Live Review: JD Sessions: Boy Kill Boy, The Dykeenies, The Rascals.
October 25, 2009, 10:51 pm
Filed under: Live Reviews


JD Sessions – Boy Kill Boy / The Dykeenies / The Rascals
8th March, 2008
Spring and Airbrake

It was curious case of the soon-to-be’s and the has-beens on Saturday at Channel Four’s JD Sessions, ships in the night tracking up and very much down on the nightline. One band primed for omnipotence, ill matched in sound and ethos to the other two – outmoded synth-indie rockers staring into the face of irrelevance.

By far the most enticing prospect of the night are Spector- inspired scousers The Rascals (pictured above), what with some high profile patronage from Alex Turner and the promise of a pre-release listen at the tunes. Time (or is it their ambivalence) dictates a quick run through and despite Miles Kane’s weak stage presence, they successfully force-feed a parched and driving QUOTSA-esque spin-out steered by Kane’s guitar that works through a banquet of psychedelic sounds. It’s certainly macabre but with a buoyant enough rhythm sections to a little freaky. The Rascals’s sound is (very) like The Monkeys’ FVN, but with all the atmosphere but none of the sly wink and steeped in a dark rum that repeats on you in the middle of the night. The kids are a little impassive until…

Weegie New Wave-ers The Dykeenies take to the stage, with the crowd cheering for the return of familiarity if nothing else. Emerging in 2005 on the coat-tail’s of The Killers they existed as the closest duplication of Flower’s high-cheek-boned ‘Indie Rock and Roll’. However, since the Killers went all Springsteen, its easy tp imagine The Dykeenies standing with their hands in their pockets. But hell if they don’t sound pretty damn spruce live. The sad air of obsolescence is overtaken by frantic grooving and the thing about this particular sort of music is that its wilful sterility lends itself oddly to the live stage. The lush instrumentation is nicely divided by a shrill snyth and the androgynous vocals transcend the din, whilst the histrionics are granted extra chutzpah by a Marshall stack.

With a mite more 80’s ostentation, Emo-peddlers Boy Kill Boy boast a boundless energy and Chris Peck’s voice (both strong and pure, if a little bland) making for good value for money. ‘Suzie’ provokes a scream as a communal euphoria descends in same the way Mr Brightside gets the people movin’.

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