Review: HERE
Sunday, July 24, 2016
WOLF PARADE (London Scala, 14/06/16-15/06/16)
Some reunions are clearly done for the money, or sometimes to relive a long lost youth, but my most beloved Wolf Parade have returned to action reinvigorated and more potent than ever. It's hard to pick a highlight from two exceptional nights of live music, but seeing Spencer Krug's involuntary grin as the whole audience sang along to "Sons and Daughters Of Hungry Ghosts" is definitely up there. The most straight-out exhilarating gigs of 2016 so far, and indeed, some of the most enjoyable I've ever been to.
Some reunions are clearly done for the money, or sometimes to relive a long lost youth, but my most beloved Wolf Parade have returned to action reinvigorated and more potent than ever. It's hard to pick a highlight from two exceptional nights of live music, but seeing Spencer Krug's involuntary grin as the whole audience sang along to "Sons and Daughters Of Hungry Ghosts" is definitely up there. The most straight-out exhilarating gigs of 2016 so far, and indeed, some of the most enjoyable I've ever been to.
PRIMAVERA PORTO (Porto Parque de Cidade, 09/06/16-11/06/16)
Primavera Barcelona is one of the best European festivals, but like the city it resides in, it can be a bit exhausting. Primavera Porto on the other hand is a far more relaxed affair- less big names, but significantly more chilled-out (and a hell of a lot cheaper to boot). In between stuffing my face with 3 euro bifanas, I caught some memorable sets, including Sigur Ros, Battles, Destroyer, Chairlift, A.R. Kane and Floating Points, but the two absolute highlights proved to be Brian Wilson (who despite being a half-zombie these days is supported by perhaps the most accomplished backing band in existence) and Titus Andronicus, who left me physically, mentally and emotionally broken. Highly recommended.
Primavera Barcelona is one of the best European festivals, but like the city it resides in, it can be a bit exhausting. Primavera Porto on the other hand is a far more relaxed affair- less big names, but significantly more chilled-out (and a hell of a lot cheaper to boot). In between stuffing my face with 3 euro bifanas, I caught some memorable sets, including Sigur Ros, Battles, Destroyer, Chairlift, A.R. Kane and Floating Points, but the two absolute highlights proved to be Brian Wilson (who despite being a half-zombie these days is supported by perhaps the most accomplished backing band in existence) and Titus Andronicus, who left me physically, mentally and emotionally broken. Highly recommended.
KAMASI WASHINGTON (Lisbon Teatro Tivoli, 07/06/16)
Kamasi Washington's three hour debut is called "The Epic", and that's a pretty good summary of this masterclass in jazz awesomeness. True, the drum-battle dragged on a bit, but the West Coast Get Down's odyssey through the history of the genre - from an unabashedly sentimental cover of "Clair De Lune" to some down-and-dirty jazz-funk indebted more to Rick James than Miles Davis - was all delivered with infectious vitality and consummate skill.
Kamasi Washington's three hour debut is called "The Epic", and that's a pretty good summary of this masterclass in jazz awesomeness. True, the drum-battle dragged on a bit, but the West Coast Get Down's odyssey through the history of the genre - from an unabashedly sentimental cover of "Clair De Lune" to some down-and-dirty jazz-funk indebted more to Rick James than Miles Davis - was all delivered with infectious vitality and consummate skill.
BRUCE SPRINGSTEEN (London Wembley Stadium, 05/06/16)
I paid £100 to see The Boss at Wembley, and on balance I reckon that a bargain. The closing run of Badlands->Jungleland->Born To Run->Dancing In The Dark->10th Avenue Freezeout->Shout->Bobby Jean->Thunder Road was legitimately one of the best hours of live music I have ever enjoyed in my life, and the other 155 minutes weren't bad either. Truly, one of the greatest showmen in rock 'n roll history (and a dab hand at songwriting too).
I paid £100 to see The Boss at Wembley, and on balance I reckon that a bargain. The closing run of Badlands->Jungleland->Born To Run->Dancing In The Dark->10th Avenue Freezeout->Shout->Bobby Jean->Thunder Road was legitimately one of the best hours of live music I have ever enjoyed in my life, and the other 155 minutes weren't bad either. Truly, one of the greatest showmen in rock 'n roll history (and a dab hand at songwriting too).
MARGINAL CONSORT (London St John's-at-Hackney Church, 02/06/16)
Marginal Consort are a four-man Japanese art collective who traditionally perform one show a year, wherein they each free-improvise their own, well "music" would be too strong a word, using a variety of home made instruments, in complete isolation to the efforts of the others. Audiences are encouraged to wander about the space, as where you stand does materially effects how you perceive the soundscape, and as utterly pretentious as the whole thing is, there's a creativity and sense of fun that made this a fascinating, and occasionally sublime experience.
Marginal Consort are a four-man Japanese art collective who traditionally perform one show a year, wherein they each free-improvise their own, well "music" would be too strong a word, using a variety of home made instruments, in complete isolation to the efforts of the others. Audiences are encouraged to wander about the space, as where you stand does materially effects how you perceive the soundscape, and as utterly pretentious as the whole thing is, there's a creativity and sense of fun that made this a fascinating, and occasionally sublime experience.
COLIN STETSON AND SARAH NEUFELD (London Barbican, 31/05/16)
I've said it time and time again, but surely Colin Stetson should have been burnt as a warlock by now? To quote a previous review of mine (as I'm a lazy bugger) "sometimes he sounds like two people playing at once. Sometimes he vocalises whilst simultaneously maintaining some heavy, rumbling drone on his baritone. Sometimes he simply sounds like the end of worlds." And Sarah 'Schroedinger's Arcade Fire member' Neufeld's violin-based compositions were pretty fantastic to boot.
I've said it time and time again, but surely Colin Stetson should have been burnt as a warlock by now? To quote a previous review of mine (as I'm a lazy bugger) "sometimes he sounds like two people playing at once. Sometimes he vocalises whilst simultaneously maintaining some heavy, rumbling drone on his baritone. Sometimes he simply sounds like the end of worlds." And Sarah 'Schroedinger's Arcade Fire member' Neufeld's violin-based compositions were pretty fantastic to boot.
RAW POWER FESTIVAL (London Tufnell Park Dome, 27/05/16-29/05/16)
Baba Yaga's Hut has long been one of London's more forward-thinking and intriguing live music promoters, and nowhere is this better exemplified in their annual three-dayer, which never fails to leave Tufnell Park a smoking crater of decimated amps, and even more decimated eardrums. The highlights: Melt-Banana's abrasive grindcore assault, Teeth of the Sea's aural dystopia, Qujaku (or as I like to call them, Faux Ningen), Orchestra of Spheres' quirky tropicana dance party, Agathe Max's Armageddon-weaving violin looping, and the mesmerising, discordant Krautrock grooves of Sex Swing.
Baba Yaga's Hut has long been one of London's more forward-thinking and intriguing live music promoters, and nowhere is this better exemplified in their annual three-dayer, which never fails to leave Tufnell Park a smoking crater of decimated amps, and even more decimated eardrums. The highlights: Melt-Banana's abrasive grindcore assault, Teeth of the Sea's aural dystopia, Qujaku (or as I like to call them, Faux Ningen), Orchestra of Spheres' quirky tropicana dance party, Agathe Max's Armageddon-weaving violin looping, and the mesmerising, discordant Krautrock grooves of Sex Swing.
RADIOHEAD (London Roundhouse, 26/05/16)
I'm far from a subscriber to the Cult of Thom Yorke, Mother of Dragons, but I can't deny this was a pretty accomplished performance from England's whiniest musical export. It helps that the new album has ditched some the aimless bleepy-bloop they've become enamoured with over the last 15 years for actual tunes, but the fact they managed to cram so many oldies- and decent ones- into the setlist (Talk Show Host! Exit Music! Planet Telex!) was a surprise of the most delightful variety.
I'm far from a subscriber to the Cult of Thom Yorke, Mother of Dragons, but I can't deny this was a pretty accomplished performance from England's whiniest musical export. It helps that the new album has ditched some the aimless bleepy-bloop they've become enamoured with over the last 15 years for actual tunes, but the fact they managed to cram so many oldies- and decent ones- into the setlist (Talk Show Host! Exit Music! Planet Telex!) was a surprise of the most delightful variety.
JAMBINAI (London Corsica Studios, 16/05/16)
Jambinai haven't as yet been the vanguard of an emergent South Korean music scene, but their juxtaposition of post-rock and (increasingly) metal influences with traditional Korean instrumentation makes them one of the most fascinating up-and-coming new acts around.
Jambinai haven't as yet been the vanguard of an emergent South Korean music scene, but their juxtaposition of post-rock and (increasingly) metal influences with traditional Korean instrumentation makes them one of the most fascinating up-and-coming new acts around.
EXPOSED: SONGS FOR UNSEEN WARHOL FILMS (London Barbican, 16/05/16)
A brief, but commendably eclectic series of scores for some obscure early Andy Warhol films, performed by Dean Wareham (minimalist guitar), Martin Rev (hard synth noise), Eleanor Friedberger (bespoke indie-folk) and Dean Wareham (dreamy shoegaze).
A brief, but commendably eclectic series of scores for some obscure early Andy Warhol films, performed by Dean Wareham (minimalist guitar), Martin Rev (hard synth noise), Eleanor Friedberger (bespoke indie-folk) and Dean Wareham (dreamy shoegaze).
ORCHESTRAL MANOEUVRES IN THE DARK (London Royal Albert Hall, 09/05/16)
So, apparently OMD have a few more songs than "Enola Gay" under their belt? The Merseyside band, by their own admission, seem to be genuinely chuffed to be headlining a sold-out Albert Hall 35 years into a career where their eccentric, before-its-time synth-pop hasn't always been appreciated, and that comes through in an impressive performance augmented with some quite phenomenal lighting. Plus, though they were only supposed to be play tracks from their first two albums they still found room to fit in a certain song named after a nuclear warhead. Which was nice.
So, apparently OMD have a few more songs than "Enola Gay" under their belt? The Merseyside band, by their own admission, seem to be genuinely chuffed to be headlining a sold-out Albert Hall 35 years into a career where their eccentric, before-its-time synth-pop hasn't always been appreciated, and that comes through in an impressive performance augmented with some quite phenomenal lighting. Plus, though they were only supposed to be play tracks from their first two albums they still found room to fit in a certain song named after a nuclear warhead. Which was nice.
ANDREW BIRD (London Roundhouse, 04/05/16)
Mr Bird may be living the fancy L.A. lifestyle these days, but Chicago's premier violinist/whistlemeister remains one of the most accomplished musicians around. Perhaps not enough "Armchair Apocrypha" for my liking, but he's toned down the more self-indulgent improvisational tangents for a more lively and to-the-point performance.
Mr Bird may be living the fancy L.A. lifestyle these days, but Chicago's premier violinist/whistlemeister remains one of the most accomplished musicians around. Perhaps not enough "Armchair Apocrypha" for my liking, but he's toned down the more self-indulgent improvisational tangents for a more lively and to-the-point performance.
JEFFREY LEWIS (DIY Space For London, 02/05/16)
The Return Of Jack Lewis - and Champion Jim! Illustrated biographies of Alan Moore! Paeans to English breakfasts and cats on the internet! Half-Yiddish spiels concerning a man's inability to impress a pigeon! Random Faith No More covers! So, just a typical Jeffrey Lewis show. No complaints here.
The Return Of Jack Lewis - and Champion Jim! Illustrated biographies of Alan Moore! Paeans to English breakfasts and cats on the internet! Half-Yiddish spiels concerning a man's inability to impress a pigeon! Random Faith No More covers! So, just a typical Jeffrey Lewis show. No complaints here.
OTOBOKE BEAVER (London Windmill, 01/05/16)
Four whirling, immaculately-dressed dervishes of punky, garage-rock energy, hitting the perfect mid-point between the unabashed fun-times of Shonen Knife and the explosive brilliance of Bo Ningen. When a gig ends up with one guitarist writhing and soloing on the venue floor before the other literally piles on top of her, you know it's a good 'un.
Four whirling, immaculately-dressed dervishes of punky, garage-rock energy, hitting the perfect mid-point between the unabashed fun-times of Shonen Knife and the explosive brilliance of Bo Ningen. When a gig ends up with one guitarist writhing and soloing on the venue floor before the other literally piles on top of her, you know it's a good 'un.
Saturday, April 30, 2016
EARL SLICK & BERNARD FOWLER PERFORM STATION TO STATION (London Islington Academy, 29/04/16)
It will forever remain the biggest regret of my gig-going career that I never saw David Bowie live, but it was pretty cool to see the entire of "Station To Station" performed by the original guitarist from that album. Bernard Fowler was an excellent choice of frontman - charismatic, talented but not too ostentatious - and the closing rendition of "Heroes" really did hit me in the feels.
It will forever remain the biggest regret of my gig-going career that I never saw David Bowie live, but it was pretty cool to see the entire of "Station To Station" performed by the original guitarist from that album. Bernard Fowler was an excellent choice of frontman - charismatic, talented but not too ostentatious - and the closing rendition of "Heroes" really did hit me in the feels.
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