This is a review of "Cabbages and Kings" recorded by Prime Mover. The review was written by Nick Kearns in 2006.
Now then chaps and chapettes, how do you like your bass? Hidden away murmuring nicely in the background, contributing nicely to the overall convivial atmosphere but at a comfortable level where it can be safely ignored, rather like an elderly family member at a Christmas shindig? Or maybe for the more risqué at a level where it asserts itself more aggressively in the mix - but, heaven forbid, never in an uncouth manner where it might challenge the dominance of the twangly banter of the guitars and the earnest musings of the vocals? Maybe, maybe not. Perhaps though, if your like Prime Mover you want your bass to plant its bottom end slap bang in the middle of the mix, bitch-slap the rest of the instruments and dominate proceedings like the bastard lovechild of Peter Hook and Bootsy Collins. Yeah? Game on chaps.
“Cabbages and Kings” is the latest release from the Halifax psychedelic noveau-rock merchants Prime Mover. They don’t describe themselves as psychedelic noveau-rock merchants by the way - I just made that up. But listening to the two songs on offer here, it’s difficult to pigeonhole these five young men into any specific genre (NME-generated or otherwise) that would do them justice. This, of course, is a good thing. The darkly groove-orientated songs surf the boundaries of new-wave punk, jazz and rock to form a darkly menacing brew of hedonistic noise, with vocals reminiscent of early Richard Ashcroft, and an interesting use of sampled drums on the second track that wouldn’t be out of place on a Ministry of Dance compilation.
On the basis of the two self-produced tracks here - “Cabbages and Kings” and “Soft Clocks”, Prime Mover certainly possess more than enough imagination, gusto and technical pizzazz to ensure that subsequent releases should be worthwhile checking out. This is a release that firmly refuses to pander to the whim of the current vogue of pale, foppish indie types currently regulating the charts, and for that it’s all the more endearing.