Once upon a time Oneida, in defiance of all laws of logic and nature, managed to cure a headache of mine, being so physically forceful that it roundhouse-kicked the pain from my brain. This time round they were a little bit tamer, but Kid Millions still knows how to rock a fucking drum kit.
Sunday, March 22, 2015
ONEIDA (London Corsica Studios, 18/03/15)
Once upon a time Oneida, in defiance of all laws of logic and nature, managed to cure a headache of mine, being so physically forceful that it roundhouse-kicked the pain from my brain. This time round they were a little bit tamer, but Kid Millions still knows how to rock a fucking drum kit.
Once upon a time Oneida, in defiance of all laws of logic and nature, managed to cure a headache of mine, being so physically forceful that it roundhouse-kicked the pain from my brain. This time round they were a little bit tamer, but Kid Millions still knows how to rock a fucking drum kit.
ZUN ZUN EGUI (London Cafe Oto, 12/03/15)
Not all gigs start with a traditional Mauritian ritual to wake the spirits of music, but then again not all bands are Zun Zun Egui. Kushal Gaya's other band Melt Yourself Down may have been gaining all the plaudit's recently, but I'll always have a soft spot for ZZE's vibrant polyrhythms and boundless energy.
Not all gigs start with a traditional Mauritian ritual to wake the spirits of music, but then again not all bands are Zun Zun Egui. Kushal Gaya's other band Melt Yourself Down may have been gaining all the plaudit's recently, but I'll always have a soft spot for ZZE's vibrant polyrhythms and boundless energy.
TUNE-YARDS (London Royal Festival Hall, 05/03/15)
Not sure about all the chattering morons in the back, but this may have been Merrill Garbus' best London gig since the legendary Cargo show five years back. I always felt her band were superfluous during the "whokill" tour, but this time round they're an absolutely essential part to proceedings, augmenting Garbus' kaleidoscopic vision with incredible harmonies and rhythmic intensity. Give me this over a hundred boring guitar bands any day.
Not sure about all the chattering morons in the back, but this may have been Merrill Garbus' best London gig since the legendary Cargo show five years back. I always felt her band were superfluous during the "whokill" tour, but this time round they're an absolutely essential part to proceedings, augmenting Garbus' kaleidoscopic vision with incredible harmonies and rhythmic intensity. Give me this over a hundred boring guitar bands any day.
DEERHOOF (London Oval Space, 26/02/15)
Deerhoof have been around for 20 years, but they remain more exciting, energetic and original than almost any band that's come since. Yeah, they're not fans of coherent time signatures; yeah, their vocals tend towards the "cutely enthusiastic" rather than "in tune" but damn, watching them in full flow is one of the most vital experiences you'll ever witness on stage.
Deerhoof have been around for 20 years, but they remain more exciting, energetic and original than almost any band that's come since. Yeah, they're not fans of coherent time signatures; yeah, their vocals tend towards the "cutely enthusiastic" rather than "in tune" but damn, watching them in full flow is one of the most vital experiences you'll ever witness on stage.
HILDUR GUDNADOTTIR (London Cafe Oto, 24/02/15)
It's amazing what enchantment one can weave with just a cello and a loop pedal. Whilst the former Mum musician underplays the influences of the Icelandic landscape on her work, her half hour set nonetheless exudes a bewitching starkness that could only come from that land of ash and glaciers. One song, based on a medieval Icelandic hymn is particularly striking, but nothing quite matches the opener, built around looped vocals so ethereal that they seem to come from a place far purer than a hipster bar off Dalston High Street.
It's amazing what enchantment one can weave with just a cello and a loop pedal. Whilst the former Mum musician underplays the influences of the Icelandic landscape on her work, her half hour set nonetheless exudes a bewitching starkness that could only come from that land of ash and glaciers. One song, based on a medieval Icelandic hymn is particularly striking, but nothing quite matches the opener, built around looped vocals so ethereal that they seem to come from a place far purer than a hipster bar off Dalston High Street.
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