In Cardiff in Wales you will find, Joel Hertz (Vocals / Guitar), Ethan Hertz (Drums), Rhys Carey (Guitar / Vocals) and Tom Rees (Bass / Vocals) who form the indie-rock band Tibet.
There are odd moments when you just know there is a sound that is not better known for no other reason than the mechanisations of the detritus of mainstream ‘on-message’ media and the bloated pockets of the leeching major label show-boat. I also hear and read much by so called ‘sages’, of the music industry, who definitively lecture on how music creativity is dead and you just know they don’t listen to anything other than the plastic put out on the likes of Sony Records, so haven’t got a clue what is actually happening in the world of real musicians cutting their teeth. Tibet is a case in point. If anyone tells you music is dead – point them to this article about a quartet who are able to deliver everything that you need to make the world appear far brighter than it is in reality, giving a portal to the future, who are more than able to squash the drivel.
Formed only last year Tibet are able to combine all the best of the late ’60s ‘brit-blues’, scooping up along the way the ‘brit-pop’ of the ’90s and turn it all into a joyful bounce for the late ’10s with tracks that rarely last as long as three minutes and a confidence that belies their brief life as a unit thus far.
Tibet flex both pace and volume in their material as the guitars bustle around the room, only, to be hurried along by the percussion as a subtle bass gives the sound a depth of texture that keeps the ears fully tuned. The combinations of voices, which sparkle in their enthusiastic freshness, allow the band to fill the audience with the knowledge that those who suggest music is dying are out of touch with the world of music and would be better off closing up shop.
Tibet is a band one can only hope finds longevity without being subsumed into the morass of record deals that will inevitably flood their way in short order as they have much to add to the world of music.
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