#ben ottewell

[all-rock-and-roll-is-homosexual]

Gomez, 1998

scanned from 35mm slide

📸:Scarlet Page

if you like my scans and want to help out you can do so here

[fangomusic]

Mercury Prize winners

[staylitmusic]

The Crossing - Ben Ottewell by Sunday Best Ben Ottewell's soundtrack to the game Blackwood Crossing Out now on Sunday Best Records Buy his 3rd album now - smarturl.it/hh9o35

[garglyswoof]

[francescafiorini]

Le nuove date del tour acustico di Ben Ottewell

Le nuove date del tour acustico di Ben Ottewell

BEN OTTEWELL (of GOMEZ)   Le nuove date del tour acustico Il cantautore inglese in Italia ad ottobre 2021 Dopo i posticipi causati dall’emergenza sanitaria Covid-19, BEN OTTEWELL, uno dei principali cantautori della scena indie-folk inglese, nonché uno dei leader e fondatori dei GOMEZ, è pronto a tornare in Italia per un nuovo tour acustico a ottobre 2021. Sei gli appuntamenti live previsti per…

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[mitjalovse]

While we can agree that most of these rockers who achieved their greatest success during the late nineties and the noughts still carry on, we must admit some of them seem close to giving up. Mind you, this is only my assumption, yet what's going on with Gomez? They haven't released another album since Whatever's On Your Mind, though they haven't announced anything about their current status. Moreover, the record did get mixed notices, yet the disc does show they're different than many of their peers, because they haven't really settled within an elder statesman function, they continue to find a way to experiment in their tunes. I sincerely hope they plan to surprise us soon, they remain one of the more intriguing groups in their style.

[shawnkidbaby]

Ben Ottewell & Ian Ball of Gomez at Johnny Brenda’s.

[thebowerypresents]

Gomez’s Ben Ottewell and Ian Ball Bring Magic to Rough Trade NYC

Ben Ottewell and Ian Ball – Rough Trade NYC – March 14, 2019

Ben Ottewell and Ian Ball are part of Gomez, the British rock band that developed a ravenous following behind their blues-adelic, post-Britpop sound and a reputation for whip-smart live shows. The group’s talented members, Ottewell and Ball among them, have had more ideas than any one superlative night of Gomez could contain, so the fivesome has been accommodating of side projects, branch-offs, short hiatuses and interesting asides while keeping Gomez the band—new album in the works, they’ve said!—healthy.

It’s exactly in these types of “in between” things where you get some unexpected magic. Hence this short run of shows pairing Ottewell and Ball in a duo format, sounding often like stripped-down Gomez—and often not. At Rough Trade NYC last night, they covered a lot of ground in about 75 minutes of music—guitars, keyboards, percussion effects at the ready—and maintained a laid-back yet potent energy, with laughs coming easily but moments of heavy emotion that would sneak up on you. They organized the set around familiar material, turning often to Gomez tunes. “Revolutionary Kind,” “How We Operate,” “Army Dub,” “In Our Gun” and “Bring It On” all got airings, more minimalist in their delivery than typically raucous full-band Gomez versions but somehow building similar energy. “78 Stone Wobble” was a crowd-pleasing chestnut from Gomez’s early days that worked especially well in this format: a gently-boogieing simmer that built to a brief, noisy, reverb-y guitar jam.

Their voices and styles, familiar within the context of Gomez, are also a rich contrast, and they were deliberate in their pace of trading lead vocals and sliding in non-Gomez material to enrich the set. Ball’s “Failure”—“Ben writes songs about being stuck in a well. I write songs about premature ejaculation!” cracked Ball—had a weary-funny Lou Reed thing going for it. Ottewell, when leading, directed his rich baritone voice in other directions, from the countrified alt-rock of his own “Rattlebag” to a mesmerizing, almost spectral version of the Grateful Dead’s “China Doll,” accompanying himself on guitalele and minimalist keyboard fills from Ball.

Maybe best of all was how they were supportive when the other took his turn on lead. Sometimes it was full-on accompaniment, the arrangement fleshed out with an extra layer. Sometimes each left the other nearly solo, adding just that little something here or there. In none of the tunes did it feel orchestrated for a concert, but rather it felt like Ball and Ottewell had let you into their living room for a taste of music and a few chuckles, maybe a pint to top it off. The best shows can be like that: They don't feel like capital-E Events, they’re sleepers that charm and disarm you. —Chad Berndtson | @Cberndtson