Dear everyone involved in the production of Tomorrow In A Year,
What the bollocks was that all about?
Yrs respectfully,
A.E.
(Photo: Anika Mottershaw)
Thursday, July 29, 2010
Friday, July 23, 2010
SCHOOL OF SEVEN BELLS (London Scala, 20/07/10)
The School of Seven Bells live experience isn't radically different to the recorded one, but that's not necessarily a bad thing. Shoegazey dream-pop doesn't call for visceral stage presence, and the laid-back demeanour of the band does nothing to detract from the quality of the new material, including the obscenely lush "Windstorm." Louder vocals would have been nice, but all in all, a perfectly enjoyable, if not epoch-defining show.
(Kudos also due to Active Child. Given that he's a primarily electronic artist, I totally didn't expect the harp. Good man.)
(Photo: John Gleeson (Flickr))
The School of Seven Bells live experience isn't radically different to the recorded one, but that's not necessarily a bad thing. Shoegazey dream-pop doesn't call for visceral stage presence, and the laid-back demeanour of the band does nothing to detract from the quality of the new material, including the obscenely lush "Windstorm." Louder vocals would have been nice, but all in all, a perfectly enjoyable, if not epoch-defining show.
(Kudos also due to Active Child. Given that he's a primarily electronic artist, I totally didn't expect the harp. Good man.)
(Photo: John Gleeson (Flickr))
Saturday, July 10, 2010
ARCADE FIRE (Casino de Paris, 05/07/10)
Bit of an odd one, this. Suburban War and the cranked-up Month of May apart, I wasn't sold on the new material; the Suburbs in particular was tepid and uninspiring at best. The crowd were really subdued until the big hits came out and the sound was pretty flat throughout. Laika was a bit half-arsed, and the nifty projections (State Trooper Win!) were underutilised. And of all the Neon Bible songs to play, they chose fucking Intervention.
BUT. The lighting was cool, and interestingly done. Power Out/Rebellion was typically awesome, as was old favourite Haiti. Win seemed on good form, even if the rest of the band seemed tired. And Tunnels/Wake Up really was my live musical highlight of the year- think I may have done my vocal chords some permanent damage.
It was almost like there were two completely different bands playing- the better-than-average, but nonetheless MOR indie plodders on the one hand, and THE MOTHERFUCKING ARCADE FIRE of the Funeral-era on the other. The fact remains that without the encore, that performance would have struggled to make my Top 20 this year, and for the band I've regarded as the high watermark of live music ever since I started going to gigs- in fact, the band that ignited my fanatical love of gigs in the first place- that's just not good enough.
(Photo: Oliver Peel (Flickr))
Bit of an odd one, this. Suburban War and the cranked-up Month of May apart, I wasn't sold on the new material; the Suburbs in particular was tepid and uninspiring at best. The crowd were really subdued until the big hits came out and the sound was pretty flat throughout. Laika was a bit half-arsed, and the nifty projections (State Trooper Win!) were underutilised. And of all the Neon Bible songs to play, they chose fucking Intervention.
BUT. The lighting was cool, and interestingly done. Power Out/Rebellion was typically awesome, as was old favourite Haiti. Win seemed on good form, even if the rest of the band seemed tired. And Tunnels/Wake Up really was my live musical highlight of the year- think I may have done my vocal chords some permanent damage.
It was almost like there were two completely different bands playing- the better-than-average, but nonetheless MOR indie plodders on the one hand, and THE MOTHERFUCKING ARCADE FIRE of the Funeral-era on the other. The fact remains that without the encore, that performance would have struggled to make my Top 20 this year, and for the band I've regarded as the high watermark of live music ever since I started going to gigs- in fact, the band that ignited my fanatical love of gigs in the first place- that's just not good enough.
(Photo: Oliver Peel (Flickr))
LCD SOUNDSYSTEM (London Hyde Park, 03/07/10)
LCD Soundsystem- losing their edge? Well, not quite, but this certainly wasn't a vintage performance. The pre-sunset start time had a hugely detrimental effect on the atmosphere, the drums and vocals were way too low and James Murphy suffered from an acute case of WayneCoyneitus, in that he was clinically unable to SHUT UP AND PLAY THE SONGS. Plus, the number of grade-A fucktards in the crowd was ridiculous beyond measure. Oh well, you can't win them all. On the plus side, DJ Shadow was brilliant (best projections ever!), and really enjoyed Jamie Liddell- always forget how entertaining his shows are.
(Photo: jamestmouse (Flickr))
LCD Soundsystem- losing their edge? Well, not quite, but this certainly wasn't a vintage performance. The pre-sunset start time had a hugely detrimental effect on the atmosphere, the drums and vocals were way too low and James Murphy suffered from an acute case of WayneCoyneitus, in that he was clinically unable to SHUT UP AND PLAY THE SONGS. Plus, the number of grade-A fucktards in the crowd was ridiculous beyond measure. Oh well, you can't win them all. On the plus side, DJ Shadow was brilliant (best projections ever!), and really enjoyed Jamie Liddell- always forget how entertaining his shows are.
(Photo: jamestmouse (Flickr))
JANELLE MONAE (London Hoxton Bar & Kitchen, 01/07/10)
Despite having the gall to try charging £50(!) for a meet-and-greet despite having released sweet FA in this country, it's difficult to hate someone as downright amazing as Janelle Monae. If you've seen her Letterman performance, you'll know why; if you haven't, check it out RIGHT NOW. Ultra-stylish, amazing vocals and dance moves so smooth, the late, lamented MJ would have been proud. Once Tightrope's given a proper release, she's going to be huge.
(Photo: Lorne Thomson (Flickr))
Despite having the gall to try charging £50(!) for a meet-and-greet despite having released sweet FA in this country, it's difficult to hate someone as downright amazing as Janelle Monae. If you've seen her Letterman performance, you'll know why; if you haven't, check it out RIGHT NOW. Ultra-stylish, amazing vocals and dance moves so smooth, the late, lamented MJ would have been proud. Once Tightrope's given a proper release, she's going to be huge.
(Photo: Lorne Thomson (Flickr))
BROKEN SOCIAL SCENE (London Forum, 30/06/10)
Well, that was the most enjoyable show I've ever seen at Forum, Ruiner of Gigs. True, it was give or take a couple of songs almost identical to their Heaven performance, but the sound was better and the band seemed more energised. Shame they didn't find room for Anthems, Ibi Dreams of Pavement or Major Label Debut, but hey, you can't have everything.
(Photo: John Gleeson)
Well, that was the most enjoyable show I've ever seen at Forum, Ruiner of Gigs. True, it was give or take a couple of songs almost identical to their Heaven performance, but the sound was better and the band seemed more energised. Shame they didn't find room for Anthems, Ibi Dreams of Pavement or Major Label Debut, but hey, you can't have everything.
(Photo: John Gleeson)
DIRTY PROJECTORS (London Barbican, 25/06/10)
I had my suspicions beforehand I'd admire Dirty Projectors' orchestra-backed rendition of “The Getty Address” (an avant-garde concept album about Don Henley) more than I'd actually enjoy it, and in truth, that's kind of how it panned out. There's numerous moments of individual beauty, but as a whole work, it's too difficult/pretentious for my tastes. Much more engaging was their second, “Bitte Orca”-centric set, which overlaid their sharp, brilliant harmonies and intricate guitar-work on a more accessible pop-orientated framework.
(Photo: Anika Mottershaw)
I had my suspicions beforehand I'd admire Dirty Projectors' orchestra-backed rendition of “The Getty Address” (an avant-garde concept album about Don Henley) more than I'd actually enjoy it, and in truth, that's kind of how it panned out. There's numerous moments of individual beauty, but as a whole work, it's too difficult/pretentious for my tastes. Much more engaging was their second, “Bitte Orca”-centric set, which overlaid their sharp, brilliant harmonies and intricate guitar-work on a more accessible pop-orientated framework.
(Photo: Anika Mottershaw)
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