitches itself as an eco-friendly festival and it is predominantly aimed at, and attracts, families. Many people got in the environmental spirit of the weekend and biked to the festival, but still, a full car park and overflow with a standby taxi means that not everyone can be awarded a green star... Mama Rosin, Uiscedwr, KhaïraArby, Zeus and Willy Mason all provided great, exotic music from Canada to France, USA to Timbuktu, as did London roots/rock outfit Treetop Flyers, who are Glastonbury EmergingTalent winners this year, and one of only a few local acts on the bill, The Epstein. Katy Rose & The Cavalry Parade, the new project from re-named KTB, was pleasingly optimistic in sound, ending in the characteristic group singalong “I don’t want to lose my friend” they went.

The efforts the organisers make to provide solar-powered stages, rubbish recycling and compostable toilets – recycled tractor tyres as seats – and a cycle powered stage are all great initiatives, but there is certainly an underlying feeling that more local acts would go a long way to reducing their carbon footprint. There does also seem to be a gap for a local singer/songwriter type stage in the day as the workshops were predominantly aimed at families. 


My main highlights were, powering Trevor Moss and Hannah Lou’s encore set by bicycle–great close harmony acoustic music from this Heavenly couple, both singing into one microphone, and also the main headline act Eliza Carthy Band, who were superb. She promoted her new album Neptune, boasting a lovely, soulful voice and a mix of upbeat and intimate numbers – she came across humbly as if she was ‘Mother Wood’. The concept behind Wood is a worthy one, and it’s an enjoyable festival especially, it looked like, for people with young families. 

(TW) published OMS 14

dive dive, winchell riots, minor coles o2 academy

dive dive, winchell riots, minor coles o2 academy

For such a hot, sweaty day, Oxford truly turned out in force for this gig. Opening in shorts and t-shirts and adding some real passion to their set, Minor Coles have truly raised their game since I last saw them. More confident, rhythmically tight and energetic, songs ‘Black Hole’ and ‘Fortune Teller’ go down well. A more bass riff-driven sound, which is pleasingly similar to Foals, gives an optimistic preview of their June EP release.

Winchell Riots followed, and although I’m a fan, I didn’t really enjoy tonight’s set – it was too loud and lacked subtlety. They didn’t engage with the audience either, which resulted in it seeming like a practice session.‘RedSquare’,forme,was one of only a few which stood out from the noise.
Dive Dive have been around for years, and are probably better known as being Frank Turner’s backing band these days, but they haven’t yet gained the recognition they deserve in their own right.Tonight, reminding Oxford what rock music is, they play some blistering songs from recent album Potential as well as some old classics. Nigel Powell is one of the best drummers I have seen and the other members do their bit to drive the rhythm home. I watch with memories of moshing at Truck festival, and hear sounds truly in the same league as Foo Fighters and Green Day. ‘Liar’ is the best of their new set–Jamie Stuart’s vocal is in good form, and a hundred sweaty people leave the venue encouraged that rock music, thankfully, isn’t dead.

(TW) Published OMS 14

very nice harry #reformat (self-release)

very nice harry
#reformat (self-release)

VNH have been increasing the profile of their gigs, the latest of which was an
appearance at Oxfringefestival, and having not caught them live it was good to get their new‘#Reformat’ EP to get a feel for whatImightexpect.Hailingfrom Didcot, they build on the now familiar ‘Dead Jerichos sound’, particularlywiththeirfirsttwo tracks. Delayed guitar loops and effectsandambitiousdrumming aremuchondisplay–it’seclectic at times but it gels together to make a good little EP. ‘Among Whispers’ismyfavouritetrack, where Sam’s vocal is definitely initselement.‘Undisclosure’and ‘Vegas’ have a big sound and epic lengths and although the long instrumental sections may work well in a live situation, they don’t provoke the most insightful nuggets over my morning coffee! Certainly the energetic sound makesmewanttocatchalive set–I’msuretheywilldowellif they can recreate this sound at their shows.

Trev Williams
published OMS 14

Radiohead – The King of Limbs

Quick, download, listen, review, break laptop (optional), upload,

The hype around Radiohead is truly huge, as one can tell from the instant reviews written in the half hour after download of the mp3 release.  I feel after 2 days digestion I’m only just poised to write even the smallest of insight..

Hailing from Oxford and all the cliquey nature that sometimes entails, Radiohead seem to adopt an approach which suggests:  We’re just as ‘clever’ as you and look what we can do.. dribble down a microphone, throw our drumsticks about and have a fit onstage.  In the video to Lotus Flower, one of the album’s leading tracks, Thom’s eccentric dancing reminds us that craziness, abnormality, and difference are indeed beauty. Phil Selway’s clumsy intelligent rhythmic diversity and the lyrical links to nature also highlight how right they are. 

Building on the juxtaposition of scattered beats, cut up instrumental loops and piano samples, topped over with Thom’s saliva-induced perfection of intimacy, and wailing in his vocal delivery.  What In Rainbows and Thom’s solo work started this album continues.   There is an energy which at points has every element of chaos, and yet somehow manages to project as relaxing.  There are no catchy sing-alongs, few instrumental hooks or indeed any choruses, but presumably this wasn’t intended anyway and as a whole the album flows in its messed up natural soundscape.  I therefore refrain from giving a track by track analysis.  In fact the token commercial guitar track being left out altogether works in the album’s favour.  The King of Limbs finishes with an amazing simplicity which highlights Johnny Greenwood’s genius as a melodic guitar arranger.  Radiohead have obviously built up the attention span of their existing fans, and taken them to new musical realms yet again.  Good work guys!

Trev Williams

20.2.11

Fire-Lives, Album Miriam Jones

As a solo folk artist Miriam is a joy to listen to on her own, but here there is a host of talented collaborative musicians making up a band behind her songs. Fire-Lives is musically tight and well formed throughout, with catchy melodies, rich strings, and gorgeous vocal harmonies. Opener ‘Rhythm Out” sets the lyrical scene well with lines “I don’t need you, I’ll be fine, I’ve got my rhythm”. It’s a reflective, heart torn yet ultimately uplifting and optimistic album. “Helicopter” reminds me of Lamb with vocal sounding more towards Lou Rhodes. “Come Clean” is about honesty, “Wondrous, Mysterious” is about how commercial Christmas has become. “Bones” is a piano based ditty, who’s melody is wilting and ‘swaying like a misplaced satellite’. Each song has been well constructed and thought through, and Fire-Lives could have easily followed Alanis Morrissett’s ‘Jagged Little Pill’. I hope it goes a long way.
Trev Williams
published OMS 12

Little Fish, Dial F for Frankenstein, O2 Academy 13.11.10

In subsequent weeks before I wrote this review up, Dial F announced they were to split and, unfortunately, what was planned to be their final show at the Winter Warmer was cancelled due to heavy snow, so this one turned out to be their farewell. Dial F were getting better each time I saw them; Green Day grunge, and sing along na na na bits, singing “dance you f**kers”, memories of Friday night at Truck festival last summer flood back. Dial F were an asset to Oxford music who will be greatly missed by many.
Little Fish are well known for writing dark lyrics about depression, paranoia and suicide, all the real stuff many bands tend to forget.  Adding Ben on Hammond as a permanent feature has pushed them towards a more pop based sound, “Glad eyes up, Sad eyes down” being the latest sing along, but it is now beginning to gel.  Songs like Die Young and Bang Bang go down brilliantly, and the epic Am I Crazy?  creates an inclusivity with a fan base who are the most loyal I know.  There were a few tuner fish incidents, and a little paranoid fish bowl moment, but as JuJu quite rightly points out.. “it’s only a game” and it’s great to see their music back on top form where it belongs.

Trev Williams 

published in OMS 12

Equitruck review

written in collaboration,
please see issue of OMS
http://www.oxfordmusicscene.co.uk/images/oms_issue12.pdf