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Trojan Horse Live - Moho Live - 290411

by Trojan Horse

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03 - Fire 01:47
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about

This was a big one. We managed to get a bloody support slot with Beecher, which for us at the time was a fucking big deal. Sadly come the actual gig we had a few issues with the sound (which you can hear in the mix, which is a blend of a line out of the desk and a go-pro audio) with the vocals dropping out every so often (you can hear us really thrashing out the vocals) and we had to fucking work our absolute bollocks off with the crowd who really weren't there to see us.

However it's a good document of a post-Fire EP/pre-WTUD with some then new material being added to the old reliable set. And checking dates it seems we were going into SSR Spirit Studio

Arguably one of the fastest sets we've ever played

A review of the gig from the now defunct & sadly missed(but thankfully archived Manchestermusic.co.uk) by Rachel Mann.

"Trojan Horse have become something of Manchester fixture and a mainstay for MM’s reviewing team. I don’t, therefore, propose to rehash the words of my reviewing colleagues. Needless to say, this band’s smart blend of art, prog and math rock has won many plaudits and, gifted musicians that they are, it’s not hard to see why. Curiously, though, I was (with the exception of the magnificently delivered final track) somewhat underwhelmed. Things weren’t helped by a few sound problems, some curiously weak vocals and a slightly bewildered crowd. Intriguingly I think these problems pushed them to work harder and show us what they can deliver in the final track: a wonderful piece of robust, intelligent rock carved from the altar of pure prog. There was much checked-shirtness in evidence on stage – clearly in the land of nouveau prog, the lumberjack is king."

Couldn't have said it better ourselves.

credits

released April 22, 2020

Line up:

Guy Crawford : Drums
Eden Duke: Keyboards, vocals
Lozz Duke: Bass, vocals
Nick Duke: Guitar, vocals

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about

Trojan Horse Salford, UK

Trojan Horse. We listened to a load of King Crimson, Jethro Tull and Yes LPs, and dragged the 70s kicking and screaming through the subsequent decades, whilst cutting away all the 20 minute keyboard solos and ditching the capes. Rolling that ball of musical joy, further forward in time to create a genre snowball effect. Until we landed, ready to sculpt the mass of noise into beautiful shapes. ... more

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