Traams’ debut Grin cemented 2013 as the year the UK got post-punk right. As bands like Savages and Factory Floor looked to the likes of Siouxsie and the Banshees and Throbbing Gristle for drive and inspiration, Traams managed to amalgam the best of British post-punk with US noise rock, and have received a justifiable amount of recognition for it.
I need precise telephonic instructions to find KB18 among the snowy streets of Kødbyen. The weather has not been kind to us. The Copenhagen curse dictates that the most interesting bands are often all but ignored. So be it, I will continue to berate you readers until this town learns to appreciate the talent that passes it by every week.
After a few beers and what seems like most of David Bowie’s hits on the PA, Communions hit the stage. Tonight they are supposed to be inaugurating their new seven-inch, Cobblestones, released by Posh Isolation. Not that you would ever know it, since there isn’t a whiff of their vinyl or cassettes anywhere. A pity, since Communions stand out among their peers for embracing some West-coast surf riffs to lighten up the Danish gloom. The eponymous single closes the set, and stands out for its use of melody and noise.
To their complete credit, Traams don’t seem to care how many people were put off by the snow and wind, and inject some much-needed adrenalin. Songs like “Red” and “Low” showcase their rhythmic prowess, spinning riffs on their head and thrashing out intense duels between Stuart Hopkins’ guitar squeals and Leigh Padley’s melodic bass lines.
A real departure from post-punk etiquette can be found in the guitar solos in “Sleep”. They scream out of Hopkins’ abused guitar, testifying that this is no revival bullshit. This is mirrored by Padley’s own bass solo in “Loose”, a reminder that the bass as a lead instrument did not die with New Order. Driving these two contesting forces is Adam Stock’s tight drumming, moving seamlessly from drum rolls to 4 on the floor motorik beats.
The closer, “Flowers”, is Traams in a nutshell, driving forward without remorse. Padley later reveals that it is their oldest song from the set. The band are hopping around, shaming an audience either too polite or too wrapped up in the ennui of existence to display any kind of involvement. The Chichester trio are way ahead, so put on a coat and keep up.