It was brief, but hell that was my fault. These few performances I see in a larger context. I go to refresh the picture. I go see them.......for the same as with Laura Meyer and well, everyone. The picture moves but something you find there identifies with you. Its nice to see them somewhere else besides Empty Bottle. It feels like another place is nurturing a spark that to me is already raging flames. So what was the crowd like? I got to the front easily enough. It was a porous yet not a light crowd, a good weave-around. I parked...far and as I got closer to Hideout I could hear the band playing already and it was like feeling the sand of the hourglass through your fingers. I hauled ass.
Here's my ID, let me in. What they perform live and shall record is a departure from roads paved but not taken. They are in the darker end of the continuum. Its no bullshit how they got there. Julius went to prison. In my mind thats in the landscape of the world contained in their music. When I say "urban, decay, dark, I include a prison town. I don't do so for frivolous entertainment. Its to recognize a significance in the narrative. Its not of course the sole influence, this is me acknowledging it in their narrative as something they have successfully survived and is behind them. So I find that inspiring. 
Oh and on top of that I like the music too..... I almost forgot. Oh and it gets a little better....they are friends. So forgive the fucking bias, and where the fuck was I?...... Now they are wiser as well as hardened. Got that.....Oh, that's right back to the music.......It seems that every instrument gets that space to separately shape the sound. Walking Bicycles are ensemble players writing your urban decay Glengarry Glen Ross soundtrack. Yes I did read the play. How much Mamet have you read, eh? Fucking hell where was I......
The bass is aggressive like Alec Baldwin telling it to you and I like how the lead guitar seems to answer this back with this finesse. So no one instrument dominates, they all sound that way. Don't make me stretch this references further.
What I mean with urban decay is not just the superficial outer coat of grayness. Their specific familiarity is deeper, into the monstrous, but I think I covered that in a previous paragraph. Between the two guitars having it out to a frenzied beat from Deric the drummer....(yes that Drummer)
form patterns that capture attention for Jocelyn to take over in just the right time. You get all these separate layers of sound, bouncy and rough in that way you would want post-punk to be. Its not clean, sleek. Its messy in acknowledging the shadows. You are going to drive through more pot holes and step into more pools of shallow water. Its about what you do after wards, the now-what after the peak starting from the bottom of where you fell. This is all fucking subjective of course, me going on about the band trying to impose a meaning to the music. Its all in trying to get people to listen to it, may I assure. I thought it would be an easy sell to one with a PJ Harvey shirt in the closet. Jocelyn's slight husk to her voice gives her a kind of authority. This near-future post-recession, urban-decay, post-Siouxsie, post-punk image is something I saw in them since forever. Its been there since 2004 and I was made aware of it in mid 2007. All you other posts need to form a line and take a number. Wait until you are called. The picture moves and it evolves and will do so further since I'm going on about this without reading lyrics to all their new stuff. Before understanding words, the sound instinctively resonates from a darker.....wiser place. Fucking hell, I think I covered that too...multiple times.Zig.
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