Article and Photos by: Steven Principato

Brooklyn, NY — Along the gold coast of Brooklyn’s most desired neighborhoods stands Brooklyn Bowl, a cleverly devised hybridization merging the irony of the mundane suburban pastime of bowling, or more colorfully perhaps the opportunity to experience ones’s desire to channel their inner dysfunctional nature of “The Dude” and friends of Big Lebowski fame. Cross that image with a fully functioning mid sized musical venue, build it between the glass luxury hi-rise condos of Williamsburg, and you get one of the most popular night spots in town. How they didn’t envision this brilliant concept so long ago is really beyond me.

Sensibly skipping the bowling, possibly as the result of my eternally recurring abysmal average that falls under 100 but higher than 50, I got right to the music. Taking to the stage that appeared far more modest than their usual gigs judging from their recent and lofty accomplishments, Purson (a name borrowed from an ancient demon of sorts), remained faithful to their signature theme consisting of retro-visualized progressive and psychedelic rock with a touch of dark occultism. This consistent theme, familiar on their many trip-friendly videos down to their grainy vinyl-esque album art isn’t simply some passing visual phase, but the absolute stone carved mission statement of Purson. 

Fronted by the effortlessly multi-talented Rosalie Cunningham, who admittedly (see interview) gets much of her inspiration along the heavily trampled road of Beatlemania rather than the Black Sabbath route as many would expect. Often mistaken for a metal band as a result of their foreboding image and more metal friendly tour-mates, Purson’s set comprised of a mostly easy-going set of late 60’s prog-rock with gently modulating psychedelic sounds of organs and guitars establishing a setting more familiar with early Pink Floyd, Yes, or even Black Widow, completely devoid of the angst-ridden aggression of the crowds I’m frequently battling for a good shot. Supporting their latest release, Desire’s Magic Theatre (Spinefarm Records), treating the eager crowd (with or without bowling shoes) to their latest singles such as “Electric Landlady”, Rosalie Cunningham easily commands and captures the attention of all eyes in the crowd with her seductively inviting vocal style down to her skillful guitar harmonies and solos. Some might even agree, (with no disrespect to her equally talented band-mates) that Rosalie’s blinding on stage brilliance of talent and unrelenting presence eclipses her fellow band mates, presumably labeling them as back-up musicians only to serve the dark enchantress as the result of her irresistible hypnotic powers dominance.

Overall, Purson is a dark band with a bright future so long as the immeasurable talents of their all powerful front-woman remain in the service of Purson. Signed now to a subsidiary of a major label, Purson is a band that the mainstream music press will soon find difficult to ignore. Perhaps their consistent retro visuals style and sound will start a new trend in music?