Deus Exit Machina: Death. It doesn’t take long for the story to resolve itself once he’s done soul searching. Does This Remind You of Anything?: Buddy’s behaviour when the Music takes him over is a lot like a musician on drugs. Dumb and Drummer: Averted with Cliff, who’s not too stupid, and played straight with Scum. Dreadful Musician / Garage Band: Crash, Noddy, Jimbo and Scum and their everchanging band names. Early Bird Cameo: We see Ponder and Adrian working on the early prototype of what will become the Magical Computer Hex in the next book, Interesting Times. It uses a small version of the stone circle computers seen in The Light Fantastic and also ants, as seen in later books (“it may work, if we can get all the bugs into it”). Cliff and Glod make a brief mention of a Golem called Dorfl. With an early Title Drop, too! Proposing places to send The Band on future tours, Dibbler lists the Counterweight Continent, saying that “they’re talking about discovering it again real soon now”. The next book, Interesting Times, is set there. Even Evil Has Standards: Satchelmouth, a Musicians’ Guild enforcer, has done the finger foxtrot and the skull fandango, but is repelled by the idea of actually killing someone. At least http://jorgequadros.com.br/its-fixed-in-the-unofficial-patch/, on purpose. Everyone Calls Him “Barkeep” / His Name Really Is “Barkeep”: Colon and Nobby debate which of these applies to Death when they argue over whether he has a first name. Exact Words: Imp’s carelessness with verb tense was just asking for trouble: “One day soon everyone will say I was the greatest musician in the world!”
The duo returned to New York City for the first time in six months to perform at the intimate Marlin Room at Webster Hall. It was not only sold out, it was clearly one of the last times any fan of this band will have a chance to see these guys in such an intimate space. to Jay Z’s “99 Problems,” Mike Kerr and Ben Thatcher seemed as if they didn’t what what a problem was. Their cool, calm, collective attitude was something most New York audiences are not used to, after all this is the Big Apple, the audience is supposed to scare the shit out the band playing on stage! Yet, Kerr and Thatcher took their places and struck their first chords and right away blew the skeletons out of their audiences skin. The band’s sound is a cross between Death From Above 1979’s abrasive musicianship met with Black Sabbath’s heaviness, yet also blends the blues of Jack White and The Black Keys. This is a band for any rock and roll fan and the fact that two guys make so much sound is astonishing. Kerr, who sings and plays his bass like a guitar manages to pulverize the crowd with the sound coming from his hands, while Thatcher simply abuses his drums as if he is a boxer going 12 rounds with someone of lesser quality than he. With just their debut under their belt, songs like “Come on Over,” “Little Monster,” “Blood Hands,” “You Can Be So Cruel,” were played with such gusto and power it was amazing that the walls of the Marlin Room did not cave in. As the audience tried to compete with Kerr by screaming the lyrics back to the band, it seemed to fail as the sound would just rise and rise, as did the excitement. For the closing number, “Out of the Black,” Thatcher jumped into the crowd mid song and was lifted up so he could hang from the ceiling beams. As Kerr looked on and laughed, he kept playing as his bandmate eventually made it back to his drum kit, only this time dismantling it as he pounded away, standing up, and took all of his energy out on his set. By the time the song finished, defining screams from the crowd saluted Royal Blood, the heirs to rock and roll’s kingdom.
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