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Redjetson / Liberez / Twentysixfeet @ Marquee, London, 11.04.2005

Redjetson

From the depths of a rumbling post-rock apocalypse to rocky-outputs of lament. Crud surveys the big, big world of Redjetson. Thanks to James Berry. For just being James Berry.

14/04/2005

“Thanks to Liberez… just for *being* Liberez,” says Redjetson guitarist Dan, later on. And he does have a point. For Liberez assemble their equipment, create a 15 minute free-falling death-jazz noise vortex of no discernable tempo, key or shape, disassemble their equipment and leave. With all the grandiose occasion of leaning over to tie a shoelace. Statements can often be convoluted, complex, pretentious things, but there’s no doubting they’re a whole lot better when to the point. Even if you’re not sure why. The only reasonable retort is to applaud. We think.

Oxford’s Twentysixfeet are a more complex proposition, but that’s not to say they’re necessarily any more pretentious, or that they’re intent on making a particular statement, but they leave a firm impression and are certainly part of the actions-speak-louder-than-words brigade (not that it hurts to shout a bit either, eh). Frontman Beorn becomes a casualty of this ethos as his back packs up mid-set and he spends the rest of the evening painfully mimicking the second ape-man along in the universally-recognised evolutionary scale diagram. Their aura is one of freeform expression, executed with geeky but ruthless efficiency, biologically entwined with technology and coming out looking like that kid from The Music radio-controlled by The Terminator. Only given the injury, not exceptionally well controlled. New batteries, anyone? They’re a kind of souped-up ‘Kid A’ with Trent Reznor’s genes, and while that might occasionally make them an indie Linkin Park it also holds a great bundle of promise.

Promise isn’t something Redjetson need to show tonight, they’ve followed through on that already. ‘New General Catalogue’ stands firm as one of 2005’s most awe-inspiring, intricate, expansive records thus far. What they need is to justify the promotion that their debut made for them. Last time Crud saw Redjetson they stumbled tentatively through rehearsed interpretations of a rumbling post-rock apocalypse, and that wasn’t quite good enough. Watching the video is never the same as being there in person, whatever it may be, and is certainly no substitute. Tonight though we’re thrown so damn close, nose-to-nose, skin to skin with this tortuous, enchanting creation we can practically feel our soul being ripped a new hole.

They feel exactly how a collective that sound like Elbow with Mogwai’s heavy-duty steel turbines gaffered to their undercarriage should. Blistering. Shocking. Strangely graceful. Every song is like an exorcism. From the moment ‘Divorce’ busts open perfectly, powerfully, a smorgasbord of complimentary juxtaposes and distracting immensity, to the hypnotic compacted enormity of ‘Pieces Go Missing’ they come at you from every angle, penetrating, twisting and breaking your attention into little pieces. As you’d expect of such an attentive looking sextet, they deliver. ‘…The Sky Is Breaking’ especially is breathtaking in structure, volume and timing. You couldn’t imagine it being created by anyone other than those stood before you now.

Singer Clive appears a little out of context, curling around his microphone stand like a cruise singer, tidy white shirt tucked into jeans, looking like an exhibit from the same gene pool as Daniel Beddingfield and Keane’s Tom Chaplin. He’s at odds then, yeah, but he’s also the discipline, the anchor that pulls in rich songs like ‘This City Moans’. He’s not one to trespass on a song’s momentum, he brings in the focus but never looks to steal the shot. In the same way records have it that a string quartet played on as the Titanic headed towards its watery grave, when and if Judgment Day turns up we can see Clive Kentish perched atop a rocky outcrop, belting his laments out one final time as flames lick around his torso and singe his starched lapels.

Thanks to Redjetson then, just for being everything they should have been tonight. And maybe a little bit more.

Relevant sites:
http://www.redjetson.co.uk



James Berry for Crud Magazine 2004©


04/05 British Sea Power - Live - Scala, London
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04/05 Doves, Elbow, Longview - Carling 24 , Manchester
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04/05 Redjetson / Liberez / Twentysixfeet - Marquee, London
04/05 The Warlocks - Bethnal Green Working Men's Club
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