written by Chris Familton

Sleepyhands were an enthusiastic bunch who looked like they had come straight from high school to OAF. They had an infectiously upbeat attitude that belied some deceptively layered music. With seven members, many swapping instruments, they incorporated banjo, multi-percussion and some magical three part harmonies that brought to mind Arcade Fire less the pomposity and Dirty Projectors minus the quirkiness.

Wim have some seriously good cred on their myspace page with a glowing LA Times review from a recent show over there. In singer Martin Solomon they have a wonderfully voiced frontman with a rich and warm tone. He carried just the right amount of eccentricity and stage presence to deliver a fantastic set of songs backed by an incredibly tight and understated band who understand the less is more aesthetic. The vocals and percussion were emotive and perfectly arranged to create both mood and melody. These guys play dark pop music akin to Wild Beasts – slowed and stretched but just as artfully constructed.

With their post-Strokes, brit-rock, 60s psych hybrid sound Deep Sea Arcade have built an impressive fanbase judging by the mid week turnout to celebrate the release of a new 7” single Keep On Walking. The OAF was fairly packed and buzzing with expectation when, right on time, the quintet rolled onstage. Their sound was crystal clear, full and punchy – props to the soundman – which meant that it was easy to rest on your heels and admire the band’s sonics as much as their arrangements and performance.

Deep Sea Arcade do big pop singles damn well, as shown by the response to the surging Lonely In Your Arms and the brilliant backbeat of Don’t Be Sorry with it’s 60s psych vibe. The new single Keep On Walking was as catchy as the other two, one of those instantly catchy songs that you know will lodge itself in your brain.

Though well received, there did seem to be a lack of real connectivity with the audience, mainly a result of the remoteness of the band. Singer Nic McKenzie prowls and bounces behind the mic in the manner of a more timid Liam Gallagher but did little to engage the crowd and build a rapport with them. Perhaps it is their thing – cool detachment. It didn’t detract from the music but it also didn’t encourage mass conversion from first time attendees.

this review first appeared in Drum Media