live reviews: february 2007

Raging Speedhorn + Shaped By Fate + The Mirimar Disaster - Fibbers, York - 19/12/06

"Its that bloody cold out there, I think my balls have retracted inside my body!" was how I greeted the doorstaff. Cold wasn't the term for it. Artic conditions may have been more apt. The bar wasn't quite as packed as I would have thought but with the severe bite of the night outside, I could almost understand.

Starting up were The Mirimar Disaster, demanding respect. 80's thrash and hardcore distortion techniques, backed with   the thundrous 'rape, loot and pillage' sound of the drumkit whilst the vocalist flails about like a smackhead in need of a fix - babbling artful whispers and screaming out his demons in many tongues. Effortlessly flowing between melodic hypnosis and doom heavy - spiky edged choruses, the band encapsulate a certain symbiosis and rock out in tandem motion like the heads of some mythical beast.

After a much needed beer or two, the P.A. lets rip with severely hardcore intentions. Shaped By Fate have taken to the stage. "Set the ******* pit alive!!" the frontman bellows and a few brave souls step forwards but still don't dare to do what he asks. Building with crescendo moments before catapulting into stop - start ethics, Shaped By Fate are more than just heavy; they combine the best strenghths of Hatebreed and Raging Speedhorn. Its hardly untouched territory, but its so well polished that fans of hardcore, grind and even screamo can let rip to this lot. Gladly, these monsters put local "hard 'n' heavy" boys RSJ to shame - pummeling through their set without ego and playing every show like its a Download headline slot.

Finally, the brutal might of the Speedhorn crashes on to the stage - sweating Jaegermeister and drooling metal! Blasting quickly into their set, they waste no time at all in shaking our giblets down to the ground and prove that no matter what a hard time they've had over the years, they have lost nothing at all of what makes them incredible! The bass grooves still manage to cause liquidation of the brain, the dual vocal shriek and shock style still crushes your genitalia into mincemeat, the guitars shred the senses and the drums simply make you want to fight and **** at the same time! No matter if you're a stoner vibe person or a full on freak, Raging Speedhorn WILL move you - you will have NO option! Slow down moments allow a breather before the 'horn crank it up some for classic 'Thumper'. Banter with the crowd is liberal - usually ending in us all being told we're "a bunch of *****!". All too soon, the high energy set is nearly over and we're treated to '**** the voodoo man!' from the album 'We will be dead by tomorrow'. What can I say? All you ninnys out there need to shave your heads, shoot some Jaeger and get to the pit you fools!

words & pic: cyrus crashtest

ROTTN KARMA + TIDAL FURY + ALEX CROMARTY - CERTIFICATE 18, YORK - 23/12/06

This was always going to be good. Andy, the bass player with Rottn Karma had given me an advance copy of the EP a couple of weeks ago, and I had played it to death in the shop. Could this review be unfair, unbiased? In my defence, I had never seen Rottn Karma play live, or the two support acts, Tidal Fury, and Alex Cromarty.

Cert 18 was very busy, and Alex and Louise started with a selection of acoustic songs that were well written and well performed. Alex is a drummer, a very good drummer. He is also very good on the guitar, and performed with wit and style. The only downside, it was a struggle to hear him sometimes and he needs to invest in a better pickup.

Tidal Fury came to enjoy themselves.They gave us a big, cliché ridden rock full of big riffs, showmanship, and classic posing. Vocalist Graham Fury had his lucky thong on and he assured us we were in for a good show. They gave us a seven song set of fast and furious classic rock, finishing with a great tongue in cheek version of "Don't Let The Bells End" and the audience loved it.

The performance, and stage presence of these three musicians that are Rottn Karma is astounding. Why are record companies falling over themselves to sign X factor winners(?), yet avoid anybody with real talent like the plague? Rottn Karma gave us a dozen songs tonight, but it didn't seem as if they had been on stage that long. In order not to feel left out, they finished on a cover version too, a rousing version of Sweet Home Alabama which had all the audience singing. A great night, mince pies, beer and fantastic music.

Rottn Karma's EP, 'Swamped', contains five tracks oozing with southern American style, grit and wit. Influences give a nod towards Johnny Cash, Led Zeppelin, AC/DC, Lynard Skynard, but all have a Karma edge. The EP contains 20 minutes of original material written by vocalist and guitarist Pete Godson. We have the dark and sinister House On The Hill which conjures up images of a grisly teenage slasher movie, to the humour of Jack The Hurricane, a song about a brick outhouse of a bloke with a short fuse. The CD is available from band members, and in store at Acomb Music in Front Street, price, a measly fiver.   It is well worth adding to your collection.   

words: paul cunniff

BOY KILL BOY + MOHAIR + AKP - FIBBERS, YORK - 14/12/06

Fibbers had really got the buzz going about tonight. With the gig lined up weeks before, only letting the public know that they had something big coming up, anticipation was at a high. The last time Fibbers had done this, it turned out to be Maximo Park, and this time, we'd been given a dose of Boy Kill Boy.

AKP were as strong as ever, running their way through a healthy set, injected with cool synths and blistering solos. These guys looked like they were really enjoying this, adopting a stage presence that wouldn't look out of place within Wembley Stadium, and creating a sound, ever so slightly similar to the later act, Boy Kill Boy, to match. Closing song "Bulletpoints" led us into Boy Kill Boy's official support "Mohair"

Four well-dressed Watford lads take to the stage and Mohair are off, bouncing through each song with a hint of difference.

Each song from the set became the new favourite, gaining admiration from the crowd, fed back to them with cries of "MOHAIR ******* ROCK!" With a marching organ sound, reminiscent to that of Clap Your Hands Say Yeah, shared with a classic rock sound sitting with Led Zeppelin, they give the current skinny-jean indie scene a much needed kick into action. They end their set with songs featured from their album, "Small Talk" and the aptly named, "End Of The Line", but this is far the end for Mohair.

After a few minutes of waiting, cheers promptly follow, welcoming Boy Kill Boy to the stage, and with no messing about, the too convenient to be chance calls of "Back Again!" are delivered. Exclaiming they're glad to be playing Fibber's again, this time, accompanied with a much more devoted audience, we're treated to three more sing-along anthems; Killer, On and On, Six Minutes.

The hungry crowd are fed hits from the album "Civilian", with highlight, Civil Sin. The mood is set for new material, and with guest acoustic guitar player, Ollie King (their guitar tech, York boy) we are granted with "Promises", a laid-back build up to the wistful sound of latest single, "Shoot Me Down". Then, right on cue, we're hit with the now familiar opening chords of "Suzie". Tonight's performance ends with what Chris called a "Sea Shanty" written in the back of a tour bus while touring the US, and final blow of "On My Own". With a compelling set tonight, this bodes well for a widely anticipated new album.   

words & pic: james jessiman

CORRUPTION: THE UNIVERSALS + THE ALPHA WAVES + THE IDLERS + KICKING VALENTINO - CERTIFICATE 18 - 13/12/06

As a formula, Corruption has become a standard 4 band line up, same venue, once a month, nothing that seems to make them stand out from other events happening like this in York. However, Corruption have built up a consistent talent to avoid the drivel of school side projects and always book the real deal.
As far as tonight's goes it was no exception. This event did have a slow start though, with Kicking Valentino being a lot quieter and relaxed than their name suggests. With My bloody Valentine and Bullet for my Valentine helping me form a false pre judgement, they actually performed an indie set which rose nearer the end, but began with songs that screamed Snow Patrol and Elbow. Nevertheless, the stage presence was prominent and there is definite potential in this young band.
Next up was The Idlers, who herald from Lincoln, and brought us their very modern-genre inspired music. With a very direct front-man and bass player, they wrote solid distinct songs, structured with intricacy. The music was heavily based around Bloc Party and Editors, with a nostalgic visit to their fore-fathers Joy Division. This became a univeral theme, but suited them well, and they certainly encaptured their audience with a truly professional display.
The Alpha Waves are a project including of acoustic solo artist Marbled and Blueprints front man Stu Allen. They strayed from the indie with a sound that bounced in a hill billy fashion. The sound produced was very immediate and the songs well written. Marbled continued with his acoustic roots throughout, which gave them a much more raw sound than the other acts. Overall, a great set and let the event continue to rise in stature as every band took the stage. No one was leaving at this point.
And finally The Universals. Before I start I have to say they were my favourite band of the night. However, they have come 10 years too late. It was blatant brit pop but absolutely brilliant. Throughout the first three bands, there had been the clarity but not the power, but The Universals found that oomph to really bring a great set and rounded off a wonderful night.   

words: will cook

IDLE JACK & THE BIG SLEEP + THE FALLING SPIKES + BO$$CAINE - FIBBERS - 16/12/06

This is exactly the sort of event that shows how York could do with a medium-size venue. Packed-out Christmas gig followed by popular club night - there's a lot of folk here, but more pointedly there's two bands here closing off successful years with sets crying out to be seen on bigger stages. Bo$$caine seem to have extended the Christmas spirit to a small army of guitarists, as the stage seems as busy as the bar, but as ever it's the vocals of G.T. Turbo and the guest female vocalist (who's possessed of some serious lung power) that really impress about this gritty hoe-down troupe, and the last song recalls the blistering folk-yobbery of the Pogues.
The Falling Spikes, nattily attired in their Christmas cowboy gear (except drummer Ray in his evil Santa outfit, and keyboardist Moz, who looks like Ozzy's truly evil skinny cousin), crank into lugubrious, slow-burning life with class renditions of "Black Heart Crash" and "Blue Eyes," but it's the two new tunes which prove just how they've come on in leaps and bounds this year. "Lucky Charm" and "Cellophane" with its wicked guitar interplay between Chris and Mike, might just be their strongest songs yet and show how, if they wanted it, they could be at home in a much bigger setting - but this is a Christmas bash so proceedings don't get too serious. "White Christmas" and "Folsom Prison" are given the Spikes treatment, slowed to a drug-rock crawl and infused with growling guitars and keys and a damn big grin - chestnuts duly droned!
Idle Jack are in a more intense mood, and begin with the megaprog blockbusting "The Ocean, The Machine," which is growing on me: all doomy bass and megaphone howling from Rob Hughes. This sets the tone for the rest of the set, powerful, attacking noise, with the huge presences of Rob Hughes and the East brothers filling the stage, almost jostling for space with each other and with Jack Hammerton's fluid guitar howlings. Some of their older, lighter songs now seem out of place amidst such crushing noise, for example "Hold Me Till I Drown," but "Telescope," the first song they wrote, still holds up as a classic tune and really ought to be filling venues three times this size, especially when the heaving crowd howl Rob's words back at him with ten times the passion. Suddenly their intention to release 32 tracks in the New Year makes sense, a statement of intent to blast through the walls or die trying - 2007 should be the Year of the Jack.    

words: tim procter
pic: ryan horsewood

THE YARDS + SIMON SNAIZE BAND + THE BENCH CONNECTION   - FIBBERS, YORK - 20/12/06

Oh Mr. Helme, Mr. Helme. What are we going to do with you?   I cannot even hope to be objective, so I'll run the gauntlet and be blatantly opinionated. You write really great, powerful songs; blindingly strong. By your side you have some of the most accomplished musicians on the circuit who are all working with several other bands. You've got a voice and a skill which will carry you way beyond these City walls. If you want it. You've already been over the fence and tasted the grass and OK, it may have turned to hay in your mouth but where is this current project going? People are watching and waiting for it to really take off. Pre-gig someone said to me "I hope they've written some new material. It's been the same set the last few times I've seen them." Now if your audience is waiting for you to move then you really have to go. Hence I was pleased when you announced The Yards are to record new material in 2007. I think you need to crack on, write more, get it out there and put yourself and your home town back on the map. Sharpish. From the standard of the support and headline performances this night (and audio mix - credit to Chris Walton, sound engineer), there was a quality on show which deserves a wider audience. I feel somehow it seems there's little more left for The Yards to do in York, other than come home from distant places once in a while and play us new songs about their travels. Over to you.

words: dean saint john
pic: rachel pattison

SUPAFI - CITY SCREEN BASEMENT, YORK - 29/12/06

"The one thing that can solve most of our problems is dancing." James Brown

Tonight, the basement bar boasts the cream of York's talent, a whole three hours of sonic satisfaction. More aural pleasure than you could possibly measure, excitation for the mind, body and soul, cheap at the price of a mere five pounds. No frills, no nonsense, no hyperbole, that's SupaFi.It begins with down-tempo ambient dream house from Missperception. Her flawlessly unique style is as stunning as her sound. A varied bag of breaky hip-hop beats and scratching on "Natural System", orchestral sweeps and trippy loops on "Manifestation" and the odd spot of heavy breathing, begging the audience to do the nasty,   with her, right there, on the booze-soaked, rubber-matted floor. A tempting, if none too hygienic offer. The soft and seductive feminine sensuality of Missperception's music just cannot be ignored.   She plays the part of a perfect opening act, never raising the tempo above a heartbeat, holding back, teasing, knowing that she could give it to you harder if she wanted to. I look forward to getting my hands on her vinyl.

Next, acoustic soul from Jess Gardham, a well-established singer-songwriter. Last time I saw her live she was playing with a full band. This time she has stripped her sound right back down to the basics: her voice, a guitar and an enigmatic drummer called Steve. "Knocking on wood" is an outstanding track, showcased from her forthcoming album "Beyond Belief", an anthem with a superb lyrical hook. "Patience" is sublime and "One Step Closer" is as brilliant as it is beautiful. Jess is phenomenal and is one of York's greatest treasures, a truly superior performance.

When band business goes bad and your mates are acting like monkeys, what can you do? Split up, give up, go and get a job in M&S, hang up your spurs, dream of doing what you once loved and bore your relatives and friends to death about the time when...Or you could split up, sit down, have a pint, form a new band, start writing songs and all in the space of the same night. That takes guts, that takes a certain devotion to the craft, that's the difference between the hobbyists and the real musicians.

The headline act New Soul Company have done just that and what a way to debut. Their mod-influenced electro soul sound has the hallmark of quality from their previous incarnation but has been tweaked, adjusted, updated and reborn.   The talented multi-instrumentalist Neil Card (bass/keys), pitch-perfect soul diva Ava Hegarty (vocals) , fabulously inventive John Martin (lead guitar) and the deft-touched Dave Young (vocals/guitar/programmed beats) combine a range of styles and influences into one soulful stew. The anticipation of the audience is palpable, as the deep and downright funky opener "Absinthe" is primed in order to get the basement bar buzzing. The rock-edged "My Mother Earth" is geared up to suit Ava's vocal style and is delivered with expert precision. A small change of line-up for the mellow groove of "Raki" sees an audience member take the mic and Jess Gardham joins for a superb Gnarles Barkley cover of "Crazy" to top off an awe-inspiring set. Duke Dylanja ends the night with a fitting tribute to the Godfather of Soul, spinning a few of the great James Brown classics.

Supafi has a loose feel. Anyone can get up there and do their thing if they want to, believe it. This is a night that you should all support.  

words: evil twin
pic: mr green

BATTLE OF THE BANDS FINAL - Dysfunction + Synasthesia + D-Form + Arcana + Kaikoura - CERTIFICATE 18, YORK - 16/12/06

Expecting wall to wall heavy alt rock, I was pleased to see we also had blues, original and indie - all different breeds of the same noisy beast but essential promises of melody and variation. This was the culmination of thirteen weeks of heats, broken skins, bitten nails, snapped strings, beer and chuffed and pissed off bands. Now that the concept of   who is 'best' has been firmly accepted as part of our collective psyche, we allow it to work successfully for the bands, venues and ourselves. Looking around it seemed successful, as I had rarely seen the venue so full. So much was the audience so oppressively packed for the first two bands, Dysfunction and Synesthesia, that it led to initial sound muddiness.

Musical successes? Get straight to the meat. Indie styled Kaikoura took the crown, lots of lovely lolly, studio time and a double page feature in THE TALK Magazine, by turning out a set which was clearly the most dynamic performance of the night. Visually arresting as each member stomped about the stage like primates with serious rhythm whilst not dropping a beat; these boys were full of it. The other bands weren't 'bad' by any means - within a Final the standard is always good. It just comes down to who is switched on during their 25 minutes on stage. Whilst Kaikoura performed fully, the other acts I feel didn't cut it with the same energy. At least the energy I like. Kaikoura have that confidence, that hair, those spastic moves and those hooks to engage and impress - so much so that I stacked my Judge's chips in their quarter very early into their set.

On my wobble down the road I was left with some memories: Synesthaesia's twisted lead man Sick Boy leering out at the crowd and venting his unintelligible roar - always knew he had it in him. Kaikoura's vocalist's attempts to detach mic from cable through vicious swinging - dangerous but well executed. Being harranged at the bar for drinking gin - I gather it's a lady's drink? Good one. I wonder what Taco's going to do with himself now? Have some time off. I like it when it works out.

words:dean saint john
pic: andy stanistreet

SYNCROWNIZED - STONE ROSES BAR, YORK - 14/12/06

The band are quite happy to state they have played more gigs than any other original band coming from York and you can understand why, the Stone Roses Bar is completely packed tonight. The audience tonight boasts members of the London band, Boy Killed Boy & various record labels all here to see what this trio are about.

From a warm up of crowd pleasing covers by The Undertones & Led Zepplin the band excel into there own style of funky - rock of originals. Front man Leon Banks sings his heart out on Syncrownized's new tunes "Delirious" and "Angels Don't Cry" which features an amazing bass solo from Ben Darwin (very Peter Hook-esque).

The band had a heckler shouting out "My Name Is Nothing" which they kindly played to keep him quiet, which put a smile on his face after an astounding guitar solo from Leon! Tony Batchelor on drums is not left out of the picture, he has his own drum solo which sends him off into Animal from the Muppets territory. This two hour gig climax's on a destructive version of The Who's "My Generation" which easily could have placed them back as a 70's stadium band as the drum kit gets kicked over, with the guitar getting smashed into an amp! The packed crowd loved it I couldn't fault it apart from my ears are still ringing from the feedback.    

words:jenny hall