WTF016 - Oz.
01 - Pompous intro, spoken word.
Original 2002 Rant:
This is a difficult one to write up. Originally we were going to be playing with Tetsuo and Must Already Be , but both of those bands had personal nightmares that put any we've had of late to shame, and couldn't do it. I won't go into details as it isn't my place to, but I hope that things sort themselves out for them.
02 - History Today.
The frankly superb Panel filled in for us at the last minute. I've not hidden my admiration for them anywhere and I'm going to be doing a bit of a praiseathon about them in a bit. I love them, they're brilliant, so don't expect me to be subjective. Not that I ever am anyway, but you know what I mean.
03 - Drinking hell dry.
Everything about this gig was a bit weird from its inception onwards. Everything kept changing, often several times a day. Normally gigs at The Oz Bar are pretty relaxed affairs, but this one just seemed to have “I'm A Problem” stamped on its head from the off. It happens like that sometimes.
04 - At the arse-end of the rainbow.
We've been quite busy on the quiet of late, lots of rehearsals to work out different versions of things and tighten ourselves up further. We're so tight now we can barely walk, and there's still room for the locking nuts to slip a bit further around. I didn't have a good gig tonight, but that was just me. I'll go into why in a moment. We're still getting better every time we play though, so next year is going to be quite special, I think.
05 - Children.
And now, the facts…
06 - Song for Paterson Joseph.
We were working with Jim, a lovely gentleman with a quite frightening, but undoubtably affectionate dog. He normally does the sound for the Royal Oak , easily the greatest pub in Cardiff . Because of the size of the Oz Bar, we would be just going through a vocal PA, but as we had monitors that didn't matter. In the end we were really loud as well, which is always a very good thing.
(Yeah, yeah, that thing about the Agent…)
07 - Greatest hits.
The Oz Bar seems to have changed its decor a bit as well, perhaps it's under new management, I should've asked really - giant oil drums and weird shaped pool tables. All good of course.
08 - The Salt Flats.
The soundcheck took a while, and in the end we ran through the revamped ‘Identity'. We've been adjusting the set to try and give it a bit of a spiced up feel. There are a lot of older songs that we felt never really got the chance they deserved, so we've been digging through our old stuff to see what might benefit from another chance to shine. Also a lot of the people who are starting to drift back from the past seem to like hearing numbers they remember having gobbed at them in places like Sam's Bar. We were really pleased with the way the version of ‘Welcome to the Machine' came out when we did the acoustic gig and wanted to try it as a proper plugged assault. I don't think it's the sort of song we'd normally be expected to cover, and we've always tried to do covers that either surprise or annoy. And I know I said we weren't going to do covers a few rants ago, but then I've said a lot of things.
09 - Identity.
Panel are brilliant. They give it everything, they maim and they scratch and they fly. It's criminal that they aren't huge. They're building a website at the moment, and I think they're going to be recording soon. We'll get a link and as soon as we know anymore about the outcome of the studio work I suggest you hunt it down. You won't be disappointed.
10 - Welcome to the Machine.
Originally by famous goths The Pink Floyd .
I had what I thought was a really bad gig, but everyone else really enjoyed themselves and nobody seemed to notice I felt below par, so I reckon I got away with it. In fact, ignore what I just said, I was amazing.
There we go.
11 - Kings of the Wild Frontier.
Originally by famous goths Adam and the Ants .
It was very aggressive tonight, very fast and very loud. A lot of the hatred and nastiness I tend to project was turned more inwards than normal. The video for ‘The Salt Flats' is the nearest approximation I've seen to the way it feels to do a Nameless gig from the other side of the speakers. Everything moves at a weird speed, it sounds different, it looks strange, it flickers and beats. I don't want to get too up my own behind by trying to explain how it feels in too much depth, because it'll end up sounding pretentious. There's no other way of explaining it in terms that don't. So I won't bother.
Of course, I could be wrong. Stella was on the 2-for-1 offer again and that really explains more about performance intensity than anything else can. We recorded it so you can make up your own thoughts using genuine evidence before too long
It was very intense, and neither Panel nor ourselves indulged in karaoke. So that's alright then.