The MONGOS landed in Bridport last night. The landing was flawless.
All I know about Mongo Lounge is that they live in Sweden, in the woods. The 4 piece is made up of Drums (Freddy James), Synth & Hammond (Lenny Picko), Bass (Coby Roberts) and the mesmerizing Shazzie Monroe on Vocals.
Arriving a few minutes into their first song, I was so impressed that I stood there and gawped for the duration of the track before going to get my first pint. "THIS is going to be fantastic."
Mongo Lounge have blended an incredible myriad of styles into their sound. As much as I hate to compare, and as much as bands hate to be compared; think Koop meets Cinematic Orchestra meets Troisk & Jan Jelenek (1+3+1) meets Zero 7 meets St. Germain meets Bjork - and you're NEARLY there. The reason you're not actually 'there', is because although these influences can all be detected, they have maintained an authentic/original sound, and a genuine love for their music.
The tunes range from thumping live-dance backed with Jazz-based tones to epic soundscapes that spiral out of truly hypnotic bass lines, soaring vocals and Commodore64-electronica.
Freddy James on drums has a masterful touch. He can take the most minimal of rythmns and give them incredible substance. The Drumpads are combined with a slim kit to occasionally add electronic touches to his beats or excentuate a fill. The snare was tuned to perfection and impressively he was as tight playing with the band, as he was with Lenny's synth backing tracks.
Coby Roberts on Bass has to be one of the most versatile bassists I have heard in a long time. His playing was so tight that it was almost as if Freddy had a trigger on his kick drum pedal that played basslines as he kicked it. Coby's wandering bass lines and stabby beat-down moments provided the foundation on which the Mongos build their sound. Oh, and 2nd best use of the Boss Pedal "Monster Cry" effect I have had the pleasure of hearing. The 1st being my own (of course!).
Watching Lenny behind his stack of gadgets that balance pecariously on top of his Hammond organ, you begin to realise that he really is using his stuff like it’s all an extension of his own body. Pitchbend and modulation were added in perfect doses and his preset changes merged seamlessly from one electronic whirlwind to the next. The riffs/hooks were so well entwined with Shaz' vocals that it was as if the two of them were mating through the loudspeakers.
Listening to Shazzie Monroe's voice is like being plucked from your life by a huge bird of prey and carried off into the sunset to a really cool party in the mountains. Her voice has so many layers to it, and a pure clarity that rings consistently throughout the set. Shaz' style is totally unique. She finds melodies on scales you didn't know existed, and performs them all with a warm smile. You can tell that when Shaz gets behind that microphone she is doing her favourite thing in the world, and that feeling is infectious.
To wrap up this review, I return to last night. Lenny was amazed that they had sold a record amount of CD's in a night. 17! (at one of their smallest gigs). The band loved the venue, the vibe, and the people. "Howz about we just play in Bridport from now on?" suggests Freddy James, "Sounds like a plan" I said. "Sounds like a plan".
The MONGOS landed in Bridport last night. The landing was flawless. 
Freddy James on drums has a masterful touch. He can take the most minimal of rythmns and give them incredible substance. The Drumpads are combined with a slim kit to occasionally add electronic touches to his beats or excentuate a fill. The snare was tuned to perfection and impressively he was as tight playing with the band, as he was with Lenny's synth backing tracks.
Coby Roberts on Bass has to be one of the most versatile bassists I have heard in a long time. His playing was so tight that it was almost as if Freddy had a trigger on his kick drum pedal that played basslines as he kicked it. Coby's wandering bass lines and stabby beat-down moments provided the foundation on which the Mongos build their sound. Oh, and 2nd best use of the Boss Pedal "Monster Cry" effect I have had the pleasure of hearing. The 1st being my own (of course!).
Watching Lenny behind his stack of gadgets that balance pecariously on top of his Hammond organ, you begin to realise that he really is using his stuff like it’s all an extension of his own body. Pitchbend and modulation were added in perfect doses and his preset changes merged seamlessly from one electronic whirlwind to the next. The riffs/hooks were so well entwined with Shaz' vocals that it was as if the two of them were mating through the loudspeakers.
Listening to Shazzie Monroe's voice is like being plucked from your life by a huge bird of prey and carried off into the sunset to a really cool party in the mountains. Her voice has so many layers to it, and a pure clarity that rings consistently throughout the set. Shaz' style is totally unique. She finds melodies on scales you didn't know existed, and performs them all with a warm smile. You can tell that when Shaz gets behind that microphone she is doing her favourite thing in the world, and that feeling is infectious.
