A review of the performance in Kiev has been published in the Ukranian edition of Kommersant. An approximate translation, courtesy of Google, of the Slow Electric review is below:
‘Aleksei Saks played the trumpet and the baroque horn; a long, smooth and warm honey pouring out of his copper. Robert Jurendal slowly strummed a guitar, sometimes drastically changing its sound with a variety of electronic effects. Such an accompaniment expressively emphasized the fragile beauty of Peter Chilvers’ keyboards and Tim Bowness’s voice. Tim, in a long-sleeved shirt looked part Vertinsky’s Pierrot, part French sailor. He sang of the crimes of passion, about loneliness in the big city and the unexpected appearance of ghosts from the past.
The audience listened spellbound to the singer’s dramatic performance, at the same time reminiscent of both Alexander Vertinsky and the frontman of the British pop group of the 1980s, The Smiths’ Stephen Morrissey. Tim Bowness literally fell into the gentle world of his songs. Their mood each time becoming more and more gloomy, and magnificent.
A standing ovation was awarded by the audience. Slow Electric are perhaps not stars of the first magnitude, but they greatly expanded the audience’s perceptions with a good, relevant, and in all respects, adult music. Slow Electric convincingly proved that to be modern, sometimes it’s simple enough just to be yourself.’
Tim provides lead vocals and co-wrote two tracks, Twenty Turbines and The Great Divides, on the new Andrew Keeling album Bells of Heaven, which is available from Burning Shed.
You can listen to Twenty Turbines on Tim’s Soundcloud page.