They might not be the first group to have ever used samples
from vintage films (older readers may recall through an ecstasy addled haze
that The Prodigy started off their career by sampling that old Government ad
advising kids not to go off with strangers...possibly using ‘charly’ in an
entirely different context altogether) and I’m pretty sure there may have been
a few others (answers on a postcard please...). But whereas these bands have often
just used the odd sample to flavour one of their tracks Public ServiceBroadcasting (the band) are building their entire career around them. It’s a
neat twist, enhanced by the duo’s adoption of stiff upper lip monikers – J.
Willgoose, Esq and Wrigglesworth – and their distinctly vintage live shows.
First up tonight though the rather more forward
looking The Grafham Water Sailing Club, honorary members of the B-Town massive. I
say more forward looking because, unlike PSB who often hark back to the 1940s
and 50s, GWSC only delve back as far as the late 70s and early 80s for their
more post punk / early synth inspiration (think Gang of Four and pre H17 split
Human League jamming together after the phattest joint this side of
Camberwell).
It’s a hypnotising mix as the band, once again clustered around their
glowing ball of light on a table, provide the perfect soundtrack for a retro
futuristic road movie that’s probably going on inside their heads. Another impressive
showing for one of B-Town’s more original prospects.
Time then for Mssrs Willgoose and Wrigglesworth. It
was always going to be a challenge making such sample heavy stuff work well as
a live event, after all most of the voices you’re listening to have been dead
for the odd decade or three (I’m guessing that some of the music is pre-programmed
too). PSB tackle this with an imaginative stage set featuring a hoard of old TV
sets that show the videos for the tracks, in front of which the band adds live
instrumentation (guitars, drums, keyboards, banjos...yes...banjos). It works
surprisingly well, even if your eyes are frequently drawn more to the tellies
than the living, breathing musicians in front of you. Who can compete with the
strong jaw of Trevor Howard or the small but perfectly formed lip weasel of
David Niven though?
Somewhat unusually the band maintains radio silence throughout
the gig as well, preferring to rely on pre-recorded snippets to address the
capacity crowd. “It’s great to be in...” pause whilst Mr Willgoose finds the button
with the right sample “...Birmingham”...cue appreciative cheers from the
audience. It’s a brave move...just imagine if he’d pressed the Manchester one
by mistake eh?
The band’s best tracks to date all get an airing tonight...or
should that be air-raid-ing as both London Can Take It and Spitfire both hark
back to World War II. It’s strangely moving watching the grainy black and white
images on the screen featuring people who went through such unimaginable horror
on our collective behalves and, whilst they obviously never imagined becoming unwitting
stars of a 21st century electronica duo’s act, I imagine they’d be
pleased that they were still being remembered some 70 years on.
It’s not all doodlebugs
and chocks away though, Signal 30 melds American road safety clips to a,
suitably enough, driving QOTSA soundtrack whilst Everest is a gentler beast, building
to a sound of wonder as our hero, Sir Edmund Hilary, bravely scales its peak
night after night, as frozen in time as the ice that surrounds him.
Part history lesson, part gig, part night at the
flicks, an evening with Public Service Broadcasting all adds up to a pretty
unique experience. With their self declared mission being to “teach the lessons
of the past through the music of the future” I’d say tonight was a clear case
of mission accomplished chaps.
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