FROG EYES (London Luminaire, 11/11/07)

After a four year hiatus, Canada’s premier borderline-psychotic four-piece make a mostly triumphant return to London- despite an potentially set-destroying lack of keyboard action. Yes, that’s right- the swirling psychedelic arpeggios and clashing chords that lie at the heart of the Frog Eyes experience are completely absent from the live show, vaguely approximated using guitars or omitted entirely. It’s a shock to the system, but to their credit they somehow carry it off…well, for the most part.

Carey Mercer’s mystical, esoteric lyrics (or fevered ramblings of a madman, depends on your point of view) are delivered with his characteristic frenzied yelp, like a castrated David Byrne rolling through a field of nettles. It’s definitely an acquired taste, but if anything his voice sounds better live, his vocal control quite magnificent to behold. His wife Melanie impresses on the drums, taking the plentiful tempo changes in her stride, whilst the other two members manfully, if not entirely successfully, try to fill the void left by Spencer Krug’s absence (who’s too busy swanning about North America with the sublime Sunset Rubdown.) The problems manifest themselves most seriously on material from their latest album Tears Of The Valedictorian; Idle Songs, Stockades, and even stone-cold masterpiece Bushels were all inevitably diminished without Spencer’s keys.

Luckily, the old songs fared much better, with Masticated Outnoard Motors and One In Six Children Flee In Boats particularly enjoyable, although the night’s unquestioned highlight was brand new track Paul’s Tomb, obviously constructed with keyboard-lessness in mind. Rivalling Bushels as the epitome of Frog Eyes’ distinctive sound, it showcased Carey at his very best, with some mind-blowing vocal gymnastics towards the end of its epic 8 minute duration. But despite the many musical marvels on offer, one still couldn’t help thinking how much better it could have been if Spencer had been there.

(Photo: Realname (Flickr))