By Ed Osborne.

I asked Lord Emu about their new album at their last gig on Sunday 29^th January. They told me it wasn’t finished, and they didn’t know when it would be ready to be released, but two days later, on the 31^st, it was out on Bandcamp.

Either their producer pulled an all-nighter, or the band were being sneaky and deliberately playing down the hype. Whichever it was, I don’t mind – I’m just happy to be able to listen. The Rocking Horse Sessions is a collection of demos recorded live at the (sadly soon to be demolished) Rocking Horse rehearsal rooms, and – so they tell me – a precursor to a full studio album. You might have heard a few of these 8 songs if you attended our collaborative event with DH1 Records, which the 4-piece headlined. In my write-up of that night I praised the chemistry and showmanship of their live set, and this album reiterates why they are some of the most entertaining performers in Durham.  

In recording all 8 songs live and releasing them without any fanfare or social media marketing, Lord Emu have played to their strengths as a popular live band amongst Durham’s music scene, whilst managing to avoid layering the songs with too many studio effects that might have spoiled their magic. Despite the straightforward instrumentation (guitar, bass, drums, and the occasional piano) and the recording equipment used, The Rocking Horse Sessions sounds professional – every instrument has its place within the song, the mixing is beautifully clear, without the crowding of endless overdubbed guitars, and the backing vocals add another layer without ever becoming cliché. And that is without even talking about the songs themselves.

Every riff, every chord, every hit of the drums, is relentlessly in-time, something incredibly hard to do when recording entirely live. There’s no doubt that a good deal of the songs’ cohesiveness is down to Luke Pocock’s drumming; I can’t imagine the hours of rehearsal it took to get everything sounding so tight. Despite this, each title is followed by ‘(live demo)’, as if Lord Emu are modestly understating what they’ve accomplished on this album; songs like ‘More than a Meditation’ don’t sound like a live demo, they sound like something you’d hear on rock radio or a festival stage. The song is my personal favourite from the album, with an earworm guitar riff that hasn’t left my head for weeks. After the halfway mark, the band switch from a catchy alternative rock song to a fast-paced heavier instrumental, which revolves around George Brown’s virtuoso guitar riffs. I think it would’ve been more interesting to see them build off the existing motif, but when the song still sounds this good I can’t really complain.

George Brown’s valuable presence is felt on the rest of the album too; as well as intricate solos, his keyboard playing adds another dimension to the band which lets them explore even more genres. The recordings have also shone a spotlight on vocalist/guitarist Dillon Blevins’ unique voice, which is sometimes hard to hear amidst the distorted guitars and furious drumming of their live sets. Their vocals on glam-inspired tracks like ‘The Glass People’ and ‘Afraid To Go Home’ have traces of David Bowie’s early melodramatic inflection, and can shift to a tuneful and powerful falsetto at any moment. Elsewhere, on the album’s heavier punk songs, his voice has a raspy, full-bodied quality which matches the rest of the band’s energy – ‘The Scoundrel Express’ and ‘In Your Corner’ sound just as frenetic here as they do live.

Despite the overall strength of the album, Lord Emu saved the best till last. ‘Uninspired’ is a 7-minute amalgamation of genres, beginning as a riff-heavy metal song before switching to a more contemplative bridge that builds into another excellent guitar solo – a transition that reminds me of ‘Free Bird’. As the solo gets more chaotic the drums shift to match it, and eventually all instruments give way to a melancholy piano and a power-ballad final chorus where Dillon gives one of his best vocal performances, lamenting the difficulties that come with creativity. I wish I was as ‘uninspired’ as this.

Lord Emu’s debut album veers unpredictably (in a good way!) between any and every subgenre of rock like the most erratic rocking horse you’ll ever sit on, and gives no indications of where any song could go next. It’s incredibly fun to listen to, and I’m sure it was just as fun for Lord Emu to make. Also, it’s available on Bandcamp for as little as £2, all of which will help the band turn these songs into a studio album, so why not buy it? Definitely a better way to spend your money, rather than wasting it in Jimmys.

Instagram: @lordemuband

Bandcamp: The Rocking Horse Sessions (Live) | Lord Emu (bandcamp.com)

By Ed Osborne.

Anyone who’s attended one of the countless balls in Durham will know that we have a plethora of cover and tribute bands, always with an ABBA song loose in their fingers. Although these are great for a half-cut dance, sometimes I feel in the mood for something edgier. At times like this it’s important to know that Durham also has a great original music scene with bands – mostly guitar driven – playing songs from all ends of the indie spectrum. Last night, Emy Silver, Mother, and The Cygnets reminded us of just that. The Holy GrAle was the perfect venue: cosy, intimate, and with great drinks that threatened to turn this article into a beer review. Don’t worry – as soon as the music started my focus was recaptured and taken prisoner for the rest of the night.

Emy Silver was a fitting opener as the most atmospheric, mellow act of the three, but don’t let this fool you; herself and her band were still more than capable of filling the room and raising the energy at a moment’s notice. Their opener was moody and menacing, with the guitar and bass interlocking to leave no space empty and the trip-hop drums of Ella Cole keeping the song moving forward. Emy’s voice and synth floated above the rhythm section, her lyrics hard to distinguish but the melody shining through. Her next song was her newest single, ‘This is the World’, which washed spacy synth chords over a looping guitar and bass line. This along with Silver’s ethereal vocals reminds me of Slowdive at their most dreamy.

The crowd are pulled back out of the clouds with the next few songs taking a livelier approach – Silver’s first single ‘Roads Ahead’ is reworked into an upbeat dream pop track and the band keep this energy up for a while. Then, as the set draws to a close, we return to the eerie yet calming atmosphere of 90’s bands like Mazzy Star and Portishead. Ella’s sticks skitter round the drum kit barely touching the skins as the synth takes up a catchy melody. Emy sings “I think I might fade away…” and the band respond, refuse, and crescendo into the set’s loudest moment yet. Just as we feel we are on the edge of something, the final chord rings out and I resurface from my reverie as if no time has passed.

Next up are Mother, a louder four-piece who take their roots in the post-rock of bands like Slint and Swans, as well as stoner- and jam-rock. Throwing the crowd into the deep end with fast-paced riffs, the opening instrumental is over in a flash. Drummer Matti Syrjanen switches immediately from its straightforward beat to a syncopated, accented, skittish line which the band immediately accompany with a fittingly harsh guitar riff. The music is menacing, occasionally dissonant, but very alluring. Their third song is my favourite – they extend its intro as if improvising, teasing the whiny yet endearing riff. The drums shift constantly and soon you don’t know where the hook starts or ends. Jack Redfield’s half-singing, half-screaming drawl gives the songs more traditional structures, but they still never fail to leave you slightly unsettled.

Halfway through the set, the band change vocalists, and Eddie Dewing’s spoken word monologues take over. This is a big change but it doesn’t make the set feel disjointed at all. The riffs are still heavy, the drums still jazzy, the bass still driving and moody, but the vocals become more understated; Eddie hugs his guitar and stares distractedly into the distance á la Robert Smith as he delivers a cynical rant on the hollowness of modern consumer society. “Everyone in this city dresses the same”: it sounds like Trainspotting if it was set in Brighton. Becoming suddenly introspective, Dewing implores “don’t let me keep you” as their set draws to a close. He doesn’t have to worry – I’ll listen as long as Mother wants. The final song ends fittingly: a melancholy riff crescendos into chaos and Jack howls one last lamenting verse, before the room is silent once more. Mother sound like a garage band who’ve smoked too much weed and teeter on the verge of breakdown. It’s weird, it’s fun, it’s some of the best music I’ve heard in Durham.

Tonight’s headliners, The Cygnets, are quick to take to the stage. Styling themselves as an ‘alt-rock and grunge band,’ their set also includes flavours of classic rock and blues – but they give both of these genres a 90’s twist. They open fast, grungy, and earnest with three fun originals, the last of which is their love-letter to Paddy’s Pizzeria. It’s a definite highlight of the night. The crowd are quick to get their feet moving with a small but impressive mosh pit forming. This is no doubt egged on by the three-piece’s cover of The Beatles’ ‘Helter Skelter’ which is given a huge boost by the furious drumming of Dom Zizza, who turns Ringo’s originally measured beat on its head. As their set goes on the musicianship of the trio is on full display; Zac Parkin’s bass is eternally in time, occasionally adding creative flourishes to his steady rhythms, whilst Oscar Dolan’s fluid vocals slide over his equally elastic guitar playing. The band’s final song of the night, ‘The Human Condition,’ is their heaviest yet and a great way to close the night. They further top off a triumphant set with an encore of ‘Hot to the Touch’ – another original, and a punky song which shows off Oscar’s guitar skill with a classic rock’n’roll solo. The Cygnets make playing fast-paced, intricate grunge pop seem easy, and through it all look like they’re having as much fun as the crowd are.

As I leave, I feel like I’ve been taken on a tour of the best music of the 90’s, from dreamy trip-hop to stoner punk to grunge pop. I’d encourage anyone to go and see any of these three bands: they’re some of the best Durham has to offer.

Instagram:

Emy Silver: @emysilver_

Mother: @themotherbanduk

The Cygnets: @thecygnets