Thomas Traux. Cumberland Arms. Newcastle. 27.1.19


Given their radical progression from interesting indie band to progressive, intellectual, college-rock outfit, local lads Swine Tax deserve their own, full page, NARC review.  But we haven’t got the time.  So I’ll paraphrase.  Swine Tax (“Where’s my life been? Check my LinkedIn”) could be compared to early, guitar driven, surreal (“I’d like the Dolce vita, I’d like 50 quid on the meter”) REM; comprehensive, maturing, pop songs spiked with unique interpretations of how the corporate world affects the real world.  They’re a little paranoid but they’re brilliant.  Thomas Truax, on the other hand, is an effecting performer for different reasons.  Part engineer, part musician, and part wired intellect, his show is less about veiled political statements and more about the ability for music to present itself in interesting, and new, ways.  Use of a revolving drum/bike head (“Mother Superior”) and an electrified horn (“Hornicator”) mix well with an acoustic guitar to produce an interesting take on, what could be defined as, moments of high lonesomeness.  Admitting that his choice of presentation is as much a nudge to an apathetic Spotify generation as it is about creating original music, Truax show completes it’s manifesto to be interesting, engaging and impactful.  It is also fine pop music.



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