Once again, Franz Ferdinand and Sparks prove that collaborations certainly DO work. They even brought joy to the Kentish Town Forum, which is a miracle far greater than anything Jesus accomplished.
Sunday, September 27, 2015
THE POLYPHONIC SPREE (London Electric Ballroom, 03/09/15)
Texas' foremost pseudo-cultish music ensemble may be diminished from their mid-Noughties heyday (only fifteen members rather than thirty), but their rushed demo-turned-unexpected indie hit "The Beginning Stages Of..." remains one of the most uplifting collections of songs released in my lifetime, and it was an absolute joy to see it performed in its entirety. The second half, drawing on newer material, suffered from moments of self-indulgence (Tim DeLaughter sometimes doesn't know where to end a song) but nonetheless, for sheer happiness induced, this may well have been my show of the year.
Texas' foremost pseudo-cultish music ensemble may be diminished from their mid-Noughties heyday (only fifteen members rather than thirty), but their rushed demo-turned-unexpected indie hit "The Beginning Stages Of..." remains one of the most uplifting collections of songs released in my lifetime, and it was an absolute joy to see it performed in its entirety. The second half, drawing on newer material, suffered from moments of self-indulgence (Tim DeLaughter sometimes doesn't know where to end a song) but nonetheless, for sheer happiness induced, this may well have been my show of the year.
SUFJAN STEVENS (London Royal Festival Hall, 02/09/15)
When I went to Copenhagen to see Mr Stevens for the first time, I described it as "one of the most riveting, over-the-top, luscious live performances I've ever seen." Needless to say, that was on the "Age of Adz" tour, which was a bit of an outlier as Sufjan albums go. This time around, as he promotes an album about the recent death of his estranged mother, things are naturally significantly more subdued. It was certainly a stunningly beautiful performance, with some of the most impressive lighting I've seen at a gig, yet....for some reason it didn't really connect with me. In fact, my highlight was the long noisey done, featuring pipe organ courtesy of Nico Muhly, at the tail-end of "Blue Bucket Of Gold" mostly because it was so at odds with the rest of the set. An excellent show by any benchmark, but alas, not the all-time classic others have declared it to be.
When I went to Copenhagen to see Mr Stevens for the first time, I described it as "one of the most riveting, over-the-top, luscious live performances I've ever seen." Needless to say, that was on the "Age of Adz" tour, which was a bit of an outlier as Sufjan albums go. This time around, as he promotes an album about the recent death of his estranged mother, things are naturally significantly more subdued. It was certainly a stunningly beautiful performance, with some of the most impressive lighting I've seen at a gig, yet....for some reason it didn't really connect with me. In fact, my highlight was the long noisey done, featuring pipe organ courtesy of Nico Muhly, at the tail-end of "Blue Bucket Of Gold" mostly because it was so at odds with the rest of the set. An excellent show by any benchmark, but alas, not the all-time classic others have declared it to be.
TV ON THE RADIO (London Roundhouse, 30/08/15)
It's easy to forget how many fucking great songs TV On The Radio have put out over the years, and tonight Tunde Adebimpe delivered them with such taut, blistering energy that it made up for the fact the last two albums have been lacklustre by their standards. Also, the sound mix was actually better than "dogshit" (the traditional level for a TVOTR show) so you could actually hear Kyp's vocals for once. A winner all round.
It's easy to forget how many fucking great songs TV On The Radio have put out over the years, and tonight Tunde Adebimpe delivered them with such taut, blistering energy that it made up for the fact the last two albums have been lacklustre by their standards. Also, the sound mix was actually better than "dogshit" (the traditional level for a TVOTR show) so you could actually hear Kyp's vocals for once. A winner all round.
DEERHOOF (London Tufnell Park Dome, 25/08/15)
After 21 years, Deerhoof still sound like no-one else. Some would argue that's a good thing, but in my opinion their quirky jazz/noise/rock weirdness is more exhilarating than 99% of bands out there, even when tempered with Greg's interminable attempts at banter.
After 21 years, Deerhoof still sound like no-one else. Some would argue that's a good thing, but in my opinion their quirky jazz/noise/rock weirdness is more exhilarating than 99% of bands out there, even when tempered with Greg's interminable attempts at banter.
GREEN MAN FESTIVAL (Glanusk Park, 20/08/15-23/08/15)
I led a Dan Deacon dance-off in front of several thousand people. I experienced Natalie Prass' brave but fruitless defense against Powys' impressive wasp population. I saw Calexico bring their dusty, Mariachi-infused Americana to a wet, soggy field in the middle of Wales. I witnessed 91-year old Marshall Allen from Sun Ra ignore set curfews and continue playing until the power was cut. I was made pregnant by Charles Bradley as the sun disappeared behind the mountains. I had my socks charmed off by effervescent Norwegian popster Aurora. I felt my breath taken away by the genius of Son Lux. I flitted between the stark drama of St Vincent in her pomp and the lush, looped strings of Owen Pallett. And most of all, I got very, very wet. Green Man, you're alright.
I led a Dan Deacon dance-off in front of several thousand people. I experienced Natalie Prass' brave but fruitless defense against Powys' impressive wasp population. I saw Calexico bring their dusty, Mariachi-infused Americana to a wet, soggy field in the middle of Wales. I witnessed 91-year old Marshall Allen from Sun Ra ignore set curfews and continue playing until the power was cut. I was made pregnant by Charles Bradley as the sun disappeared behind the mountains. I had my socks charmed off by effervescent Norwegian popster Aurora. I felt my breath taken away by the genius of Son Lux. I flitted between the stark drama of St Vincent in her pomp and the lush, looped strings of Owen Pallett. And most of all, I got very, very wet. Green Man, you're alright.
Sunday, August 16, 2015
VISIONS FESTIVAL (Various Hackney Venues, 08/08/15)
If you like queues, Visions is the festival for you. If you do not like queues, you may want to proceed with caution. To be fair, what I saw was very good, especially Jens Lekman's twee dance party in St John-at-Hackney Church and Holy Fuck's much sweatier dance party down at Oval Space, but overall I spent almost much time moaning with my fellow punters outside venues than actually watching bands.
If you like queues, Visions is the festival for you. If you do not like queues, you may want to proceed with caution. To be fair, what I saw was very good, especially Jens Lekman's twee dance party in St John-at-Hackney Church and Holy Fuck's much sweatier dance party down at Oval Space, but overall I spent almost much time moaning with my fellow punters outside venues than actually watching bands.
FUNKADELIC (London Camden Ballroom, 07/08/15)
I'm going to be honest here- Funkadelic have never quite lived up to my expectations live. I love their chaos, I love their character, I love the goddamn funk but sometimes they're just too messy to truly groove. And despite being in a venue with a decent soundsystem for once, the turgid sound-mix did not inspire me to get off my ass and jam. Plus, they didn't play The Best Guitar Instrumental Of All Time, an act worthy of Sir Nose D'voidoffunk himself.
I'm going to be honest here- Funkadelic have never quite lived up to my expectations live. I love their chaos, I love their character, I love the goddamn funk but sometimes they're just too messy to truly groove. And despite being in a venue with a decent soundsystem for once, the turgid sound-mix did not inspire me to get off my ass and jam. Plus, they didn't play The Best Guitar Instrumental Of All Time, an act worthy of Sir Nose D'voidoffunk himself.
SON LUX (London Rough Trade East, 07/08/15)
Usually I don't review in-stores, but Son Lux truly is something special. From their unusual sound- a hybrid of trip-hop, R&B and indie-rock, to their strange, poised energy their live performances are some of the most spine-tinglingly brilliant I've seen over the last few years. And whilst you might get the impression from their albums that Ryan Lott may be somewhat of an unapproachable, humourless type, on stage he's quite the opposite- down-to-earth and appreciative of even this modest audience. They deserve to be much bigger.
Usually I don't review in-stores, but Son Lux truly is something special. From their unusual sound- a hybrid of trip-hop, R&B and indie-rock, to their strange, poised energy their live performances are some of the most spine-tinglingly brilliant I've seen over the last few years. And whilst you might get the impression from their albums that Ryan Lott may be somewhat of an unapproachable, humourless type, on stage he's quite the opposite- down-to-earth and appreciative of even this modest audience. They deserve to be much bigger.
ANAMANAGUCHI (London XOYO, 04/08/15)
A short, sweet and oh-so-sweaty set from the chiptune masters, whose glistening synth-pop and neon aesthetics are the musical equivalent of downing three gallons of sherbet. And yet even they seemed relatively reserved compared to the utterly bonkers Kero Kero Bonito, who vibe is best described as halfway between "Harajuku" and "CBeebies".
A short, sweet and oh-so-sweaty set from the chiptune masters, whose glistening synth-pop and neon aesthetics are the musical equivalent of downing three gallons of sherbet. And yet even they seemed relatively reserved compared to the utterly bonkers Kero Kero Bonito, who vibe is best described as halfway between "Harajuku" and "CBeebies".
THE EARLIES (London Shacklewell Arms, 31/07/15)
When I was at Uni I discovered a wonderful half-Texan, half-Mancunian outfit named the Earlies, who combined 60's West Coast harmonies with psychedelic prog (and roughly several hundred instruments). Their live shows were always blissful, and I was deeply saddened when they disappeared into obscurity somewhere in the middle of '07. So you can only imagine my delight when I discovered they had not only reunited for a one-off tour, but that their London date coincided with my 30th birthday.
And what a show it was. Not only did they manage to get the whole 11-piece live band back together (quite a feat given the dimensions of the Shacklewell stage) but they still had that old magic, despite their self-depreciating stage patter. I actually have a greater appreciation of their more outre, abrasive material now than I did in 2006, but it was the likes of "One Of Us Is Dead" that really underlined to all present what a criminally underrated band they were. If this is truly the end for the Earlies, it was a fine note to bow out on - but if it isn't, let's hope we don't have to wait 'til 2023 for the next time.
When I was at Uni I discovered a wonderful half-Texan, half-Mancunian outfit named the Earlies, who combined 60's West Coast harmonies with psychedelic prog (and roughly several hundred instruments). Their live shows were always blissful, and I was deeply saddened when they disappeared into obscurity somewhere in the middle of '07. So you can only imagine my delight when I discovered they had not only reunited for a one-off tour, but that their London date coincided with my 30th birthday.And what a show it was. Not only did they manage to get the whole 11-piece live band back together (quite a feat given the dimensions of the Shacklewell stage) but they still had that old magic, despite their self-depreciating stage patter. I actually have a greater appreciation of their more outre, abrasive material now than I did in 2006, but it was the likes of "One Of Us Is Dead" that really underlined to all present what a criminally underrated band they were. If this is truly the end for the Earlies, it was a fine note to bow out on - but if it isn't, let's hope we don't have to wait 'til 2023 for the next time.
EZRA FURMAN (London Abbey Road Studios, 30/07/15)
It's not like I'm obsessed with everyone's favourite transgender Springsteen-channelling Jew, but this is the fourth time I've seen him perform live in 2015. Tonight's show is a bit of an oddity as it's actually a recording for a live EP at the prestigious Abbey Road Studios, and as a result it's much more mannered than your typically unhinged Boyfriends gig. But despite Ezra being frazzled by an uncomfortable radio interview earlier that day, the band still put on one hell of a performance, dusting off under-appreciated gems from their back catalogue as well as "Lousy Connection" et al. The perfect pick-me-up on an otherwise awful day.
It's not like I'm obsessed with everyone's favourite transgender Springsteen-channelling Jew, but this is the fourth time I've seen him perform live in 2015. Tonight's show is a bit of an oddity as it's actually a recording for a live EP at the prestigious Abbey Road Studios, and as a result it's much more mannered than your typically unhinged Boyfriends gig. But despite Ezra being frazzled by an uncomfortable radio interview earlier that day, the band still put on one hell of a performance, dusting off under-appreciated gems from their back catalogue as well as "Lousy Connection" et al. The perfect pick-me-up on an otherwise awful day.
Sunday, July 19, 2015
SONS OF KEMET (London Lloyd Park, 18/07/15)
Shabaka Hutchings may appear to be involved with every other band in London at the moment, but Sons of Kemet may well be the best. Sax, tuba and two drums (one played by the mighty Seb Rochford), and a down and dirty post-jazz vibe that gets the whole of Walthamstow dancing. Awesome stuff for Awesome-stow.
Shabaka Hutchings may appear to be involved with every other band in London at the moment, but Sons of Kemet may well be the best. Sax, tuba and two drums (one played by the mighty Seb Rochford), and a down and dirty post-jazz vibe that gets the whole of Walthamstow dancing. Awesome stuff for Awesome-stow.
PIKA (London Brixton Windmill, 16/07/15)
Fresh from eviscerating my eardrums with the mighty ACID MOTHERS TEMPLE a couple of weeks back, Pika's solo show is also worth a gander. Her solo guitar material is rough-edged yet kawaii, but its her noisy improvised sets with assorted other musicians that proves the real draw.
Fresh from eviscerating my eardrums with the mighty ACID MOTHERS TEMPLE a couple of weeks back, Pika's solo show is also worth a gander. Her solo guitar material is rough-edged yet kawaii, but its her noisy improvised sets with assorted other musicians that proves the real draw.
EZRA FURMAN (w/ Guildford Boileroom, 08/07/15)
Once again an awkward, queer Jewish guy channeling Lou Reed and Bruce Springsteen puts on one of the scintillating live sets you ever will see. True, the Boileroom more than lived up to its name, but the oppressive humidity didn't put a dampener on Ezra and the Girlfriends' peerless energy and verve.
Once again an awkward, queer Jewish guy channeling Lou Reed and Bruce Springsteen puts on one of the scintillating live sets you ever will see. True, the Boileroom more than lived up to its name, but the oppressive humidity didn't put a dampener on Ezra and the Girlfriends' peerless energy and verve.
FFS (London Troxy, 29/06/15)
Despite their protestations that collaborations don't work, Franz Ferdinand and Sparks turn out to be a match made in heaven. Ron Mael still is the most terrifying man alive, Russell Mael has more energy in his late 60's than I do in my late 20's, and the whole set, from the Sparksified version of "Michael" to the camp majesty of "Achoo" is an arch, tongue-in-cheek delight from start to finish.
Despite their protestations that collaborations don't work, Franz Ferdinand and Sparks turn out to be a match made in heaven. Ron Mael still is the most terrifying man alive, Russell Mael has more energy in his late 60's than I do in my late 20's, and the whole set, from the Sparksified version of "Michael" to the camp majesty of "Achoo" is an arch, tongue-in-cheek delight from start to finish.
BOREDOMS (London Barbican, 27/06/15)
DID YOU KNOW: sitting a few feet from 88 people hammering cymbals in unison may be something you may want experience with earplugs wedged firmly in your earholes? In truth, this wasn't the greatest Boredoms show I've ever seen- it was overlong at 140 minutes, and cymbals are pretty limited as an instrument even in that sort of quantity, but goddamn, when it was good, it was truly transcendent. Particularly enjoyed the bit when it all went a bit Geinoh Yamashirogumi in the middle. DOOM! DOOM! DOOM!
DID YOU KNOW: sitting a few feet from 88 people hammering cymbals in unison may be something you may want experience with earplugs wedged firmly in your earholes? In truth, this wasn't the greatest Boredoms show I've ever seen- it was overlong at 140 minutes, and cymbals are pretty limited as an instrument even in that sort of quantity, but goddamn, when it was good, it was truly transcendent. Particularly enjoyed the bit when it all went a bit Geinoh Yamashirogumi in the middle. DOOM! DOOM! DOOM!
ALDEN PENNER AND MICHAEL CERA (London 100 Club, 23/06/15)
Scott Pilgrim Vs. The Ability To Hit A Note. Michael Cera is fine when playing bass guitar, or playing some socially awkward man-child, but he really should have left the songwriting/singing to the Unicorns frontman. They didn't even play "Careless Whisper". :-(
Scott Pilgrim Vs. The Ability To Hit A Note. Michael Cera is fine when playing bass guitar, or playing some socially awkward man-child, but he really should have left the songwriting/singing to the Unicorns frontman. They didn't even play "Careless Whisper". :-(
THE GO! TEAM (London Village Underground, 17/06/15)
I first saw The Go! Team in 2005 and they were shit, so I'm glad to report they've improved immensely over the last decade. That might because maestro Ian Parton wrote the new albums to fit the live set-up better, but it's also because Ninja and co. have finally matched the energy that made the likes of "Huddle Formation" and "Ladyflash" so infectious in the first place.
I first saw The Go! Team in 2005 and they were shit, so I'm glad to report they've improved immensely over the last decade. That might because maestro Ian Parton wrote the new albums to fit the live set-up better, but it's also because Ninja and co. have finally matched the energy that made the likes of "Huddle Formation" and "Ladyflash" so infectious in the first place.
LITURGY (London Electrowerkz, 12/06/15)
Review: HERE
(Also, more importantly: Circuit des Yeux's haunting, Nico-ish songwriting was a lot more compelling than what I was sent to review. Very dark and atmospheric)
Review: HERE
(Also, more importantly: Circuit des Yeux's haunting, Nico-ish songwriting was a lot more compelling than what I was sent to review. Very dark and atmospheric)
PERFUME GENIUS (London Royal Festival Hall, 11/06/15)
Glad to see Mike Hadreas has got over his stage fright, and his darker, more dramatic new material does have its merits, but for some reason, Perfume Genius still hasn't really clicked for me. At least I didn't fall asleep halfway through this time.
Glad to see Mike Hadreas has got over his stage fright, and his darker, more dramatic new material does have its merits, but for some reason, Perfume Genius still hasn't really clicked for me. At least I didn't fall asleep halfway through this time.
FIELD DAY (London Victoria Park, 06/06/15-07/06/15)
Patti Smith performed one of the best albums ever with more energy than most a third of her age, Mac de Marco crowdsurfed halfway across Victoria Park, Savages and Ex Hex out-rocked half-a-dozen generic garage rock bands, Owen Pallett did his loop-pedallin' thang, Toumani Diabate and son laid on the Malian grooves with aplomb and I didn't get arrested for grievous bodily harm against the confederacy of fuckwits Field Day calls an audience. A not entirely disastrous weekend
Patti Smith performed one of the best albums ever with more energy than most a third of her age, Mac de Marco crowdsurfed halfway across Victoria Park, Savages and Ex Hex out-rocked half-a-dozen generic garage rock bands, Owen Pallett did his loop-pedallin' thang, Toumani Diabate and son laid on the Malian grooves with aplomb and I didn't get arrested for grievous bodily harm against the confederacy of fuckwits Field Day calls an audience. A not entirely disastrous weekend
Sunday, May 31, 2015
MATT AND KIM (London Heaven, 28/05/15)
I suspect I'm a little too old to be attending Matt & Kim gigs now I'm approaching the big three-o, but their frantic synth-pop parties nonetheless provided a much-needed injection of unflagging energy into my ageing bones. Thought better than trying to crowdsurf though...
I suspect I'm a little too old to be attending Matt & Kim gigs now I'm approaching the big three-o, but their frantic synth-pop parties nonetheless provided a much-needed injection of unflagging energy into my ageing bones. Thought better than trying to crowdsurf though...
BATTLES (London Tufnell Park Dome, 27/05/15)
The avant-garde Brooklynites are a bit out of practice after a couple of years off the road, but there's nothing like watching John Stanier pummel the literal fuck out of a drum (not to mention his absurdly lofty hi-hat) to reinvigorate one's love of live music. As my Swedish friend once succinctly summed them up, "FUCKING BATTLES! BOOM BOOM BOOM!"
The avant-garde Brooklynites are a bit out of practice after a couple of years off the road, but there's nothing like watching John Stanier pummel the literal fuck out of a drum (not to mention his absurdly lofty hi-hat) to reinvigorate one's love of live music. As my Swedish friend once succinctly summed them up, "FUCKING BATTLES! BOOM BOOM BOOM!"
THE JULIE RUIN (London Electric Ballroom, 26/05/15)
Not everyone can carry off the "sparkly leotard" look, but then again not everyone is as much of a boss as Kathleen Hanna. Yeah, the rest of the Julie Ruin are pretty cool with their frenzied synth-heavy feminist punk-rock, but it's the ever-effervescent presence of one of the original Riot Grrrls that makes this show so damn fun.
Not everyone can carry off the "sparkly leotard" look, but then again not everyone is as much of a boss as Kathleen Hanna. Yeah, the rest of the Julie Ruin are pretty cool with their frenzied synth-heavy feminist punk-rock, but it's the ever-effervescent presence of one of the original Riot Grrrls that makes this show so damn fun.
EZRA FURMAN (London Lexingon, 21/05/15)
If Jonathan Richman and Bruce Springsteen were somehow genetically spliced during a catastrophic teleportation accident, Ezra Furman may be the happy result. His voice is nasal, his persona nebbish, but what stage presence! What energy! What songs! And that closing cover of Jackie Wilson's "Higher" was one of those sublime communal experiences that I've perhaps experienced only a dozen times over 1000 gigs. Simply brilliant.
If Jonathan Richman and Bruce Springsteen were somehow genetically spliced during a catastrophic teleportation accident, Ezra Furman may be the happy result. His voice is nasal, his persona nebbish, but what stage presence! What energy! What songs! And that closing cover of Jackie Wilson's "Higher" was one of those sublime communal experiences that I've perhaps experienced only a dozen times over 1000 gigs. Simply brilliant.
LUBOMYR MELNYK (London Cafe Oto, 17/05/15)
Lubomyr Melnyk is a pretty odd guy, perhaps a little too in love with his self-professed genius to truly connect with, but there's no denying an master on the ivories. There's moments where his performance threatens to descends into self-indulgence, but the closing 45-minute piece "Windmills", making the utmost of his shimmering "continuous playing" style is one of the most beautiful things I've ever heard in concert.
Lubomyr Melnyk is a pretty odd guy, perhaps a little too in love with his self-professed genius to truly connect with, but there's no denying an master on the ivories. There's moments where his performance threatens to descends into self-indulgence, but the closing 45-minute piece "Windmills", making the utmost of his shimmering "continuous playing" style is one of the most beautiful things I've ever heard in concert.
Saturday, May 09, 2015
HAIKU SALUT (London St Pancras Old Church, 07/05/15)
The seats in the Old Church may have been almost as painful as the political news that awaited us on our departure, but for just under an hour we were able to forget the woes of the outside world with a typically delightful set of glitchy, twinkly multi-instrumental loveliness from the Derbyshire three-piece.
The seats in the Old Church may have been almost as painful as the political news that awaited us on our departure, but for just under an hour we were able to forget the woes of the outside world with a typically delightful set of glitchy, twinkly multi-instrumental loveliness from the Derbyshire three-piece.
Sunday, May 03, 2015
SCREAMING FEMALES (Brighton Hope & Ruin, 19/04/15)
Few bands are good enough for me to bother to travel to the south coast for, but Marissa Paternoster
and the two other guys no-one really cares about are one of that rare breed. They only played for 50 minutes all said and done, but they packed it with enough guitar riffage to last a lifetime.
Few bands are good enough for me to bother to travel to the south coast for, but Marissa Paternoster
and the two other guys no-one really cares about are one of that rare breed. They only played for 50 minutes all said and done, but they packed it with enough guitar riffage to last a lifetime.
COLIN STETSON AND SARAH NEUFELD (London Islington Assembly Hall, 17/04/15)
As previously recounted , it is my sincere belief that Colin Stetson is some kind of wizard and we should probably burn him on the stake before it's too late. What he does with just three saxophones and some strategically-placed microphones falls somewhere beyond the laws of nature, coaxing out sounds and timbres that shouldn't be possible. And with the addition of the moderating influence of Sarah Neufeld's warm, complex string arrangements, his compositions are lent an emotional heft to match their technical prowess. Incredible.
As previously recounted , it is my sincere belief that Colin Stetson is some kind of wizard and we should probably burn him on the stake before it's too late. What he does with just three saxophones and some strategically-placed microphones falls somewhere beyond the laws of nature, coaxing out sounds and timbres that shouldn't be possible. And with the addition of the moderating influence of Sarah Neufeld's warm, complex string arrangements, his compositions are lent an emotional heft to match their technical prowess. Incredible.
Subscribe to:
Posts (Atom)