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There are more appropriate places for this kind of
behaviour, that’s for sure. Wembley Arena most probably,
Brixton Academy, even a fully jammed-out Garage for
that matter. But still, Andrew Ferris – the energised,
sensibly-cropped, short-circuiting front-fellow of Irish-English
hardcore bandits Jetplane Landing – is stood
aloft the monitors banging his hands together like he’s
trying to start a fire. We are of course expected to
evoke rock n roll institution and mimic. Which partially
we do. Only ‘we’ don’t even stretch halfway towards
the back of the room. And despite the limited dimensions
of the venue, when the Garage is half-empty it’s enough
to develop you a dose of agoraphobia. But that, it would
seem, can only be a problem for the absentees, certainly
not Jetplane Landing themselves, who tonight give being
a nuisance a good name.
Being a nuisance in the obvious sense that they just
will not leave you be. But nor, from our current perspective
of retrospect, should they. There they are, standing
on their toes and yours, in your face, prodding you
in the ear and knowing full well that if they make eye
contact you’ll find yourself looking away a little awkward.
Then they’ve got you. Like a vagrant child appearing
out of nowhere, tugging at your turn-ups at the bar,
just as you turn to twat the little sod he hands you
a fist of cash, a fine malt and a Cuban cigar. And a
box of matches on top of that. Ergo, you’re naturally
glad you gave in. And Jetplane Landing have gone and
done a similar thing for the more popularised end of
the so called emo(tional) rock factory (churning out
tapered angst to order), turning up beaming one morning
with unforeseen generosity and their hands deep in their
pockets. Even if the factory doesn’t quite know it yet.
Because while they may skim across territory blanded
out by the likes of Jimmy Eat World and Rival Schools
(neither the prospect they maybe originally seemed),
they give more on every count, y’know, like they just
couldn’t give less, like it wouldn’t be right considering
the wealth they carry around with them. Opening barrage
of scalding duel-headed vocals and bullet-hole beats,
‘Effect A Change’, pins you to the nearest wall, menacingly
staring you out point-blank, all with a wry smile –
and looks like they’ve peaked at the first hurdle. But
they just smash through the rest. The likes of ‘This
Is Not Revolution Rock’ and ‘Tiny Bombs’ jab pop melodies
like rivets across waves of your more expected rockage.
Giving more than enough reason to jerk flailingly around
the stage, precariously mount amps and stand atop monitors.
As much cliché as they may end up collecting on the
way, with enthusiasm so damn infectious even the toughest
pessimism would be a flimsy anecdote.
And if taking our word for their might wasn’t enough,
why not take a look at the fastest recorded music video
ever made (possibly), which naturally just happens to
be by Jetplane Landing. It’s for the track ‘Acrimony’
off the new 'Els Quatre Gats EP’ (whatever that might
mean) and sounds like At The Drive In tied to a conveyor
belt heading towards a nasty and rather rusty blade.
The video was shot in 3 minutes (the duration of the
track) using 60 variously mounted digital cameras, in
their words to “make the clip as close to the Jetplane
Landing live experience as possible. Doing it in one
go is more honest with the audience, and it doesn't
give you the time to be self-conscious about the process....
our little joke, 'how do it yourself can you actually
be?”
James Berry for Crud Magazine© 2002
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January 2001
July - August 2001
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January - March 2002
April - July 2002
August - December 2002 | |
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