METRIC (London Electric Ballroom, 19/05/09)



I always forget what a vivacious frontwoman Emily Haines is. Light-years away from her delicate “Anthems For A Seventeen Year Old Girl” persona, she’s a whirlwind of unstoppable energy who often succeeds in disguising the weakness of her recent material by sheer force of personality alone. A very entertaining evening, despite the lack of “Poster Of A Girl”- I’d forgotten what a tune “Dead Disco” was.

(Photo: Anika)

ALL TOMORROW’S PARTIES: CURATED BY THE BREEDERS (Butlins Minehead, 15/05/09-17/05/09)



Review: HERE

(Photo: Ukpeewee (Flickr))

CURSIVE (London Dingwalls, 12/05/09)



Review: HERE

(Photo: Anika)

ANDREW BIRD (London Shepherd’s Bush Empire, 11/05/09)



Ah, the inestimable Mr. Bird: we meet again. I’ve seen the Chicago virtuoso what seems to be a thousand times now, but I’m still staggered by the sheer scale of his talents. The glorious new arrangement of Dark Matter set the pace for a show that saw the multi-instrumentalist tone down his more indulgent loop-fests in exchange for a more melodic approach to his songs. Of the new material, “Masterswarm” particularly stands out, but there’s not a single song performed that was less than impressive to behold- and the whistling solos are just as accomplished as ever. One of the few genuine geniuses of the indie scene, you owe it to yourself to check Andrew Bird out- you won’t be disappointed.

(Photo: Anika)

ALL TOMORROW’S PARTIES: VERSUS THE FANS PART II (Butlins Minehead, 08/05/09 - 10/05/09)



Perhaps Grouper wasn't the best choice to start proceedings. True, Liz Harris had to be on a plane that very evening, but her uncompromisingly sombre ambient noise was too mellow and esoteric for a Friday afternoon slot, as evidenced by the rapid audience shrinkage throughout her set. Casiotone For The Painfully Alone's Owen Ashworth fared a little better, although his melancholy lo-fi indietronica was little augmented by a backing band that too often came across as an afterthought. Very heavy on new material, the lack of old favourites like "Jeane, If You're Ever In Portland" was disappointing although when he hits the spot, he's as quietly charming as ever.

Thank the Lord for Jeffrey Lewis to get things back on track. His monotonal drawl may bear little relation to the melody at hand, but that's all part of his ramshackle charm- more important are his sharp, self-depreciating wit and his hilarious, deftly surreal cartoons. More polished but less engaging were M83, whose hazy synth-pop seemed a little lost in the Butlins food-court. The new raved-up coda to We Own The Sky was a nice touch, but their reduced line-up made them more reliant on backing tracks, detaching them further from their audience and leaving even their most euphoric tracks uncharacteristically hollow.

But then- BAM! From the darkness of the Centre stage, a hero- nay, messiah- for our times emerges. Long of hair, earnest of speech, he preached a message of deep philosophical import; an ethos for all men to live by- to be happy, to have fun and most of all, to PARTY HARD! Yes, I witnessed the oddly charismatic legend that is Andrew WK, the musical equivalent of a Jason Statham film- objectively awful and yet at the same time, totally awesome. “Bad Brilliance,” a man with a balloon for a head came on stage and repeatedly rapped his own name, some guy from Current 93 made a cameo appearance and despite the set consisting primarily of AWK karaoke-singing over various permutations of “Party Hard,” I couldn’t help but be carried away by his sheer enthusiasm. Let’s just hope he never decides to start a cult…



Fittingly, he was followed by fellow madmen Devo who despite looking like a bunch of crazy bachelor uncles clad in their boilersuits and trademark flowerpot hats were perhaps the tightest band of the whole weekend, their jagged grooves much heavier than the uninitiated would expect. They've had 36 years to hone their showmanship and it shows- they know how to work an audience, and what's more, they still genuinely come across as a band that love what they do. All in all, a fantastic set- a sentiment that, alas, cannot be levied at Pink Mountaintops. As great as their grandiose new album is, the dodgy mix at Reds rendered any subtlety imperceptible and within fifteen minutes the sledgehammer sound had me retreating back to the bar. Ah well- you win some, you lose some.

Now Saturday, *that* was a textbook example of how to curate a festival. Low side-project Retribution Gospel Choir provided the scintillating rock 'n roll start Friday so sorely lacked, despite some tedious scrote heckling “throw us your guitar” at Alan Spearhawk. Perennial underachievers live, The Acorn seemed to have finally found their feet- with a new line-up and tighter sound, they do well to counter general hipster indifference ("could I have a little more audience in the monitor?") with their luscious balladry and Rolf Klausener's soaring vocals. But even they couldn't hold a candle to the sublime Grizzly Bear. Fleet Foxes comparisons are to avoid, as both bands furrow similar harmonic veins, but whilst Robin Pecknold’s harmonies are clean, well-scrubbed and immediate, Ed Droste's have a more wistful, delicate quality that's ultimately much more gratifying. Balancing the new (and rather superb) Veckatimest material well with old favourites like 'Knife' and 'Lullaby', their mesmerising hour-long set seems to be over in a blink of an eye, a testament to their understated genius.

They even overshadowed Pavillion headliners Beirut, whose strong set nonetheless seemed to be lacking a little something (not least the violinist I used to have a bit of a crush on). Without a doubt, it’s amazing to see how far Zach Condon’s evolved as a live performer over the last couple of years- no longer does he stand there like a deer in the headlights, and his Morrissey-esque croon, whilst still a tad wavery at times has gone from strength to strength. Alas, the same can’t really be said for his song-writing, which peaked at Gulag Orkestar and has rarely achieved the same brilliance since. Whilst the Balkan swing of "Elephant Gun" and the like still have the old magic, the newer tracks blend into one and it's hard not to crack a smile when someone responds to Zach's call for requests with, "something that sounds a little different!"

And on the subject of "something a little different", cult noise-rockers The Jesus Lizard's first show in a decade certainly lived up to the fevered expectations surrounding them. As a statement of intent, ripping off your shirt during the intro to the first song and taking a running jump into the audience is pretty hard to beat and David Yow, a balding, slightly sinister middle-aged guy resembling The Yellow Bastard from Sin City had no intention of letting the pace slacken from there on in. On stage, he paced around menacingly, barking ferociously down his mike, but more often than not he could be seen swimming aloft on a sea of hands whilst his ever-proficient band nonchalantly watched on. What a comeback.



Alas, Sunday seemed a little anti-climatic in comparison. Shearwater seemed unsuited to Pavillion stage, Jon Meiburg's hauntingly powerful falsetto and their intricate orchestration dissipating in the sterile surroundings. !!! delivered an energetic, funk-fulled set, but were wasted in their early-evening time slot- they’re a band best experienced in a state of mild-to-excessive inebriation, and even the feckless alcoholics of ATP hadn’t reached that stage so early in the day. The ubiquitous Parts & Labor, spotted anywhere and everywhere throughout the weekend seemed knackered by the time it came to their own performance, which suffered from a chronic lack of volume and almost inaudible synths. When they’re on form, they’re a breathtaking live experience (they nearly eclipsed the mighty Battles when they supported them in ’07) but they seemed to squander this vital opportunity to win over a larger audience with a competent, but rarely genuinely impressive set.

Spiritualized’s performance really seemed to divide people- some found it deathly dull and meandering but their mix of the ear-obliterating fuzz of My Bloody Valentine combined with the gospel-tinged euphoria of Screamadelica-era Primal Scream ticked all my boxes. Static to a fault, they’re not the most visually arresting band and their interaction with the audience is non-existent, but in this case there was no harm in letting the music do all the talking, with an extended “Come Together” being my musical highlight of the whole festival. School of Seven Bells were rockier than expected, tweaking their arrangements for a punchier vibe whilst retaining the dreamy shoegazey production of Alpinisms, but after a while I felt the need for something a little more…energetic, a desire well-served by LA electro-punks The Mae Shi. Previously shambolic to a fault, the mentalist four-piece have finally tightened up enough to deliver a proficient set, but without losing the sense of scrappiness that lies at the heart of their appeal. "Run To Your Grave" may have been the single best singalong of the weekend, and although the new noisecore-orientated material lacks the spark of old, they still know how to rouse a mosh-pit. Indeed, the Mae Shi could be a metaphor for ATP as a whole- schizophrenic, surreal, a little poncey but nevertheless a hell of a lot of fun.

(Photos: Ukpeewee (Flickr))

BISHOP ALLEN (London Barden’s Boudoir, 07/05/09)



Despite my refusal to acknowledge Dalston as a real place (a state of affairs that’s not changed though I’ve actually been there), I’m not going deny that it can still harbour some pretty good gigs. The two supports were certainly nothing to write home about, but Bishop Allen more than made up for that with their superior brand of twee-pop. Although they’ve just had a new album out, they drew much of their set from their formidable back catalogue and happily most of my favourite tracks from the wonderful “The Broken String” got an airing. Highlight for me was the ridiculously lovely “Butterfly Nets,” the plaintive female vocals and ukulele/glockenspiel arrangements bringing joy even to this cold embittered soul, but the whole set pulsed with a charm matched by very few other bands this year. Wonderful.

(Photo: Anika)

AU REVOIR SIMONE (London Bush Hall, 06/05/09)



There’s something instantly likeable about Au Revoir Simone, quite apart from the fact they’re all quite stunningly attractive. This often helps to mask that the American synth-pop trio are far too willing to indulge in mid-tempo filler, when their strong point is their more inventive, prog-influenced material. It’s a shame, because when they hit the mark they’re very good indeed but overall, this is mostly an opportunity missed.

(Photo: Anika)

Yeah, I know I've neglected this place recently. Will provide a full account of my comings and goings once I'm back from Barcelona at the beginning of June. See you then!

THE DAN DEACON ENSEMBLE (San Francisco Great American Music Hall, 23/04/09)



DAN! MOTHERFUCKING! DEACON!

Right, let’s get the bad stuff out of the way first. Dan had dislocated his shoulder earlier that day, meaning he couldn’t get up as close as normal, although it didn’t stop him energetically directing the action from a safe vantage point. And yes, they ballsed up Snookered. The drums were slightly off, it didn’t quite sync together and although by no means a disaster, it did add a small tinge of disappointment to what otherwise could have been one of my Top 5 shows ever. But that apart, it was every bit as utterly, gloriously, dementedly sublime as I’d prayed it be. Dan Deacon doesn’t play gigs- he puts on a fucking party, and from the first song onwards he had the entire audience eating out of the palm of his hand. When they weren’t moshing like mentalists, he had them engaging in various silly games- perennial favourites like The Dance-Off mingled with new additions such as The Race, but it was The Gauntlet where the Master Of The Trippy Green Skull truly hit his peak. Two audience members were picked out at random, and asked to form an arch with their hands- the rest of the venue was then requested to dance through this arch, and upon reaching the other side, to continue it so it would eventually wind round the ground floor, head up the stairs, circumnavigate the balcony before returning downstairs- all to the musical accompaniment of Baltihorse. It could have all fallen completely flat, but the audience were totally up for it and it resulted in the most goddamn brilliant moment of audience participation I’ve ever seen at a gig. The videos and photos cannot even start to capture the atmosphere in that room- it made an I’m From Barcelona show look like a morgue in comparison.



Naturally, musical considerations may have played second fiddle to all the antics, but let’s give the 14-piece ensemble their dues- apart from the aforementioned fuck-up of That Song, they were superb (when you could hear them) and added vibrancy and texture to the songs a mere laptop could never hope to replicate. Special kudos to the drummers, who maintained the madcap tempo Deacon’s compositions required without breaking a sweat, especially during Paddling Ghost, one of the set‘s highlights. The venue was brilliant too (imagine the Koko if shrunk to half the size and actually good)- small enough to be intimate, but spacious enough so one could escape the crush once in a while, it was perfect for a show of this sort. Shame they didn’t play the mighty Wham City, but I can live with that- as it stands, this show so overshadows every else I’ve seen this year (except maybe David Byrne and MBV) I’m slightly concerned nothing will live up to it. Well, except for Dan Deacon’s European dates, of course.

(Photo: Kata Rokkar (Flickr))

COACHELLA FESTIVAL (Empire Polo Fields, Coachella, 17/04/09-19/04/09)



Toto, I've a feeling we're not in England anymore… True, if not for the blistering sunshine, the palm trees, the multitude of attractive, scantily-clad Californians and the mountains that seemed to encircle the Empire Polo fields, Coachella could have easily passed itself as an British festival (there were enough UK accents about the campsite, for a start), but it was certainly a novelty to attend an event where Factor 50 sunscreen was a far more essential amenity than wellies.



Musically, this year lacked the killer line-ups of years past, but there was still more than enough to keep even the most bitter cynic entertained, and I rather enjoyed the opportunity to check acts outside my normal indie-schmindie comfort zone. Admittedly, it didn’t start off too well- I only caught one and a half songs from the intriguing Dear and the Headlights, Alberta Cross came across as deathly dull, and Gui Boratto bored the pants off me (disclaimer: not literally). Thankfully, The Hold Steady were around to save the day, with an wonderfully lively performance that was only slightly diminished by Craig Finn’s voice being shot to pieces. Things only got better when I obliviously wandered into the tent containing the Portuguese-Angolan electronica/grime artists Buraka Som Sistema, who easily became the most talked-about bands of the whole festival. One of the most danceable, fun acts I’ve ever seen, I’ve honestly never witnessed a crowd go so completely batshit insane at 4:30 in the afternoon. Franz Ferdinand were dependably solid but unspectacular, mainly focusing on material from the debut, and not even sickly, sentimental arrangements could rob the legendary Leonard Cohen’s subterranean croon of its near-mystical power, especially on the likes of ‘First We Take Manhattan’ and ‘Hallelujah‘. I then wandered over to the Sahara tent for mash-up master Girl Talk- good fun, although a rather pungent experience for all concerned- before heading to the Main Stage for Paul McCartney. 90 minutes of the insufferably smug Liverpudlian’s tiresome solo material sprinkled with the occasional classic was a bit of a trial it must be said, but then he played ‘Hey Jude’ and all was well with the world. Once I was “LAAAAA-LAAAA-LAAAAA-LA-LA-LA-LAAAAAA-d” out, I retreated back to the campsite thinking the show was over, not realising Macca would continue to play nothing but Beatles hits for a further 40 minutes. Bah.



Being one of my most anticipated acts of the weekend, I had high hopes for Cloud Cult- and they certainly didn’t disappoint. Their ambitious orchestral indie-pop transferred surprisingly well into a live setting, and it’s not often you get to watch a painting get composed live on stage. American-Australian post-punks Liars also put on an admirable performance- miles better than their underwhelming Koko performance last year. Dr. Dog’s jam-band sensibilities didn’t set the world alight, but Amanda Palmer almost did, with a gloriously OTT performance which encompassed both her solo material and her Dresden Dolls work (Coin-Operated Boy FTW!), not to mention a Muse cover. But it was her finale that made her set the single most memorable moment of this year’s Coachella- crowdsurfing to the far edge of the Gobi Tent to the strains of ‘Ride of The Valkyries,’ she then proceeded to play ‘Creep’ on a ukulele atop a random audience member’s shoulders whilst the whole audience sang along. Now, *that’s* showmanship!



TV On The Radio were great- the trumpet section really added a lot to the Dear Science material- but once again they were stopped from achieving true brilliance by a dodgy sound-mix; the same fate befell the below-par Fleet Foxes, whose vocal harmonising seemed to fall a little flat in an open-air environment. MIA wasn’t really my thing, but give the girl some credit- her wondrously in-your-face introduction (including a troupe of fluorescent dancers) was one of the visual highlights of the weekend, and encouraging a full-on stage invasion, despite being expressly told by the organisers not to required some cajones. After this, the roster became a little threadbare, so I wandered aimlessly about until Gang Gang Dance, whose otherwise excellent show was marred by the ridiculously high volume levels they needed to drown out Mastodon in the adjacent tent. Then back to the tent to mock the awfulness of the Killers, whose craptacular set insisted in wafting across to the camping site- oh woe indeed.



Sunday was definitely the most musically productive day of the three. It was also by far the hottest. The Vivian Girls’ aloof manner and Pipettes-gone-punk schtick got old very quickly so I ditched them in favour of charismatic hip-hop duo Themselves- although I didn’t twig this at the time, the offbeat frontman was none other than Doseone from Anticon stalwarts cLOUDDeAD. The Night Marchers’ straight-down, no-nonsense rock ‘n roll was a real treat, and Okkervil River were excellent as always, although once again they took frustratingly long to get into their stride. By the time Lykke Li sauntered onto stage, the 38C heat started getting the better of me- I only caught around ten minutes of her jaunty Scandinavian pop before making a tactical retreat into the shade. En route, I saw resident fat Goth Robert Smith (sans make-up) being accosted by similarly plump teenagers- he looked a little bemused. Once I’d recovered from being slowly roasted alive, I ventured out to see
Peter, Bjorn and John, who tried to make up for their paucity of quality material with a succession of cameos, including a charismatic guest spot from Robyn, and Lykke Li on vocal duties for ‘Young Folks.‘ They were only partially successful; once their big hit was played, I (and much of the audience) swiftly departed for Anthony and The Johnsons pleasant if slightly inconsequential set over at the Outdoor Theatre. The Yeah Yeah Yeahs' performance was competent, although it never really sparked to life- it seems sobriety has sadly curtailed Karen O’s craziness, and they passed without leaving any real impression- a charge that certainly cannot be levelled at MY BLOODY VALENTINE. Although I swore I’d stay much further back from the speakers than I did at the Roundhouse, I actually ended up even closer- and I don’t regret it one bit. Yes, they were just as earth-sunderingly loud as last time, but this time round they were blessed an absolutely perfect mix- not only could you perceive the vocals (!), you could actually hear the end of You Made Me Realise after the 20-minute interlude of ceaseless, eardrum-obliterating noise. The light show was also much more immersive than in June, and the video screens meant you could fully witness quite how disconcertingly mumsy Bilinda Butcher looks. Absolutely fucking brilliant- I can’t wait to see them again at Primavera.



Of course, everything after that was a bit of an anti-climax. I dabbled with The Cure and Public Enemy, but neither really grabbed me. I caught the tail end of an energetic set by the Kills before checking out the delightfully named Throbbing Gristle who were…interesting…to say the least- it seemed strangely fitting that ultra-poncey film director Vincent Gallo was standing in front of me, trying to score some drugs. And finally, I mosied over to check out much-hyped Parisien Etienne De Crecy- his music was run-of-the-mill sub-Justice dance bollocks but he had a giant HYPNOCUBE which was full of win, so that was OK.



All things considered, a pretty excellent festival, albeit slightly too hot for my sensitive tastes. MBV aside, there weren’t any epoch-defining sets and the quality perhaps wavered at times but the site’s nicely compact, the sound was great and there was a giant mechanical hand one could control and smash cars with, which automatically makes it 50000000x better than the likes of V.

DAVID BYRNE (London Royal Festival Hall, 12/04/09)



David Byrne is one cool mo’ fo. Clad head to toe in white, our witty host immediately sets the light-hearted tone for the evening by gently making fun of the hordes of press photographers blocking the view of the front couple of rows. Showcasing his 2008 collaboration with Roxy Music’s Brian Eno, proceedings start of well, with some pacey and lively tracks underpinned by the funky basslines and innovative percussion that’s always been Byrne’s trademark. True, a few tiresome ballads slipped through the net but they were quickly forgotten in the midst of the toe-tapping tuneage and some kick-ass choreography. It’s not often you get dancers at an indie gig, but they were an inspired addition to an otherwise pretty minimalist set-up- it was particularly fun to see Byrne getting fully involved in the routines. But things only truly hit their stride when they unleashed the immense “Crosseyed and Painless”- before this point, a few brave souls/weirdos had jettisoned their seats to throw some crazy shapes in the aisles, but by the end of the song the whole venue was on their feet, movin’ and groovin’ in a very un-London manner. As the set came towards its close, we were treated to a salvo of Talking Heads classics and after four encores (including Burning Down The House, with Byrne prancing about into a rather fetching tutu) one almost felt honoured in having paid only £40 for such an all-round brilliant performance. Definitely a contender for best show of 2009.

(Photo: John Gleeson)

HANDSOME FURS (London 93 Feet East, 08/04/09)



Well, this was certainly a show of two halves. One the one hand you had a band that encompassed pretty much everything live music should be; on the other, the exact opposite. Truly, it was an evening of emotional highs and lows.

Providing the “lows” was Dan Smith, the kind of “alternative“ music act you’d imagine being endorsed by Simon Cowell. Forty-five minutes seemed to stretch to eternity as he blandly delivered a never-ending set that consisted entirely of anodyne pastiches of much better bands. In fairness, the guy’s musicianship was solid and he wasn’t bereft of a couple of potentially interesting ideas, but they wilted like flowers in the path of a blowtorch thanks to dreary songwriting, a poorly utilised backing band and the charisma of wallpaper paste. Talentless bands are ten-a-penny, but in a sense this was even worse- a band that had the elements of something I’d normally really enjoy (strings, loop pedals e.t.c.) but nonetheless was so torturously dull I wanted to claw my eyes out. Plus, his voice sounded like the muppet from Scouting For Girls, which made me want to punch God. Frankly, such passionless, airbrushed dross deserves be consigned to the ninth circle of Hell, or failing that, Radio 2.

Thankfully, Handsome Furs were on hand to remind us how live performances should be done. Until now, the husband-and-wife duo have been one of the minor offshoots of that incestuous web of Montreal bands that includes the likes of Wolf Parade, Sunset Rubdown and Frog Eyes. They then released the superb “Face Control,” whose heady mix of distorted guitar, dark-tinged synths and killer hooks play perfectly to the strengths of Dan Boeckner and perhaps stands as the most consistent album he’s released under any monicker. It also works wonderfully live, as this short-but-incredibly-sweet set was testament to. Dan’s voice is as perfectly suited to the rock genre as any I’ve heard; howling like a man possessed, it’s so full of genuine passion you’re scared he’s going to annihilate his vocal chords, and his guitar playing shares the same manic fervour. His wife Alexis is no less intense- bouncing up and down adding synths and effects to the mix, she recalls the boundless energy of Bjork. Only one song from debut ‘Plague Park’ makes it into the set, but the strength of the new material ensures this is no great loss- Radio Kaliningrad and Evangeline are particularly savage, despite the slightly bassy sound mix taking the edge off the guitars. Most importantly though, it’s clear the both of them are having a whale of a time and gazing around me, it‘s clear the audience are too. Handsome Furs love this city, and the feeling’s more than mutual.

(Photo: John Gleeson)

WILDBIRDS AND PEACEDRUMS (London Luminaire, 07/04/09)



Ah, Wildbirds and Peacedrums, how I love thee. Since I first saw them last June on a friend’s recommendation without hearing a note of their music, I’ve been evangelical about spreading the word. A Swedish husband-and-wife duo much blessed with that innate musical talent all Scandanavians seem to have, their percussive-led balladry may not always quite work on record, but it never fails to bewitch live. Much of this can be attributed to the hypnotic presence of Mariam Wallentin- whirling about the stage with abandon, attacking drums, ceilings, walls like a woman possessed, she’s fascinating to watch. And then you’ve got her voice, lying somewhere between Bjork and Nina Simone- an earthy, husky but versatile wail imbued with such soul that there’s moments where you forget you’re watching a willowy Swedish lass rather than some veteran New Orleans blues singer. Admittedly, it wasn’t quite on top form tonight- a long tour has robbed it of some of its strength- but there’s no denying its power on the likes of the electrifying “There Is No Light”.

No less impressive is the unassuming Andreas Werliin. Whilst he’s happy to allow Mariam to hog the limelight for the most part, his fantastically assured drumming is the lifeblood of their music, and at times he almost matches his wife in the wildness of his performance. They’ve rectified an oft-issued critique of their Heartcore tour that their minimalist set-up wore thin over a full show by bringing steel drums and xylophones to the mix, which adds an extra splash of colour to songs like “My Heart,” although it’s still the brilliantly simple two-drum assault of Today/Tomorrow that showcases Wildbirds and Peacedrums at their astonishing best. They’re still a bit difficult at times, and the use of a laptop on a couple of tracks seems a little incongruous, but despite this not being a vintage performance (their Social show last month was better), they’re still one of the best live bands touring today.

They were most ably supported by Chicago-based experimental rockers Volcano!, whose peculiar and scattergun set remained engaging even in its more arty moments. Trying to define them is difficult, as they’re a band impossible to pigeonhole into any specific genre- think the soaring yelp of Frog Eyes’ Carey Mercer attached to the difficult-but-admirable ambition of Dirty Projectors, with a touch of the offbeat joyousness of Ponytail or Deerhoof and some scuzzy guitars and math-rock rhythms for good measure. It’s all very bizarre, and occasionally comes across as too aimless even for a lover of such off-kilter fare as myself but for the most part their weirdness works in their favour, and their lack of aloofness and willingness to banter means we’re willing to forgive their more pretentious tangents. In any event, much rather an innovative, challenging band that occasionally infuriates than a middle-of-the-road one that merely bores.

(Photo: Anika)

DENT MAY AND HIS MARVELLOUS UKULELE (London Betsey Trotwood, 03/04/09)



Gawky nerds strumming jaunty songs on a ukulele aren’t most people’s idea of a quality Friday night out, but Dent May does his damndest to persuade us otherwise. His Morrissey-esque croon is a bit of an acquired taste, but his upbeat melodies and clever lyrics are a winning combination. And although the show’s a bit steep at £8 for a 40 minute set without support, he does succeed in instigating an (admittedly, small-scale) dance party in the crammed Betsey Trotwood- a feat certainly worth celebrating. Not *quite* magnificent, but very enjoyable in its own quirky way.

(Photo: Anika)

BROKEN RECORDS (London Water Rats, 31/03/09)



Another typically impressive performance from this Edinburgh-based seven-piece, one of the very few British bands who can genuinely stand up to their peers across the Atlantic. Still a bit too much in hock to their influences (Arcade Fire, Sigur Ros, Beirut) at times, but their new material maintains the high quality of their EP work, and it’s pleasing to see that over the last year they’ve garnered a sizeable and fervent fan-base. With their debut LP out in the near future, it’s make-or-break time for Broken Records; let’s hope, for the sake of this country’s music scene, they live up to their promise.

(Photo: John Gleeson)

MONO (London Scala, 26/03/09)



Review: HERE

(Photo: Paul Eames (Flickr))

CAMERA OBSCURA (London Lexington, 16/03/09)



Review: HERE

(Photo: Amanda Farah (Flickr))

BEST OF COACHELLA VIDS

Behold the biggest sing-along of the festival...:



...although admittedly, this came pretty close:



Amanda Palmer provided the single most memorable moment (watch the whole vid):



although I must admit a soft spot for De Crecy's HYPNOCUBE.



Buraka Som Sistema were by several leagues the best discovery of this year's Coachella; heard so many people throughout the weekend rave about their set:



My Bloody Valentine were naturally sublime, shattering the eardrums of even the most hardy individual...:



...but not even they could top the might of DAN MOTHERFUCKING DEACON in San Francisco's beautiful Great American Music Hall the following week:


Dan Deacon Circle Dance from kata rokkar on Vimeo.

More reviews and suchlike this weekend. Well, maybe. If I can be arsed.

COACHELLA TIMETABLE!

Thankfully less clashorific than I'd feared, here is my provisio schedule for Coachella:

FRIDAY
Dear and the Headlights
We Are Scientists
Los Campesinos!
Black Keys
Franz Ferdinand
Leonard Cohen
Beirut (maybe)
Girl Talk
Paul McCartney

SATURDAY
Cloud Cult
Dr. Dog
Amanda Palmer
TV On The Radio
Booker T
Band Of Horses
Jenny Lewis
Gang Gang Dance

SUNDAY
Themselves
The Night Marchers
Okkervil River OR Fucked Up
Lykke Li
Anthony and the Johnsons
Yeah Yeah Yeahs
Devendra Banhart (maybe)
My Bloody Valentine
Public Enemy (maybe)
The Cure
Etienne De Crecy

GIGO-GEDDON!



I've been to one gig in the last fortnight. This is an appalling state of affairs I intend to rectify in the most excessive way possible.

31/03/09: BROKEN RECORDS- London Water Rats
03/04/09: DENT MAY AND HIS MAGNIFICENT UKULELE- London Betsy Trotwood
07/04/09: WILDBIRDS AND PEACEDRUMS- London Pure Groove Records
07/04/09: WILDBIRDS AND PEACEDRUMS- London Luminaire
08/04/09: HANDSOME FURS- London 93 Feet East
12/04/09: DAVID BYRNE- London Royal Festival Hall
16/04/09-19/04/09: COACHELLA FESTIVAL- Coachella Valley, California, USA
21/04/09: MATES OF STATE (w/ Black Kids)- San Francisco The Independent
23/04/09: DAN DEACON- San Francisco Great American Music Hall)
06/05/09: THE SPECIALS- Brixton Academy
07/05/09: BISHOP ALLEN- London Pure Groove Records
07/05/09: BISHOP ALLEN- London Barden’s Boudoir
08/05/09-10/05/09: ATP VS. THE FANS- Minehead, Somerset
11/05/09: ANDREW BIRD- Shepherd’s Bush Empire
13/05/09: HJARTALIN- London Pure Groove Records
14/05/09: YANN TIERSEN- London Electric Ballroom
15/05/09-17/05/09: ATP: CURATED BY THE BREEDERS- Minehead, Somerset
19/05/09: METRIC- London Electric Ballroom
20/05/09: DM STITH- London Hoxton Hall
22/05/09: LONDON PHILHARMONIC ORCHESTRA- London Royal Festival Hall
27/05/09: ZU- Barcelona, Spain
28/05/09-01/06/09: PRIMAVERA SOUND FESTIVAL- Barcelona, Spain
05/06/09: DAN DEACON (w/ Future Islands; Teeth Mountain; Adventure)- University of London Union
08/06/09: THE DRONES- London Rough Trade East
18/06/09: DENGUE FEVER- London Scala
28/06/08: BRUCE SPRINGSTEEN (w/ The Gaslight Anthem)- London Hyde Park
03/07/09: BLUR- London Hyde Park
16/07/09-19/07/09: LATITUDE FESTIVAL- Henham Park, Suffolk
10/08/09: THE NATIONAL- London Royal Festival Hall
11/09/09-13/09/09: ATP: CURATED BY THE FLAMING LIPS- New York, USA
13/10/09: SPIRITUALIZED- London Royal Festival Hall
March 2010: SXSW FESTIVAL- Austin, Texas, USA

DAN DEACON- BROMST



Review: HERE

Remember when I made 'Wham City' my song of 2008 even though it came out the previous year because it was SO. GODDAMN. AWESOME.?

'Snookered' is better.

"DEAR SIR, COULD YOU ***PLEASE*** POST ABOUT SOMETHING OTHER THAN GIGS OR ARCADE FIRE?- DISGRUNTLED OF THE INTERWEB"



No. Glad we got that sorted. Anyway, please check out this super-fantastic looking trailer for the upcoming "Where The Wild Things Are" movie. Not only does it look awesome (and it's directed by the visionary Spike Jonze) but look what they've scored it to...*claps inanely like a seal*

Also, I'd recommend a listen to the Times New Viking cover of 'Tunnels' if you can find it, it's certainly...different.

THE ACORN (Brixton Windmill, 13/03/09)



Well, they’ve certainly tightened up over the last six months. Obviously suffering from tour fatigue and the imminent departure of two members last September, tonight The Acorn seemed like a completely different band to the technically-proficient miseries I witnessed back then. Taking a much energetic, rockier approach to their wussy folk oeuvre than might be expected, the new arrangements are pretty successful and unlike M.Ward they manage to hit the right mix of emotion and volume. Cheerful chaps too, engaging in amusing banter with the obligatory Windmill drunkards whilst obviously relishing the chance to play to an audience they can interact with after a long arena tour. Gig: approved.

(Photo: Anika)

PATRICK WOLF (London Heaven, 12/03/09)



The campest thing I have ever seen (and yes, I‘ve been to a Scissor Sisters gig). After supports from a boy who looked like a girl and a girl who looked like a boy, Patrick strutted on stage dressed like the lovechild of M. Bison and Sephiroth and minced about with a headset whilst lots of screaming fangirls gave me tinnitus. New songs sounded good in a bass-heavy hi-NRG sort of way, but I kinda wish he’d stop channelling Kylie Minogue and return to his quirky violin-playing roots.

(Photo: Anika)

PONYTAIL (London Lexington, 10/03/09)



More hyperactive yelping-girl action from the Baltimore four-piece. See HERE for the review of their stunning performance at the 100 Club, this was very similar except for a few more sound problems. Skeletons were a bit of an odd support, like Dirty Projectors with a penchant for stringing out their songs beyond human endurance. I wanted to like them because they obviously had some good musical ideas, but they seemed go out of their way to bore me (and they played longer than the headliners, what’s that all about…?)

(Photo: Alan Bee (Flickr))

FANFARLO (London 229 Bar, 05/03/09)



I feel I should like Fanfarlo more than I do. Like Ra Ra Riot, they’ve theoretically got all the elements of a band I like (i.e. their set-up is not dissimilar to Arcade Fire) but in practice they leave me cold. True, I’m A Pilot is a bit of a tune but beyond a certain geeky charm I find them oddly unengaging- perhaps because I unconsciously perceive them to be a pale imitation of AF, I can’t bring myself to like them? Then again, that hasn’t stopped me loving Broken Records...

(Photo: Anika)

WILDBIRDS AND PEACEDRUMS (London Social, 02/03/09)



Wowee. I thought Wildbirds and Peacedrums were good the four previous time I’d seen them, but turns out I’d seen nothing yet. Adding steel-drum and xylophone to the traditional mix of vocals, drums and zither does wonders in terms of enlivening the set, and the almost frightening passion Mariam Wallentin puts into her performance is breathtaking in the literal sense of the word. One of the best live bands around, and the most impressive set of 2009 so far.

(Photo: Anika)

EMMY THE GREAT (University of London Union, 27/02/09)



She didn’t play Secret Circus. BOOOOOOO-URNS.

(Photo: ar_strae (Flickr))

M. WARD (London Borderline, 25/02/09)



When did Matt “M.” Ward become so popular? Perhaps his musical dalliances with Hollywood actress Zooey Deschanel (A.K.A. ‘She & Him‘) have raised awareness of the curly haired one, but it came as a bit of a shock to witness the sheer fervour that awaited him at London’s intimate Borderline. The attention’s obviously well deserved- the man’s got a fantastically characterful voice, but it’s a shame it was given so little time to breathe in a set that too readily traded substance for style.

The main issue was Matt’s backing band. Proficient musicians all, but too often a burden rather than a boon. Yes, they gave flavour and some variety to the set- unless you’ve got a particularly magnetic personality (Bon Iver, please stand up), it’s hard for singer-songwriters to capture an audience with just an acoustic guitar. Certain songs, Poison Cup for instance, worked well with their new arrangements, turning things up a notch without sacrificing emotion for volume. Unfortunately, other tunes were delivered with the subtlety of a sledge-hammer, the upbeat bar-blues vibe undermining the more delicate moments of Matt’s oeuvre. I’ve no real problem with a band sounding like the Hold Steady, but it seemed out of place at times. Perhaps it would have been easier to accept if he hadn’t given a tantalising taster of his solo performance at the beginning of the set, enchanting all with the understated majesty of his voice- it made what came thereafter seem a touch shallow in comparison.

That said, there was still much to commend. What the show lacked in depth, it made up for in visceral, foot-tapping musical thrills, with Matt Ward’s impassioned piano playing and some top-notch old school blues jamming ensuring that things rarely got dull. Perhaps one might note the irony that the highlight of such a feted songwriter’s set were a medley of ragtime classics and a cover of Roll Over Beethoven, but for once the material and the musicians truly meshed and got the crowd roaring with appreciation. His own tunes weren’t so bad either; naturally the focus was on new LP “Hold Time” but his older works got a fair airing, with the five songs from “Post War” particular standouts. In a nice touch, he shifted from the third-person to the first for closer Magic Trick, crooning “I’ve only got one magic trick…I disappear” before promptly doing so. But if he’d performed the more satisfying trick of lending his shows the emotion his albums have in spades, I’d have been even more impressed.

(Photo: Anika)

FLEET FOXES (London Roundhouse, 24/02/09)



Review HERE...

(Photo: Anika; The Line Of Best Fit)

THE DEER TRACKS (London Pure Groove Records, 24/02/09)



I don’t normally bother reviewing in-stores, but this deserves a mention on the grounds it was fucking great (and pretty much a full set to boot, screw you Old Blue Last with your £5 entry!) They’re a Swedish seven-piece initially described to me as “a cross between M83, Mew and Múm” which is a pretty bold claim, but one that is well supported here. Beautiful shimmering soundscapes galore, and the brilliant closer Yes, This Is My Broken Shield was every bit as epic (and LOUD) as it is on record. If only more lunchtimes were like this…

(Photo: Anika)

TITUS ANDRONICUS (London Hoxton Bar and Kitchen, 23/02/09)



Well, that was pretty immense. Raw, chaotic and full of vibrancy, the only problem with the second-ever London show from these New Jersey indie punks was the subdued crowd- and even that was compensated for by the three absolute mentals who created their own intense mosh-pit spanning a good quarter of the venue. So what if some of their songs ran into each other, Fear And Loathing In Mahwah, NJ was exactly the riotous Arcade Fire-meets-Pogues knees-up I’d pray it’d be. I’ve got a feeling these guys are going to do pretty fucking well on the festival circuit this year…

(Photo: Maximillian.Garth (Flickr))

OWL PARLIAMENT (London Union Chapel, 21/02/09)



Review HERE...

(Photo: Anika)

PARTS & LABOR (London Cargo, 19/02/09)



Review HERE...

(Photo: Capitodeneuve (Flickr))

ALICE DIED, IN THE NIGHT

I don't know how these videos had hitherto bypassed my attention, but they're pretty breathtaking. In The Backseat...so beautiful.

NEW EELS ALBUM!

Despite being struck down by the Plague, today has been a pretty decent day (well, musically anyway). A new National show, Grouper and Casiotone For The Painfully alone added to ATP: The Fans and what's more, it's been announced the new Eels album "Hombre Lobo" will be out on 2nd June! Electro-Shock Blues remains one of my Top 10 albums of all time and although E's quality control isn't the best I'm confident this will be worth the wait.

OH YOSHIMI, THEY DON'T BELIEVE ME, BUT YOU WON'T LET THOSE ROBOTS EAT ME

It's been almost three years since I last saw the Flaming Lips. This is a disgraceful state of affairs. As these videos suggest, they're rather fun to watch...





(Sound's dodgy, but worth it for the dancing Santas/aliens at the side of the stage!)

BREAKING NEWS!

The National
Monday 10 August,
Royal Festival Hall

On sale to Southbank Centre Members from 10am on Wednesday 4 March.
On sale to all from 10am on Thursday 5 March.

HOORAY! :D

"THEN WE THINK OF OUR PARENTS...WHATEVER HAPPENED TO THEM?!"



Joel, you fucking king! I've had a downloaded copy of this 2005 San Francisco performance by Lords of Men Arcade Fire for ages, but for some reason no-one's ever uploaded it up to YouTube. It's by several leagues my most viewed live performance...conservatively, I must have watched this Tunnels footage several hundred times over the years and to be honest, I think it might be my favourite musical thing ever. I <3 AF so, so much.

Bonus video:

LAIKA



The famous crash-helmet/drumstick interface. My favourite moment is when Will jumps from his elevated position and tackles Richard to the ground, pummelling the poor guy like a human drumkit. No wonder they used to get blood on the keyboards...

I've got a backlog of reviews for TLOBF as long as a Godspeed You! Black Emperor song so getting those done trumps updating this blog, but for the time being please enjoy these videos:

TITUS ANDRONICUS- Titus Andronicus



One of the best bands I've seen this year. Not their best song, but YouTube is sadly lacking good quality vids of Fear and Loathing in Mahwah, NJ...

CLOUD CULT- Take Your Medicine



The first Cloud Cult song I heard, and still a favourite of mine. They're like a poppier, more indie-twee Flaming Lips

MONO- Ashes In The Snow



SO. INCREDIBLY. EPIC.

PONYTAIL (London 100 Club, 12/02/09)



Review HERE!

(Photo: Anika)

THE THERMALS (London Lexington, 09/02/09)



Quality bouncy indie-rock from this Weezer-ish Portland trio, whose simple, direct riffs and singalong choruses maximise the good times for all. They may only really have one song, but hey, it’s a damn good one.

(Photo: Anika)

ASOBI SEKSU (London Islington Academy, 09/02/09)



Having missed them five times previously, it’s a minor miracle that fate conspired to allow me and the excellent American shoegazers in the same room in the first place. And, all things considered, they were pretty good- some of the subtleties were lost under a fug of impenetrable guitar fuzz and the new material, whilst pleasant, lacked the killer hooks of Citrus. But Strawberries and Thursday were as awesome as I could have hoped, and they certainly didn’t skimp on the ground-sundering volume...

(Photo: Anika)

LONEY DEAR (London St. Giles-In-The-Fields Church, 30/01/09)



Review HERE!

(Photo: Anika)

DAN DEACON WITH FULL ENSEMBLE PLAYING LONDON! (and Primavera)

5th June, ULU. £11 on WeGotTickets. GET BUYING.

60% OF THE PRIMAVERA LINE-UP HAS BEEN ANNOUNCED

And includes bands such as these:

SONIC YOUTH
MY BLOODY VALENTINE
YO LA TENGO
THROWING MUSES
DAN DEACON ENSEMBLE
BAT FOR LASHES
SPIRITUALIZED
SQUAREPUSHER
THE JESUS LIZARD
APHEX TWIN
LIGHTNING BOLT
SHELLAC
THE VASELINES
JARVIS COCKER
DEERHUNTER
DAMIAN JURADO
MAGNOLIA ELECTRIC COMPANY
ALELA DIANE
BOWERBIRDS
THE TALLEST MAN ON EARTH
BLACK LIPS
THE DRONES
MARNIE STERN
GIRL TALK
SHEARWATER
BLOC PARTY
ANDREW BIRD
ART BRUT
PHOENIX
ARIEL PINK
WOODEN SHIPJS
CRYSTAL STILTS
WOMEN
PLANTS & ANIMALS
PONYTAIL
VIVIAN GIRLS
CRYSTAL ANTLERS
GANG GANG DANCE
THE MAE SHI
FUCKED UP
WAVVES

This isn't the full list- these are just the bands I'd like to check out. Actually the best festival line-up I think I've ever seen.

ALESSI’S ARK (Camden Barfly, 06/02/09)



18-year-old Alessi has been garnering a great deal of blogosphere love over the last few months, and having had the honour of seeing her perform at a Pure Groove in-store last year I’d already been converted to the cause before tonight‘s freebie showcase at the Camden Barfly. Although the headliner was V.V. Brown, it was clear a good percentage of there audience was there for the singular songstress and it’s not difficult to see why. One music journalist described her as ‘Britain’s answer to Jenny Lewis,’ and certainly, she shares that artist’s powerful charisma but the more overriding comparisons are Chan Marshall, Liz Green and Joanna Newsom. Her anti-folk stylings are engaging and tinged with quirky nuance, but it’s her voice that‘s the real draw- imagine less abrasive version of Newsom’s with unusual enunciation that adds real character to her sound.

Unfortunately, not even the most ardent fan could deny this performance didn’t quite do her justice. With solo acts, there‘s always a danger that acquiring a band can all too easily redirect attention from the qualities that propelled them to notice in the first place and alas, that seems to be partly the case here. That’s not to disparage “The Ark“- they’re a skilful, proficient bunch of instrumentalists- but their full-on sound didn’t bring out the best out of her songs or the delicate idiosyncracies of her voice. The arrangements on the album suggested she’d be more suited to a stripped down, classical style backing and experience has proved that she can enchant with just a guitar. But combined with the swampy, murky sound of the venue, she too often came over as a competent but unspectacular Laura Marling type, lacking that same arresting spark that left me reeling the last time I saw her.

(Photo: Anika)

FRIDA HYVONEN (London Bush Hall, 05/02/09)



Full review HERE!

(Photo: Anika)

GANG GANG DANCE TOUR CANCELLED

All their gear was wiped out in an electrical fire :-(. I hope they bounce back soon, must be pretty devastating.

THERE IS A MOUNTAIN OF SNOW, UP PAST THE BIG GLEN



16/02/09: CHOIR OF YOUNG BELIEVERS- London Rough Trade East
16/02/09: THE SECRET MACHINES- Islington Academy
17/02/09: THE JOY FORMIDABLE- London Pure Groove
19/02/09: ***LUNCHTIME SHOW*** PASSION PIT- London Pure Groove
19/02/09: PARTS AND LABOR- London Cargo
21/02/09: HERMAN DUNE (w/ Jeffrey Lewis; Laura Marling; Johnny Flynn; Mechanical Bride e.t.c)- London Union Chapel
22/02/09: THE DEER TRACKS- London Old Blue Last
23/02/09: GANG GANG DANCE- London Rough Trade East
23/02/09: TITUS ANDRONICUS- London Hoxton Bar and Kitchen
24/02/09: THE DEER TRACKS- London Pure Groove
24/02/09: FLEET FOXES (w/ Vetiver)- London Roundhouse
25/02/09: ***LUNCHTIME SHOW*** AMADOU AND MIRIAM- London Pure Groove
25/02/09: CHAIRLIFT- London Pure Groove
25/02/09: M. WARD- London Borderline
26/02/09: KYTE (w/ School of Seven Bells)- London Cargo
27/02/09: EMMY THE GREAT- University of London Union
28/02/09: VETIVER (w/ Hush Arbors)- London Cecil Sharp House
02/03/09: HOWLING BELLS- FOPP Covent Garden
02/03/09: WILDBIRDS AND PEACEDRUMS- London Social
05/02/09: ***LUNCHTIME SHOW*** PETER, BJORN AND JOHN- London Pure Groove
12/03/09: PATRICK WOLF- London Heaven
13/03/09: THE ACORN (w/ Babel)- Brixton Windmill
16/03/09: CAMERA OBSCURA- London Lexington
26/03/09: MONO- London Scala
07/04/09: WILDBIRDS AND PEACEDRUMS- London Luminaire
08/04/09: HANDSOME FURS- London 93 Feet East
12/04/09: DAVID BYRNE- London Royal Festival Hall
17/04/09-19/04/09: COACHELLA FESTIVAL- Coachella Valley, California, USA
23/04/09: DAN DEACON (w/Future Islands)- San Francisco Great American Music Hall
06/05/09: THE SPECIALS- Brixton Academy
07/05/09: BISHOP ALLEN- London Barden’s Boudoir
08/05/09: BEIRUT (w/ Shearwater)- London Forum
14/05/09: YANN TIERSEN- London Electric Ballroom
15/05/09-17/05/09: ATP: CURATED BY THE BREEDERS- Minehead, Somerset
22/05/09: LONDON PHILHARMONIC ORCHESTRA- London Royal Festival Hall
28/05/09-30/05/09: PRIMAVERA SOUND FESTIVAL- Barcelona, Spain
18/06/09: DENGUE FEVER- London Scala
28/06/08: BRUCE SPRINGSTEEN (w/ The Gaslight Anthem)- London Hyde Park
03/07/09: BLUR- London Hyde Park
16/07/09-19/07/09: LATITUDE FESTIVAL- Henham Park, Suffolk
11/09/09-13/09/09: ATP: CURATED BY THE FLAMING LIPS- New York, USA

DAVID BOWIE AND ARCADE FIRE @ FASHION ROCKS

Jesus Christ, I can't believe this was almost 3 and a half years ago. I'M GETTING SO OLD. But before I depress myself too much, please enjoy two of the best acts of the last 50 years joining forces with inevitably AWESOME results:

WAKE UP


FIVE YEARS


LIFE ON MARS (Bowie sans Arcade Fire)


And because I'm feeling kind, here's Arcade Fire covering Bowie's "Heroes" at an Obama fundraiser last year.

PETER BRODERICK (London Social, 04/02/09)



Another day, another loop-pedalist. Or so it sometimes seems. Once upon a time the technique was a rarity at gigs, but the likes of Owen Pallett, Andrew Bird and K.T Tunstall have popularised it to the extent that it’s lost the novelty factor it once had. But amongst all the gimmick-merchants who electronically layer songs to disguise weakpoints in their writing, you get the occasional true talent like Efterklang’s Peter Broderick who do genuinely exciting things with the medium. His first headlining set, he’s visibly nervous and there’s a few stumbles along the way but the creativity of his looping- in one song utilising the applause of the audience and his own banter- and his amazing array of instruments could win over any audience. Violins, pianos, guitars, sleighbells, musical saws, swirly tubing of death…he’s like some crazy one man Shearwater rather than your typical dull solo act. Well worth checking out!

(Photo: Anika (Flickr))

CASIOTONE FOR THE PAINFULLY ALONE- Jeanne, If You're Ever In Portland (Live)



I know some people are put off by indietronicist Owen Ashworth's ridiculous stage monicker, but I think he's great and this a particularly excellent rendition of my favourite song of his. Never seen him play with a full band, so I hope he drags 'em along for his April show at the Luminaire.

BONUS VIDEO:



There's a cat riding a unicorn! AND A PANDA. Anika, how can you resist?

DAN DEACON- BROMST



Oh. My. God. This. Is. A. Bit. Good.

DAVID THOMAS BROUGHTON (London Bush Hall, 30/01/09)