In summary: Honus Honus hollered and hammered his keyboard like a badass. Nick Thorburn shredded on guitar and said weird things. The guy from Modest Mouse looked like Jamie Summers of ATP fame. Michael Cera was Michael Cera. Fun was had by all.
Saturday, December 17, 2011
Sunday, December 11, 2011
I BREAK HORSES (London Cargo, 05/12/11)
The main thing that strikes you about I Break Horses’ live show is how accomplished it all is. Tonight’s London performance is their third ever, but there’s a notable lack of amateurishness; the band are tight, the visuals are striking and the arrangements, although lacking in brevity, recreate the shoegaze-y atmospherics of the album well. Sure, the mix isn’t always favourable and there’s too much aimless filler, but when they hit their stride, you just know that in a few months time they're going to be something really special.
(Photo: Marc Lindsay-Scott)
The main thing that strikes you about I Break Horses’ live show is how accomplished it all is. Tonight’s London performance is their third ever, but there’s a notable lack of amateurishness; the band are tight, the visuals are striking and the arrangements, although lacking in brevity, recreate the shoegaze-y atmospherics of the album well. Sure, the mix isn’t always favourable and there’s too much aimless filler, but when they hit their stride, you just know that in a few months time they're going to be something really special.
(Photo: Marc Lindsay-Scott)
Saturday, December 03, 2011
STARFUCKER (London Madame JoJo’s, 29/11/11)
Their name may change every other day (STRFCKR? Pyramid? PYRAMIDDD?), but at least the tunes are consistent in their awesomeness. Tonight their glam-tinged electro-pop was ill-served by a series of technical hitches, but, man, they still deliver grade-A technicolour disco-camp like few others.
Their name may change every other day (STRFCKR? Pyramid? PYRAMIDDD?), but at least the tunes are consistent in their awesomeness. Tonight their glam-tinged electro-pop was ill-served by a series of technical hitches, but, man, they still deliver grade-A technicolour disco-camp like few others.
Sunday, November 13, 2011
ST VINCENT (London Queen Elizabeth Hall, 10/11/11)
Over the years, I’ve seen Annie Clark a number of times; twice she’s been brilliant, twice dreadful (with one other show falling somewhere in between). For the first two songs, I genuinely feared tonight's show would fall into the latter camp, with an atrocious, bassy mix decimating the 80’s-tastic brilliance of “Surgeon,” the best song off her new album. But things rapidly improved, with an stellar “Cruel”, a beautifully brutal Pop Group cover (complete with Mark Stewart strutting around and screaming like a madman) and a beastly rendition of old favourite “Marrow.” I sometimes think that her experimentation with loops and pedals leads to performances easier to admire than enjoy, but tonight she got the balance between the accessible and the avant-garde just right. Plus, she stormed into the audience repeatedly screaming “MOTHERFUCKER” at the top of her lungs, shredding wildly on her guitar and falling into the laps of certain (bloody lucky) audience members, a practice I always approve of.
(Photo: John Gleeson)
Over the years, I’ve seen Annie Clark a number of times; twice she’s been brilliant, twice dreadful (with one other show falling somewhere in between). For the first two songs, I genuinely feared tonight's show would fall into the latter camp, with an atrocious, bassy mix decimating the 80’s-tastic brilliance of “Surgeon,” the best song off her new album. But things rapidly improved, with an stellar “Cruel”, a beautifully brutal Pop Group cover (complete with Mark Stewart strutting around and screaming like a madman) and a beastly rendition of old favourite “Marrow.” I sometimes think that her experimentation with loops and pedals leads to performances easier to admire than enjoy, but tonight she got the balance between the accessible and the avant-garde just right. Plus, she stormed into the audience repeatedly screaming “MOTHERFUCKER” at the top of her lungs, shredding wildly on her guitar and falling into the laps of certain (bloody lucky) audience members, a practice I always approve of.
(Photo: John Gleeson)
BRAIDS (London XOYO, 09/11/11)
XOYO may be the second worst gig venue in the whole of London (after Proud Galleries, a den of such unspeakable dreadfulness that it may, in itself, constitute a whole new circle of Hell), but not even its crap acoustics, lack of air conditioning, ill-placed pillars and clientele straight out of “Being A Dickhead’s Cool” could ruin the blissful majesty of Braids. I’ve been a fan since first hearing “Liver And Tan” back in 2009, and although their set was rather front-loaded, their lush, synth-driven pop (think a chilled out, female-fronted Alvin Band) ticked all the right boxes for me. Hope to see them back soon- but in a less relentlessly shit venue.
XOYO may be the second worst gig venue in the whole of London (after Proud Galleries, a den of such unspeakable dreadfulness that it may, in itself, constitute a whole new circle of Hell), but not even its crap acoustics, lack of air conditioning, ill-placed pillars and clientele straight out of “Being A Dickhead’s Cool” could ruin the blissful majesty of Braids. I’ve been a fan since first hearing “Liver And Tan” back in 2009, and although their set was rather front-loaded, their lush, synth-driven pop (think a chilled out, female-fronted Alvin Band) ticked all the right boxes for me. Hope to see them back soon- but in a less relentlessly shit venue.
DUSTIN WONG (London Old Blue Last, 02/11/11)
Ex-Ponytail guitarist brings his kaleidoscopic, tropic-tinged guitar-looping brilliance to London once again. Perhaps a little more reined-in than his joyous show at the Lexington, but still a marvel to behold.
(Photo: Shanda Boyett)
Ex-Ponytail guitarist brings his kaleidoscopic, tropic-tinged guitar-looping brilliance to London once again. Perhaps a little more reined-in than his joyous show at the Lexington, but still a marvel to behold.
(Photo: Shanda Boyett)
Saturday, October 29, 2011
TWIN SISTER (London Garage, 25/10/11)
Despite Twin Sister devolving between their EPs and their debut from one of the most promising young bands around to sub-M83 retro enthusiasts, this show wasn’t the disaster it could have been. Started off a bit ropey with out-of-tune vocals and a run of weak material, but things massively improved once they got into full-on 80’s funk-odyssey mode. Not a patch on last November’s Lexington show, but at least the gorgeous sleepy-eyed groove of “I Want A House” remains as mesmerising as ever.
(Photo: Anika Mottershaw)
Despite Twin Sister devolving between their EPs and their debut from one of the most promising young bands around to sub-M83 retro enthusiasts, this show wasn’t the disaster it could have been. Started off a bit ropey with out-of-tune vocals and a run of weak material, but things massively improved once they got into full-on 80’s funk-odyssey mode. Not a patch on last November’s Lexington show, but at least the gorgeous sleepy-eyed groove of “I Want A House” remains as mesmerising as ever.
(Photo: Anika Mottershaw)
Saturday, October 22, 2011
Friday, September 30, 2011
ELEANOR FRIEDBURGER (London Netil House, 29/09/11)
Given poptastic synths are a major part of the charm of the Fiery Furnaces’ frontwoman’s solo album, I wasn’t sure how much I was going to enjoy this stipped-down set in the deepest, darkest depths of East London. But Friedburger’s got a understated, idiosyncratic charm which allows her to carry off the whole “singer with acoustic guitar” schtick, resulting in a thoroughly agreeable performance that held my attention from start to finish.
(Photo: NME)
/FieryFurnacesEleanorFriedbergerPMVH050711.jpg)
Given poptastic synths are a major part of the charm of the Fiery Furnaces’ frontwoman’s solo album, I wasn’t sure how much I was going to enjoy this stipped-down set in the deepest, darkest depths of East London. But Friedburger’s got a understated, idiosyncratic charm which allows her to carry off the whole “singer with acoustic guitar” schtick, resulting in a thoroughly agreeable performance that held my attention from start to finish.
(Photo: NME)
Sunday, September 25, 2011
I’M FROM BARCELONA (London Tabernacle, 20/09/11)
After a two year absence from these shores, I’m delightful to confirm the Swedish joy Collective retain their crown as the Most Fun Live Band In The World Ever. Their charming low budget take on the Flaming Lips (Balloons! Confetti! Co-ordinated singalongs!) is even more welcome now the real Flips have steadily succumbed to unbearable pretention, and it’s easy to forget how many insanely catchy tunes they have under their belt. New songs such as “The Game Is On” segue seamlessly into old classics, and Emmanuel remains one of the most likeable frontmen in music. I’m not a naturally religious man, but if I’m From Barcelona were a cult, I’d sign up without a second thought.
(Photo: John Gleeson)
After a two year absence from these shores, I’m delightful to confirm the Swedish joy Collective retain their crown as the Most Fun Live Band In The World Ever. Their charming low budget take on the Flaming Lips (Balloons! Confetti! Co-ordinated singalongs!) is even more welcome now the real Flips have steadily succumbed to unbearable pretention, and it’s easy to forget how many insanely catchy tunes they have under their belt. New songs such as “The Game Is On” segue seamlessly into old classics, and Emmanuel remains one of the most likeable frontmen in music. I’m not a naturally religious man, but if I’m From Barcelona were a cult, I’d sign up without a second thought.
(Photo: John Gleeson)
HANDSOME FURS (London Hoxton Bar and Kitchen, 13/09/11)
The most electrifyingly passionate musical duo around return to London for the second time this year, producing a show not too dissimilar to their Lexington triumph but none the worse for that. Their energy and obvious love for each other never fails to endear, and “Serve The People” remains an absolute stone-cold beast of a song – although the demise of Wolf Parade will forever sadden me, it’s good to see its constituent members remain a force to be reckoned with.
(Photo: John Gleeson)
The most electrifyingly passionate musical duo around return to London for the second time this year, producing a show not too dissimilar to their Lexington triumph but none the worse for that. Their energy and obvious love for each other never fails to endear, and “Serve The People” remains an absolute stone-cold beast of a song – although the demise of Wolf Parade will forever sadden me, it’s good to see its constituent members remain a force to be reckoned with.
(Photo: John Gleeson)
MAN MAN (London Cargo, 12/09/11)
Despite the world’s longest and most tiresome soundcheck pushing this performance an hour later than expected, it’s good to see everyone’s favourite vaudeville maniacs back on these shores. The first few songs were a bit underwhelming, mostly due to sub-par mixing but once they got into their stride, they were pretty amazing. Honus Honus seems to be channelling Tom Waits even more these days, and although “Black Mission Goggles” was sadly missed, there’s no beating the beautifully wistful, whisky-soaked singalong of “Van Helsing Boombox”.
(Photo: Rob Hakimian)
Despite the world’s longest and most tiresome soundcheck pushing this performance an hour later than expected, it’s good to see everyone’s favourite vaudeville maniacs back on these shores. The first few songs were a bit underwhelming, mostly due to sub-par mixing but once they got into their stride, they were pretty amazing. Honus Honus seems to be channelling Tom Waits even more these days, and although “Black Mission Goggles” was sadly missed, there’s no beating the beautifully wistful, whisky-soaked singalong of “Van Helsing Boombox”.
(Photo: Rob Hakimian)
Saturday, September 10, 2011
SCREAMING FEMALES (London Lexington, 09/09/11)
It’s been a while since a band I’ve known nothing about have blown me away with such panache as Screaming Females. Marissa Pasternoster may seem like an unlikely guitar hero with her conservative dress-sense, miniscule stature and unassuming demeanour, but man, she can sure rock the hell out with the best of them. If the Thermals sounded less like Green Day and more like Dinosaur Jr (with hints of Sleater-Kinney and the Yeah Yeah Yeahs), they might sound as good as this. One of the most enjoyable performances I’ve seen this year.
(Photo: Kimberly Powenski)
It’s been a while since a band I’ve known nothing about have blown me away with such panache as Screaming Females. Marissa Pasternoster may seem like an unlikely guitar hero with her conservative dress-sense, miniscule stature and unassuming demeanour, but man, she can sure rock the hell out with the best of them. If the Thermals sounded less like Green Day and more like Dinosaur Jr (with hints of Sleater-Kinney and the Yeah Yeah Yeahs), they might sound as good as this. One of the most enjoyable performances I’ve seen this year.
(Photo: Kimberly Powenski)
Saturday, September 03, 2011
PULP (London Brixton Academy, 31/08/11 & 01/09/11)
Let’s be honest, Pulp aren’t the greatest live band on earth. Their musicianship is adequate; their visuals par-for-the-course, their energy nothing out of the ordinary. But when you got some of the best songs ever written under your belt, and the charisma powerhouse that is Jarvis Cocker , that doesn’t matter one bit. Great to see they’ve added more pre-His ‘n Hers and post-Different Class songs to the setlists, and of course there’s no greater singalong on Earth than Common People. Fantastically good fun.
(Photo: Mark Reed)
Let’s be honest, Pulp aren’t the greatest live band on earth. Their musicianship is adequate; their visuals par-for-the-course, their energy nothing out of the ordinary. But when you got some of the best songs ever written under your belt, and the charisma powerhouse that is Jarvis Cocker , that doesn’t matter one bit. Great to see they’ve added more pre-His ‘n Hers and post-Different Class songs to the setlists, and of course there’s no greater singalong on Earth than Common People. Fantastically good fun.
(Photo: Mark Reed)
Saturday, August 27, 2011
Sunday, August 14, 2011
THE OSAKA RAMONES (Brixton Windmill, 11/08/11)
Well, those Osaka Ramones sure played a lot of Shonen Knife covers. Great fun while it lasted, but a 35 minute headline set (of which only 20 minutes included the works of that seminal New York punk band) seemed a little on the short side.
(Photo: AltSounds)
Well, those Osaka Ramones sure played a lot of Shonen Knife covers. Great fun while it lasted, but a 35 minute headline set (of which only 20 minutes included the works of that seminal New York punk band) seemed a little on the short side.
(Photo: AltSounds)
Friday, July 29, 2011
BEST FRIENDS FOREVER (London Old Blue Last, 25/07/11)
Shambolic, good-natured and thoroughly entertaining anti-folk courtesy of two Minnesotan mentalists, whose wit and enthusiasm more than makes up for any minor deficiencies in actual musical talent.
(Photo: Odhran O'Donoghue (of the amazing Wears The Trousers))
Shambolic, good-natured and thoroughly entertaining anti-folk courtesy of two Minnesotan mentalists, whose wit and enthusiasm more than makes up for any minor deficiencies in actual musical talent.
(Photo: Odhran O'Donoghue (of the amazing Wears The Trousers))
Sunday, July 24, 2011
TWO GALLANTS (London Hoxton Bar & Kitchen, 19/07/11)
Review: HERE
(Photo: Anika Mottershaw/The Line of Best Fit)
Review: HERE
(Photo: Anika Mottershaw/The Line of Best Fit)
BJORK (Manchester Campfield Market Hall, 16/07/11)
The previous Bjork show I went to was the best gig of my life. This show was, sadly, the third best gig of the week. The “Biophilia” set-up is a triumph of invention and innovation, but bassy sound, amelodic and challenging new material and the alienating effects of a stage ‘in the round’ made this a much less engaging and immersive experience than I’d hoped for. A show more to be admired than enjoyed, although they did have LIGHTNING ARCING OUT OF GIANT SPEAKER-THINGS WHICH WAS PRETTY SWEET.
(Photo: Can You 'Ear Me)
The previous Bjork show I went to was the best gig of my life. This show was, sadly, the third best gig of the week. The “Biophilia” set-up is a triumph of invention and innovation, but bassy sound, amelodic and challenging new material and the alienating effects of a stage ‘in the round’ made this a much less engaging and immersive experience than I’d hoped for. A show more to be admired than enjoyed, although they did have LIGHTNING ARCING OUT OF GIANT SPEAKER-THINGS WHICH WAS PRETTY SWEET.
(Photo: Can You 'Ear Me)
Subscribe to:
Posts (Atom)