Terrorvision
It has certainly been an interesting few days gig-wise in Norwich. After first watching Sam Duckworth on Friday re-visit his 2006 Get Cape Wear Cape Fly album, Chronicles of a Bohemian Teenager, at Norwich Arts Centre I joined a sold-out Nick Rayns LCR on Sunday for a run through of Costello Music with The Fratellis. I now find myself at The Waterfront on a Monday where Bradford rockers Terrorvision are due to perform their 1996 biggie, Regular Urban Survivors, in its entirety. That is three 'classic album' gigs in the space of four days. Is this really to be the future of live music?
Fortunately, my evening at The Waterfront starts off with a chance to hear a new band to me, although it is a return visit to Norwich from Bristol R'n'B rockers Tax The Heat. Some may have seen them when they supported The Graveltones upstairs in the Studio a couple of years ago, but for me it was a first taste of their dirty and gritty riff-powered mix of retro and rocking blues. Frontman Alex Veale manages to draw on the vocal sound of early Zeppelin, and you discover strong Yardbirds influences also as Clapton and Jeff Beck riffs creep in to their songs. There is also some Rolling Stones swagger in tracks like Animals. Yet their sound is not just rooted in the 1960's blues clubs of suburban Surrey. At times they escape through a worm-hole to re-emerge in the 21st century with a bass line in Highway Home that reminds of Goldfrapp's Strict Machine, and an even more contemporary feel when they let rip with displays of technical virtuosity that remind of Royal Blood. Don't miss them next time around.
Terrorvision arrive on stage to John Barry's classic theme from The Ipcress File, and band members are appropriately suited and booted as Mission Impossible / James Bond / A-Team style characters, as featured on the original artwork from Regular Urban Survivors. Guitarist Mark Yates and bass player Leigh Marklew have grabbed the suits, whilst Tony Wright has opted for army boots and combat gear.
The album itself benefits from four instantly recognisable singles spread throughout its thirteen tracks, and unlike on The Fratellis' Costello Music, they are split evenly with Perseverance and Easy featured early on, and Bad Actress and Celebrity Hit List saved for the end of the side two. The band's energy levels are also much higher, with Wright displaying amazing stamina for his entire performance (including swinging from the pipework on the Waterfront's low ceiling), yet still finding time to grab a mobile phone from a fan in the front row and shoot some real-live close-up action for her.
Having completed the final track, Mugwump, the band leave the stage momentarily, but return having dressed down into 'casuals'. They then proceed to deliver a storming eleven-track greatest hits set that fills in all the gaps from 1993's My House and American TV to 2011's Demolition Song. Included, of course, is a slowed down earthy and grungier version of the 1999 novelty hit Tequila, and an absolutely belting and crowd-pleasing rendition of Alice What's The Matter from 1994's How To Make Friends and Influence People.
And that's exactly what Terrorvision did tonight, and have done successfully over the last 25 years. Made a lot of friends, and influenced a lot of people along the way. This was a demonstration of just how good the 'classic album' concept can be when also bolted onto a 'greatest hits' package. In doing so Tony Wright and Co tonight provided 90 minutes of fantastic memories and top entertainment. My ears are still ringing with pleasure.
