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London Camden Falcon

The man leans over to the clockwork bear and kisses it sweetly on its cheek, then brings it up to the mic and sings a duet with it...

The man leans over to the clockwork bear and kisses it sweetly on its cheek, then brings it up to the mic and sings a duet with it. Song over, the man picks a bag of sweets from a pouch by his side, and launches it into the audience. Strange behaviour, you might think. Hang tight. Things are gonna get a whole bunch weirder, and more wonderful, over the next 40 minutes.



Fonda 500 are so wrong, they're brilliantly right. Half the songs feel like they've been written on a bet you know, 'I dare you to write a tune that takes in human beat-boxing, squonky keyboard wibbles and gonzo thrash-punk segues'. And Fonda 500, not being the type to double-dare you back, not only go ahead and do exactly that, but they make it an ultra-melodic gem that gets lodged in your skull and JUST WON'T BUDGE!!!



So, we get '8 Track', a shout!shout!shout! shake'n'shimmy paean to crude home-recording techniques, and we get 'Betamax', wriggly brilliance squashed into the pop song format like joke-shop snakes in a can. And we get absolutely nish-all self-indulgent art-wank bollocks. Which is A Good Thing. A slanted take on slanted pop, Fonda 500 are further proof that the most pleasurable genius is the unlikely kind.

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