live reviews: march 2007

SPIRE - YORK MINSTER - 20/02/07

Spire is a vaultingly ambitious concept, if you’ll excuse the pun. It focuses on the church organ, with organist Charles Matthews and composer Marcus Davidson presenting classical and contemporary pieces with a rotating cast of singers and laptop wizards from the maverick Touch Records stable. It’s visited such cultural epicentres as Geneva, Brussels, and, err, Jesmond, so when the Sightsonic digital arts people brought it to York Minster, anticipation was rightly high. Heralded by bell-ringing from the West Tower, including a piece prepared the fortnight before (Michael Nyman dropped out, Sundance Film Festival figuring higher in his calendar), Spire drew a pleasingly diverse audience. Greatcoated electronica heads rubbed shoulders with smartly suited classical enthusiasts, students sat alongside patrons of the arts, and everyone moved around, exploring the sonic variations in the different parts of the Minster and using the incredible architecture as an awesome visual backdrop to the impressive sounds.
The organ pieces were richly varied, from the opening 15th century ‘Annabasanna,’ played so delicately by Charles Matthews on a small chamber organ that the click of the keys could be heard all the way down the nave, to the hypnotic, drone-like ‘In Nomine Lucis’ by Giacinto Scelsi, the energetic ‘Toccata’ by Maurice Durufl», and the thunderous dissonance of Gor»cki’s Kantata for Organ, all delivered to maximum effect by the Minster’s monstrous main organ. There were plenty of surprises too – Marcus Davidson’s arrangement of the Buddhist mantra Om Mani for the main organ and tenor Robert Millner (odd on paper, but it really worked), and tenor John Beaumont’s solo delivery of a 12th century plainchant both emphasised that the Minster’s cavernous vault was made for spiritual and devotional sound. Davidson’s own works, being performed for the first time, were also highly impressive. ‘The Grey Book’ saw the two tenors and soprano Amy Moore weaving around an engaging framework of organ music, while ‘The Passing’ enhanced the main organ’s deep tones with some minimal but effective tape loops.
The electronic musicians were equally striking. Amidst the ornate carvings of the Chapterhouse, Fennesz
was stunning, mixing organ samples and electronics in huge tidal pulses of sound that swept around the stonework and totally enveloped the crowd. Back in the nave, Philip Jeck created magic from two Dansette record players, a Casio keyboard and two minidisc players, building intricate layers of clicks and whirrs and samples of voices and organs (including a fairground organ which rose out of the mix to disorienting effect).
By turns playful and sinister, his intriguing set was a definite highlight. B.J. Nilsen began with some promising detonations of noise that boomed around the nave, but his big washes of sound somewhat lacked form and focus.
In such a packed programme, perhaps inevitably not everything worked. Non-stop music for three hours felt gruelling by the end, especially as the supposed breaks were filled with the plainchant pieces. Another performance in the Chapterhouse would have been interesting, perhaps voices or chamber organ to contrast with Fennesz’s electronic tour-de-force. Also the running order meant that the night fizzled out a bit, with lighter pieces grouped at the end. The ‘3 Arabesques’ by Charles Spinks felt slight and inconsequential in comparison to the hefty pieces that had come before, Arvo Pârt’s ‘Pari Intervallo’ was simple but emotive, using only ten overlapping chords, and the two versions of the 14th century ‘Adesto-Firmisse-Alleluia’, one by the three singers and one on the chamber organ, were beautiful and delightful, but they didn’t quite seem right as closers to the whole event. The Scelsi or Gor»cki pieces, if closer to the end, would have brought proceedings to more of a climax and retained the main organ as the focus. But none of this detracted from a superb evening that bravely juxtaposed the old and new, classical and avant garde, underground and highbrow to dazzling effect. Moreover, Spire made the Minster feel alive and relevant, a building with both history and potential as opposed to a giant stone museum piece. So all praise to the Minster authorities and Sightsonic for making this happen – York is a unique city with unique buildings, and the possibility is there to make a real name for itself hosting events like this. Spire proved that something brazenly arty and experimental can be inclusive and engaging, and by hosting it Sightsonic have taken a further step down a path that could lead to some exciting sonic vistas opening up in the city. Let’s hope they keep going.

words: tim procter
pics: ryan horsewood

THE TALK MAGAZINE 3RD BIRTHDAY: DELTAWAVE + ISHTAR + MILES CAIN + THE MURDERHOUSE - FIBBERS, YORK - 08/02/07

So, here we are three years in, live and in colour and well heralded as the majestic Murderhouse take the stage on top form. Where the beauty and quality in equal measure of the Murderhouse’s vocalist Susie is meshed with rock guitars and pounding drums that will knock you into next week. Since I last saw them they have stepped it up. With gigs in London and a Rocksound review under their belt, things are really happening for this band, however as they go through a great set with songs like the moody “These Roads” and So Cold” it is easy to see the weaker work, “Striving for Perfection” is a weak finish to a strong set.
Miles Cain works hard, though dogged by technical problems, he pulls out a lively set comprising mostly of new material, the strongest of which are “A Man Outside Your Door,” and the passionate dedication “Ignore The Thorns.” Miles feels the pressure and it seems that his vocals don’t perform to his full potential on some efforts.
Onto Ishtar. Their unique thirty minute instrumental takes us on a journey, a rock rollercoaster from chilled out atmospheric basslines a la The Arcade Fire to the crunching metallic bounce of The Deftones and Tool, eliciting some light head banging from the slightly bowled over audience. The tone constantly changes with the register of the music, excitement levels deflate and rise, as we let our expectations fool us into thinking we are in for an easy ride as the pace slows, only to be met by ear trouncing riffage. Now all we need is to see one of these talented guys have a go at vocals.
Deltawave, excite and evoke with their unique brand of pop, disco and electro rock. Opening with the great “Tear It Up,” the fans get into the mood, guitars a blaring and synthesizers adding bounce and power to the Gary Numan-esque work. There are a host of influences here: Blondie is brought in by the talented (and slightly underused) girls in the group, while major influence Depeche Mode is constantly alluded to within the more alternative up tracks like “Neon” which in-itself is a definite standout for the set. As the crowd are bouncing and twirling one wonders, would this band be better working to an audience from York’s Gallery or Ziggy’s club scenes, because they could do both…and it’s confusing to see this on stage. All in all though, Deltawave provide a great ending to a great night of music, showing the potential of some great Yorkshire talent. ? dom smith

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Digicore + NERVEHAMMER + TESTONE 3 - Fibbers, YORK - 18/01/07

The Digicore album launch: A great cap to an explosive year for a band that have been going for exactly that long. They have honestly never looked better in my eyes.
First up are Testone3. There has never been a more fitting word than eclectic to define a band. They are young and fiery, their music smacks of Britpop Icons Suede at their finest with some heavy guitars and electronics worked in. The keyboardist (though a little retarded) works the crowd into a frenzy for “The Time Is Now.” This is a dead cert dancefloor anthem that has punk rock and The Prodigy spliced into the mix.
It is clear that the band has a smug confidence about them, something more than showmanship, a definite ego, not always a bad thing though. I would like to draw a comparison between Testzone and Babylon Zoo here. A blend of rock pop and electro that is certain if given time to achieve commercial success.
Now to Nervehammer. In their first support slot with DIGI at Cert 18 in November, the band may have felt nervous but they were the highlight of the night for many. Here with more space and a bigger crowd, Nervehammer struggle to get into the swing of things, guitarist Steve’s backing vocals sound weak and out of place, while lead vocalist Legger tries to carry the opener and struggles without the support of a bass line.
Of course, I stand corrected as the guitarist picks up his weapon and the band launch into “You Bleed.” Though repetitive, the song perfectly displays their penchant for heavy metal choruses and guitars mixed with some excellent programming work. Highlights include the cover of Mad Capsule Markets anthem “Pulse” (inspiring a four man pit) followed by an excellent rendition of Machinehead’s “The Blood, The Sweat, The Tears”. By this time yours truly feels the need, and has a little dance with Legger for the bands trademark work “Arena.” It’s Nu-metal hooks and danceable programmed beats act incite a nice finish proving that Nervehammer deserve the acclaim that they are currently receiving.
And so, after minutes of waiting, after all the dust has settled and all the smoke has cleared….its CELL with his shirt of!!! No wait it’s just Digicore…as the drummer works up his sweat, the band that have taken York by storm this last year explode into their now trademark work.
“Fatal Drug” is an immense standout for the night that has hands raised and the band giving it all to their loyal fans, as I have found…they always do. However, when the time comes, new song “Synaptic Decay” lacks the clarity and cohesive quality of the previous work. While S-73 spins around with his guitar doing his favourite Busted impression, anthems like opener “Sick” has hands punching and bodies thumping in time, alongside the final effort that encapsulates the true ferocity and power of DIGICORE, “[BITCH]Lyrical” is a fitting climax to the evening.
Whether the blood that stains the Digicore alumni’s bodies is fake or not, you get the feeling that on any given day this band would bleed for their fans, not because they are sick or twisted (even though they so obviously are,) just because they love what they do and who they do it for every single night. If you refuse to listen, or tell any of these fans that what they listen to is **** or that what DIGICORE stand for is not music… the message from the DIGI camp is simple, we will control you, alter you…DELETE.

words: dom smith
pic: cyrus crashtest

BATTLE OF THE BANDS - ROUND 1 HEAT 1 - THE JUNCTION, YORK - 16/01/07

So the first Battle of the bands contest of the season gets underway. Another York venue has dropped its annual competition, because of the, er, competition, and the fact you get the same acts chasing the first prize, and another competition started in mid February. I am sure there will be tears, tantrums, disappointment, controversy, scandal and accusations, but that is part of the rich tapestry of life. Back to The Junction.
A Fistful Of Yen made an immediate impact by walking on stage in costume. Baggy hat, swimming goggles, fluorescent workers waistcoat, forensic boiler suit, lederhosen and socks. I didn’t catch a word of the lyrics as I couldn’t stop watching the antics of the drummer and the guitarist but hat I did hear was very clever use of time signature changes, chord improvisation, and precise tempo changes. It was certainly different.
The Daimlers. This four piece have a quirky image: Tommy has a look of Austin Powers about him and Ali the guitarist is so bloody tall he was in danger of knocking the stage lights with his head. They were not as innovative as the first act, but provided a steady stream of solid indie tunes, ending with “Get You”, featuring an ear thumping bass line and heavily distorted guitar. I am not sure of the Telecaster abuse at the end though - seems silly to me to throw that much money on the floor.
Blackout. They are good at what they do, which is provide excellent heavy rock music. They are all excellent musicians, and Lee is an great frontman. However there is one flaw - Lee has a strong voice but he needs to learn how to sing in tune. They seem to have plenty of fans that like them as they are and I think they could have a lot more if they improve on what what they have, rather than take on a seperate vocalist. I hope it works out for them.
Lastly, New Market, another new band to me. They are a four piece with a keyboard which is a rare sight in these competitions. They had a big following in the room, and all the people who were sat sullenly during Blackout’s performance were up on their feet. New Market gave the audience jaunty, bouncy songs in a Kaisers/Arctic Monkeys/early Housemartins kind of way and Freddie the vocalist, guitarist, and keyboard player had a good rapport with the audience. He was engaging, bantering and clearly enjoying himself.
At the end of the night the audience vote went for New Market and the judges, after much deliberation, went for A Fistful Of Yen.

words: paul cunniff

THE MACCABEES + GOODBOOKS + TOY RADAR - FIBBERS, YORK -

South London, has brought to our attention many new, innovative bands; Klaxons, Jamie T, and so many more. Now come The Macabbees. Predicted big for 2007, accompanied with a positive run of sell-out dates across the UK, and already with a charting song, it’s looking good for this bright group.
Opening for the hotly touted Maccabees in York was Toy Radar, a local band with some very big ideas. Sharp but melodic guitars collide with urgent drums while the bass lines spur each song on like a pursuing shark. The use of synth on songs like Knife show a real understanding of how to use the instrument without sounding 80s or remotely cheesy. Like the headlining Maccabees, singer George has a very distinct singing voice, gasping with broken vowels as if his own lyrics, tales of confusion and desperate love, are drowning him from inside. With an already large local following it can’t be long before we hear a lot more of Toy Radar.
Another exciting young band, GoodBooks may be just out of their teens, but are already stomping around the UK making a healthy input. Their indie-electro sound, pounding bass and knife sharp guitar, brought together by the honest voice of Max, have really got them noticed, resulting an immensely rare remix by Crystal Castles and two foot-tappingly good singles. A well organised set ensues, easing the crowd into the neat sound of GoodBooks, a couple of songs, and then, high-noting Leni oozes through the speakers. Floating synths and guitar stabs carry them through to next strong point ‘Alice’. Their set ends with all singing, hand clapping hit ‘Walk With Me’.
Lights dim, and The Maccabees take to the stage. Things don’t get off to a brilliant start, due to feedback trouble and frontman Orlando mistaking York for Stoke, but after apologies things get going.
The bouncy appearance of The Maccabees, who seem to be having one big party on stage, spreads to the crowd, creating band-audience effort to have a good time. They blast into what will be their new single, ‘About Your Dress’, with immediate crowd response. This only seems to push them on faster, reeling off powerful bass driven tracks, coupled with the innocent voice of Orlando, and punchy melodies from guitar wielding brothers, Hugo and Felix. They bring their set to a close with the inevitable ‘First Love’, and ‘Lego’. 2007 has already had some great albums, and promises us two more highly anticipated debuts from GoodBooks and The Maccabees.

words: james jessiman

JULIE FOWLIS + PILLOWFISH - POCKLINGTON ARTS CENTRE - 09/01/07

Barely anyone who came to this gig had a legitimate hereditary vested cultural interest in the Irish/Scottish Gaeleic tradition which was on dislplay with this ensemble’s first foray south of the border into mainland England. “Who’s from Ireland here tonight?” - and a half a dozen hands went in the air. Out of around one hundred and sixty paying audience, this was a pretty low ratio and it spoke volumes - I admit, my hands were firmly in my lap also. Julie Fowlis with her fellow musicians had only toured this material around the highlands of Scotland - safe territory you might say, so here was the litmus test. Does it travel? Seemingly. For what makes people go to a traditional gig where whistles, bouzouki, flute, small pipes, guitar and fiddle are the only communicative medium? All the vocals (bar one piece - which really should have been omitted) were delivered in Gaelic and without the explanations of the origins and translations of the songs we would have been lost. So why? Why do we choose to sit and listen to something we know and understand very little about? I feel it’s something to do with the pure sound - the combination of these instruments - and the skill on display; a fiercely moving medium. It’s also in the attitude and presentation where these dextrous artists know that these songs and tunes are simply passing through them and so they have no need for pretension or posession. The descriptions prior to the pieces also gave the music more focus and poignancy. Yes, sure it wasn’t a night of original material, but it was a night of original reinterpretation, engaging sincerity, warmth, humour and sweet talent. You know what, I think I ‘ve just answered my own question.

words: dean saint john
pic: sadie curlett

Supersuckers + BOSSCAINE - Fibbers, YORK - 29/01/07

The thing about me is that…well I’m a bit weird. I go for lots of make-up some baggy pants, and usually, my boat floats nicely. Tonight however is a different story. Let’s start of with Bosscaine; home grown bluegrass rockers. Very clever smooth acoustic guitar work gives way to some slick rock drums. Here we have a serious and established rock n’roll band, simple as that. The songs are true to the country and bluegrass aesthetic, well crafted words, gruff vocals and some price finger plucking make-up a nice ditty and setting up the old-school tone for the evening. Midway through their set a pretty woman appears and her voice is astounding. As soon as she comes on stage the Bosscaine sound is given a new level of intensity. The work goes from country and bluegrass themed to almost stadium rock.
The next band however, is a second rate Bad Religion mixed with good quality Greenday. Although the songs are in the spirit of fun and everyone seems to have a good time while the group sings songs ALL “about a girl.” The unfocused guitars seem out of place, while the heavy metal drums do give the tunes extra conviction; it all seems a bit confused and inconsistent.
As far as I knew, the Supersuckers were just a rock band, as the greasy hair and leather jackets flooded in, trousers rolled up high, grandads and grandkids alike. The band comes on stage, cowboy hats and sunglasses a plenty, and applause erupts. They launch into debauched efforts like “Pretty ****** Up,” which you know will always be a pleaser. The bottom line is, the Supersuckers have been around for about 20 years and they come on stage with all the life they must have had back when they started. Their diversity is seen in every song, they can relate to Iron Maiden’s brutalic fast anthemic guitars, and prize showmanship.
Tonight I learnt about true rock and roll; that the encore was evil and that we should not condone it in ROCK. I also learned: how to play the bass guitar… I ALSO learned the meaning of “AWESOMEOLOGY”. Yes, from the catchy fan favourites “I Want The Drugs” and “Born With A Tale” I learn, it’s not being just good, it’s being awesome and I think we can all agree that the Fibbers crowd and the band were just that tonight. The Supersuckers will not grab the emos, or the goth, or indie kids…they will, if you have any appreciation for the rock and roll originals like ACDC or Thin Lizzy, grab you by the balls and show you the meaning of a true rock show. The Supersuckers, the original Cowboys From Hell.

words: dom smith

THE SUGARS + Wild Beasts + GRAMMATICS - Fibbers, YORK - 12/01/07

We’ve got an invasion of Leeds bands on our hands. A marauding metropolitan mob of young upstarts ready to break down the walls of our fair City. It doesn’t look good for our underdressed and shamelessly behind the times populous. We are the drab pitch forked farmhands dressed in sackcloth to their well-organised multi-coloured retinue resplendent in their finest silks. Put simply, York is *****d.
Hearing the Grammatics for the first time is like the moment when you learned how to do joined up writing, the joy of cursive. I know what makes Grammatics: Parkinson, bingo and too much Coproxamol, not this manic indie band, full of fire and draped in suede. I just want to throw water over these talented bastards, ruin their impeccable suits and laugh as their brilliant flame turns to smoke. They are all cutting-edge style, style, style and substance abuse and we are the local yokels with a slim tenure on the English language. It’s about time that we had a good lesson.
It gets worse, the Wild Beasts are upon us. A ravenous pack of rabid dogs, howling obscenities at the moon, with a grunting falsetto, accompanied by a jazz backing track. If Tom Waits had chugged a load of helium before recording “Blue Valentine” then this is what it would have sounded like. A disconcerting dissonance that somehow seems to work with great effect.
How sweet are The Sugars? Looks like the stray cats have mauled a flock of seagulls but we‘re not complaining, far from it. In fact, the face-to-face image of a bequiffed guitar-picking cheeky 50’s throwback gazing into the eyes of his blonde bombshell, is no less than iconic. So they’ve got the polished image, right? Well this is neatly contrasted by the sound of dirty bluesy rockabilly punk that you just cannot fault. Where most bands fall into the trap of sounding like faded facsimiles of the artists that influenced them, The Sugars dodge this pitfall to create something truly original.

words:evil twin

Snake Davis and Jim Diamond - Thorganby Village Hall - 28/01/07

Thorganby Village Hall was transformed in to Jazz Caf» Bar for the first of a series of gigs planned for 2007. From the first note the packed house was hooked as Snake Davis and Jim Diamond eased their way into the haunting Otis Redding Classic “Dock of the Bay” followed by Ray Charles’ “Take these Chains”. Snake’s sax playing is about as good as it gets and after all these years Jim Diamond’s voice has matured and is still as good as ever. The second set featured more soul classics and Diamond originals and the hall shook as an enthusiastic crowd sang back “I Won’t Let You Down” and Wilson Pickett’s “6345 789” A great gig. Roll on Rebecca Carrington on 30th March.

words: rob worthington

THE NOISETTES - LEVI’S ONES TO WATCH - Fibbers, YORK - 27/01/07

The Victorian Gentleman’s Club were applauded off stage. If the audience were applauding their performance or their disappearance, was hard to distinguish. The very average atmosphere tangibly escalated to one of anticipation. Our thirst was soon quenched as The Noisettes crashed into their set with their first and only two single’s. This is brave and confident move. From the proclaiming, “Scratch your name” straight into the cathartic “Don’t give up”. I was inclined to think that the show had peaked after two songs. Wrong! Successions of thumping tunes were delivered with all the resolution of a charging bull. Shingai Shoniwa, bass/vocalist fronts this band like a screaming banshee with her voice scaling the beauty of Billie Holiday to the wail of Skin/Karen O. Punishing the stage with a warrior like dance and the occasional dive into the crowd, Shingai’s is joined in the front line by drummer Jamie Morrison and coerced into attack (as if they needed persuading) by guitarist Dan Smith. Together this band set any stage on fire. At last a punk fusion band that have got it right.
The Noisettes recently signed to Vertigo and their third single “Sister Rosetta” came out on the 29th Jan. The UK tour ended supporting last month at the Edinburgh Corn Exchange and they are set to fly off to put the cat amongst the big American pigeons. They return to London’s KCLSU on 2nd May.

words: matt grace

PLAYDOE + THE PROJECTS + ALMOST - CITY SCREEN, YORK - 24/01/07

Flyers for this gig had told me to expect “three bands mixing electronica with live instruments” what we got were three quite dissimilar acts, two of which were very light on the ‘electronica’. Not necessarily a bad thing, though.
Almost played warm, meandering post-rock. They are, I suspect, big Mogwai fans. The partisan audience exploded with applause after every song, and, although their sound was slightly familiar, it was very well executed. Slow, booming bass lines and crisp snare hits were the foundation for gently affecting guitar interplay and pleasant xylophone flourishes. Not bad.
The Projects, an altogether different musical beast, boasted saxophone, flute and occasionally ear-piercing bowed guitar over a tight and funky rhythm section. I don’t personally buy into their supposed “Bristol sound”, though their singer is certainly a bit Beth Gibbons. Rather than the atmospherics I was expecting, they charged through a short set of catchy, driven pop songs, each with insistent drumming and foot-wiggling bass lines. This is a good band with good songs, and are worth watching.
I am a big fan of band-gimmicks and was impressed to see that the final band, Playdoe, had built a desk with the name ‘Playdoe’ cut out from the front, and then wow… the band were even better. On top of a constant backing of bare, staccato drumming, twin turntablists layered glitchy atmospherics and sparse bass prangs. Their singer seemed to spend most of her time dancing frantically to the propulsive, energetic drums, now and again throwing herself into shamanic banshee-wailing. Nevertheless, the drums were king: they made the empty spaces between the layers tense and forboding, and, by demanding attention, they dragged me into the music, closing the atmosphere around me, and made every open-ended, semi-percussive scatter of turntable noise all the more important. One of them sat behind a sizable bank of keyboards, yet seemed to be doing little. Only occasionally did he actually play anything, but by sparing his contributions he avoided saturating the music, allowing it to sprawl out agreeably, whilst giving himself space to really lift it when he did play. I will definitely make room in my busy social schedule to see them when they hit the Basement Bar again.

words: colin holloway

Death Defying Life + Black JacksoN + Milk Round Brown + Whyte Light - CERT 18, YORK - 05/02/07

Global warming set in on my rocks on a blisteringly cold Monday night as I strolled down to Certificate 18. I found myself a suitable wall to prop up and soon St. Peter’s indie boys, Whyte Light, graced the stage. Being their first gig, I wasn’t expecting much more than simple 3 chord progressions and overly repetitive droning vocal melodies - however, I was pleasantly surprised. A sweet Nicholes-esque quality about their final track caught my attention. Some real dry and greatly effective vocals from front man Eddie Barlow tipped the iceberg with this - definitely a style to stick wit - and for god’s sake, get a bassist!
Fulford 6th form Milk Round Brown have only had a few gigs behind them but they play like they’ve had 30. After a slow start they unveiled some fantastic compositions with great changes and progressions. It became obvious that bassist Luke Pentith holds this band together; coming out with some awesome lines for seemingly simple songs. I hope to hear a lot from this lot in the future.
Laden with ‘I (heart) BJ’ memorabilia, Black Jackson were in from Manchester to make their mark on York’s music scene. The free badges were at one with the ladies, as was the Pete Docherty look-alike front man Ali Kavali looking, well, like A Clockwork Orange’s Alex de Large. A barricade of sound and flailing bodies paraded the stage. Kavali producing an incredible performance of dance and motion. It was a shame everyone buggered off after Milk Round Brown ‘cause I was impressed. Very clean and well practiced. Good luck on the rest of their UK tour.
Finally with Death Defying Life it was nice to see a bit of punk again like 3 Doors Down, Thrice and Bodyjar - at least this band isn’t turning emo. All I managed to catch before having to leave was an ear piercing snare drum and the lead guitarist’s energetic performance throughout their two minute first song which reminded me of a modern day Ramones - isn’t it a shame people genuinely think Ramones is a clothing line?

words:mink

Manifesto + GST Cardinals + The Daimlers + The Nicoles - Cert18, york - 25/01/07

I’d heard the name Manifesto come from York gig goers lips many a time and always it was Colgate with freshness of opinion, so my expectations were high. But I felt let down slightly when they came on, they looked somewhat uncomfortable and it didn’t look promising... this said though the opening song was very strong, just something lacked in the delivery. By the third song they seemed to burst free of the gravity that had been holding them down and this sudden gang rejuvination kicked forth and they took control of me, overwhelmingly! I was charmed by the singer Adam’s voice, it sounded very late 80’s/early 90’s in it’s indie sincerity, maybe a cross between Mark Hollis of Talk Talk and David Gedge of The Wedding Present, two of England’s most individual stand out vocalists to a legion of vinyl adoring, gig devotional fans. The band were tight and a special shout out must go to the drummer Tom who was very animated and entertaining in enthusiasm, but for me the strongest point of Manifesto were the lyrics, the lines that I could make out beguiled me, this frontman has something to say in a way that Mark E Smith has kept an audience gripped for the last upteen years, on top of Ben and Will’s Smithsesque musicality it was worth walking through a blizzard to get to see. I will be going to see these guys as soon as possible and suggest you do too.
Next up were GST Cardinals, apparently they glistened in soundcheck, but from that point on, the celebration of one of the band member’s 18th birthday seemed to dust up their shine. The frontman started off being quite humourous in his arrogance, but it soon wore for me and sadly I have to say they were too worse for wear to perform, much as I saw they probably had potential to. I think I’ll close my MySpace account down now for fear of hatemail, but I’d have to say I’d compare them to being a cross between Little Man Tate and The View, very ‘now’, but really not very ‘new’. The singer bounced around like a young Bobby Gillespie and his encouragement of the audience probably will work wonders for this band building a solid reputation quickly, but tonight they took one step forward and then one step back, nothing gained to me, but nothing lost, I’ll keenly see them again and hope that it’s not another birthday celebration night! Watch these guys as they surely know how to craft a chorus.
The Daimlers, now here was a band that looked like they were loving what they were doing. Their energy flourished from the stage and I was hooked from start to finish by some great harmonies (from singer Tommy and bassist Mike), sharp hooks and engaging musical arrangements. One thing I have to say is give the guitarist Ali a mic, even if he can’t sing, he looked cool as **** and was singing along so passionately that I was not wanting each song to finish for pure entertainment and enthusiasm that I felt they couldn’t follow up surely, but then with each start of the next song they seemed to up it a gear, by the set’s end my hair was as blasted as if I’d had my head stuck out of the window in the fast lane of the M1! I can’t wait to see these guys again, I was totally swept off my feet, they look fantastic, sound fantastic, they are fantastic, stick these guys on an indie disco in between Blur and The White Stripes and no one would think for a minute of ‘who the hell is this’ and stop dancing, someone get these guys a white label pressing!

Headlining on this fine night were The Nicoles, reason enough that York should be made the new media city scene. Although hampered by technical difficulties, (Vox and Marshall pfft!) they battled on knowing that it’s the song that was going to win through the fight, and that they did. 5 Miles, Plans, Xbox And Food and surely in the top three of York songs at the moment, Ambulance, they delivered a set that was Italian pasta gourmet compared to many hyped bands Pot Noodle offerings. It would’ve been easy with the situation of amp difficulties for the band to have done the motions, but with a loyal following that’s expanding quicker than a Beckham ego, The Nicoles showed a maturity and passion that’ll get them on A&R guys and radio dj’s in the big league putting them on their mobile phones as ‘aaa the nicoles’. These guys are championing an underground teenage band scene in York that is destined to spill into iPods and bring their gig bootlegging being passed around the internet with a fever akin to major band’s pre-release leaked albums, grab your mobile phone and get to their next gig! THIS is the sound of the underground and The Nicoles are going to make the London Tube lines look like a kid’s play set.

Don’t wait for Zane Lowe to tell you who’s cool, Corruption will do that for you.

words: marbled