Words originally for Outline Magazine
Leeds five-piece Eagulls are
an obscure bunch. Their intense noise-rock music has attracted them widespread media
attention and a matching fanbase, and tonight they make what’s shockingly their
first visit to Norwich in promotion of upcoming sophomore LP Ullages. It’s my first time seeing them
too, and the air is rife with anticipation.
The first act on the
four-band bill is 99 Watts.
Apparently when he’s on duty, he’s Eagulls driver. Musically, you wouldn’t tell.
Performing delicately built up guitar pieces with the help of a keyboard and an
impressive pedal assortment, his songs are magical and striking, similar to The
xx.
He’s followed by Soyuz Rats, a male duo with a similar guitar/pedal
set up. Initially, it sounds very loud, and not very inspiring, but as they
progress through their set the technical expertise underneath the roar becomes
apparent. Substituting drum sounds with their own crackling guitar feedback, as
well as interspersed pre-recordings, it’s impossible to tell which sounds are
being created, recreated or simply pressed play on. An alternative and impressive
performance.
Third and final support comes
from Fear of Men, an indie/electro quartet
from Brighton. Frontwoman Jess Weiss emerges wearing a sheet over her head,
which seems more amusing than fashionable, and appears vacant and distracted in
her stage presence for the most part. Musically, their songs consist of graceful
keys and vocals layered over a pounding drumbeat. Despite being the most reserved
act performing tonight, they are well received and do a good job at warming the
sizeable audience up for our headliner.
Eagulls are billed to start at 10pm, but it’s pushing 10.40 before they ultimately
rock up. Norwich doesn’t seem to care and as the thunderous drumming of Lemontrees commences, the buzz from that
one extra pint can be felt in the echoing room. The band’s sinister looking
iconography is emblazoned on every wall, in the form of huge monochrome flags, over
which is broadcast a piece of vintage European cinema. Niche but effective.
Some older tracks follow – Yellow Eyes, Nerve Endings and Hollow
Visions, all post-punk fireballs that get mosh pits kicking under frontman George
Mitchell’s Cure-like vocals. Some new cuts are diced in too as the group, “test
the waters in Norwich.” Bloom sees
Mitchell lose his long coat as the tempo is raised, pointing towards a more
mature, refined sound from the upcoming album.
But what Eagulls stand out for
musically, they lack in performance skills. Granted, the technical goings-on clearly
require a hefty amount of concentration, but the band stand static almost exclusively,
and even Mitchell’s ad-libs are short and monotonous. Does it add to the cult-like
aesthetic of the performance? Somewhat, but by two thirds into the set, it’s
clear I’m not the only one losing interest as punters filter out of the crowd
gradually.
Tonight demonstrates that
Eagulls definitely aren’t for everyone. But for a debut show in a city far from
home, they’ve done pretty well. Just don’t expect to see them smashing chart
records any time soon.
Eagulls' second LP Ullages is out on May 13th.
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