POST

POST WAR YEARS

Let’s face it, for your common guitar-based indie outfit to really
impress these days, they have to be something pretty bloody special.POST

So what’s a band to do? One option is to take the slightly more
interesting route by throwing a fewPOST

more instruments into the mix and making music you can dance to… hello, Post War Years. First on the

bill tonight are the always interesting Wave Machines,
sporting masks of their own faces and delivering a few energised

shots of falsetto vocal-led postpunk to an appreciative crowd. Post Wear Years follow with their

highly evolved form of punk-funk, à la Friendly Fires, with its allied
awkward rhythms and bundles of synths.

Carrying this off convincingly on stage can be tricky.

Hemmed in as they are by racks of keyboards and assorted
technical gubbins, the quartet are nothing spectacular, visually.

Their music, however, is another matter – layers of sound built on punk-funk beats, smooth vocal harmonies, and songs that veer between

the piercingly spiky and chilled-out in the space of three minutes.

The Lexington crowd, packed in armpit-to-armpit down the front,
rather likes it – even more so when the sublime

single ‘Whole World On Its Head’ reaches its sweaty ears. Music you can dance to? Hell yes.

Despite new upbeat tunes, Hargett still gives a good account for his more miserable numbers and his key-evasive, lost-in-a-wind-tunnel delivery.

“I can’t relate to like scream-y stuff, you know, even in an emotional way.

I feel like being upset sounds like Leonard Cohen and not someone yelling at the top of their lungs.

Generally if I’m sad I don’t have the energy to really complain about it in that way.

In reviews there’s a lot of drug references, like ‘I sing like this guy on drugs’.

I mean I don’t know, I’m not an overly excitable person I guess… I
don’t really think any of us are.

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