I remember Reading Festival ’87 as one of those dream billings for a guy like me, not that far into his twenties and lapping up all alternative and adventurous music. It was eclectic, goth-heavy and peppered with post-punk gems, which worked well for me, although I was certainly there as much for The Icicle Works and The Georgia Satellites. And who would turn down the chance to see the mighty Zodiac Mindwarp and the gang at their peak?
But festivals are as much about new discoveries as they are about watching the bands you already know and love. I came away with two mental notes: firstly, I was going to marry Julianne Regan from the country’s leading Pre-Raphaelite rock band, All About Eve and secondly, and certainly more achievable, the mission was to find out more about The Bolshoi. I did; I loved it, but, as always, I’d come to the party too late, and by 1988, it was all over for them.
And then, seemingly out of nowhere (my being oblivious to the band’s activities seems to be a constant theme), The Bolshoi Brothers’ eponymous album lands on my desk. Trevor Tanner and Paul Clark still had more of the musical story to tell.
Sonically, The Bolshoi wandered between worlds, a sort of heady blend of Bauhausian-infused gloom and rockier but electronically reinforced sounds. Today, they are still confusing and challenging fans of labels and genres, moving effortlessly between rock weight and pop awareness, gothic shade and New Romantic accessibility, the post-punk and the post-modern, analog and digital worlds, the past, the present and the potential future.
“Suburbs” sums things up nicely: heavy guitars but not exactly a rock sound, skittering keyboards but far from electronica, a song full of classical grace and indie groove, spoken word statements, and minimalist beats. They don’t make it easy on the poor reviewer…but then again, why should they, that way conformity and complacency lie. that has never been their way.
“Steam Funk” grooves like a good ‘un but does so through mellifluous guitar work rather than funky bass work, “Beautiful Creature” sees them get their low-slung, foot-on-the-monitor, rock and roll groove on (though like everything else they do, it is balanced with polish and poise and precission) and “Platitudes of Scorn” shows their more understated side, a neat blend of acoustica and digital adventurousness.
The Bolshoi Brothers is a case of the same but different. It is easy to hear some of the original band in the music; how could you not? But this is certainly a new beginning, too, and for every familiar sonic catch you hear at least five more fresh and forward-thinking ideas.
It’s great to have you back, chaps! And, by the way, to this day, the lovely Julianne has proved elusive.
The Bolshoi Brothers album
Bandcamp
Just a Girl video
Get the single
Spotify
