Zadok - Unit of Judo E.P.

I first came across Zadok when I was in Gateshead for some training. Chris, guitarist and singer for Zadok, was on the same course and told me his band was playing that night. He told me that they were Progressive-Grunge-Folk. It sounded interesting enough and I wasn't doing anything that night anyway. They were playing in a pub called the Three Tuns, but I was reliably informed that they have played in everything from bookshops to charity shops in their rise to the dizzy heights of The Three Tuns.

The Three Tuns is a bizarre mix; Two pubs served by one bar. One half is a grungey sweaty bar-sized music venue and the other has tables of old men playing poker. It's the type of amateur level that I always felt was missing in Amsterdam. The spaces for unsigned amateur bands learning the ropes is taken up by tourist-friendly cover bands who's main employment in the UK would be as wedding bands. While their talent is undeniable, there was something which warmed the cockles of my heart when I walked into the Three Tuns and saw a Kurt Cobain wannabe knocking out fairly derivative grunge tunes on a Fender Jaguar with only his mate on drums for support. It's nothing great but at the same time, genuine and from the heart.

Eventually it's the turn of Zadok, they have a Bass player, Chris, who I know, on guitar and vocals a drummer and a keyboard player who also has a microphone.

Once Zadok start, you realise that they are a little above the pub scene. They are a well practiced prog outfit which feels a little out of place in a dingey pub with a handful of people supping mid-week Guinness and 'Newkie Broon', but the dodgy sound gives it a grungey edge which accentuates their ragged edges.

It takes me a little while to work out, but the band basically sound like a post-grunge ELP. There is none of the over-perfection which renders a lot of the prog rock genre so boring. There were no extended keyboard solos and drum solos and no dwarves dancing round miniature models of stonehenge. Instead there are some well timed, well practiced off the wall and interesting prog-rock. Normally I would get bored pretty quickly, but the lack of polish and Chris's unusual collection of guitar licks holds my interest. He has an interesting collection of fast soloing - jazz like chords and classically influenced chord inversions, but still know how yo hit the guitar like he's enjoying it and not just playing it.

The first song is instrumental, but thankfully Chris sings on several of the song to change the texture a little. Other than Mogwai - my attention tends to wane at purely instrumental music. Even though it's a 45 minute set, they seem to finish very quickly. It's a great sign and I was left wanting more so I checked out their EP.

The EP starts abruptly with no intro. I thought prog was meant to be all about the intros. The mix is quite Bass heavy, which makes sense because it is played almost as a lead instrument, carrying much of the melody. This gives the recording a strange 80's feel, but at the same time the recording is rough and ready and beyond it's prog roots, there is a feeling of post punk new wave experimentation. The guitar on the record is far lower in the mix and almost has no effects. Other than the prog histrionics and rhythmic interplay between the instrument, the guitar is largely dry on the verse and the arpeggios sound almost twee. The break down reminds us that the band have balls and the track is over before you've quite worked out where it's going. The Bass gives the whole thing a power reminiscent of Rage Against the machine, but in a completely different setting.

Luckily Juno is a suite and tracks 2 and 3 continue the same theme. Chris sings in a recognisable North East accent. For some reason I sing without my accent. I try to make sure, that I don't sing in an American accent, but I certainly don't sing with my own accent as Biffy Clyro. It's something i've never got used to with The Biffy as I think it's too close to home, but it Chris it seems to add to the juxtaposition grunge against prog.

I can't really make out the lyrics - to be fair, I never put much effort into figuring out lyrics. I still mumble through songs which have been my favourite songs for 20 years. When I saw them live, they played a set about "Space conscription". Whatever the lyrics are, I'm sure they are a witty take on sci fi.

The final track is 'Caltrops'. It's the only track on the E.P. that isn't part of the Juno suite. It shows off a little bit of the band's folk influence, but Prog and Grunge are still the strongest elements.

I have very little experience of prog. I'm not sure if really liking the 3 or 4 good Pink Floyd albums really counts. I've never had much time for any of the classic prog. I struggle to see how anyone can have much time for it after punk knocked it off it's huge 'genuine-goblin-skin' pedestal. Thankfully Zadok seem to have taken the best of both worlds and aren't too much up their own arses despite being great musicians. While listening to the E.P. I think of the Six by Mansun. They have the same balance of prog to balls(for want of a better word). I'm sure real prog fans or grunge prog fans can make better comparisons, but its the best I can do.

I pray that their grunge sensibilities don't get eaten up by studio mastery but that they can find a coherent sound which can act as a canvas on which to present their songs. I look forward to a full album and hopefully some Scottish tour dates.

Zadok @ Bandcamp
Zadok on Facebook

Six Mile Wide - Washoose EP

Six Mile Wide are a hard rock band from Ayrshire. They were playing Harley's in Ayr a few weeks back and I got their E.P. to check out before I went to see them. When you hear the thrash of guitars from the first track you know that you are in the hard rock/metal genre. I have a tenuous relationship with hard rock as a genre - growing up obsessed with Led Zeppelin means that I know where it all comes from but some of the stuff that led on from that in the 80's was diabolical, and not in a good way. As a simple judgement of where the division line lies, I like hard rock but I don't like metal. As far as I can see - hard rock disappeared sometime in the late 80's and metal continued to regurgitate the same thing again again for the rest of time...

Anyway - less of my diatribe. Six Mile Wide seem to sit on the 'Hard Rock' side of the spectrum. It's foot to the floor meat and two veg rock and roll.

From track one(Your Mine) you can see that the band have their chops and they seem to know each other pretty well. The track has an interesting start and good dynamics. The track is recorded very well. If anything there is too much reverb on the drums for my liking, but it gives the whole thing a Bonham-esque sound. The best thing about track one is the ferocious onslaught of guitars which leave nothing to the imagination

The way Track two(am I home yet) starts reminds of me Ænema by Tool, but once the backing vocals start we are transported back to the "Denim years" It's a good track but I've realised why the drums were sunk with reverb. They are using an electronic kit, so the drums are a little bit perfect and to hide it they are sunk in the mix a little. They've done it very well, and I almost didn't notice, but it's the one thing I'd change in the mix.

Track 3(let it go) has a more modern drum sound. This along with a slightly exotic sounding guitar gives the ear a rest from the onslaught of the first two tracks. The vocals have a punkier feel which makes the song pretty interesting, by the end of the song, there's a real build and the band move toward a more metal feel - making it a pretty impressive song compositionally.

Never break, track 4 is full on riff rock. The chorus goes a little Soundgarden-ey and the sound is more 90's than it is 80's. Its a good track - probably the heaviest on the EP.

Sick smile(track 5) has a catchy hook and starts with a classic build. It's quality convinces you that the band can churn out some pretty high quality rock again and again. It is as strong as all the other choruses on the EP and you end yourself singing along after only a few plays.

All in all it's a well recorded good EP and it bodes well for a full album. Once the electronic drums have been heard - they can't be un-heard and while it doesn't pose a big problem - I think for me it's the biggest weakness of an otherwise pretty solid sound. I do, however understand the convenience of electronic drums for live work and practicing, I just wish they would stay organic when they were recording.

Seen live, the band are a force to be reckoned with, and you could do worse than checking them out if they make it to your neck of the woods.