Klub Kute at The Cooler: An Indie Extravaganza feat: Bearknuckles, Ulysses and Assembly Now

Something very special happened at The Cooler last Wednesday night. This tidy 300+ capacity venue staged an exceptional night of live music, conclusively proving that they have no difficulty in recognising real talent, and that they know what to do with it once they’ve found it.

The Cooler’s success lies in the detail, as well as the people. There’s an obvious sense of commitment across the board, originating from the organisers and filtering through to the sound and light engineers as well as the bar staff. Everyone cares, and it makes a real difference.

Life is certainly made a lot easier for the crew at The Cooler than at some other venues. The drinks prices are reasonable, and the management style is easy. No expense was spared when the new sound system was installed last October, and the dimensions of the building are as near to perfect as they could be for hosting live music on this scale. The stage is roomy, and not overly elevated, allowing for an intimate exchange to take place between the bands and the audience.

First up was Bearknuckles, a new Bristol band with a big future, who delivered their set with a passionate sense of purpose, and a beguiling confidence considering that they have only been together for less than a year. Their sound is compelling and feisty, powered by a thundering impetus to say what they think, and say it eloquently, without any unnecessary frills. Employing an infectious eclectic mix of intelligent punk, and alternative rock infused with some delicate indie subtleties, Bearknuckles offers us a hybrid of The Jam, The Undertones, The Cult, XTC, The Chilli Peppers and even Radiohead, (but definitely on one of their less benign days). Although quintessentially English, there’s also a strong sense of NYC punk / new wave about this band. They are raw, potent and uncompromising and would happily fuck all over complacency in all of its banal manifestations. There’s an essential drive to kick it up instead of lay down and die, inciting others to realise their individual creative potential instead of getting hijacked by the droning voice of middle-England, with it’s ‘play it safe’ mantra, which they see as a product of self-imposed impotence born of a perception dulled by it’s own perpetual mediocrity.

Similar in some respects to Sunshine Underground, but with a whole load more punk and a lot less funk, this band doesn’t take any prisoners… it doesn’t need to… anyone with any sense at all, would more than willingly come along of their own accord. This music is balm for a care-worn soul.

Next up were the ultra classy Ulysses, a formidable ensemble, liberally blessed by the hand of genius. This band should come with a warning – “listening to this music is likely to make you want to abandon your job, your partner and your kids, and sink your life’s savings into a big fat convertible with a psychedelic paint job, and go cruising off into the vast unknown, not stopping until your CD player is fried”.

There’s flavours of The Beatles, Led Zeppelin, Pink Floyd, Jefferson Airplane, The Who, David Byrne, Beck and just a smidgeon of those loveable glam rockers Mud, and, if it weren’t for the catchy pop choruses and riffs, this music could easily be the soundtrack to the journey to the darker recesses of your mind.

It’s taken the band a while to find the right mix of people to make the music really happen for them live, but this has not been the only setback. Ulysses got their break when they signed to Booby-trap Records, but the label went bust a mere three months later. Luke, the Ulysses front man, from whom the music originates, possesses a dry sense of humour, “even the company who produced our badges went bust” he mentioned, smiling wryly, clearly unperturbed. “We had a load of gigs set up before the label went under, so we played them anyway, and just had fun... we are not creating music to sell it… we are making music that comes naturally” he added.

Bearknuckles joined Ulysses up on stage for their final number and much cavorting ensued. There’s a mutual respect and affinity between these two bands, both of whom are making music for the love of it, and no other reason. Each is hugely entertaining in their own right, but when both bands are on the bill it’s possible for them to induce a rare toe-tingling sense of euphoria.

The next chance to see them together is at Mr Wolfs on May 31 st, and Bearknuckles will put in another appearance at The Cooler on 16 th June, and Ulysses on the 30 th.

It’s obvious that both bands really enjoy playing live, my only concern is that gigging locally on a regular basis is going to deny them the opportunity to play to a packed house that often.

Headlining was a band from London that is appropriately causing more than a bit of a stir. I was wondering how Assembly Now was going to follow what preceded them, but to their credit, they more than held their own.

Curiously likened to The Strokes, I would say that their musical styles have made more of a nodding acquaintance rather than having shared a more intimate exchange involving body fluids. There are some similarities, but the vocals are more dulcet than raucous, and Assembly Now have a more subtle and diverse range… I would liken them more to The Cure mixed with Pulp after taking a happy pill, with the occasional flash of classic Cockney Rebel… and that’s probably as close as I’ll get. But with the band currently citing some reggae greats as being their major influences, and describing their musical output as being ‘black metal’, it’s easier to frame their sense of humour, than it is anything else. (Intellectual indie rock with a tinge of pop would be closer to the mark).

Their stage presence would also suggest an investment in being enigmatic, with Gavin Dwight, lead vocals, strutting and posturing, in what some would consider a contrived indulgence – but very rock and roll all the same – and the guitarists flanking him, almost inert, and looking deeply introspective. Only Lush on drums blows the gaff, issuing forth unbridled enthusiasm betraying a pure joy of life in-between numbers – good on yeh mate.

I’d falsely assumed that a certain self-consciousness and cool would clad the band like armour if I engaged them in conversation, and this just wasn’t the case. They were more down to earth than up themselves – just honest, erudite and a pleasure to meet, with not a hint of arrogance about them.

Having all met at Goldsmiths they share scholarly tastes, with Gavin drawing from biblical themes and modern literary classics to ignite his lyrical outpourings. Being evidently close, it’s not surprising that the music is co-written, and I would imagine that it emerges reasonably effortlessly, with a strong sense of fun coupled with a combined appreciation of the creative process, greasing its’ path. There’s no denying that Assembly Now deserve the recognition they’re receiving.

All credit to George of Klub Kute for having the foresight to bring these acts together – I was positively buzzing when I left the place, and it wasn’t simply because the sound had been cranked up to a level that bordered on pain… I have an inkling that I am going to be paying The Cooler more regular visits on a Saturday night.

Please note: Klub Kute is a regular Saturday night at The Cooler. Owing to mechanical difficulties (Assembly Now’s van broke down), this gig was rescheduled to a Wednesday.

Review: Rachel Wild May 2007.
Assembly Now photos by Louise Cattell
Thanks to Bearknuckles and Ulysses for supplying their photos.