Monday, April 06, 2015

卿は、私はこの国から抜け出すためにあなたを必要とするつもりだ- Or "Adamu Erumahadi Vs. The State of Japan"
  

In April 2014, I spent a fortnight being a stereotype in Japan. A year later, I decided to write about it.

TOKYO (PART 1)

What's a guy to do in Tokyo whilst horribly jetlagged, in dire need of a shower, yet unable to access the sweet succour of a hotel bedroom for another four hours? According to my vague knowledge of Japanese pop-culture, the answer is obviously "hara-kiri", but being completely devoid of honour or respect for my fellow man, I decided to have a wander instead.


Shinjuku is quite an experience, even for someone accustomed to the madness of Times and Leicester Squares; an astoundingly dense, exuberant warren of flashing neon, immaculately dressed teenagers and businesses crammed into every square inch of real estate. One building I passed had a veterinarian on the ground floor, a jazz bar on the first, a ramen restaurant on the second and a clothes shop on the third and that was one of the tamer examples (let's just say elements of the district have a certain...Soho-esque vibe about them). The station is even more crazy - not only is it, by some distance, the busiest station in the world, but it exists somewhere in the midst of an eight-storey department store that makes Westfield look like a Costcutter.


My hotel for the night (the rather swish Granbell Shinjuku) was in the Kabuki-cho ward, an area built originally to be a fancy theatre district but soon fell under yakuza influence and is now famed for its pachinko parlours and illicit brothels. In fact, I'm pretty sure I spied a gangster boss doing his rounds in his black Mercedes- as the chubby, sixty-something figure in golfing gear popped into various slightly suspect buildings, a myriad dodgy looking characters bowed deeply around him as his bodyguard looked on. Even though Japan's organised crime gangs are well known for being essentially harmless to Westerners (as long as they don't get involved in anything dodgy), it was still slightly intimidating so I'm happy to report I'm still in possession of all my fingers.


But that's not to say Shinjuku is just a den of sin and consumerism (sadly). The Shinjuku Gyoen National Garden is one of the city's most beloved parks and it's easy to see why, especially during cherry blossom season - which due to a benevolent quirk of weather endured slightly later than usual in 2014. The Garden combines French, English and Japanese styles, and in my sleep-deprived state, it felt like the most beautiful place I'd ever seen.

KYOTO


The next morning after experiencing the wonders of Tokyo's subway system at rush hour, I jumped on a Shinkansen (the proverbial "bullet train") and made my way to Kyoto. It's nicknamed "The City Of Ten-Thousand Shrines" and over the course of four days I managed to visit roughly half of them.

My hotel wasn't exactly the most high-class establishment, reeking of cigarette smoke and having the most compact bathroom known to man, but it did have the advantage of being literally next to Kyoto Station. And I spent a surprising amount of time there, for Kyoto Station, whilst inevitably being denounced as a carbuncle on the landscape by all and sundry when it was remodelled, is a bloody cool building. At the western edge of the station, there's an 11-story staircase that leads up to an open-topped plaza that provides great views of the city, and lights up with fancy pictures and messages at various points, because it's a giant staircase and can do what it damn well wants. (Also, there's a Mr Donut on the first floor, and Mr Donut may rival Mr Kipling as a vendor of sugar-filled confectionaries). I even watched a vocal harmony group cover Queen there, because that's just how Kyoto rolls.

My first port of call was the Buddhist temple of To-Ji to the south-west of the station. To-Ji was built in 796 AD and once lay at the eastern edge of the now demolished gate known as Rashomon (immortalised in a Kurosawa film and a throwaway joke in The Simpsons.) It has the tallest wooden pagoda in the country, and once a month plays host to a famous flea market- which happily took place the day I was there (the teriyaki stall is really good if you ever get the chance to sample it).

I then slowly meandered my way to one of the city's greatest landmarks via a number of lesser known temples. Two that stick in my mind are the Nishi Honganji, a dark, intimidating piece of temple architecture where a choir of monks were practising their mesmerising hymnals, and Renkoji Temple, a charming oasis of understated serenity down an anonymous side-street. But none could quite top the hill-top sanctuary of Kiyomizu, which despite being a bit of a tourist trap, is pretty breathtaking (even though half of it was under scaffolding due to restoration works). One famous feature are two "love stones" (no tittering at the back) placed 20 feet apart- if a pilgrim can successfully traverse between the two with their eyes closed, then they will find true love. I didn't, and I'm still single so I guess it's probably true.

I ended the day exploring the Gion district, historically associated with geisha but for me associated with an average Indian meal. To my surprise, curry houses are as popular in Japan as they are in Britain, and because the staff normally speak some English, are useful for avoiding accidental seafood-related death. I also saw this cute sign, because Japan.


Tuesday was the day I realised to my cost that Kyoto is a lot bigger than it looks on the maps they give you at the information desks (I still don't think my legs have recovered yet). Much of Kyoto was rebuilt after WWII in a rather anonymous, functional style, and if you don't know where you're going, you might wonder what all the fuss is about. Thankfully Ni-Jo Castle, the Kyoto residence of the first Tokugawa Shogun (one of the most influential figures in Japanese history) more than made up for the 45 minute walk past identikit office blocks I endured to get there. With its incredible "karamon" gate and ancient tapestries it's a marvel, although its famous nightingale floors (which squeak to alert guards of potential ninja assassins) do get slightly irritating after a while. 

After a detour to the Kyoto Imperial Palace Gardens (with its impressive blossoms), Shimigano Shrine and the myriad random side roads and residential districts of north Kyoto, I accidentally stumbled on the wonderful Daisen-In zen temple, a stunning example of that austere school of architecture, and one unusually well-provisioned for English speakers. No photos were allowed inside, but the traditional rock garden, symbolising the order and chaos of life was "pretty deep man", I'd be saying if I was a dickhead.

And then to Kinkaku-ji, the legendary "Golden Temple". In truth, it's not the original building (which was burned down by an unstable Buddhist monk in the 1950's), but its gold-leafed facade, suspended above a lake is impressive regardless. It was also the first (but certainly not the last) moment of my journey where I partook in the classical temple refreshment of a bowl of green tea, and a small sweet - in this case filled with red bean paste, which for those that are curious, tastes like marzipan but with a less sweet edge. It's no Wispa Gold, but it'll do.

My third day in Kyoto involved venturing out of the city proper and into the western suburb of Arashiyama (which according to Wikipedia, translates to the awesome-sounding "STORM MOUNTAIN"). Its centerpiece, Tenryu-ji Temple, is one of the finest temples I saw in Japan, with a spectacular garden designed by 14th century monk Musō Soseki. For almost half a millennium, the priests of Tenryu-ji came to an arrangement with Ming dynasty China that allowed them to facilitate much of the legitimate trade between the two great Asian powers, and that no doubt explains why this compound is so pimpin'.

To the north of the temple is an impressive bamboo forest, and to the north of that are the Okochi Sanso Gardens. Denjiro Okochi was a B&W-era film star specialising in period dramas who bought a hideaway in the hills of Arashiyama at the height of his fame, and after he died in 1962, the grounds were opened to the public. Although it costs 1,000 Yen (£7) to enter, it's a subtly wonderful place with some amazing views, a different aspect for each of the four seasons, and the price of admission includes a free bowl of green tea. Plus, not too many gaijin plague the place, so it's pretty serene to boot.

And then there was Arashiyama Park, with its rather intimidating hill. I conducted a intense internal debate with myself whether it was worth climbing to the top, but I realised I'd regret it if I didn't and was rewarded with this. So that was nice.

I then made the biggest mis-step of my trip: I went to Osaka. Osaka is the Los Angeles of Japan, full of obnoxious tourists and flashy American chains and whilst I'm sure it has its charms, I managed to avoid most of them. I got lost in the god-forsaken labyrinth of unadulterated chaos of Osaka-Umeda station and ended up 15 miles out in Kobe whilst trying to find the aquarium and ended up on a giant ferris wheel on top of a shopping mall because I think I was mentally hoping that it would collapse and at least I wouldn't have to experience Osaka any more. And that's all I'll say about that.

I was at a bit of a loss to do on my last day before heading to Kanazawa, but I felt that I should take full advantage of my JR Pass and explore the region at large. So I went to Uji, a small town associated with green tea, the "Tale of Genji" (an ancient and legendary story of a young prince navigating the politics and boudoirs of 10th century Japan) and the thousand year old majesty of the Byodo-In Phoenix Hall. There's not much there except green tea flavoured Mr Whippy's and the temple, but damn, if that temple isn't one of the finest in the county. Plus, unlike many of the other fancy religious establishments, it's actually fully open to the public (although sadly, I wasn't aware of that at the time).

On the same train line as Uji is the ancient Japanese capital of Nara, so I decided that, in the absence of any other plans, I'd check the place out. And my God, that was one of the better ideas I've had in my life. Not only does it have some of the most breathtaking sights the country has to offer (the Todai-ji was the biggest wooden structure in the world for many centuries, and the 15 meter high bronze Buddha within is one of the most incredible things I've ever seen), but the place is essentially ruled by deer, who will destroy you without a second thought:

 

And then because I'm an idiot I went back to Osaka because I REALLY wanted to see the aquarium (by this stage I was starting to get shrine fatigue and needed something a bit less 16th century). Needless to say I got lost in a random industrial estate for an hour and a half but finally made my way there. I'm not a big nature buff, but it wowed me nonetheless- and has the advantage of being open quite late, so fits in well between the "temple-exploring" and "getting rat-arsed on Asahi" parts of the day.

KANAZAWA


Kanazawa was a surprise to me. I went there purely to meet up with my friend Gabi, and was expecting a small provincial town constructed from the same architectually dull mould as central Kyoto. Little did I know that Kanazawa is a bustling, modern, ambitious city which I suspect will become a big deal once its new Shinkansen line opens this year. Whilst a lot of the city is shiny and fancy and new, it retains a small samurai district (lacking actual samurai, unfortunately) and its justifiably renowned 17th century garden, Kenroku-en. If you do find yourself there, I recommend the stupidly named Hotel Trusty- it was the second cheapest, yet most comfortable hotel I stayed in  Japan.


NAGANO

In truth, I only visited Nagano because it was a convenient point to break up my journey back to Tokyo - my guide book didn't even bother to cover it except in the most cursory detail. But in truth, it may well have been the ultimate highlight of my trip. Nagano itself is a bit of an odd place- it has top-level infrastructure (including a Shinkansen line) plenty of English-language signage thanks to the Winter Olympics taking place there in the 90's, and a cool hipster-ish vibe that reminded me a bit of Boulder, Colorado. 

The lampposts are kawaii, there's an "British pub" called the Red Dragon that serves real ale, a converted Routemaster posing as a restaurant, and the only burrito joint I saw in Japan. (Also, its traffic lights randomly play a Robert Burns ditty for reasons as yet unascertained.) But despite being quite "Western" in many ways, its ski-slopes and holiday resorts remain mostly patronised by the Japanese, meaning you won't encounter that many people that speak English. But that's no real obstacle, as some of the friendliest and most helpful people I met during my trip were in Nagano.

I only had 24 hours in the city, but was determined to make the most of it. I heard there was a series of mountain-top shrines accessible by bus, so with the aid of some hastily scrawled diagrams from a friendly bus station assistant, I found my way to Togakushi. I sadly only had time to visit the lower and middle shrines (I'd have missed the last bus back if I'd trekked to the upper shrine and wasn't particularly on board with being eaten by a mountain bear) but their straightforward simplicity and isolation was a pleasant tonic for the ostentatious, tourist-filled temples I'd seen elsewhere. Also, even though the temperature was a very acceptable 23C down in Nagano proper, the middle shrine was still half-covered with snow. I'd make a pun about it being "pretty COOL", but even I have some standards.

And of course, there was Zenkoji Temple. It was 8 in the morning, the weather was mild with a light breeze, cherry blossom still adorned the trees and a church choir was practicing in the distance. The temple buildings were festooned with flags of all colours, the smell of incense wafted through the air, and in truth, I don't think I've ever experienced anything so perfect in my life. Beneath the temple is a pitch-black sanctuary, in which the holiest of truths is supposed to reside and that was special enough, but just to explore and appreciate the natural beauty of the trees and gardens in conjunction with the grandeur of the temple itself was an experience I'll never forget.

TOKYO (PART II)
After all the excitement of the previous week, my return to Tokyo was a bit of an anti-climax. The Tokyo Imperial Palace Gardens seemed a bit ordinary compared to what I'd explored in Kyoto and Kanazawa, and many of the other places I wanted to visit were closed (my hotel for the week, the Bellclassic, come highly recommended though- it's next to a very well-connected station which sells the most delicious cheesecake known to man). But I did get to visit the New Dug jazz kissa, a tiny bar hidden under a non-descript building near Shinjuku Station that appears in Murakami's "Norwegian Wood". There, I listened to rare jazz records and supped on whisky sours and got chatting to a Japanese hipster named Misato about Bo Ningen and Savages and Young Fathers, because of course that had to happen. So it wasn't all bad.

Monday saw the start of Golden Week, a series of bank holidays that essentially acts as a week-long break for many Japanese people, and therefore heralded MASS TRANSPORT CHAOS as everyone journeyed out of the city to enjoy the sunshine and nature and so forth. I chose that day to visit Kamakura, because going to one of Japan's most popular coastal tourist attractions on a bank holiday was clearly a sensible and well-thought-through idea. I will say that the Great Buddha lived up to its name, I did get a certain glow from visiting Kamakura Beach after recalling it was a focal plot point in Otomo's batshit, but brilliant satire Roujin Z, and I was amused that the first awful-looking kebab house I saw in the country was about 20 foot from one of Japan's most holy relics. But overall it was a humid, crowded, stressful experience and I came back from it a little disappointed.

Tuesday was the inevitable trip to Akihabara, Tokyo's (in)famous geek district and simultaneously the most awesome and creepiest place I've been to in my time. I spent almost £200 purchasing some incredibly nerdy stuff (including a Persona 3 art book, a Shinra Corporation tea-towel and Xenogears "Perfect Works", which I've lusted after for 15 years) and admired the sheer range of video game/anime memorabilia, but the slightly sinister concept behind maid cafes and the astounding amount of floor-space given over to hentai (and more pertinently, hentai of a lolita-ish bent) was, to frankly, rather disturbing.


Then to Asakusa, one of the city's most colourful temples, and the Tokyo Skytree, a half-mile high communications tower built specifically to taunt vertigo sufferers. Spending upwards of £20 to explore an observation deck isn't normally my bag, but I was bored, I had the cash and in the event, it was damn impressive even though I did feel like I was going to die at any given moment.

As I was walking back to Ueno just after sunset, I passed the Shitaya Shrine near Ueno. I was happening to be listening to this track by Geinoh Yamashirogumi (the veteran musical collective responsible for the Akira soundtrack), and it was just the most atmospheric moments. Sometimes it's the smallest, most unexpected moments that stick with you.

On Wednesday, I headed to Nikko, the burial place of the Tokugawa Shogun (the same guy who behind the Niji-jo Castle in Kyoto.) It was absolutely pissing it down, but it's an absolutely breathtaking complex- most notably, it's home to the wooden carving of three monkeys that inspired the phrase "see no evil, hear no evil, speak no evil".  It's just a shame that I was too drenched in rainwater to want to explore the place with the attention it deserved.

After drying out my clothes and eating my customary Saizeriya pizza (all chain restaurants should serve parma ham as a side), I went to the fancy district of Ebisu to check out my first gig on Asian soil- American twee-popper Peach Kelli Pop. They were enjoyable enough, but the real stars were Miila and the Geeks, a post-punk delight punctuated with squalling saxophones.

Thursday was the day I decided to tick off all the miscellanea off my to-do list- exploring the mindblowing food hall of Seibu Ikebukuru, escaping a giant Gundam, visiting a tiny avant-garde gallery (Pragmata) recommend by the hipster at New Dug and operated by a former Londoner of Greek descent, and accidentally stumbling on the Bridgestone Museum of Art, which had a delightful exhibition on Japanese artists working in the Western style but influenced by Chinese subjects. I also attended the UFO Club, a cross between the 100 Club and Cafe Oto, where all the patrons smoked roll-ups and wore berets, and the bands were very pretentious. Comfy sofas though.

On Friday, I decided on a whim I wanted to at least try to see Mount Fuji before I buggered off back to Britain. Unfortunately, the cloud cover scuppered that plan, but Hakone and Lake Ashi were scenic enough to mitigate my disappointment. There's also a sky-car that takes you up to the volcanic peaks, if you're into the all-encompassing smell of sulphur.

Then I rushed back to Tokyo to make the most of my appointment at the Studio Ghibli museum, which as anyone who knows me will know, was one of the major reasons I wanted to visit Japan in the first place. And what a wonderful place it is, in the truest sense of the world. It's as perfect a reflection of Miyazaki's modus operandi as it's possible to build in this imperfect world, a modest, magical building that left me beaming ear to ear for the whole two hours I was there. I feel loathe to spoil the surprises and quirks the museum holds, but for anyone who has the slightest love of Ghibli films (or animation in general), it's an absolute must.

And then I went to the Robot Restaurant back in old gangster-filled Kabuki-cho, because I'd been told it was the kind of thing you'll only experience in Japan. And they were fucking right about that.

Fully aware that I'd be guilt-tripped into oblivion if I didn't buy some souvenirs for the people who have the misfortune to be related to me, I spent my final morning at "Oriental Bazaar" in the colourful Harajuku district, best known for girls who dress as illustrated (thankfully for all concerned, I decided to stick with my trademark "tatty jeans and band t-shirt" combo, or else I'd be languishing in  jail for crimes against humanity). And as terrible as it may sound, you will not find a better place to buy reasonably priced crap for your relatives - I was particularly proud of the weird nodding cat clock I got for my sister.

After escaping the eye-popping Harajuku fashions, the Tokyo Metropolitan Museum of Photography provided an excellently high-brow way to while away the afternoon with a superb exhibition of Robert Capa's wartime photography (augmented by flawless English captions throughout), whilst La Folle Journee wrapped up the best fortnight of my life with a performance of Beethoven's 5th (DUH-DUH-DUH-DUHHHH) at the Tokyo International Forum. Culture!

And then I went home and slept for two days. The end.

Friday, April 03, 2015

SOKO- London 100 Club (26/03/15)


Review: HERE

(Photo: Michel Comte)

Sunday, March 22, 2015

ONEIDA (London Corsica Studios, 18/03/15)

Once upon a time Oneida, in defiance of all laws of logic and nature, managed to cure a headache of mine, being so physically forceful that it roundhouse-kicked the pain from my brain. This time round they were a little bit tamer, but Kid Millions still knows how to rock a fucking drum kit.
ZUN ZUN EGUI (London Cafe Oto, 12/03/15)

Not all gigs start with a traditional Mauritian ritual to wake the spirits of music, but then again not all bands are Zun Zun Egui. Kushal Gaya's other band Melt Yourself Down may have been gaining all the plaudit's recently, but I'll always have a soft spot for ZZE's vibrant polyrhythms and boundless energy.
THE UNTHANKS (London Roundhouse, 07/03/15)


























I haven't seen the Unthank sisters since they ditched the Winterset, so it's good to see that Rachel and Becca are still going strong, even if the Roundhouse isn't the best venue to appreciate their brand of traditional English folk music.
TUNE-YARDS (London Royal Festival Hall, 05/03/15)

  Not sure about all the chattering morons in the back, but this may have been Merrill Garbus' best London gig since the legendary Cargo show five years back. I always felt her band were superfluous during the "whokill" tour, but this time round they're an absolutely essential part to proceedings, augmenting Garbus' kaleidoscopic vision with incredible harmonies and rhythmic intensity. Give me this over a hundred boring guitar bands any day.
DEERHOOF (London Oval Space, 26/02/15)

Deerhoof have been around for 20 years, but they remain more exciting, energetic and original than almost any band that's come since. Yeah, they're not fans of coherent time signatures; yeah, their vocals tend towards the "cutely enthusiastic" rather than "in tune" but damn, watching them in full flow is one of the most vital experiences you'll ever witness on stage.
TWO GALLANTS (London Islington Assembly Hall, 25/02/15)

Review: HERE
HILDUR GUDNADOTTIR (London Cafe Oto, 24/02/15)

 
It's amazing what enchantment one can weave with just a cello and a loop pedal. Whilst the former Mum musician underplays the influences of the Icelandic landscape on her work, her half hour set nonetheless exudes a bewitching starkness that could only come from that land of ash and glaciers. One song, based on a medieval Icelandic hymn is particularly striking, but nothing quite matches the opener, built around looped vocals so ethereal that they seem to come from a place far purer than a hipster bar off Dalston High Street.

Sunday, February 22, 2015

THE DECEMBERISTS (London Brixton Academy, 21/02/15)



The Decemberists may look decidedly middle-aged these days, but they certainly haven't descended into dad band half-arsedness. The first half of the set, focusing on their more recent output was perhaps slightly lacking in their trademark joie de vivre, but once the "Hazards of Love" stuff kicked in energy levels began to crank up a notch, and the last run of the songs including "O Valencia", "16 Military Wives" and "The Mariners Revenge" was as elatory an experience as anyone will ever have in Brixton on a Saturday night.
DAN DEACON (London Islington Assembly Hall, 16/02/15)



Dance contests, human tunnels, crystal cats, lighter waving, vigorously dry-humping couples who might be pregnant now, mountains of snow past a big glen, loads of bad hipster dancing and 20,000 metric gallons of sweat. As 1000th gigs go, it could have been a lot worse. Good work, Dan Deacon. Good work.
NISENNENMONDAI (London Heaven, 15/02/15)



Minimalist motorik grooves courtesy of the ever-brilliant Japanese three-piece. No less than John Stanier deemed Sayaka Himeno one of the best percussionists in the world right now, and watching her relentless, superhumanly tight assault on her drumkit, it's hard to disagree.
LAMBCHOP (London Barbican, 30/01/15)



Review: HERE

Sunday, January 25, 2015

STARS (London Scala, 15/01/15)

Stars didn't rank as one of my favourite members of the Toronto-based Arts and Crafts collective until I saw them at the Kings Cross Scala in 2007. My experience at that show is documented in some detail here, but in summary, their earnest, hands-on-heart indie-pop was augmented a hundred-fold by the unrestrained passion of their lead singers Torquil Campbell and Amy Millan. Seven years on, and mercifully little has changed. True, their more recent material has veered on a sometimes questionable cod-disco tangent, but their gigs remain a joyous affair, full of an energy and charisma that may have come across as cheesy if it hadn't obviously been delivered with such sincerity (see also: Craig Finn of the Hold Steady). Plus, it's always nice to be at a show where you're surrounded by actual fans, rather than hordes of guestlist wankers.

Sunday, December 21, 2014

THE BEST LIVE ACTS OF TWO THOUSAND AND FOURTEEN


Another sterling year for live music, and one that takes my gig total to four shy of a thousand. Maybe I should find a new hobby. I saw quite a few acts in 2014 that in previous years would have doubtlessly made my Top 50, but weren't quite amazing enough to match this year's exceptionally high standard. So sorry, Haiku Salut, Hidden Cameras, Moonface, Chilly Gonzales, Tamikrest, Martha Wainwright, My Brightest Diamond, Daniel Rossen, Ramona Lewis, Peter Broderick, Tall Tall Trees, Flamingods, !!! and Tyondai Braxton. Maybe next time.

50. MIILA AND THE GEEKS- Tokyo Batica
Frankly, any event where cheesecake is a purchasable commodity is guaranteed to get me on side, but my first ever gig on Asian show also introduced me to the offbeat brilliance of this Tokyo trio, who match scuzzy post-punk with squalling saxophone and three Godzillas worth of energy.

49. PRINCE- London Electric Ballroom 
The Artist Formerly Known As The Artist Formerly Known As Prince, in a 800-capacity venue, for ten English pounds? Don't get me wrong, it was an excellent set from a supernaturally charismatic and talented motherfunker, but the fact he kept all his best material for the Johnny-come-latelys at the later performance did kinda screw over all of us who spent eight hours queuing in the pissing rain for the first one.

48. MUTUAL BENEFIT- London St. John on Bethnal Green Church
The clientele of this show may have been a bit "International Sad Man Conference 2014," but this gorgeous, subtle performance, somewhere between Radical Face and Stars of the Lid was one of this year's low-key highlights.

47. BOOKER T. JONES- Latitude Festival, Henham Park, Suffolk 
A lot of people take the piss out of Latitude - and rightly so- but these days I'd frankly much rather watch an effortlessly charming Stax legend perform the likes of "Green Onions" or "Soul Limbo" (A.K.A the BBC cricket song) than sit through yet another band who wants to be Pavement.

46. KATE BUSH- London Hammersmith Apollo 
A creatively stunning, brilliantly batshit but rather overlong piece of musical theatre from one of Britain's most endearing and eccentric performers.



45. THE NEW PORNOGRAPHERS- London Shepherd's Bush Empire 
A show wherein the New Pornographers competently rattled through their enviable catalogue of top-drawer power-pop - as they always do - but with the welcome addition of Dan Bejar looking vaguely nonplussed throughout.
 
44. BESNARD LAKES- London Lexington 
Don't let the fact the lead singer looks like Jimmy Savile put you off - few bands do Fleetwood Mac-inspired shoegaze better than these hard-working Québécois.

43. JULIA HOLTER- Latitude Festival, Henham Park 
Julia Holter's shows at the Barcelona Auditori and London Barbican were too clinical and prissy for my tastes, but her Latitude performance, late at night in a secluded woodland clearing lit only by fairy lights, really did sound like something from another world.

42. MOGWAI- London Royal Festival Hall 
Mogwai may fear Satan (and my God, that song almost pulverised my already-frazzled eardrums into sub-atomic oblivion), but they should be more concerned about the exceptionally small bladders prevalent amongst their fanbase. DRINK LESS REAL ALE, PEOPLE.

41. LAIBACH- London Village Underground 
Three and a half decades haven't blunted the Slovenian industrial band's taste for controversy (the visuals for their first three songs incorporated graphic fellatio, wartime imagery and space Nazis- rather like a Richard Littlejohn wet dream), but underneath the faux-fascistic bluster, they're a bunch of bleeding heart lefties who now sound more like latter-day The Knife than Rammstein.



40. YAMANTAKA//SONIC TITAN- Primavera Festival, Parc del Forum, Barcelona 
I personally suspect YT//ST's impressive mixture of Japanese traditional influences and balls-to-the-wall hard rock riffage was merely a pretext to summon Ramuh, eldritch God of Thunder, as seconds after they left the stage, the heavens opened and Barcelona was subjected to the most Biblical deluge I've endured since Glasto 2007.

39. WILDBIRDS AND PEACEDRUMS- London Village Underground 
As per Swedish constitutional law, Wildbirds and Peacedrums have taken a swerve into darker, R&B tinged electro-pop, which on the whole seems like a sensible move. But as beautifully bleak as their reworking of "My Heart" was, I couldn't help missing the steel drums and zithers of old.

38. FUTURE ISLANDS- Latitude Festival, Henham Park, Suffolk 
*gyrates in the fashion of a constipated crab*

37. KISHI BASHI- London Bush Hall 
Can't help but feel Kishi Bashi's full-band shows aren't quite as magical as his more spontaneous solo performances (less looping, less beat-boxing, less unadulterated filth), but by God, does he carry off a good cover of "Live Or Let Die."

36. CHARLES BRADLEY- London Shepherd's Bush Empire 
Charles Bradley: a once-homeless sexagenerian reborn as an soul man with the voice of James Brown and the moves of a drunken uncle. One of the most raw and passionate performers you ever will see.



35. THE FLAMING LIPS- RiotFest Festival, Humbolt Park, Chicago 
Sure, it's as style over substance as ever, and yeah, Wayne Coyne has now reached apocalyptic levels of messianic self-regard, but let's face it: for sheer, unrestrained, joyous spectacle few things can match a Flaming Lips gig.

34. VIOLENT FEMMES- London Troxy 
Some older bands, when reuniting to play material from their long-distant youth, expend the least amount of effort possible in doing so (ain't that right, Frank Black?) Violent Femmes, on the other hand looked like they were having the time of their lives, and ensured we did as well.

33. TONY ALLEN- London Village Underground 
Progenitor of Afrobeat, Fela Kuti/Damon Albarn collaborator and all-round cool dude brings some genuine class-A Nigerian funk to East London. One can only dream of being so bad-ass at the age of 74.

32. tUnE-YaRdS- London Village Underground 
Nothing will ever top the Cargo show a few years back, but I'm never going to turn down the opportunity to see the marvellous Merrill Garbus bringing her hyperactive musical vision to life.

31. CLAP YOUR HANDS SAY YEAH- London Electric Ballroom 
It's a shame the indie-rockers are considered also-rans these days, because they're an infinitely more enjoyable live act now than they ever were at their peak. In 2005 Alec Ounsworth had all the stage presence of a dead Tory accountant; now he's relaxed, charming and blessed with one of the most lively backing bands I've seen all year. Songs are alright too, I guess.


30. SINKANE- London Oslo 
If Yeasayer ditched the Animal Collective influences for Fela Kuti, they might be as catastrophically funky as Ahmed Gallab and his band. Bonus points for the William Onyeabor cover at the end.

29. FANG ISLAND- London Birthdays 
What I learnt from this gig is i) you can never have enough riffs and ii) you can't really accommodate three simultaneous crowdsurfers in a 200-capacity venue.

28. COLIN STETSON- London St John on Bethnal Green Church
How does Colin Stetson produce such an array of weird and otherworldly sounds from his saxo-mo-phone? Answer: he's a sorcerer and should be burnt.

27. WHO IS WILLIAM ONYEABOR?- London Barbican 
Who IS William Onyeabor? A Russian-trained Nigerian cinematographer? A religious evangelical? A businessman of slightly shady repute? Whatever the truth is, he put out some bloody amazing electro-funk records out back in the 70's and Damon Albarn, Sinkane, Money Mark, the drummer from LCD Soundsystem and Alexis from Hot Chip overall did a solid job in recreating them.. In truth, this probably wouldn't have made my Top 50 if it wasn't for the sheer celebratory exuberance of "Fantastic Man" and "When The Going Is Smooth And Good", but give me an average gig with one or two moments of absolute brilliance than one that is solid but unspectacular any day.

26. MELT YOURSELF DOWN- London Village Underground 
A ferociously dynamic mixture of jazz, no wave and central African rhythms underpinned by the irrepressible energy of Zun Zun Egui's Kushul Gaya and on this occasion, the slightly unnerving presence of no-wave pioneer James Chance.



25. OF MONTREAL- London Electric Ballroom 
The "Camden Crawl" incarnation of Of Montreal may have only had three people and no theatrics, but they more than made up for it by ignoring pretty much everything they've released since "Skeletal Lamping." Can't go wrong with a Sunlandic Twins/Hissing Fauna greatest hits set, right?

24. PATTI SMITH- RiotFest Festival, Humbolt Park, Chicago 
No "Gloria" or "Land" alas, but if there was a single person that summed up what RiotFest should have been about, it was Patti Smith who at 67, is more punk than a gazillion Offsprings put together.

23. JANELLE MONAE- London Brixton Academy 
A show that felt too small for the 3,000-capacity Brixton Academy, I'm frankly surprised that Janelle Monae isn't world-famous at this stage. The natural heir to Michael Jackson or Prince, her slick pop-funk, powerhouse vocals and impeccable stage presence makes her one of the few acts on this list I suspect would be enjoyed by normal people as much as me.

22. EELS- London Barbican 
From string-drenched classicalism, to gospel revivalism, to dour acoustic minimalism, to balls-to-the-wall rock and roll, it's hard to predict what tone a particular Eels tour will take. This time Mark "E" Everett, fresh from being granted "Freedom of the City of London," went for a richly orchestrated Leonard Cohen vibe, which worked fantastically with a setlist uncharacteristically filled with old-school hits. Sometimes respectability ain't such a bad thing.

21. AK/DK- London Lexington 
God knows what happened to Holy Fuck, but AK/DK sound a lot like them...but perhaps even better? Two drummers, synths, a lot of electronic gubbins and a 1940's oscillator because why the hell not, they're one of the best support acts I've seen in recent times.



20. THE FIRE! ORCHESTRA- London The Laundry 
If it wasn't for a mid-section of noodly free-form wank, this show by a 28-piece Swedish jazz orchestra may have been a contender for gig of the year. Mariam Wallentin's vocal talents never fail to send a shiver down my spine, but it was Sofia Jernberg, an impossibly versatile Ethiopian-born jazz singer who truly took my breath away.

19. SATELLITI- Latitude Festival, Henham Park, Suffolk 
If you ever find yourself at Latitude, I'd recommend moseying down to the "Late Junction" stage after the main headliners have finished, because more likely than not you're going to discover something brilliant. Case in point: Satelliti, an incredible Italian duo who fuse jazz, krautrock, noise and techno influences into something brutal and propulsive without devolving into self-indulgence.

18. NINE INCH NAILS- Primavera Festival, Parc del Forum, Barcelona 
Can't help but think Trent Reznor is essentially culpable for the existence of emo, but that notwithstanding, this really was a masterclass in how to do a headline slot. If it wasn't for the fact I was in a concrete exhibition park in the middle of Barcelona and it was 2am, I'd have gone and bought some black nail varnish right there and then.

17. THE HOLD STEADY- London Bush Hall 
My interest in the Hold Steady diminished rapidly after Franz Nicolay left, but I still couldn't bring myself to pass up the chance to see them in a venue as tiny as Bush Hall. And it appears even they've realised that their recent stuff is crap, as the setlist overwhelmingly drew from "Separation Sunday", "Boys And Girls In America" and "Stay Positive". Craig Finn was at his over-enthusiastic best, the audience treated the whole thing like a religious revival, and the encore of "Massive Nights", "Constructive Summer", "Hot Soft Light", "Stay Positive" and "Killer Parties" was SO AMAZING that it more than made up for the number of bruises I acquired.

16. TEETH OF THE SEA- Latitude Festival, Henham Park, Suffolk 
Yeah, it did feel slightly incongruous watching Teeth of the Sea in the middle of a forest, rather than an abandoned Peckham warehouse or the set from "The Running Man," but their uncompromising mix of electronics, brass and electronic guitar left nothing but burst eardrums and blown minds in their wake.



15. JEFFREY LEWIS- London Electric Ballroom 
I've seen Jeff Lewis a hell of a lot over the years, and this was one of the sharpest and wittiest shows I've ever seen him do. I mean, who else could get away with reciting a (fully illustrated) rhyme summarising the history of Vietnam in-between a ballad on his love for British cuisine and an ode to Russian feminist punks Pussy Riot without coming across like an utter jemble?

14. BO NINGEN- Raw Power Festival, Tufnell Park Dome, London 
BOOOOOOOOOOOOOOOOOOO! NINNNNNNNNNNNNNNNNNNNNNGEN! *flails around on stage, swings guitar around, unleashes massive psychedelic riff, destroys audience*

13. 65DAYSOFSTATIC- London Koko 
The Sheffield-based math-rockers have always been admirably cynical about rose-tinted nostalgia, but the 10 year anniversary of "The Fall of Math" reluctantly persuaded them to finally play their debut in full, to the net benefit of all concerned. "Retreat! Retreat!" nearly broke me; the encore of "Radio Protector" finished the job.

12. EZRA FURMAN- London Sebright Arms 
Springsteen reincarnated into the body of a nebbish, shrill-voiced youth. On paper, this should be awful. In reality, it's absolute genius. If you don't fall in love with his infectious enthusiasm, you're basically a UKIP voter.

11. ACID MOTHERS TEMPLE- Raw Power Festival, Tufnell Park Dome, London 
Acid Mothers Temple claim to be from Japan, but they are not of this Earth. They are ancient psych wizards from another dimension, sent to bombard the people of this accursed plane with waves of AWESOME EAR-SPLINTERING NOISE.



10. THE OCTOPUS PROJECT- London Lexington 
I've never seen a band blow up three separate pieces of equipment in a single set before, but perhaps the sheer brilliance of the Octopus Project cannot be bound within mere electronics? Also, they use a theremin and that is an awesome and beautiful thing.



9. ZA!- Primavera Festival, Parc del Forum, Barcelona 
 Za! are that rarest of beasts: a band that genuinely defies categorisation. My memories are a bit hazy as I did watch them at 4 in the morning, but the Barcelona duo's insane genre-hopping odyssey was a genuine marvel, incorporating Boredoms-esque noisiness, traditional Catalan folk songs, full-on Eurorave and everything in between.



8. OWEN PALLETT- London Oval Space 
Given I've seen the Artist Formerly Known as Final Fantasy in churches, fancy concert halls and on one occasion, surrounded by palm trees in the Californian desert, it seems odd that the best show I've ever seen him play took place in a converted industrial space in Hackney. But there you go.



7. NEUTRAL MILK HOTEL- London Roundhouse 
Neutral Milk Hotel are a disorganised, scrappy mess of a band, and Jeff Mangum looks like a murderous hobo with that stupid beard but nonetheless this was as close to a spiritual experience I'm likely to get until I inevitably join some Californian murder-cult.



6. SONS OF KEMET- Latitude Festival, Henham Park, Suffolk 
Combining the talents of Shabaka Hutchings (saxophonist for Melt Yourself Down), frizzy-haired drumlord Seb Rochford, another percussionist and a tuba player, Sons of Kemet's visceral fusion of hard jazz and Jamaican dancehall influences turned the intimate Lavish Lounge stage into an unrestrained dance party that included, for reasons as yet unfathomed, a stage invader with his own cowbell. Forget post-dubstep or whatever poncey genre the Dalstonites are pushing this week - drum and brass is where it’s at.



5. ST VINCENT- London Roundhouse 
I am certain that in years to come, Annie Clark will be considered one of the defining artists of our generation. As someone who first saw her back in 2007 playing a student union bar to less than 50 people, it's tremendous to see how a shy solo guitarist with a bunch of loop-pedals has become this imperious, theatrical, vital performer whose has honed her craft to near-perfection. There are those that would argue that parts of her current show are a bit stage-y (probably a result of hanging about with David Byrne too much), but that rendition of "Your Lips Are Red" are as potent an antidote to those complaints- or any complaints about anything whatsoever- as one could imagine.



4. JOHN GRANT- London Royal Festival Hall 
I generally find "gigs with instrumental ensembles" a bit disappointing, usually because they fail to gel with the regular band set-up or dilute the impact of the original compositions, but John Grant's collaboration with the Northern Sinfonia was an absolute triumph. Sure, sometimes he's too earnest for my tastes, but to hear "Queen of Denmark" and "Pale Green Ghosts" with full orchestral backing was to hear perfection. Line this guy up for the next Bond theme.



3. STEVIE WONDER- London Clapham Common 
I've been to nigh-on a thousand gigs and Stevie Wonder at Clapham Common may have contained the highest number of bona fide, stone-cold pophits out of all of them. "Signed, Sealed, Delivered." "My Cherie Amour." "Sir Duke." "Living For The City. " "I Wish." "Master Jammer." God-damn "Superstition." So brilliant, it almost made up for having to endure Jack Johnson, the musical equivalent of gonorrhoea and Nigel Farage combined.



2. SON LUX- London Lexington 
The last time an New York band blew me away so comprehensively as Son Lux was Battles in '07, and pretty much for the same reasons. True, they don't sound much alike, but they both marry originality and intelligence with a blistering, passionate, sublimely executed live performance that's quite unlike anything else out there. Hipster bollocks perhaps, but of the best possible vintage.


1. ARCADE FIRE- London Earls Court 
Never thought I'd experience a Arcade Fire gig like this again. The Suburbs tour saw the band going through the motions with songs so middling even I, Mr "I've seen AF 28 times" can't remember the names of them all. The early Reflektor shows were by and large a return to form, but the audiences were filled with teenagers who'd get excited about "Rococo" but would be oblivious to "Tunnels" (an overwhelming argument for the return of National Service if there ever was one.) But this...this show had the old magic. Everyone around me knew the words to the Funeral songs. The band seemed re-energised. There was a piñata, not to mention Ian McCulloch. And, of course, there was Here Comes The Night Time->Wake Up to wrap things up. It may not have been the most intimate or epoch-defining or even well-performed show I've seen this year, but it's certainly the one that gave me the most of a buzz, and that ain't to be sniffed at.

Photo credits:  
John Gleeson (St Vincent)
Matt Crossick (Sons of Kemet)

(For previous editions of this egotistical bollocks, here are the lists for 2006, 2007, 2008, 2009, 2010, 2011, 2012 and 2013.)

Saturday, December 13, 2014

THUS: OWLS (London Hoxton Bar & Kitchen, 04/12/14)

Pleasant, autoharp-wielding Swedish-Canadian outfit who had the misfortune of following an absolutely cracking run of gigs, and therefore seemed a little...tame in comparison. Deserved a bigger audience nonetheless.
OWEN PALLETT (London Queen Elizabeth Hall, 03/12/14)



Not quite as phenomenal as his Oval Space show earlier this year (personally, I thought he seemed a bit tired) but the Man Formerly Known As Final Fantasy's experimentation with an ensemble resulted in some stunning moments, not least the live première of "On A Path."
THE NEW PORNOGRAPHERS (London Shepherd's Bush Empire, 02/12/14)



The nice thing about New Pornos gigs is that you always know what you're going to get- a satisfying, no frills performance of some bloody fantastic songs that covers all the bases without being truly spectacular. The only novel addition to the mix was the appearance of the ever-enigmatic Dan Bejar, who as always looked like he'd rather be dipping his ballsack in molten wax than performing on stage. Never change, Bejar.
SINKANE (London Oslo, 01/12/14)


Why isn't all music this catastrophically funky? Sinkane sound like Yeasayer if they ditched the Animal Collective influences for Fela Kuti, and that, in my books, is an instant recipe for awesome. Plus, he covered William Onyeabor's "Body and Soul" in the encore, an act almost calculated to get me on-side.
JOHN GRANT (London Royal Festival Hall, 30/11/14)
 

John Grant has never been one of my favourite artists. He's got some brilliant songs but also a lot of filler, and I find his style a little too earnest for my tastes. But this...this was a gig for the ages. Collaborations with orchestras almost inevitably fail to live up to expectations, but the Northern Sinfonia absolutely nailed it, transforming Grant's arch, deeply personal synth-pop into gloriously rich, ostentatious epics worthy of a Bond film. True, sometimes not even their luscious orchestrations could elevate some of his more humdrum output, but the renditions of "Queen of Denmark", "Glacier" and "Pale Green Ghosts" were serious contenders for my musical highlight of the year.
JULIA HOLTER (London Barbican, 29/11/14)


In many ways, Julia Holter's music is the musical equivalent of a Wes Anderson film: studied, quirky and occasionally genius. Sometimes it clicks for me- in the middle of a woodland clearing at 10 in the evening, with the arena lit only by fairy lights, it sounded like something from another world. On other occasions, like tonight, it fails to fully connect- it's all a bit too clinical, washed out, prissy. She's inarguably a singular talent, but I think she's one I really need to be in the mood for to appreciate.
MARTHA WAINWRIGHT (London Queen Elizabeth Hall, 27/11/14)

For many years Martha Wainwright has been pretty much the only artist I can watch perform with just an acoustic guitar who doesn't make me want to shoot myself. She's got a great voice, great songs and a casual self-depreciating charm that's incredibly endearing. Unfortunately, she also has a Wayne Coyne-ish tendency to self-indulgence, which particularly came to the fore tonight. Whilst the musical portion of the set was superb, at least a third of the running time seemed to involve her chatting about whatever came to mind, trying to co-ordinate arrangements with varied family members or looking after her son Arcangelo (whose cameo at last year's Union Chapel show was admittedly incredibly cute, but didn't last for 45 minutes like on this occasion.) It was all too much, even for a fan of her eccentric ways, and it's a shame it distracted from what was otherwise an excellent performance.
TONY ALLEN (London Village Underground, 20/11/14)

Review: HERE
OUGHT (London Scala, 19/11/14)

  Energetic Canadian art-punks. Probably something I would have enjoyed more when I was younger, when I wasn't burnt out on indie kids with guitars.