An unsettling look at the sleep paralysis phenonemon
London Notting Hill Arts Club
Let's hope they stay the course.
Until now. Meet Tompaulin: the first post-B&S band. They're named after a poet. They are boys and girls, guitars and electric pianos, '60s fixations and Pulp-like '90s wryness: six figures squashed into a corner of an arts bar, thrumming with promise. The most direct link to their musical mothership is Tompaulin mainman Jamie Holman, who sings and plays guitar: he's made videos for the Belles. Tompaulin's basic currency, too, has a familiar winsome jingle: pastoral folk, fleshed out by half-a-dozen instruments, exhibiting a love of Love. In songs like 'Them Vs Us', you're unavoidably reminded of 'Fox In The Snow'.
But there are crucial differences which will stand Tompaulin in good stead when the Belles' dog on wheels starts looking more like an albatross. Where Belle & Sebastian can be fragile children, Tompaulin are more composed adults. In Stacey McKenna, they have a grown-up chanteuse who coos about "graffiti on the bathroom wall" without fear. What's more, songs like forthcoming single 'Slender', their five-minute finale, borrow heavily from The Velvet Underground and Spiritualized ('Sweet Jane' and 'Angel Sigh', to be precise), all grubby chugging, sexy tambourine and mesmeric boho cool. It's a triumphant finish, on a slightly different track and field than they set out on. Let's hope they stay the course.
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