Live Review: ...And You Will Know Us By The Trail Of Dead, The Red Paintings, The Leap Year

As a band who clearly have a gift for gradually nurturing tense atmospheres, it may be an idea for The Leap Year to ease off some of the onstage banter, as having several times built up angsty Slint-like diatribes of brooding menace, the singer ensured they had to start from square one thanks to some truly diabolical jokes. A shame, as the band undeniably have a knack for exploring existential, dark-alley blues.

The Red Paintings have a vision no doubt, and an apocalyptic one at that. They're way beyond that whole verse-chorus, verse-chorus thing (so 20th Century) and they're not averse to penning lyrics such as "People of the Universe!/You are human/Go forth and fuck/Gas chambers!" They do crackle with energy, though, sport the finest combat kimonos and wield some kick-arse electric violin. They will probably always be divisive, but is that really a bad thing?

An uncharacteristically stiff ...And You Will Know Us By The Trail Of Dead got off to an awkward start, as they grappled with technical issues and, for some unfathomable reason, looked less than confident. Occasional singer Jason Reece was struggling to project his voice, but the comparatively new rhythm section provided some impetus, particularly the Hendrix-permed, mostly shirtless bass-man Autry Fulbright II. The slightly disappointing turnout of about 120-150 made up for lack of numbers with enthusiasm, particularly those in the front row who were generous enough to share their schooner with Reece. Apparent nervousness marred less-than-convincing versions of two of their best regarded songs: Mistakes & Regrets and Another Morning Stoner. "That was the My Bloody Valentine version of that song," Conrad Keely opined. We wish! Relative Ways seemed to mark a turning point, however — ironic given its, "It's alright, it's okay/It's coming together," refrain — as Keely, for the first time, seemed to open his throat and show us what he's capable of. From there things livened and loosened up considerably, with the flagellating front row responding in kind to a now-inspired Keely, who convulsed on Totally Natural as if experiencing some peyote-induced dream quest. A seemingly unplanned encore was highlighted by a surprisingly touching version of And The Rest Will Follow, performed by Keely alone.