Tiny Planets - 'The Trick Is To Keep Breathing' Review

Tiny Planets

The Trick Is To Keep Breathing

Philophobia Music

Recent explorations through the archives of Rhubarb Bomb led me to find a review of the first ever Tiny Planets gig, which took place on 5^th September, 2009. It was hotly anticipated as they shared members, including singer Craig Newman, with former Wakefield legends The Old House. Without wishing to speak for everyone in attendance, I think that peculiar pop brilliance held by The Old House WAS present, but it was also clear this was something different. At that time, it was hard to tell whether it was a step forward, or sideways, but was promising all the same.

Regardless, there was a definite desire for a record. A free demo and an appearance on a Philophobia Compilation aside, this is that first record. It may have taken along time, but now I hold it before me I am actually glad for the wait. For one, the band have slowly improved over the last 2 or so years. More importantly, the shadow of The Old House has long passed, allowing this to be judged completely on its own merits. So, with that in mind, I command you to delete this paragraph and the last from your brain and begin afresh.

‘The Trick Is To Keep Breathing’ is a 5 track EP by Wakefield alternative rockers Tiny Planets. Initially, it caught me off guard. I think I must stand far stage left at most gigs because my overriding memory from any Tiny Planets gig is the huge crunch of guitarist Ash’s looping squall bashing around my head and making it happy. With a few exceptions (‘I Was Born’) that is less to the forefront than I’d expected. What IS present though is some mighty fine songwriting, delivered with real skill and character.

Opener ‘Jetstreams’ is a great example of this; knowing when to sit back and let the story tell itself with relatively gentle movements, slight intonations in the guitar lines over direct, prowling beats showing utter confidence. The emotional swell bubbles under the surface, carefully released at key points. I guess what I’m saying is that it’s the smart way to rock the fuck out.

Craig’s distinct vocals are key here. He avoids lyrical clichés, but wraps his unlikely musings in the sweetest melodies, with a pinch of melancholy, and a side of optimism. I really connect with that voice; it works for me, but that’s different for everyone. What is clear, taste aside, is the fantastic way which the lead vocal and that lead guitar intertwine; a gorgeous and complimentary duet (‘Islands’ is a great example of this).

If you retrieve those first two paragraphs from your minds recycle bin, I will say that there is a certain ‘Old Wakefield’ vibe to this record, which is NOT to say it is looking backwards. It has charm in bucketloads and an untouchable sense of carefree enjoyment, just in its own existence. It is music for the love of music, the big group vocals of ‘Hardly At All’ and ‘The Trick Is…’ drawing that sense of community and friendship together in uplifting fashion.

But, I hate myself as I write these words. Why does this need to tie in to Wakefield? What has that got to do with it? With this EP, Tiny Planets showcase some things that I, personally, tie to Wakefield, but this has got fuck all to do with geography. It’s a masterful example of what it means to young and full of the joy of exploration; condensing the fleeting moments of wide eyed wonder into warming pop songs, with your friends alongside you. I love the feeling that it inspires in me and I love this record.

Dean Freeman

Mi Mye Album Launch

If you’re unfamiliar with Mi Mye then I’ll inform you that they consist of Wakefield musical journeyman Jamie Lockhart and his ever-changing collection of talented musicians creating the type of music that would’ve persuaded Adolf Hitler to forget about invading countries, put down his copy of Mein Kampf and instead rush to the nearest charity shop and buy some extra woolly jumpers so that he could be cosy for the coming winter months. Yes, they are that infective.

Tonight is their album launch. Their album, incidentally, is wonderful and upon entrance we are very generously given a small piece of card with URL address scribbled on it so that we can download it for free when we get home.

As it is Mi Mye’s launch night it is they who have picked the supports, the first of which being Tiny Planets. Tiny Planets used to exude an aural/aesthetic oxymoron reflective of their name, in that they sounded like a juggernaut and looked like fairly pleasant indie boys. They still have a big sound, but they sound happier. The only time I had previously seen Tiny Planets I noted how grungy they were, where as now their influences seem to come more locally. A more anthemic Orange Juice perhaps. Definitely not a bad thing.

The second support comes from London where Adam Killip of The Tailors has kindly ventured north to play an acoustic gig. A friend of Mi Mye, and indeed most of the attendees, Killip draws a dedicated, polite and attentive audience to the front of the room and (a little pet-hate of mine) a less attentive bunch that loiter at the back and decide to talk throughout the performance. Note to gig-goers – if you want to talk during an acoustic concert then please fuck off outside. The words being sung on stage are usually more relevant than the vacuous chitter-chatter about whatever pointless bollocks you have indulged in during the previous wearisome week.

Milk White Teeth are one of those bands that don’t lend themselves to venues like the Hop. Not from a musical standpoint, but rather because there are shit loads of them and the stage at The Hop is quite small. Also, because there are shit loads of them with numerous instruments, they are potentially open to Arcade Fire comparisons, which aren’t a bad thing for most people, but are to me. Milk White White Teeth had much more of a groove though, which in my humble opinion gives them the edge. High praise indeed, for most people.

Next up are Fonda 500. Its many years since I last saw this band and I’d forgotten how mesmerisingly brilliant they are. I don’t usually make outrageous statements and I have never once indulged in hyperbole, but I’m now going to make two proclamations of unquestionable accuracy.
1) Fonda 500 feature the best ever sitting-down frontman. He can sing, which helps, but he also has unique charisma. Singer Simon Stone wears Mickey Mouse ears, acts like the gig is a tiresome business meeting and treats us to dour deadpan jokes such as his opening gambit to this Wakefield audience (“Give me a W; Give me an A; Give me a N; Give me a K..”).
2) Fonda 500 are the best ever band from Hull. Perhaps I’m wrong about that as I haven’t heard every single band to come from Hull, but I doubt that very much.

When Mi Mye finally return to the stage, as the smaller hours approach, it becomes apparent that the band have somewhat returned to their former guise. With musicians spilling off the stage it was a wonder no-one lost a tooth due to a swinging guitar or violin bow.



The last time I saw Mi Mye it was mostly just Jamie and Rob Slater from The Spills – an almost punked version of the usual celtic/country sound. This time around a lot of the old faces have returned. It’s a tribute to Jamie that he can still drag musicians from literally all over the country, many of them busy in other successful bands. As ever the songs seem very personal to Jamie, but it seems the audience hold them dear also. Maybe if they pick up a guitar a fiddle they could join Mr Lockhart on stage.

Stephen Vigors

Issue 1.2 Live Reviews

As the new issue is nearly ready to go, here is 'Wall of Text' Live Review from Issue 1.2.

We came across Lucas Renney twice in recent months, first at Henry Boons in Wakefield where he performed tracks from his ‘9 out of 10 in the NME’ album, Strange Glory (he cheekily repeated that fact at least twice). Tonight he plays his sad but dryly whimsical songs alone, his Mackem charm holding the audience throughout. He was supported by St Gregory Orange, possibly their last show for a long time. Despite this, new tracks like ‘The Party’ benefit from some fairly post rock noise terrorism in the closing minute and are impressive. Apparently they will return, albeit in a completely different form. Lucas popped up again supporting Field Music at Brudenell Social Club, who were promoting recent album (Measure). They played an initially bewildering set, first coming across like The Phantom Band’s elongated ‘jam structures‘, the second was an update of Ob-la-di Ob-la-da, with full on McCartney wandering bass. Then it went all 70’s prog, with an (intentionally?) bad funk breakdown section. And the fourth was some ‘Boston’ / Elton John twinkly ballad mash up, that sojourned into a ’Low’ era Bowie style stomper. Bizarre. But eventually the cleverness of what they were doing came through. Excellent song craft, but maybe too much ‘head’ and not enough heart. The Passing Fancy, expert at making you feel good about those bad, boozy times returned at Bodega Bar with a reworked set. He was joined by Jamie Roberts, recently finalist at the BBC 2 folk awards on Fiddle and Mandolin. Good to see folk music with a sense of fun, the spritely tunes benefited greatly from the additional staff. Piskie Sits held their launch night at Escobar, for new single ‘Churp Churp’ (praised last issue). It seemed every band in Wakefield came out to wish them well. For the first time, in terms of decibels, they sound like a six piece. Its thunderous. Whilst it feels like I’ll have to wait for the a new record to hear the nuances behind it all, it makes for a thrilling evening. The ever entertaining Imp popped up too, joined by Runaround Kids guitarist/singer George. Again, a much noisier raucous sound than usual, but still one of the best live bands around at the moment. Sam Barratt of Nine Black Alps offered a delicate acoustic set too that was surprisingly engaging. New Chemikal Underground signings Zoey Van Goey played a free gig at Oporto in Leeds . Based in Glasgow, it was a hugely entertaining evening, with genuinely warm banter and big smiles. Zoey Van Goey completely surpass my expectations and pull out a storming set, of intelligent, feel good unashamed pop. Its hard to pin down their sound exactly, there’s a certain folk element, but its about a million times more than that. They remind me of The Delgados in a way, not musically, but in their ability to craft marvellous pure pop moments from deceptively simple ideas expressed without sounding cheesy, contrived or insincere. Best new band we’ve heard, without a doubt. Finally, reliably wonderful ‘On the Ride’ promotions put on another stormer at Wakefields Red Shed, with a pleasingly crunching performance from Mi Mye, a sweaty, jolly, brand of joyous fiddle-y folk noise, along with The Tailors, adoptive Wakefield legends (they like to record up here) impressing with beautiful renditions from their recent album ‘Come Dig Me Up’. And then Tiny Planets, who simply improve every single time we see them, which is scary coz they are already astounding. Treecreeper rounded things off. Admittedly RB was pretty drunk by this point, but the album sounds amazing, well worth a look. RB