Review: HERE
Thursday, July 10, 2014
ARCADE FIRE (London Earls Court, 06/06/14-07/06/14)
To be honest, I thought the days where Arcade Fire's shows were something to rave about were long past. Sure, the Suburbs tour featured the likes of "Tunnels" and "Wake Up" so they couldn't be all bad, but the magic was certainly starting to wane. But the Reflektor tour, for the most part, has been a real return to form. Sure, they still persist in playing fucking "Rococo", but a Funeral-heavy setlist, juxtaposed with the best tracks from the new album (plus a sprinkling of Neon Bible, an LP they pretty much excised in the last tour) and an impressive stage setup worthy of their new arena-filling status resulted in what was undoubtedly the most out-and-out enjoyable gigs I've seen in a very long time.
To be honest, I thought the days where Arcade Fire's shows were something to rave about were long past. Sure, the Suburbs tour featured the likes of "Tunnels" and "Wake Up" so they couldn't be all bad, but the magic was certainly starting to wane. But the Reflektor tour, for the most part, has been a real return to form. Sure, they still persist in playing fucking "Rococo", but a Funeral-heavy setlist, juxtaposed with the best tracks from the new album (plus a sprinkling of Neon Bible, an LP they pretty much excised in the last tour) and an impressive stage setup worthy of their new arena-filling status resulted in what was undoubtedly the most out-and-out enjoyable gigs I've seen in a very long time.
PRIMAVERA SOUND FESTIVAL (Barcelona Parc del Forum, 29/05/14-01/06/14)
A long overdue return to Catalunya for another round of Primavera Sound, and what a doozy it was. Colin Stetson with his saxamophone, Neutral Milk Hotel->St Vincent->Queens of the Stone Age->Arcade Fire providing my own personal indie jukebox, Nic Offer's godless gyrating, Trent Reznor's intense emoting, Yamantaka//Sonic Titan summoning eldritch gods of rain, Sean Kuti's melding of A-grade Afrofunk and anti-neoliberalist ranting, Za! providing the glorious middle-ground between Boredoms and a.P.A.t.T I was unaware I so fervently needed and a frankly unwise quantity of absinthe. Still not got over the lack of pizza cones though.
A long overdue return to Catalunya for another round of Primavera Sound, and what a doozy it was. Colin Stetson with his saxamophone, Neutral Milk Hotel->St Vincent->Queens of the Stone Age->Arcade Fire providing my own personal indie jukebox, Nic Offer's godless gyrating, Trent Reznor's intense emoting, Yamantaka//Sonic Titan summoning eldritch gods of rain, Sean Kuti's melding of A-grade Afrofunk and anti-neoliberalist ranting, Za! providing the glorious middle-ground between Boredoms and a.P.A.t.T I was unaware I so fervently needed and a frankly unwise quantity of absinthe. Still not got over the lack of pizza cones though.
THE OCTOPUS PROJECT (London Lexington, 26/05/14)
Not only did the Octopus Project, a more psychedelic Holy Fuck with added theremin, manage to blow up three separate bits of equipment tonight, they also succeeded in blowing our minds. God knows why the Austin band remains under the radar for so many, but their propulsive onslaught of percussive electronica never fails to seriously impress.
Not only did the Octopus Project, a more psychedelic Holy Fuck with added theremin, manage to blow up three separate bits of equipment tonight, they also succeeded in blowing our minds. God knows why the Austin band remains under the radar for so many, but their propulsive onslaught of percussive electronica never fails to seriously impress.
NEUTRAL MILK HOTEL(London Roundhouse, 22/05/13-23/05/14)
First night, stood at the back, pretty underwhelmed. Second night, got to the front barrier, absolutely loved it. Truth is, Neutral Milk Hotel aren't a particularly well-rehearsed or exceptional live band, which given I've waited a decade to see them isn't something I hoped I'd have to say. With the exception of Jeff Mangum's abrasive yet remarkably powerful vocals, they're mostly carried by their enthusiasm and the audience response to their deservedly revered catalogue of songs. That explains why the experience was so much better from close-up, where the regular failure to keep in time didn't matter as much as the fact I was surrounded by hundreds of other fans singing "In The Aeroplane Over The Sea" at the top of their voices. Don't think anyone could accuse this of being a masterclass in performance, but as a chance to join in a communal singalong of some of my favourite songs of all time it was pretty unimpeachable.
First night, stood at the back, pretty underwhelmed. Second night, got to the front barrier, absolutely loved it. Truth is, Neutral Milk Hotel aren't a particularly well-rehearsed or exceptional live band, which given I've waited a decade to see them isn't something I hoped I'd have to say. With the exception of Jeff Mangum's abrasive yet remarkably powerful vocals, they're mostly carried by their enthusiasm and the audience response to their deservedly revered catalogue of songs. That explains why the experience was so much better from close-up, where the regular failure to keep in time didn't matter as much as the fact I was surrounded by hundreds of other fans singing "In The Aeroplane Over The Sea" at the top of their voices. Don't think anyone could accuse this of being a masterclass in performance, but as a chance to join in a communal singalong of some of my favourite songs of all time it was pretty unimpeachable.
OWEN PALLETT (London Oval Space, 21/05/14)
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 one of the best shows I've seen him play took place in a converted industrial space in Hackney. But there you go. His new material sounded great ("The Riverbed" has an almost post-rock brutality about it), the older material even better ("Lewis Takes Off His Shirt"! "This Lamb Sells Condos"! "This Is The Dream Of Win And Regine"! "Song Song Song"!) and Owen seemed to be thoroughly enjoying himself, which wasn't the case the last time he played London. A blinder of a show.
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 one of the best shows I've seen him play took place in a converted industrial space in Hackney. But there you go. His new material sounded great ("The Riverbed" has an almost post-rock brutality about it), the older material even better ("Lewis Takes Off His Shirt"! "This Lamb Sells Condos"! "This Is The Dream Of Win And Regine"! "Song Song Song"!) and Owen seemed to be thoroughly enjoying himself, which wasn't the case the last time he played London. A blinder of a show.
EZRA FURMAN (London 100 Club, 19/05/14)
Why would you pay money for a gig just to chat through the whole damn thing? It's a question I had to ask myself several times tonight, as a typically spirited performance from Ezra and his Boyfriends was repeatedly ruined by the London Dickhead Fraternity. The sooner a swift crowbar to the kneecap is introduced as a legitimate response to this sort of thing, the better.
Why would you pay money for a gig just to chat through the whole damn thing? It's a question I had to ask myself several times tonight, as a typically spirited performance from Ezra and his Boyfriends was repeatedly ruined by the London Dickhead Fraternity. The sooner a swift crowbar to the kneecap is introduced as a legitimate response to this sort of thing, the better.
WHITE HINTERLAND (London Birthdays, 14/05/14)
The problem for artists as quirky and complex as Casey Dienel is that their music always doesn't lend itself to being performed solo. In fairness, she made a decent stab and she's certainly a charismatic presence, but her beguiling Bjorkishness didn't come across as effectively as I'd hoped.
The problem for artists as quirky and complex as Casey Dienel is that their music always doesn't lend itself to being performed solo. In fairness, she made a decent stab and she's certainly a charismatic presence, but her beguiling Bjorkishness didn't come across as effectively as I'd hoped.
Wednesday, May 14, 2014
tUnE-YaRdS (London Village Underground, 12/05/14)
The marvellous Merrill Garbus' latest album may not be quite as instant as the fantastic "whokill", but her live prowess remains diminished. Her band seemed rather superfluous last tour, adding little to her breathtaking musical talents but they're much tighter this time round, adding extra layers of density to her heady, brilliantly eccentric mix of afrobeat, R&B and indiepop. A couple of the new songs don't quite hit the mark, but the others sparkle with humour and vitality - and "Powa" remains one of the greatest songs of the decade so far.
The marvellous Merrill Garbus' latest album may not be quite as instant as the fantastic "whokill", but her live prowess remains diminished. Her band seemed rather superfluous last tour, adding little to her breathtaking musical talents but they're much tighter this time round, adding extra layers of density to her heady, brilliantly eccentric mix of afrobeat, R&B and indiepop. A couple of the new songs don't quite hit the mark, but the others sparkle with humour and vitality - and "Powa" remains one of the greatest songs of the decade so far.
JULIANNA BARWICK (London Elgar Room, 10/05/14)
Julianna Barwick's stunningly ethereal looped vocals are beautiful to behold, but I'm not entirely sure a packed and humid Elgar Room was the right venue to appreciate them in. Would definitely like to see her play a church or somewhere equally grand someday.
Julianna Barwick's stunningly ethereal looped vocals are beautiful to behold, but I'm not entirely sure a packed and humid Elgar Room was the right venue to appreciate them in. Would definitely like to see her play a church or somewhere equally grand someday.
JANELLE MONAE (London Brixton Academy, 09/05/14)
Given my hopelessly pretentious taste in music, very few of the artists I like have any chance of hitting the big time. Janelle Monae has always been the major exception. Gifted with that indefinable star quality, she's the natural heir of Michael Jackson and Prince- slick, funky songs; killer dance moves; effortless charisma and a shedload of talent. Tonight's show almost felt too small for Brixton Academy- it's the kind of thing many stadium-fillers would struggle to match for overall accomplishment. Some might argue it was a little too polished, but that's a minor quibble- on the basis of performances like this, she's got the potential to become one of the biggest stars in the world.
Given my hopelessly pretentious taste in music, very few of the artists I like have any chance of hitting the big time. Janelle Monae has always been the major exception. Gifted with that indefinable star quality, she's the natural heir of Michael Jackson and Prince- slick, funky songs; killer dance moves; effortless charisma and a shedload of talent. Tonight's show almost felt too small for Brixton Academy- it's the kind of thing many stadium-fillers would struggle to match for overall accomplishment. Some might argue it was a little too polished, but that's a minor quibble- on the basis of performances like this, she's got the potential to become one of the biggest stars in the world.
THE HOLD STEADY (London Bush Hall, 05/05/14)
I kinda went off the Hold Steady after mustachioed keyboardist Franz Nicolay left the band and they started playing massive venues far removed from the sweaty bar-rooms that constitute their natural habitat. Nonetheless, I jumped at the chance to see them at the 600-capacity Bush Hall, because that's the kind of venue they've always excelled at playing. And god, if it wasn't the best show I've seen them do since the heady days of 2008, with a stellar setlist (the encore of Massive Nights, Constructive Summer, Hot Soft Light, Stay Positive and Killer Parties was sheer perfection), Craig Finn at his overenthusiastic best and an audience that treated the whole thing like a religious revival. They might be past their best album-wise, but on stage, the Hold Steady can still bring it.
I kinda went off the Hold Steady after mustachioed keyboardist Franz Nicolay left the band and they started playing massive venues far removed from the sweaty bar-rooms that constitute their natural habitat. Nonetheless, I jumped at the chance to see them at the 600-capacity Bush Hall, because that's the kind of venue they've always excelled at playing. And god, if it wasn't the best show I've seen them do since the heady days of 2008, with a stellar setlist (the encore of Massive Nights, Constructive Summer, Hot Soft Light, Stay Positive and Killer Parties was sheer perfection), Craig Finn at his overenthusiastic best and an audience that treated the whole thing like a religious revival. They might be past their best album-wise, but on stage, the Hold Steady can still bring it.
PEACH KELLI POP (Tokyo Batica, 30/04/14)
This show could have involved a naked Chad Kroeger playing Skrewdriver covers, and I'd have still come out with a positive impression because THEY SOLD CHEESECAKE AT THE SHOW. But even if no cake of any variety had been involved, this would have been an excellent introduction to the Japanese gig scene. Pink Politics had a vibrant garage-rock Los Campesinos! vibe, the fantastic Miila and the Geeks combined sparse, post-punk basslines with Colin Stetson-style saxophone and the headliners peddled a fun line in Shannon and the Clams-esque surf pop. Great fun.
This show could have involved a naked Chad Kroeger playing Skrewdriver covers, and I'd have still come out with a positive impression because THEY SOLD CHEESECAKE AT THE SHOW. But even if no cake of any variety had been involved, this would have been an excellent introduction to the Japanese gig scene. Pink Politics had a vibrant garage-rock Los Campesinos! vibe, the fantastic Miila and the Geeks combined sparse, post-punk basslines with Colin Stetson-style saxophone and the headliners peddled a fun line in Shannon and the Clams-esque surf pop. Great fun.
WHO IS WILLIAM ONYEABOR (London Barbican, 01/04/14)
Who, indeed, is William Onyeabor? A fundamentalist Christian pastor, devoted entirely to the word of the Lord? A Soviet-trained cinematographer with long-standing links to Moscow? A shadowy businessman with whispered links to unsavoury underground elements? A mega-elaborate hoax devised by Damon Albarn? This show didn't answer any of these questions, but it did confirm the 70's Nigerian funk pioneer produced some seriously great tunes. The first half of a show was at times underwhelming, lacking the requisite groove to get things kicked off, but by the end the whole Barbican was on their feet, singing and dancing and ignoring the fact that Albarn fluffed his one and only moment in the spotlight. A solid tribute to a hitherto undiscovered genius, albeit one that was very rough round the edges.
Who, indeed, is William Onyeabor? A fundamentalist Christian pastor, devoted entirely to the word of the Lord? A Soviet-trained cinematographer with long-standing links to Moscow? A shadowy businessman with whispered links to unsavoury underground elements? A mega-elaborate hoax devised by Damon Albarn? This show didn't answer any of these questions, but it did confirm the 70's Nigerian funk pioneer produced some seriously great tunes. The first half of a show was at times underwhelming, lacking the requisite groove to get things kicked off, but by the end the whole Barbican was on their feet, singing and dancing and ignoring the fact that Albarn fluffed his one and only moment in the spotlight. A solid tribute to a hitherto undiscovered genius, albeit one that was very rough round the edges.
65DAYSOFSTATIC (London Koko, 27/03/14)
Sheffield-based math-rockers 65daysofstatic 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 brilliant debut in full. And what a show it was. Not only did they perform every song from that album, including a couple that had never been aired live before, but they added a second set consisting of almost all the new album, plus fan-favourite "Radio Protector." Ferociously loud, brutally energetic, absolutely superb.
Sheffield-based math-rockers 65daysofstatic 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 brilliant debut in full. And what a show it was. Not only did they perform every song from that album, including a couple that had never been aired live before, but they added a second set consisting of almost all the new album, plus fan-favourite "Radio Protector." Ferociously loud, brutally energetic, absolutely superb.
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