Up All Night Management...We are not looking to add any further acts to the Up All Night Management roster. All of the acts listed on this page have tracks up on our Juke Box page for your listening pleasure. For more information on Up All Night Management acts please contact Phil Taylor directly at phil@upallnightmusic.com or at the office on +44 (0)207 419 4696 FLIPRON Pictured above.www.flipron.co.uk www.myspace.com/flipron www.tinydog.co.uk You can listen to The Visious Car And Love Poem on the Juke Box page on this site. BISCUITS FOR CERBERUSPress"It’s a treat to encounter a genuinely uncategorisable group ... they plough a furrow intriguingly distant from most of the contemporary cliché zones ... hyper-literate, densely rhymed lyrics ... far richer soundscapes than those of your average group ... Flipron deliver extreme variety." Observer. "Woozy bohemian pop massacre... brilliant but frankly unclassifiable" Daily Telegraph. ’Flipron’s recipe of psychedelic instrumentation and fairlytale like lyrical rhymes leave a strangely addictive taste in the mouth of the listener.... Undeniably mainstream sensibility - an increasingly infectious listen.’ Music Week ""Biscuits For Cerberus" is the album that Paul McCartney might have made if Linda had let him stay on the acid." Unpeeled "Perhaps the first truly eccentric musical figures of the 21st century. Their tight, stylish and superbly melodic music is a hotch potch of pop, rock, blues, swing, bluegrass, new wave and countless other things" Classic Rock Society ’There’s a disregard for creative limits going on here, and it’s warping expectations of what we can expect from live music... ’I don’t even know who I am after these brilliant b*stards have played.’ Artrocker "Will have you laughing out loud. If you like something different, Flipron are a good place to turn". The Works Magazine ’A mix of gypsy accordion, twangy acoustic guitars, modern poetic lyrics and lounge lizard electronic blues. 5/5’ Fresh Direction ’Witty lyrics about many-headed hellhounds to classic swing tunes via bohemian, organ heavy blues rock. If you want something completely different Flipron are a fine place to start’ Stuff Magazine Blues British Rock, French chansons and honky tonk are all cheerily blitzed together with joyful growly vocals, grouchy lyrics, slippy guitars and kooky instrumentation to create a sort of cowboy cabaret which works rather better than you might think". Itchy Magazine "There’s fun to be had with this British quartet’s intelligent theatrical blend of Small Faces chirpiness and Jacques Brel type brooding" Classic Rock Magazine Biscuits for Cerberus is simply littered with infectious songs, lyrical wit and ballroom style grandiose that’ll get your legs jigging and your brain cells popping. I heartily recommended that you get hold of a copy now. http://www.soundsxp.com/3583.shtml ts DiY cod UK tropicalia, subtly hilarious and divertingly, cartoonishly skilful, Biscuits for Cerberus is a work that bridges the gap between Half Man Half Biscuit and the comic-book baroque in the true spirit of musical and literary lunacy. Don’t hail, just succumb. To Flipron: the most original band in the UK. http://www.musicomh.com/albums/flipron-2_1006.htm Flipron just get out that accordion and start singing about the Baboon. Who is the baboon? Who cares, I don’t even know who I am after these brilliant bastards have played. Anyone got a spare Glasto ticket? http://www.artrocker.com/reviews/gigs/gigs139.shtml FANCY BLUES AND RUSTIQUE NOVELTIES Imagine a man in a pink suit, sitting on a box, sputtering Neo-Dickensian rants about being chased by pensioners as he plays a cheap accordion to a band that sound like the Bad Seeds playing The Jungle Book. Or The Specials playing Jacques Brel. Or The Crazy World of Arthur Brown playing Western Swing on Waikiki Beach. Or the Kinks locked in the London Dungeon with a barrel of ale and Thomas De Quinceys personal stash. Imagine all these things and more because once you have stepped into the mystical world of Flipron, you had better be ready for one or two surprises. Flipron were formed by multi-instrumentalist Jesse Budd as a personal music therapy exercise to help him manage his obsessions with old people, monkeys, Hawaiian guitars, skeletons, charity shop records and tarting about in Italian suits and ostentatious shoes. Unsurprisingly for a band who admit theyve taken inspiration from both the questionable and credible ends of their record collections, Flipron create a cauldron of sound that continually refuses to conform but never fails to bewilder and draws you an inch or two closer to the speaker. Even when it seems it is, nothing is ever as you’d expect it with Flipron. Their tributes to literature involve changing the lead character into a pissed ape! They play real human bones on their tracks. They write negative replies to their favourite songs. They lock themselves in the house for weeks listening to Scott Walker albums for inspiration and then make a track that sounds nothing like him. They throw puppies out of windows (not literally) and get chased by fearsome cars. They are the sound of easy listening ravaged by punks. They are the sound of folk fondled by lounge lizards. They will amuse and confuse you. They are Flipron. FLIPRON front man Jesse who presents his often disturbing lyrical content along side the rich hammond of Joe Atkinson. Bass and drums comes from "The Cooters" so named because they look like their name sake in The Dukes Of Hazard TV show. Signed to independent Tiny Dog Records (Scott 4 and Magic Car) FLIPRONs debut album "Fancy Blues And Rustique Novelties" is in all good record shops NOW. For a lot more information please visit the FLIPRON website link at the top of this page, and read the bands press below... FLIPRON gig dates2 Apr 2008 20:00 100 Club London 5 Apr 2008 20:00 Hare and Hounds Birmingham 12 Apr 2008 20:00 The Vic Swindon 20 Apr 2008 20:00 CANCELLED The Cellar Bar Oxford 23 Apr 2008 20:00 The Rifleman’s Glastonbury 5 May 2008 20:00 60 Million Postcards Bournemouth 8 May 2008 20:00 Old Ale House Salisbury 9 May 2008 20:00 Fawcett Inn Portsmouth 10 May 2008 20:00 Orange Street Music Club Canterbury 16 May 2008 20:00 Lewes Folk and Rock Festival Lewes, East Sussex 26 May 2008 20:00 Dorchester Festival Dorchester 13 Jun 2008 20:00 Maindy Con Ton Pentre, Wales 14 Jun 2008 20:00 O’Neil’s Cardiff 20 Jun 2008 20:00 Bar 27 Bridgwater 12 Jul 2008 20:00 2000 Trees Festival, Main Stage Cheltenham 10 Aug 2008 20:00 Endorse It In Dorset Festival: Main Stage, 7.30pm Dorset 5 Sep 2008 20:00 Bestival (exact time/date tbc) Isle Of Wight What the press says about FLIPRONJesse from Flipron on monkeys and Motorhead... Flipron are getting the sliced bread treatment from the music press who cant get enough of these frankly, quite weird, but very nice guys. Think The Elephant Man meets Elvis Costello with an accordion on a windy night... Emma Borley. You can read the rest of this BBC interview at..... http://www.bbc.co.uk/cambridgeshire/content/articles/2004/12/17/flipron_music_qa.shtml Twisted Sinister FLIPRON Fancy Blues and Rustique Novelties (Tiny Dog) 4/5 Charles Shaar Murray likes a mix of eerie fairground and literate cabaret At a time when too many new guitar bands seem to slip easily into a basic set of stylistic options, its a treat to encounter a genuinely uncategorisable group. London band Flipron have been together for five years, you would think that would be long enough to develop a uniquely personal sonic vision, and in this case you would be right. Thanks to Joe Atkinsons eerie Hammond organ, their sound falls between a fairground and a cabaret. Fronted by singer/ songwriter / multi-instrumentalist Jesse Budd, they plough a furrow intriguingly distant from most of the contemporary clich? zones. Budds small crisp voice may recall Neil Tennant, Marc Almond or even (help) Al Stewart, but his songs evoke both Jacques Brels Disque Bleu angst and Ray Davies off hand anecdotalism. His hyper literate, densely rhymed lyrics- My head and my heart fought like brother torn apart/ I got Cained and completely un-Abel; - would not have shamed either Elvis Costello or Ian Dury at their freshest and Stiffest. The colours and textures his various instruments - guitar, harmonica, mandolin, accordion - bring to a basic four -piece line-up create far richer soundscapes than those of your average group. From zippy lap steel-driven instrumentals (Skeletons on Holiday) to affecting exercises in suburban pastoralism (Hanging Round the Lean-to with Grandad) via sinister tales of drunkenness and cruelty (Raindrops Keep Falling on the Dead), Flipron deliver extreme variety. Charles Shaar Murray Observer Music Monthly Sunday 17th October Filling up the Enormodome tonight are UK antifolk champs HORSEBOX, test driving some new tunes en route to a (possible) support with The Magic Numbers. Their carefree anthems are enough to make Tim Burton do a jig in a meadow, to make Skeletor give it all up & become a lolly-pop man, to make Ming the Merciless sing "All You Need Is Love" in the shower. Infact, for a band so skilled at sunshine pop, the highlight is altogether spookier; ’The Darkest Star’ is a haunted folk ballad which bobs along like the bowed head of regret. Horsebox are a tropical pop band, but there’s a fuzzy soul at the centre of it all. Next up, who remembers Dr. Teeth and the Electric Mayhem? Yup, they were the Muppets house band, and FLIPRON are their mirror image; all glam afros, fairy lights and lunatic flash. This is their warm up show for a whopping 6-date tour of Glastonbury Festival, and their creative juices are shooting out like a jet-spray watergun. You want tunes? They got tunes. Check out ’Lion’ with the unforgettable lyric "You roar! You roar! You roary roooary roar!". Check out ’Casino Rustique’ with its Doors a-go-go keyboard solos and German existentialism! And best of all?.. "And now it’s time to play?.. ’Skeletons on Holiday!’" and yes, it really does sound like skeletons tanning themselves in Hawaii. There’s a disregard for creative limits going on here, and it’s warping expectations of what we can expect from live music. Meanwhile Flipron just get out that accordion and start singing about the Baboon. Who is the baboon? Who cares, I don’t even know who I am after these brilliant bastards have played. Anyone got a spare Glasto ticket? www.flipron.co.uk> Ric Rawlins ART ROCKER JUNE 2005 FLIPRON FANCY BLUES AND RUSTIQUE NOVELTIES Tiny Dog There are few men more likely to spot and admire the idiosyncratic flair of others than former Dancing Did guitarist Martyn Dormer, who should shortly be inflicting that debut Skiffle Haze album upon the world, and it was indeed he that pointed these retards out to me. (I mean retards nicely, you understand?) It looks horrible, and it sounds grotesque, because it capture the essences of modern grotesques, therefore I use the word grotesque fondly. ?Raindrops Keep Falling On The Dead? knows how to create an impression, although I didn?t recognise it. Salacious rolling vocals spew out wordy lyrics over a glowing, winking organ and wonderfully soppy 60?s songwriting drollery is flung up against 80?s indie strengths to create a curious mixture for now. It flickers, twitches and explodes in a luxurious manner. With a queasy accordion in ?Rusty Casino?s Casino Rustique? we get closer to what they?re like, as with the vocal similarities and the musical guile, it?s Carter USM meets Bill Prichard. Truly, in fact ?Big Baboon? (?so follow my monkeyass down the underpass?) is even more picturesque, and here is where they are scarily identical in spirit to Carter, and this is the best song Carter never wrote during their first three album peak. You know slowly they?d start classics like ?Every Time A Church Bells Rings?, ?The Taking Of Peckham 123?, ?Murder On The Midnight Mile? or ?Is Wrestling Fixed?? Well it?s like that, and gorgeous. It?s even got shocking glockenspiel like the noises off ?Vision On?! ?Skeletons On Holiday? is more innards-in-a-basket cabaret steel guitar, bony sticky sounds and the sort of ska riff your Auntie Gladys might knock out if she wasn?t otherwise engaged, then they go all moody for ?Curtains? and the comedy shifts down a gear. This is the closest you?ll find, through the brilliant vocal ache, and lilting fragrance of the gentle music, to a modern Alex Harvey, if that means anything nowadays? This singer is a twisted modern romantic, doused in venom, but not vengeful. The twiddly ?Hungamunga?is infuriatingly silly and twice as catchy, like an antique organ fans dream. The guitar cosies up to you with a sickly smile, the drums shuffle along so smoothly, and a flickering falsetto or grossly pleasant keyboard wash might crop up when least desired. It?s absurdly good. ?Whispering Ghost? is coy pop, genuinely sorrowful, and actually deeply clever, while the bleached ?Dead Lovers, Reborn In The City, Reunite In Passionate Impact? quivers and scuttles into an unlikely, rickety chorus. ?The Vicious Car & Love Poem? (?it was hung like a hearse, it was a dead smooth ride?) is a hilariously devious delight, ?A Trip To Jaywick Sands? is jaunty drivel, and ?Hanging Round The Lean-to With Grandad? twee nostalgia that is genuinely touching. I assume this has been out a couple of years, but I accidentally stumbled on an old Bull & Gate flyer from the mid-90?s with this lot on, so it certainly took them a while to reach debut status and the website shows no encouraging signs of anything else coming, so get this now. It?s stunning. http://www.mickmercer.com/mmset.html Tarting About With Flipron by Kat Brown GIG WISE25TH MAY 2005 Gigwise has interviewed some truly horrible people in its time. Funnily enough, most bands don’t want to talk to journalists, they’re doing it for the coverage and because their manager tell them to. Similarly journalists have better things to do that fart around talking to people who dont want to be there, namely sitting at home sobbing into a handkerchief about the farcical direction their writing is taking and why are people just so mean? Which is why, when a band like Flipron comes along, its an absolute delight. The band is charm itself, in an old-fashioned, courteous way that is punctuated throughout the interview by the fruity laugh of drummer Mike Chitty and the poker-faced ramblings of Mark Wingfield, bass. Mike shepherds vocalist Jesse Budd through the interview like an amused parent, while the singer maintains a slightly child-like manner of explaining to them exactly what he means, even when they’re clearly pulling his leg. Keyboardist Joe Atkinson is off moonlighting with aging hipster Donovan but slinks in later, looking remarkably OK with the fact that his band-mates have descended into uncontrollable giggles about fishing rods and wine tasting. After five years of confusing A&R men with a sound that prompted 6Music DJ Tom Robinson to say “If Flipron were a cheese it might possibly be ’Venezuelan Beaver Cheese’ of Monty Python fame,” the band signed a deal with Tiny Dog last year. “They are the only buggers that ever showed a proper interest in us,” says Jesse, a tiny, bright-eyed figure in dapper suit and sharp boots. “We had loads of record labels who took an interest but said they didn’t know what to do with us. It takes a really adventurous little label to come along and say ‘We’ll have a go, we really like it.’” Flipron released their first album on the label last summer, which, to give an indication of the languid verbosity engaged in by the band, goes by the name of ‘Fancy Blues and Rustique Novelties – Thirty Nine Minutes in the Merciless Hands of Flipron.’ Or, as Mike corrects dryly, “‘Fancy Blues and Rustique’ because they don’t have enough text fields on Amazon.” The band’s cabaret sound has attracted attention from all comers – Rat Scabies from The Damned is loitering around when Gigwise speaks to them and Dylan Scoone does their artwork – but it’s describing it that proves nigh on impossible. Considering the wordplay that features so heavily, maybe it would be best to think of it as a musical game of Scrabble. Just as you’re happily swaying along to the sounds of Jacques Brel playing dismal Brighton piers, along comes an accordion or some bones, and something new comes out of it. Even their ‘relationship’ song is about Cerberus, the hell-hound. Don’t even ask about the marriage one. “Because it is so hard to describe, everyone’s going to find something original to say about it,” says Mike. “Some miss it all together but still enjoy it.” Jesse affects a mock-indignant expression. “You get some people saying ‘Oh that was a great song about monkeys’, and you’re like, “Have you never heard of a METAPHOR!” For two literary features so obviously intertwined, poetry and song meet with varied success. For every Bob Dylan, you get a pompous ass. Or ‘Subterranean Homesick Blues.’ Flipron deal with this by ignoring convention entirely – if an idea is required, it will be in there. Take ‘Hungamunga’ -? ‘We are horses in the morning. Our breath plays in the air. The steam is licking traces of a love that is lost and doesn’t care.’ It’s gloriously unwieldy on paper, but in song trips neatly along the tune weaving a story, often of such fairytale grimness it makes you want to hide beneath the covers. Alongside an extensive summer tour of festivals and one-off gigs, Flipron will be playing four stages at Glastonbury this year, a number which surprises Mark who spends the next minute looking slightly alarmed. Their site will soon have full-length downloads in addition to the tasters currently available and they are following this up with a new album - they won’t tell Gigwise the name as Jesse is convinced he’ll change his mind. ?It’s being recorded at Mike’s house in Somerset, resulting in what Joe calls “bits of chain and flowerpots being flipped instead of a bass drum, a chicken wandering around and a river running next door.” It will also be the first time in recent years that an egg slicer has been put to full effect on a record, as Jesse discovered it to be in E minor when he heard his son twanging it one day: “You got quite a spooky little tune.” Unfortunately this is coupled with the need for jobs. “We’ve all got to earn money,” says Jesse. “It’s cost us a fortune for years.” “Fishing costs people money. As a hobby,” Mark muses. “Not quite as much as being in a band,” says Jesse earnestly. Unperturbed, Mark continues his train of thought. “My bass is worth a shh…well, good fishing rod isn’t it?” Jesse changes the subject. “Mike’s a tree surgeon which is quite an exotic job.” There is immediate disapproval from the rhythm section: “Exotic? I can’t see that being exotic. Not like lap dancing.” “No,” says Jesse stoically, “but it’s something people don’t quite understand and there’s an exoticism to that.” Mike points at Jesse. “He’s a qualified wine fancier. He worked for a huge wine organisation poncing around sniffing wine.” Oh really? If there’s any career that should provide space for a songwriter to exercise lyrical decadence, wine tasting must surely be it. “I read about a wine described as having lots of sumptuous, black, satanic Merlot fruit,” says the wine fancier. “And I could just imagine someone going to a wine shop saying, ‘Hmm, I’m having a dinner party and I want something, something quite satanic to go with my chicken, have you got anything satanic?’” Maybe the illustrious Jilly Goulden language of wine could sum up the band better than BBC DJs. Jesse looks slightly panicked. “Don’t ask me questions about wine because I’ll turn into a wine bore. I know exactly what sort of wine I’d want us to be.” Mike chips in briskly. “Just say it, don’t explain it. Answer the question.” There’s a moment’s pause and then Jesse launches into a description that of such assurance that, really, months of consideration must have been involved. “An old-style Barollo. One that had been matured in chestnut as opposed to oak barrels, that’s really acidic and harsh, flavourful but quite tough to drink, that you need a lot of food with. Something that’s quite old-fashioned and doesn’t quite suit the modern easy-drinking palette.” The band burst out laughing and Jesse embarks on a short diatribe about lazy lyricism, and with tour dates extending well into September and the summer festivals offering up thousands of potential converts, the way is clear for Flipron to prove that intelligence and extensive use of kitchen implements are what the British ear needs in 2005. As Jesse says, “Pictures will appear in people’s heads.” Angelic baboons, vicious cars, telephone wires going nowhere.... Welcome to the strange and merciless world of Flipron, says Julian Owen . It sounds like a supplementary point, but it’s actually an introduction. "You guys are brilliant, by the way." Speaking with the manner of a man used to being listened to, he sluggishly leans forward, just to make certain. The three people seated at the table - two musicians, one journalist - stop talking. "This is the first album I’ll have bought for years, though you should be letting me have it for free," he continues. "I work for Warner Brothers..." Arrogant perhaps, but Mr Warner’s original sentiment is clearly echoed by the crowd sat during intermission in the Porter Cellar Bar. For whilst Phil, the group’s amiable manager, may be hawkish in his stool-to-stool sales policy for the pristinely produced debut album ’Fancy Blues And Rustique Novelties: Thirty-nine Minutes In The Merciless Hands Of Flipron’, there are many takers. Actually, album is probably not the right the word. Portal would be closer. A portal into a hyper-lyrical world where people drink to uncover an angel, but instead find a big baboon. Where a vicious car, hung like a hearse, threatens the 50-year marriage of a man still in the thrall to the woman who, though having nothing, had something worth giving. Where telephone wires used to lead somewhere but today just don’t reach. A world of love songs, in short. And death. Lots and lots of death, be it actual or impending. "It’s a trend I’ve noticed amongst most living creatures," says Jesse Budd, chief songwriter and singer, as wryly earnest in conversation as on stage, where his voice rides the scale from devil to old man to innocent child, but mainly hovers in the vicinity of slightly impish lonely lover. With sides of Alex Clockwork Orange and Professor Stanley Unwin. Jesse and Mike Chitty, the drummer, have known each other since Somerset childhood. They began jamming together at the age of 14. When they lived together, Mark Wingfield, the bassist, lived in a room upstairs and "absorbed songs through ceiling osmosis". A strong, natural affinity later drew in the brilliant and - like Mark - classically trained organist, Joe Atkinson. Having begun as an acoustic duo featuring double bass and guitar, pretty soon that just wasn’t enough and things kept adding. "Today," says Jesse, "the singer [guitar, lap steel guitar, accordion, harmonica] takes longer to pack up than the drums. We like stuff." Venue observes that Flipron’s songs are incredibly visual. "Yes!" he says. "I started writing poems, and the poems were never really good enough, but if you can put some nice music behind them you’ve got ten times more atmosphere. I got to know the poet Lee Harwood - not really not that well-known, but something of a cult figure in the late 60s and early 70s - and used to send him poems, and he was very kind and sent them back to me. He pointed out that the things that really worked were the visual things, because that way you see things and take them in. The music does the atmosphere and makes you think, and then you see something between the two." The music does, indeed, do the atmosphere. A tango. Some calypso-country. Polka. Jazz-noir, with nods to Barry Adamson. And more. "It’s a broad palette," says Joe. "But, we hope, a cohesive one," says Jesse. "The thing we spent ages doing is getting the arrangements right - no one really treads on each other’s toes, as we’re all leaving space. Once you’ve got a natural sequence of chords and a natural space, you almost can’t go wrong." On the day that Venue journeyed to the Porter Cellar, Jesse journeyed up from London. By the time it phones him the next evening to finish up, he’s done another day’s work in London and soundchecked in Salisbury. He says he’s barely sat down all day. Venue apologises for disturbing him. "No, no, no, not at all, no, good lord, no! It’s just an explanation for my lack of verbosity or articulation. I have a small son and I need to earn a living, and the band doesn’t earn that much yet." His current musical fad is for 20s vintage Hawaiian music. Sol Hoopii, in particular. "He was kind of like the Jimi Hendrix of Hawaiian guitar. He crossed jazz and Hawaiian music and was responsible for its progression." Gypsy music is another. "I’ve got some superb Russian gypsy music that I bought in Amsterdam for a Euro." Os Mutantes, the extraordinary Brazilian band of the late 60s. "They are real magpies, just like us. Obviously they come from the bossanova generation, but they took on The Beatles, Hendrix, John Cage, and turned it all into one crazy thing." Songwriting loves run to Tom Waits, Leonard Cohen, Bob Dylan, Lou Reed, Howe Gelb: "One of the most idiosyncratic lyricists. There’s real character there." In their current incarnation, Flipron have been together for five years, stockpiling songs. A second album approaches soon. The first "was just a case of selecting songs that sounded right together, and it’ll be the same process again, so that difficult second album really won’t be difficult." Nor can it come soon enough. Julian Music Editor, Venue Magazine Bristol.9th March 2005 "It would appear that someone has been freebasing on a carousel. Death, life, love, hate, baboons and car crashes. There is something here for the whole family (probably Adams). Conjuring up images of burgundy, Hungamunga makes me wants to visit the poorer parts of 1960s France to drink strong coffee. I cant explain this track; it contains references to pensioners and bonfires. A funeral march for a true freak, would be the instrumental A Trip to Jaywick Sands. All in all the most creative collection of enigmatic delights I have heard this side of Halloween." 4/5 James Taylor Spill magazine: The Porter Cellar Bar, Bath, 5th Jan 2005. Distinctively different, yet totally charming Flipron take us on a journey through a world of their own making. Big Baboon’s lead us from bar to bar while the raindrops keep falling on the dead and even the rusty casino’s casino rustique can’t shelter us from the monsters that Dogboy battles. Confused? That’s just the start; the name of the songs these cheeky, feral, chappies produce is only overshadowed by the songs even more bizarre musical arrangements. Mixing everything from old style dance hall, jazz, folk, reggae, funk and pretty much anything else they can squeeze out of their beautifully battered instruments, the band doesn’t just create a unique sound but they seem to physically change the atmosphere. Their spiritual home could well be the Lost Vagueness area at Glastonbury Festival but they seem to cross over so many boundaries that this would merely be pigeon holing them. For an example of what they can do, one song that stood out from the rest for me was the “Dogboy versus the Monsters”, not just content with a funky bass intro and slightly jangly guitars the songs built into a Beatlesesque epic that would have had your granny dancing. In the press they have been described as “a genuinely uncategorisable group” this would normally be a polite way of saying they were dull or underdeveloped band, not here. The band are not only well developed they have successfully passed the threshold many bands never do of not giving a fuck. They do their own thing and make no apologies for it. They are not rude or obnoxious, in fact they are far from it, giving off a relaxed and pleasant vibe as Jesse (vocals, guitars) asked the audience to reach up their arse’s, rip their kidneys out and toss them onto the stage in appreciation for the band. But they do know where they are coming from even if no one else does and it’s this sort of confidence that gives an audience the confidence to like something so different and unique. If you are searching for something that does not conform to one of those wonderful NME reviewers taglines or invented genres than these guys could well be band for you. Steve Wheadon http://www.decodepublishing.com/tiki-index.php?page=Flipron Well its the new year an there is new music seeping into Bath to entertain, enthrall and offend all you lovely music lovers out there. Tonights band fulfill the first two criteria but manage to bypass the third, Flipron are one of the most unique bands I have seen in the Cellar Bar as well as one of the best. Mixing so many music styles to form an enchanting and smile inducing sound that seems to exist in its own Lost Vagueness style world the band ploughed through two sets without repeating themselves once. As well as happily mixing jazz, reggae, funk, blues and folk into one great song the lyrics come across as equally diverse. At one point the drifting vocals are reminiscent of Jarvis Cocker playing Leisure Suit Larry Bring Me The Head of John The Baptist, then they slip into the darker world of Nick Cave doing an impression of the poet Murray Lachlan Young The Flat Packed Bride of Possibilities, and even occasionally they venture into the innocent tones of Pete Dohertys faux childlike speech Hunger Munger. All these comparisons may sound confusing and a little far-fetched but trust me so is Flipron. One particular song drove even further down this surreal road, “Lion” starts like the sound track to some 70s blacksploitation movie with choppy guitar and a heavy fun
Eliza Wren Paynewww.elizawrenpayne.com www.myspace.com/elizawrenpayne Eliza writes songs that are reminiscent of “the classic american song book” Irving Bierlin, Cole Porter et al. Having only been in London for a few months Eliza Wren Payne has wowed audiences at every one of her live shows. Eliza Wren Payne grew up in Utah, USA and studied music and theatre at university where her unique voice was honed. There are a few live recordings on Elizas site that you can listen to. LIVE DATESJUNE 1ST SE1 CLUB, London, FURTUE CINEMA EVENT. AUGUST 2ND - 6TH BIG GREEN GATHERING, Cheddar Gourge AUGUST 19TH - 20TH SECRET GARDEN FESTIVAL, Nr Cambridge Press Sounds Like a hit to us! - The Hit Sheet magazine Jan 2005 Its american eliza wren payne who steals the day though, drawing stunned silence with her first song. using her guitar only to tap a beat, her vocal range and control is mesmerising, her song writing assured. one to watch for in the future for sure. -dominic kos, secret garden review, virtualfestivals.com The intimate feel was continued with the next act, a singer and songwriter from Utah called Eliza Wren Payne. Eliza sang with a delicacy and strength that was truly touching. Her style was evoked memories of early Ani Di Franco in her pure tones that carried a very exposed and personal feel with her precisely clipped vocals that draw the ear expertly to the important phrases. Unfortunately, the busy line up only allowed her a couple of numbers. However, those songs she played showed such a great individual talent I can’t believe it will be long before her name will be well known indeed. http://www.betweenplanets.co.uk/modules.php?name=News&file=article&sid=1664 Eliza wren payne lets her face drop and pain seep from her soul as she sings a somebody-done-her-wrong song. or she twists her lips into a full-mouth grin and winks an eye as she belts out a happy ending. new year’s eve revellers had the opportunity to experience payne’s harmonic, in-the-moment honesty, and as she sings from her heart and gut, her audiences know one thing. she’s no phoney. -amy schoon, the standard examiner
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