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chloesimaginationthings · 3 months

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The FNAF Mikes with their (not so) little sisters

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plungermusic · 11 months

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You pays your money, and you takes your choice ...

Last week if you were feeling flush you could have paid an arm and two legs to go and see a stellar array of superannuated veterans of British music’s glorious past paying tribute to one of their own, in a cavernous echoing monument to another era’s bygone British glories ….

Or, for pretty much the same money, you could have booked a train, a hotel room, and tickets to see a bright light of Britain’s musical present, the Mike Ross Band, playing at The Greys in Brighton, like Plunger did.

Looking for all the world like a late-70s Danny McGrain, Mike was here (with Lindsey Oliver bass and Dan Postin drums) as part of his tour promoting new release Third Eye Open, and the set opened with a triplet of tracks from that album. Without the multi-tracking resources of the studio, the trio format cast an X-ray light on the essential structure of the songs: and what structure! The bare-bones energy and catch-you-off-guard rhythmic quirks of I Swear; the earthy hoedown oomph of Born To Me; and the stunning opener Never No More, delivered perhaps a little slower than the album, its stately pace highlighting the grungy Youngian sinew and power of the track.

The middle section of the show was given over to a selection box of treats from Mike’s previous albums: from Spindrift came the dreamy wistful regret-laden Cali-country of Lazy, the tremolo guitar matching the tremulous emotion of the vocal; next, Origin Story’s Ships Pass Me By, keeping up the laid-back West Coast vibe and featuring harmony bvs from Lindsey; The Clovis Limit Pt.2 provided the pugnacious pairing of a gutsy None Of Your Business and (dedicated to "all the Tories”) the heartfelt rage of The Only Place You Ever Take Me Is Down.

After the searing Greeney blues of an appropriately explosive Dark Powder (from Jenny’s Place, with an interesting variation on the usual latinate midbreak) Mike returned to Third Eye Open for the contrasting duo of the sun-kissed ambling Pettyness of Fallen Down, and Ugly Brain, a curled-lip glam swagger with a playground catcall chorus, then rounded out the set with another Clovis Limit Pt2 track, the shimmering menace and corsucating slide of Leviathan.

While the crowd at The Grey’s could have been larger (clashing with Brighton’s all-important game against Man City probably didn’t help), they were in fine voice and no mood to leave without an encore, and in fact we got two! The Mule-tinged reggae lope of Die Trying (from Origin Story) preceded the salacious snarl of Jenny’s Place opener Bamboozled for a barn-storming finale.

The usual consummate heart-on-his-sleeve performance, Mike’s guitar work was as always a joy to hear - fluid, organic, never forced but seeming to flow out of him as a natural progression to the song rather than ‘and now it’s time to shoehorn in a solo’… and the tone! Top work too from Lindsey and Dan, and it’s a pound to a penny the sound (and the beer) were better here than in South Ken… oh, and the Royal Albert Hall weren’t throwing in breakfast too.

Pound for pound Plunger are pretty confident we got the better bargain…

Third Eye Open is available from the usual online suspects and physically here: https://shop.mikerossmusic.co.uk/product/third-eye-open-cd for CD

and here: https://shop.mikerossmusic.co.uk/product/third-eye-open-vinyl for marble vinyl 12″ album.

#mike ross #mike ross music #taller mike #the greys brighton #twenty music roots #third eye open #brighton rock

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rotting-aftons · 11 months

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Realized something today

#fnaf movie #fnaf #william is gonna be nearly a full FOOT taller than mike #i cant wait to see it #michael afton #william afton #mike schmidt

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codgod-moved · 10 months

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sqiblings

#.jpg #qsmp #this isn’t worth tagging properly lol #still don’t know how tall mike is btw. i made him slightly taller than charlie tho because why not #ALTHOUGH charlie would be the younger brother so maybe it’d be funnier if mike was shorter #sorry i just think charlie and mike being brother is so funny. they’ve met literally twice #brothers*#and i’m pretty sure most words they’ve said to each other have just been about how similar they look #anyways i sleep now #my room is full of cats help

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emblazons · 18 days

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Finn absolutely towering over Nat, Charlie and Gaten while out in the ATL….that Mike height difference about to go absolutely INSANE in season 5 fr (x)

#LET MIKE WHEELER STAND AT FULL HEIGHT 2025 #people who don’t think this man is 6’0+ at this point are crazy LMAOOOO #a little sad considering he’s probably only slightly taller than me…and this much taller than Charlie LMAO #finn wolfhard #natalia dyer #charlie heaton #gaten matarazzo #st cast

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sweepy-stringbean · 4 months

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The Wheelers ✨💜

Twitter X || Instagram || Ko-fi || Redbubble

#the wheeler siblings #nancy is standing on the curb to be taller #nancy wheeler fanart #nancy wheeler #mike wheeler #mike wheeler fanart #mike i am too critical of you so i am drawing you for once to make up for it #holly wheeler #holly wheeler fanart #holly gets all of nancy's old sweaters but i am a believer holly and mike will just tower over nancy in a few years #stranger things #stranger things fanart #nancy wheeler is my comfort character and she's so miserable and hasn't had a good nights sleep in years

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iowkey-ioki · 1 month

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Rotten boyy

#art #my art #fanart #fnaf #five nights at freddy's #michael afton #mike schmidt #hes a bit taller post scoop (he got elongated) but his posture sucks so bad that hes still the same height #the left outfit on his ref is meant to be more william influenced and the right one is more henry influenced bc i like him working w henry #his glasses are taped to his face cause he lost his nose rip

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willbyerswithpowersblog · 1 year

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Thinking about Mike growing up and realizing that putting your arm around someone is something boyfriends usually do with their girlfriends, so at one point he just stops doing it with Will.

They weren't kids anymore.

#Or maybe Will just got taller and wasn't as comfortable as before 👍#lmao #I'm not saying this is inherently romantic #but for Mike 'I can't send you letters because that's romantic asf dude 'Wheeler would probably see it that way (?#byler

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tanyakennedy1899 · 3 months

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Okay, first of all noting that the heights in who's lila can change, because of forced perspective can change/warp their models. But We have to talk about how Tanya is taller then Mike AND william. And how mikes the shortest.

#mike is my short king #and tall girl tanya is so personal 2 me #and how BOTH guys date a girl taller then them.#whos lila

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blizzardstarx · 2 months

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The Schmidts updated!

#blizz's art #cat!vanessa au #mike schmidt #abby schmidt #garrett schmidt #fnaf movie #fnaf au #theyre all different shades of brown <3 #mike is more of a yellow brown while abby is more of an orange brown but close to garretts color while garrett is more of a red brown #all have the same skin and eye colors tho (idk why i put the skin color multiple times and not with the eyes #when i noticed it it was too late #abby and garrett look taller than they are 😭 prob cause mike short #well compared to vanessa both in the movie and in the au

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plungermusic · 1 year

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First floor Frippery, Sanctuary & platform boots…

... Mule and Nashville balladry, agitprop and blues. Going up!

Department stores might seem a strange analogy for an album inspired in part by Eastern mystic philosophies of enlightenment, and partly by Marx & Engels’ call for the violent overthrow of the state, but you can’t deny Mike has laid out an eye- (and ear-) catching range of shiny, varied wares (though all bearing the manufacturer’s unmistakeable imprimatur). And the music business is after all a branch of retail: there is a point where artist meets artisan, and the demands of commerce are never far away. So do market forces explain the heavier direction taken on most of his latest release, Third Eye Open?

That added heft is epitomised by the Cult-in-their-late-80s-pomp overdriven wall of power chords, eastern-spiced lead lines, and thick reverbed-up drums of I Swear, backed (or indeed ‘fronted’) by Derek Randall’s highly aggressive, to-the-fore, low-slung bass, like Allen Woody on steroids (particularly in the grinding middle break). Cool Water carries that vibe forward, filling-rattling bass and acerbic Dancing Days rhythm guitar, with unison vox-and-lead-guitar melody lines emphasised by Darren Lee’s machine-gun fills and the very Zeppish tutti ‘stabs’.

The title track’s noodling, headphone-swapping intro belies the bludgeoning riffing to come: a portentous Mule-cover-Sabbath half-tone falling chordal riff leads to a blues on PCP progression, with blistering polemical lyrics delivered with real venom and a Rocky Mountain Way chorus. There’s gentler moments though in the extended “Short, sharp shock” Dark Side midbreak of melodic slide and relaxed drums, with spoken (though not quite audible) lyrics.

Zep/Cult touches appear even in the backwoods resonator-picking of Born To Me in the bursts of unison guitar and drums, but overall the hillbilly beat and multi-voice choral harmonies (including a guesting Jack Hutchinson, who also adds to the BVs on I Swear, The Preacher and Never No More) lend an Oh Brother Where Art Thou?-after-toad-licking swamp revivalist meeting atmosphere… at least until the closing vortex of stinging slide.

A chance to catch your breath after the helter-skelter opening comes in Fallen Down: tighter snare rolls and fluid, less-in-your-face bass back a Western-badlands-tinged amble with a stadium chorus. Also marginally less explosive is Face By Your Window: originally a laid-back candidate for 2019s Clovis Limit Pt2, it returns after a gym workout - the hypnotic resonator blues picking underpinned with military rolls and a steady bass pulse, plus some superb electric slide ornamentation; the gritty, half-spoken delivery and a spare slide solo make for a very echt blues feel.

It’s back on the high octane mixture for the twin pairing of The Preacher and Ugly Brain: the former matching a James Gangesque laddish swagger with a sackload of glam glitter, particularly in the overhead slow-clap crowd-participation chorus and multi-vox terrace chant vibe, and there’s also a lovely sweet’n’sour pinch harmonic solo; the latter (rhythmically and sonically very similar but lent a boogieing swing) features Mike’s Joe Walshish playful sardonic snarl, a catchy playground vocal hook and, yes, cowbell!

Mike shows his romantic side in the Nashville-ballad-with-a-hint-of-The-West duet (Be With You) Tonight, swapping verses with Jess Hayes (daughter of Richard and Val of Bad Influence, and leader of her own band). A little out of character with the rest of the album, (and to Plunger’s ears reminiscent of Pussycat’s Mississippi) it does feature excellent guitar, both in a twangsome cowboy lower register break and exquisite soaring Gary-Moore-does-Comfortably Numb sustain guitar, as well as lovely organ in an extended coda.

Things get heavy again (musically and lyrically) with the closing pair: Never No More channels Cortez The Killer in a febrile philippic against politicians, plutocrats and the powerful - a menacing, loping riff topped with howling feedback accents and highly Youngian noodling, and the return of the thick, meaty drum tone (this time from Brian Irwin); Kicks Like A Mule continues the invective assault over a Damned-cover-25 Or 6 To 4 (or While My Guitar Gently Weeps, if you prefer) descending riff, complete with fleet-fingered southern-fried soloing and two-part harmony guitars, and another lengthy coda.

The pick of the album for Plunger though is track nine, Eulogy - a brutal Belew-era-Crimson aural bombardment in sevens (and this is by no means the only track that flirts with tricksy timings!), with appropriately angular ascending riff: alternating a bruising bass-led near-spoken Thorazine Shuffle verse with a searing wall-of-fuzz screamed ‘chorus’ and highly complex very Frippish atonal solo… stunning stuff, and indicative of Mike’s boundary-stretching versatility and invention.

As with all Mike’s band albums the production throughout is lush and many-layered, from the multi-tracked harmony (and non-harmony) vocals and doubled- or tripled-up guitar parts to quirky touches like the something-that-sounds-like-jew’s-harp (actually a Hohner Clavinet through a wah pedal, like Cripple Creek by The Band) on Born To Me or the washboard ‘snare rolls’ on Face At Your Window. The guitar work is sublime (natch!) even if there’s understandably less discursive soloing than on Peach Jam - the range of ferocity, expression and tone is an object lesson in taste and artistry (particularly his slide playing), while the vocals are more vitriolic and passionate than Plunger think they’ve ever been…

… and that’s likely the real key to the heftier nature of Third Eye Open: the times we live in (and Mike’s obvious disgust with them) are probably reasons enough to go full tonto on the heaviness front…

Whatever the inspiration, as young Mr Grace says, it’s ‘all done very well!’

Third Eye Open is released on Friday 28th April, available from the usual online suspects and is available to pre-order here: https://shop.mikerossmusic.co.uk/product/third-eye-open-cd for CD and here: https://shop.mikerossmusic.co.uk/product/third-eye-open-vinyl for marble vinyl 12″ album.

#mike ross #mike ross music #taller mike #taller records #centralpresspr #twenty music roots #third eye open

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clippy · 3 months

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