Thank All-Dayer

Brudenell Social Club

Support: Greet, FAxFO, The Oidz, The Panama Papers, Tormented Imp,  Fashion Tips 

The rock band Thank from Leeds put on a packed all-dayer at the Brudenell Social Club to welcome to the world their new album ‘I Have A Physical Body That Can Be Harmed’. There was a promise of a wild concoction of supports and to have us all home and wrapped up in bed by 10:30 as it was, after all, a Sunday. 

Those present from doors were met with the folky drones of Greet followed by the hardcore intensity of FAxFO, another outlet for Thank’s drummer, Steve Myles. I would love to say more about both talented local groups, but I had forgotten this was an all-dayer so bundled into the main room just as The Oidz were sound checking. 

Now, The Oidz. I’d heard whispers that this newly formed egg punk outfit were worth catching, but other than a scattering of grainy snaps on Instagram and mutterings in the murky depths of Reddit, there is no real internet trace of them yet. Finding them in the wild therefore is the only way to expose the senses to their sound. According to Crash Records’ ‘Next Big Thing’ they ‘formed with the idea to break up within a couple of months’ and so to catch this whiff of egg was a blessing rather than a curse. After explaining to the sound engineer ‘that it doesn’t matter if it sounded shit because it was meant to’, The Oidz pumped out their dalek low-fi sounds to the crowd from behind tacky sunnies. I sure as hell hope that they keep popping up and firing those ‘bad’ sounds in our general direction. 

It’s difficult to concisely sum up The Panama Papers, Tormented Imp, and Fashion Tips If I had to though in two words, in order of noting, they would be: industrial electronic, potent hardcore, and dance-punk sass. I hope a future word count will allow me the courtesy to speak about them in the depths that they each deserve.  

The noise rock outfit from Leeds then leaped on to the main room stage to disappoint the crowd that this would not be a launch party as erroneously billed and would ‘sadly’ include some of their raucous earlier numbers. The crowd were bayed by the new song ‘Control’ which encapsulates the mix of pounding drums, screeched satirical lyrics, and warbling techno that gives them a completely unique sound. ‘Woke Frasier’, the second single to on the new album, sounded as good live as recorded. Although frontman Freddy Vinehill-Cliffe described this as the best riff they had ever written, coupled with the worst lyrics he has ever written, this really could not be further from the truth. This song is one of the highpoints of an insanely packed album.  It was also hilarious to hear that Vinehill-Cliffe’s worst fears of becoming the leader of an anti-woke mob have come to fruition as he delivered a wry caveat before the song to settle fears of a tilt to the right in this otherwise liberal band. This was one of the many quips between numbers that acted as a pallet cleanser between concentrated bursts of noise rock. It gave the crowd a giggle before the next decent into the pit of powerful sound. 

Not even a couple who decided, at multiple instances, that the front the crowd was the ideal place to engage in a, borderline explicit, public display of affection could distract from the show being put on. I mean, they took the title for being obnoxious and straight up weird, but you sadly always get a couple of dirty herberts in gig crowds.   

Old familiars such as ‘Good Boy’ and ‘Punching Bag’ from their 2022 album ‘Thoughtless Cruelty’ sat well alongside Thank’s new noise anthems and, as ever, slap when heard live.

What has really increased the magnitude of a Thank show is the appointment of Steve Myles as drummer. Covered in tattoos, rocking a shaved head (by choice) and a thick moustache, Myles powers out almost industrial level noise from behind the kit. Myles is in almost complete contrast to Vinehill-Cliffe. However, where they diverge in appearance, the pounding drums and screeched vocals complement each other well.  When paired with the rhythmic, almost trance inducing bass of Cameron Moitt and the screeching and warbling electronics of Lewis Millward, it makes for a truly unique sound. 

As promised, Thank had everything wrapped up by ten and the crowd was on their merry way after a day of excellent music in one of the finest venues that Leeds has to offer. What a way to spend a Sunday afternoon. 

Reviewed by J. Konopinski. Photos by Tom White (@tomw19).