High-energy, rowdy synth-pop from scintillating Irish beat combo; moshing was committed, t-shirts were thrown, ladders were climbed and “Something Global” was bellowed with much enthusiasm. Good craic.
(Photo: Lorne Thomson (Flickr))
Sunday, November 28, 2010
CASIOTONE FOR THE PAINFULLY ALONE (London Cargo, 15/11/10)
Owen Ashworth’s last ever London show touring under the Casiotone monicker was a bittersweet occasion; it may have been our final opportunity to hear his poignant lo-fi indietronic ballads, but as send offs go it could have hardly been bettered. 90 minutes of all our favourite songs (White Corolla! Scattered Pearls! Jeane, If You’re Ever In Portland!) plus some delightful obscurities and impromptu moments of audience participation - the perfect swansong to a wonderful musical project.
(Photo: capitodeneuve (Flickr))
Owen Ashworth’s last ever London show touring under the Casiotone monicker was a bittersweet occasion; it may have been our final opportunity to hear his poignant lo-fi indietronic ballads, but as send offs go it could have hardly been bettered. 90 minutes of all our favourite songs (White Corolla! Scattered Pearls! Jeane, If You’re Ever In Portland!) plus some delightful obscurities and impromptu moments of audience participation - the perfect swansong to a wonderful musical project.
(Photo: capitodeneuve (Flickr))
Sunday, November 14, 2010
GOD IS AN ASTRONAUT (London Islington Academy, 12/11/10)
Live post-rock can be a chore sometimes; there's only so much you can do with meandering 15-minute instrumentals, especially if your palette is restricted to guitars and drums. Even genre stalwarts Explosions In The Sky have a tendency to lose my interest from time to time, which is why God Is An Astronaut and Caspian deserve major kudos from holding my attention from start to finish. Both bands are louder and rawer than your average post-rock outfit - Caspian's sound is edged with \M/etal, God Is An Astronaut with heavy rock, electronica and a touch of funk – resulting in a more satisfying and engaging experience than many of their peers. Having heard nothing at all by either act beforehand, I was thoroughly impressed- hope they come back to the UK soon.
(Photo: Innovating Concept (Flickr))
Live post-rock can be a chore sometimes; there's only so much you can do with meandering 15-minute instrumentals, especially if your palette is restricted to guitars and drums. Even genre stalwarts Explosions In The Sky have a tendency to lose my interest from time to time, which is why God Is An Astronaut and Caspian deserve major kudos from holding my attention from start to finish. Both bands are louder and rawer than your average post-rock outfit - Caspian's sound is edged with \M/etal, God Is An Astronaut with heavy rock, electronica and a touch of funk – resulting in a more satisfying and engaging experience than many of their peers. Having heard nothing at all by either act beforehand, I was thoroughly impressed- hope they come back to the UK soon.
(Photo: Innovating Concept (Flickr))
LCD SOUNDSYSTEM (London Alexandra Palace, 10/11/10)
If this hadn't taken place in an atmosphere vacuum like Ally Pally, this could very well have been the gig of the year. Hot Chip's 70-minute support slot was the perfect warm-up for an absolute blinder of a set – “All My Friends” was phenomenal, “Daft Punk Are Playing In My House” sounded more raw and vital than ever, and as for "Dance Yrself Clean"...well, it's safe to say that it's a contender for the best opener I've heard in over 600 gigs. Let's hope James Murphy reconsiders his decision to end LCDSS after this tour, because on the evidence here, it's clear they're currently at the top of their game.
(Photo: Alex Twose (Flickr))
If this hadn't taken place in an atmosphere vacuum like Ally Pally, this could very well have been the gig of the year. Hot Chip's 70-minute support slot was the perfect warm-up for an absolute blinder of a set – “All My Friends” was phenomenal, “Daft Punk Are Playing In My House” sounded more raw and vital than ever, and as for "Dance Yrself Clean"...well, it's safe to say that it's a contender for the best opener I've heard in over 600 gigs. Let's hope James Murphy reconsiders his decision to end LCDSS after this tour, because on the evidence here, it's clear they're currently at the top of their game.
(Photo: Alex Twose (Flickr))
BO NINGEN (London CAMP Basement, 08/11/10)
I refer you to the above photo by the exceptionally talented Stacy Liu. It sums up this show better than I ever could.
(Photo: Stacy Liu)
I refer you to the above photo by the exceptionally talented Stacy Liu. It sums up this show better than I ever could.
(Photo: Stacy Liu)
Saturday, November 06, 2010
SHARON JONES AND THE DAP KINGS (London Roundhouse, 03/11/10)
On the whole I've got no beef with the Roundhouse, but it's sometimes curiously devoid of atmosphere. A case in point: Ms. Sharon Jones and her Dap Kings. She's a vital, overwhelmingly charismatic performer, blessed with powerhouse vocals and a repetoire of songs that make the most of her talents. Her band is excellent; brassy, punchy and soulful. If this had been at the Jazz Cafe, I don't doubt it would have been one of the more memorable, joyous gigs of the year. But at the Roundhouse, something was lacking - perhaps the crowd had been thinned out by Bob Crowe's strike-happiness or something, but it never quite sparked in the way I hoped it would.
(Photo: Anika Mottershaw)
On the whole I've got no beef with the Roundhouse, but it's sometimes curiously devoid of atmosphere. A case in point: Ms. Sharon Jones and her Dap Kings. She's a vital, overwhelmingly charismatic performer, blessed with powerhouse vocals and a repetoire of songs that make the most of her talents. Her band is excellent; brassy, punchy and soulful. If this had been at the Jazz Cafe, I don't doubt it would have been one of the more memorable, joyous gigs of the year. But at the Roundhouse, something was lacking - perhaps the crowd had been thinned out by Bob Crowe's strike-happiness or something, but it never quite sparked in the way I hoped it would.
(Photo: Anika Mottershaw)
ZOLA JESUS (London XOYO, 01/11/10)
XOYO is an "important new warehouse space in East London" according to its owners, a phrase that should strike fear into the hearts of any right-thinking person. And indeed, it's exactly what you'd imagine: an ill-ventilated, soulless concrete basement devoid of anything approaching charm or decent accoustics. A host of technical glitches, murky sound, and oppressive humidity overwhelmed the undoubtedly talented Former Ghosts; the bleak gothic intensity of Zola Jesus faired better, although without a backing band it did come across as karaoke with pretensions.
(Photo: Stefanos Zachariadis (Flickr))
XOYO is an "important new warehouse space in East London" according to its owners, a phrase that should strike fear into the hearts of any right-thinking person. And indeed, it's exactly what you'd imagine: an ill-ventilated, soulless concrete basement devoid of anything approaching charm or decent accoustics. A host of technical glitches, murky sound, and oppressive humidity overwhelmed the undoubtedly talented Former Ghosts; the bleak gothic intensity of Zola Jesus faired better, although without a backing band it did come across as karaoke with pretensions.
(Photo: Stefanos Zachariadis (Flickr))
Sunday, October 31, 2010
NISENNENMONDAI (London The Nest, 26/10/10)
Nisennenmondai's drummer must be a cyborg. That's the only way I can reconcile the fact that a 5ft tall Japanese lady can combine the ferociously exact, technically astounding human-drum-machine tendencies of John Stanier with the dazzling free-style wildness of a Greg Saunier or Tyson Vogel. I mean, I've seen perhaps a thousand percussionists in my time, but few quite match up to the jaw-dropping brilliance I witnessed from Sayaka Himeno. At times, she looked like she had been fast-forwarded to 1.5x speed; quite a sight to behold for those of us not hindered from seeing anything by the unfortunate new layout of The Venue Formerly Known As Bardens. Their pulsing, krautrock-y, groove-laden instrumentals may not be to everyone's taste, but it certainly ticked all my boxes- an absolutely blinding performance, and a definite contender for my revelation of 2010.
(Photo: AllThatImprobableBlue (Flickr))
Nisennenmondai's drummer must be a cyborg. That's the only way I can reconcile the fact that a 5ft tall Japanese lady can combine the ferociously exact, technically astounding human-drum-machine tendencies of John Stanier with the dazzling free-style wildness of a Greg Saunier or Tyson Vogel. I mean, I've seen perhaps a thousand percussionists in my time, but few quite match up to the jaw-dropping brilliance I witnessed from Sayaka Himeno. At times, she looked like she had been fast-forwarded to 1.5x speed; quite a sight to behold for those of us not hindered from seeing anything by the unfortunate new layout of The Venue Formerly Known As Bardens. Their pulsing, krautrock-y, groove-laden instrumentals may not be to everyone's taste, but it certainly ticked all my boxes- an absolutely blinding performance, and a definite contender for my revelation of 2010.
(Photo: AllThatImprobableBlue (Flickr))
Saturday, October 23, 2010
THE DEER TRACKS (London Lexington, 21/10/10)
I’m not entirely sure about the new glam-rock look, but the Deer Tracks’ first UK show in 18 months generally bodes well for their upcoming semaphore album. They’re understandably a bit rusty after their touring hiatus, but the new material appears to retain the same Mew-like majesty that made “Aurora” such an underrated pleasure, and “Yes, You Are My Broken Shield” remains an absolute blinder of a tune.
(Photo: Anika Mottershaw)
I’m not entirely sure about the new glam-rock look, but the Deer Tracks’ first UK show in 18 months generally bodes well for their upcoming semaphore album. They’re understandably a bit rusty after their touring hiatus, but the new material appears to retain the same Mew-like majesty that made “Aurora” such an underrated pleasure, and “Yes, You Are My Broken Shield” remains an absolute blinder of a tune.
(Photo: Anika Mottershaw)
DRUM EYES (London Corsica Studios, 20/10/10)
Although less focused than their End of The Road set, Drum Eyes nonetheless cemented their place in my Top Live Bands of the year list with another stunning performance. Sounding like Dan Deacon remixing Bo Ningen, their mix of melodic synth-heavy electronica and heavy psychedelic rock couldn’t be more attuned to my tastes if they tried. Shame the audience wasn’t quite as amazing as EOTR, but you can’t have everything. Also, mad props to support acts Nedry (Portishead-esque minimalist loveliness) and Devil Man (ear shattering electro-dubstep).
(Photo: Tim Boddy (Flickr))
Although less focused than their End of The Road set, Drum Eyes nonetheless cemented their place in my Top Live Bands of the year list with another stunning performance. Sounding like Dan Deacon remixing Bo Ningen, their mix of melodic synth-heavy electronica and heavy psychedelic rock couldn’t be more attuned to my tastes if they tried. Shame the audience wasn’t quite as amazing as EOTR, but you can’t have everything. Also, mad props to support acts Nedry (Portishead-esque minimalist loveliness) and Devil Man (ear shattering electro-dubstep).
(Photo: Tim Boddy (Flickr))
PERFUME GENIUS (London Cecil Sharp House, 19/10/10)
After all the hype, I must admit to being a little underwhelmed by Perfume Genius. Sure, he’s obviously immensely talented and there were individual moments of delicate beauty, but after the multi-instrumental virtuosity of Peter Broderick, and the terrifying intensity of Soap & Skin, this couldn’t help but feel a little insubstantial in comparison.
(Photo: Christoper Walmsley (Flickr))
After all the hype, I must admit to being a little underwhelmed by Perfume Genius. Sure, he’s obviously immensely talented and there were individual moments of delicate beauty, but after the multi-instrumental virtuosity of Peter Broderick, and the terrifying intensity of Soap & Skin, this couldn’t help but feel a little insubstantial in comparison.
(Photo: Christoper Walmsley (Flickr))
SOAP&SKIN (London Union Chapel, 18/10/10)
Woah. In seven years of ardent gig-going, I don’t think I’ve ever seen anything quite like THAT. Anja Plaschg is clearly an incredibly gifted musician; but she’s also got some serious demons in her past. Tonight, the 20-year-old Austrian wunderkund performed with a string ensemble, and they certainly added much to the performance; “Cry Wolf” was one of the most achingly beautiful songs I‘ve heard this year, “Marche Funebre” more bleakly gothic than ever. But it’s her personal intensity that makes her such a compelling, unsettling presence. During Spiracle, one of her most powerful songs, she froze - completely. People started to tentatively clap; she shouted at them to stop. She ran to her backing singer who quietly comforted her, and then, a full minute later she returned, imbuing the rest of a song with a vitriolic passion that genuinely scared me a little. Ditto a German song she dedicated to her father; whilst one couldn’t understand the words, the ill-suppressed rage was clear to see. Of course, she could be an amazing actress, but even if she was, that doesn’t detract from the power of her live performance; whilst she can be draining, cold, even frightening, she’s also one-of-a-kind.
(Photo: Anika Mottershaw)
Woah. In seven years of ardent gig-going, I don’t think I’ve ever seen anything quite like THAT. Anja Plaschg is clearly an incredibly gifted musician; but she’s also got some serious demons in her past. Tonight, the 20-year-old Austrian wunderkund performed with a string ensemble, and they certainly added much to the performance; “Cry Wolf” was one of the most achingly beautiful songs I‘ve heard this year, “Marche Funebre” more bleakly gothic than ever. But it’s her personal intensity that makes her such a compelling, unsettling presence. During Spiracle, one of her most powerful songs, she froze - completely. People started to tentatively clap; she shouted at them to stop. She ran to her backing singer who quietly comforted her, and then, a full minute later she returned, imbuing the rest of a song with a vitriolic passion that genuinely scared me a little. Ditto a German song she dedicated to her father; whilst one couldn’t understand the words, the ill-suppressed rage was clear to see. Of course, she could be an amazing actress, but even if she was, that doesn’t detract from the power of her live performance; whilst she can be draining, cold, even frightening, she’s also one-of-a-kind.
(Photo: Anika Mottershaw)
Monday, October 18, 2010
HEALTH (London EC2 Warehouse, 16/10/10)
My eternal disdain for East London is well-documented, but there’s no denying that there’s few places that suit a band like HEALTH more than a hipster-filled warehouse in the depths of Shoreditch. And man, did they kill it tonight, with a show that wasn’t so much a musical experience as a brutal, unyielding assault on the senses. Absolute chaotic brilliance, with one of the most impressive drummers in the business - £15 may have been a steep asking price, but it was worth every penny.
(Photo: Sleeparchive (Songkick))
My eternal disdain for East London is well-documented, but there’s no denying that there’s few places that suit a band like HEALTH more than a hipster-filled warehouse in the depths of Shoreditch. And man, did they kill it tonight, with a show that wasn’t so much a musical experience as a brutal, unyielding assault on the senses. Absolute chaotic brilliance, with one of the most impressive drummers in the business - £15 may have been a steep asking price, but it was worth every penny.
(Photo: Sleeparchive (Songkick))
PETER BRODERICK (London St. Giles Church, 16/10/10)
With the advent of Andrew Bird, Owen Pallett et al., loop-pedalists have lost the novelty they once had, but the depressingly youthful Peter Broderick is something rather special. His lyrics may not meet the ambition and craft of his astounding musicianship (encompassing piano, violin, guitar and musical saw), but when he’s on form, he can send shivers down the spine like few others. I feel blessed to have had the opportunity to experience his music in such an intimate setting - it’s only a matter of time before he gets the critical recognition he deserves, and venues like St. Giles are lost to him for ever.
(Photo: Abroadjz (Flickr))
With the advent of Andrew Bird, Owen Pallett et al., loop-pedalists have lost the novelty they once had, but the depressingly youthful Peter Broderick is something rather special. His lyrics may not meet the ambition and craft of his astounding musicianship (encompassing piano, violin, guitar and musical saw), but when he’s on form, he can send shivers down the spine like few others. I feel blessed to have had the opportunity to experience his music in such an intimate setting - it’s only a matter of time before he gets the critical recognition he deserves, and venues like St. Giles are lost to him for ever.
(Photo: Abroadjz (Flickr))
MELT BANANA (London Islington Academy, 12/10/10)
The fact my ears were still ringing three days later was perhaps the best testament to the visceral brilliance of the veteran Japanese noise-rockers. Mixing their “traditional” (but still ear-splitting) fare with their more offbeat sonic experiments (including a series of 7-second songs during the encore), they’re not a band for the light-hearted, but for those who can handle the punishment they make all other music seem weaksauce in comparison.
(Photo: Sukesukesue (Flickr))
The fact my ears were still ringing three days later was perhaps the best testament to the visceral brilliance of the veteran Japanese noise-rockers. Mixing their “traditional” (but still ear-splitting) fare with their more offbeat sonic experiments (including a series of 7-second songs during the encore), they’re not a band for the light-hearted, but for those who can handle the punishment they make all other music seem weaksauce in comparison.
(Photo: Sukesukesue (Flickr))
OCEANSIZE (London Koko, 01/10/10)
Yndi Halda are one of the best post-rock bands in the UK, which made it particularly gutting that they were cut off 20 minutes into their set for the breathtakingly mediocre TTNG, one of those identikit math rock bands I thought (and hoped) disappeared circa 2005. As for Oceansize…they were alright, I guess.
(Photo: Sicksadlittleworld (Flickr))
Yndi Halda are one of the best post-rock bands in the UK, which made it particularly gutting that they were cut off 20 minutes into their set for the breathtakingly mediocre TTNG, one of those identikit math rock bands I thought (and hoped) disappeared circa 2005. As for Oceansize…they were alright, I guess.
(Photo: Sicksadlittleworld (Flickr))
!!! (Toronto Lee’s Palace, 26/09/10)
Indie-funk madness complete with Nic Offer’s idiosyncratic shape-throwing, in one of the best venues in the Western Hemisphere. Coming from a city where the trend is towards soulless corporate outfits, it’s refreshing to see that slightly dingy, really atmospheric independent venues like Lee's Palace still exist.
(Photo: Brian St. Denis (Flickr))
Indie-funk madness complete with Nic Offer’s idiosyncratic shape-throwing, in one of the best venues in the Western Hemisphere. Coming from a city where the trend is towards soulless corporate outfits, it’s refreshing to see that slightly dingy, really atmospheric independent venues like Lee's Palace still exist.
(Photo: Brian St. Denis (Flickr))
PAVEMENT (New York Central Park, 21/09/10)
The Official First Pavement Reunion Gig (well, the first to be announced anyway) turned out to be the best of the four I’ve seen this year - for once, Malkmus didn’t seem to resent being there, the setlist was unimpeachable and the sound exceptional for an outdoor show. A fantastic way to wrap up my first ever visit to the Big Apple.
(Photo: Spiral-Stairs (Flickr))
The Official First Pavement Reunion Gig (well, the first to be announced anyway) turned out to be the best of the four I’ve seen this year - for once, Malkmus didn’t seem to resent being there, the setlist was unimpeachable and the sound exceptional for an outdoor show. A fantastic way to wrap up my first ever visit to the Big Apple.
(Photo: Spiral-Stairs (Flickr))
DAN DEACON (London Fabric, 16/09/10)
The first solo DD show I’ve seen, and although mega-fun-times were still had, it paled in comparison to last year’s phenomenal ensemble performances. Then again, he did play Wham City, and Wham City = OMFGAMAZEBALLS.
(Photo: Tim Boddy (Flickr))
The first solo DD show I’ve seen, and although mega-fun-times were still had, it paled in comparison to last year’s phenomenal ensemble performances. Then again, he did play Wham City, and Wham City = OMFGAMAZEBALLS.
(Photo: Tim Boddy (Flickr))
END OF THE ROAD FESTIVAL (Larmer Park Gardens, 10/09/10-12/09/10)
EOTR, then. Must admit I wasn't all that excited about the prospect beforehand, but I have no hesitation in saying it's by far the best music festival I've ever had the pleasure of attending. The setting is beautiful, the atmosphere relaxed, the clientele mixed but non-twattish, the food sublime (buffalo burgers FTW!), the weather unobjectionable and apparently there were some bands and shit too. It's difficult to list all the highlights of an incredible weekend, but a few that come to mind are:
- Watching Up in the cinema tent on Friday morning (and Ponyo on the Saturday). Heartwarming kids' films should be a prerequisite of any festival.
- CW Stoneking's New Orleans-style blues was the perfect musical start to the day; he's an excellent raconteur too.
- Freelance Whales mostly lived up to expectations- quite a bit of filler there, but the Generator songs sounded marvellous.
- Wolf Parade's spectacular set. The vocals were a bit low in the mix, but they certainly got the crowd going. GIVE ME! YOUR EYES! and so forth.
- Hearing live renditions of “Float On” and “A Girl Like You” in the space of an hour.
- New Pornographers being the best I've ever seen them. Quality, quality setlist.
- Discovering new bands in the Big Top; Snowmen and Nurses particularly come to mind.
- Monotonix absolutely killing it. Managed to stay near the epicentre throughout, even when they ended up outside the Big Top, playing a bass-drum on top of a stack of recycling bins.
- Iron & Wine's fantastic solo set. No self-indulgent backing band this time round, he finished with “Such Great Heights,” AND he played Freebird (well, some of it.)
- Befriending Edwyn Collins' son, who apparently managed to blag a second meal ticket in the artist canteen by pretending to be one of the New Pornos.
- The late night disco in the enchanted forest, complete with illuminated dance floor. "All That She Wants" -> "Mr. Boombastic" -> "Common People" = MAXIMAL SHAPE-THROWING.
- The subsequent impromptu iPod disco established by my friends on the road back to the campsite. Highlights: an acapella Public Enemy rap-off complete with beatboxing provided by a random American; a rousing rendition of “Starman” and a bunch of randoms joining us to prance about to “Wuthering Heights” at 3 'o clock in the morning.
- Watching some random Jeffrey Lewis fanboy playing Neutral Milk Hotel covers in the woods.
- Increasingly competitive games of Giant Connect 4 in the middle of the forest.
- The last twenty minutes of Pulled Apart By Horses, even though I almost broke my nose when an overzealous fan headbutted me in the face.
- DRUM EYES! The new project of infamous Japanese/Brightonian noisemaker DJ Scotch Egg, it's basically a combination of Japanese psychedelic noise rock and Dan Deacon, and therefore my favourite thing ever.
- Sunday night's secret set at the Tipi. The Felice Brothers and Deer Tick performing old-timey revivalist singalongs? A random guy called Pete resolving his cider surplus by donating copious amounts to me? Uh, hell yes.
- Chatting with friends at 2am under the most star-filled sky I've ever seen, drinking Koppaberg whilst the sounds of Woodpigeon covering TLC's "No Scrubs" and Velvet Underground's "I'm Set Free" wafted over from the arena.
In conclusion: everyone should come to EOTR next year, because it's fucking brilliant. THAT IS ALL.
(Photos: John Gleeson)
EOTR, then. Must admit I wasn't all that excited about the prospect beforehand, but I have no hesitation in saying it's by far the best music festival I've ever had the pleasure of attending. The setting is beautiful, the atmosphere relaxed, the clientele mixed but non-twattish, the food sublime (buffalo burgers FTW!), the weather unobjectionable and apparently there were some bands and shit too. It's difficult to list all the highlights of an incredible weekend, but a few that come to mind are:
- Watching Up in the cinema tent on Friday morning (and Ponyo on the Saturday). Heartwarming kids' films should be a prerequisite of any festival.
- CW Stoneking's New Orleans-style blues was the perfect musical start to the day; he's an excellent raconteur too.
- Freelance Whales mostly lived up to expectations- quite a bit of filler there, but the Generator songs sounded marvellous.
- Wolf Parade's spectacular set. The vocals were a bit low in the mix, but they certainly got the crowd going. GIVE ME! YOUR EYES! and so forth.
- Hearing live renditions of “Float On” and “A Girl Like You” in the space of an hour.
- New Pornographers being the best I've ever seen them. Quality, quality setlist.
- Discovering new bands in the Big Top; Snowmen and Nurses particularly come to mind.
- Monotonix absolutely killing it. Managed to stay near the epicentre throughout, even when they ended up outside the Big Top, playing a bass-drum on top of a stack of recycling bins.
- Iron & Wine's fantastic solo set. No self-indulgent backing band this time round, he finished with “Such Great Heights,” AND he played Freebird (well, some of it.)
- Befriending Edwyn Collins' son, who apparently managed to blag a second meal ticket in the artist canteen by pretending to be one of the New Pornos.
- The late night disco in the enchanted forest, complete with illuminated dance floor. "All That She Wants" -> "Mr. Boombastic" -> "Common People" = MAXIMAL SHAPE-THROWING.
- The subsequent impromptu iPod disco established by my friends on the road back to the campsite. Highlights: an acapella Public Enemy rap-off complete with beatboxing provided by a random American; a rousing rendition of “Starman” and a bunch of randoms joining us to prance about to “Wuthering Heights” at 3 'o clock in the morning.
- Watching some random Jeffrey Lewis fanboy playing Neutral Milk Hotel covers in the woods.
- Increasingly competitive games of Giant Connect 4 in the middle of the forest.
- The last twenty minutes of Pulled Apart By Horses, even though I almost broke my nose when an overzealous fan headbutted me in the face.
- DRUM EYES! The new project of infamous Japanese/Brightonian noisemaker DJ Scotch Egg, it's basically a combination of Japanese psychedelic noise rock and Dan Deacon, and therefore my favourite thing ever.
- Sunday night's secret set at the Tipi. The Felice Brothers and Deer Tick performing old-timey revivalist singalongs? A random guy called Pete resolving his cider surplus by donating copious amounts to me? Uh, hell yes.
- Chatting with friends at 2am under the most star-filled sky I've ever seen, drinking Koppaberg whilst the sounds of Woodpigeon covering TLC's "No Scrubs" and Velvet Underground's "I'm Set Free" wafted over from the arena.
In conclusion: everyone should come to EOTR next year, because it's fucking brilliant. THAT IS ALL.
(Photos: John Gleeson)
FEVER RAY (Brixton Academy, 08/09/10)
Easily the best of the three Fever Ray sets I’ve seen, thanks to the incredible acoustics and sound mixing at the Brixton Academy. Whilst the atmospherics and unsettling costumes have always worked marvellously, their prior shows have suffered from murky, overly bass-heavy sound - tonight, however, was flawless. Whilst I’d still prefer to see The Knife do a proper London show (seriously - I’d sell my loved ones into slavery to see “We Share Our Mother‘s Health) I’ve come to warm to Karin’s new project, and to be honest, if the rumours are true that Fever Ray will be making a second album, well, I think I could live with that.
(Photo: John Gleeson)
Easily the best of the three Fever Ray sets I’ve seen, thanks to the incredible acoustics and sound mixing at the Brixton Academy. Whilst the atmospherics and unsettling costumes have always worked marvellously, their prior shows have suffered from murky, overly bass-heavy sound - tonight, however, was flawless. Whilst I’d still prefer to see The Knife do a proper London show (seriously - I’d sell my loved ones into slavery to see “We Share Our Mother‘s Health) I’ve come to warm to Karin’s new project, and to be honest, if the rumours are true that Fever Ray will be making a second album, well, I think I could live with that.
(Photo: John Gleeson)
FANG ISLAND (London Madame JoJo’s, 07/09/10)
Fang Island: basically the Mae Shi, but with the talent to match their enthusiasm. Four guitars, infectious riffs, a refreshing lack of pretension and a surplus of joie de vivre, and you’ve got one of the downright enjoyable live bands of the year.
(Photo: Zenfroglet (Flickr))
Fang Island: basically the Mae Shi, but with the talent to match their enthusiasm. Four guitars, infectious riffs, a refreshing lack of pretension and a surplus of joie de vivre, and you’ve got one of the downright enjoyable live bands of the year.
(Photo: Zenfroglet (Flickr))
Friday, September 03, 2010
BO NINGEN (London Macbeth, 02/09/10)
Four long-haired Japanese guys playing ferociously energetic psychedelic noise rock? Uh, HELL YES?! I don't know why it took so long for me to check them out, but goddamn, if they weren't one of the best live bands I've seen this year. Incredible stuff, even if I had to sprint (with a distinct lack of grace) to get the last tube home.
(Photo: Beki Takes Pictures (Flickr))
Four long-haired Japanese guys playing ferociously energetic psychedelic noise rock? Uh, HELL YES?! I don't know why it took so long for me to check them out, but goddamn, if they weren't one of the best live bands I've seen this year. Incredible stuff, even if I had to sprint (with a distinct lack of grace) to get the last tube home.
(Photo: Beki Takes Pictures (Flickr))
ZOLA JESUS (London CAMP Basement, 01/09/10)
One might think overseeing the resurrection of gothic synth balladry is nothing to be proud of, but dimuniative New Yorker Nika Roza Danilova may well make you change your mind. Evoking the same unsettling, moody bleakness as Fever Ray (and to a lesser extent, Soap & Skin), there's not much variation to be found in her set, but the plentiful moments of beautiful intensity more than compensate.
(Photo: acb (Flickr))
One might think overseeing the resurrection of gothic synth balladry is nothing to be proud of, but dimuniative New Yorker Nika Roza Danilova may well make you change your mind. Evoking the same unsettling, moody bleakness as Fever Ray (and to a lesser extent, Soap & Skin), there's not much variation to be found in her set, but the plentiful moments of beautiful intensity more than compensate.
(Photo: acb (Flickr))
Monday, August 30, 2010
WILDBIRDS AND PEACEDRUMS (London Lexington, 26/08/10)
It's difficult to say new things about a band when you've seen them ten times, so I'll be brief: Wildbirds and Peacedrums are one of the best goddamn live acts in the world. Their exhilarating, breathtakingly passionate performances make 99.9% of bands look like they're not even trying, and their Union Chapel show in November (with added choir!) should be one of the, if not THE, gig highlight of the year.
(Photo: Anika Mottershaw)
It's difficult to say new things about a band when you've seen them ten times, so I'll be brief: Wildbirds and Peacedrums are one of the best goddamn live acts in the world. Their exhilarating, breathtakingly passionate performances make 99.9% of bands look like they're not even trying, and their Union Chapel show in November (with added choir!) should be one of the, if not THE, gig highlight of the year.
(Photo: Anika Mottershaw)
Friday, August 20, 2010
FOOL'S GOLD (London Borderline, 16/08/10)
Nice polyrhythms and and commendable amount of groove, but given the hype I was a little disappointed. Zun Zun Egui do this kind of thing with a lot more variety and character. Disappointed to miss most of DM Stith's support set, but what I caught was as haunting as you'd expect.
(Photo: Indindo1 (Flickr))
Nice polyrhythms and and commendable amount of groove, but given the hype I was a little disappointed. Zun Zun Egui do this kind of thing with a lot more variety and character. Disappointed to miss most of DM Stith's support set, but what I caught was as haunting as you'd expect.
(Photo: Indindo1 (Flickr))
Friday, August 06, 2010
JENS LEKMAN (London Union Chapel, 03/08/10)
Review: HERE (co-written by Ama Chana)
(Photo: Anika Mottershaw)
Review: HERE (co-written by Ama Chana)
(Photo: Anika Mottershaw)
Thursday, July 29, 2010
TOMORROW, IN A YEAR (London Barbican, 27/07/10)
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)
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)
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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