april 2007: live reviews

STORM (CHRIS WATSON & BJ NILSON) – RYMERAUDITORIUM, YORK UNIVERSITY - 03/03/ 07

“Sit back and enjoy some of the worst weather in Europe” – now that’s not something you hear at the start of every performance. And if you said you were off to sit in a darkened room to listen to an hour of seagull, rain, seal and sea noises, folk might assume you were off to some icky New Age relaxation session. Storm is not your run-of-the-mill piece, but it does basically do what it says on the tin. Swedish ambient electronic composer BJ Nilson and sound recording artist Chris Watson, who’s recorded for some pretty heavyweight shows including David Attenborough programmes, realised that they were essentially recording the same storms from opposite sides of the North Sea, so decided to collaborate (as you do), and put together three pieces of field recordings interwoven with incredibly subtle electronic effects. This performance, utilising the Rymer Auditorium’s state-of-the-art sound system, was its live debut. And it was amazingly effective. There was one screen with some abstract sea images, but Watson’s suggestion that the audience close their eyes and go with the sound was ideal, as it opened the imagination to the amazingly sharp recordings. First piece, “No Man’s Land,” mainly featured sounds recorded by Watson while stuck in a cave on an island off the North East coast while a storm raged around him. Waves crashed, seabird cries and seal barks rebounded from one side of the room to the other (and did Nilson drop in some very subtle electronic suggestions of voices?), and you couldn’t help but be engrossed in the atmosphere. The second piece featured distant and occasionally threatening crashes of thunder and lightning, tempered by knocking noises that suggested boats in a harbour and thus gave the reassuring impression of still being on land. The third movement featured the most obvious electronics, with Nilson adding a deep pulse to the natural rhythm of the waves. All in all it was incredibly soothing and natural – the artists resisted the tempation to go for excessively loud thunder samples, relying instead on space and distance to conjure up images of huge grey skies and seascapes. The audience emerged looking enervated and refreshed by what was an out-of-the-ordinary sonic experience. So another triumph for the SightSonic digital arts promoters, almost up there with last year’s Ryoji Aikida performance at the NCEM. More sonic boundaries pushed, and in the most unexpected way. Excellent.

words: tim procter

THE FINAL SIGH + EYSAW + DYSFUNCTION + [IN:AUDIUM] -
CERT 18, YORK - 07/03/07

Hull’s finest (not much of a compliment considering that, apparently, Hull is also home to the largest council estate in Europe... “Look it up on MyWikipedia”, singer Rich recommends), [in:audium] take to the stage first in what is arguably a metal line-up tonight. They are, however, one of those bands whose genre you can never really put a finger on. Beautifully crafted songs with a slightly electronic and industrial undertone are the bands standard sound, with singer Rich displaying an impressive vocal ability that seems to give the whole performance a spine-tingling edge. Engaging stuff.
On sight, Dysfunction look like a Bullet For My Valentine tribute in training, namely due to the lead singers uncanny resemblance to Matt Tuck. But on sound, it’s clear to tell this band can stand entirely on their own feet as far as song craft and live performance go. Technical skill mixed with an energetic and engaging performance keep the crowd interested, and it was nice to finally see a metal front man who looked like he was genuinely having a great time. A much welcomed return indeed for Dysfunction to Cert and one that’ll hopefully see these guys take to many more stages in the near future.
A third place support slot awaited Eysaw, hailing from Manchester, who managed to work the significantly metal-loving crowd into a modest moshpit with their blend of raw metal with strong, melodic riffs and a set of flawless vocals. A well worked set, this band are definitely one that I’m sure the venue and gig-goers alike would love to see back in York.
‘Hotly anticipated’ is perhaps an understatement for the headlining Leeds hardcore four-piece, returning to Cert after building up an impressive set of appreciation from the likes of Metal Hammer, Kerrang! and Total Rock Radio. So to have The Final Sigh in the intimate and rustic stylings of the Cert18 stage was something pretty special. Translating on stage as brutally as they sound on record, the set of sufficiently experimental songs with a solid metal base proved the perfect finale of a great night of talented bands.
This gig should have included the sub-heading ‘ones to watch’, as you can be in no doubt that every one of the bands playing tonight has the potential to be something huge. Energetic, passionate and above all, talented, the nights showcase of undiscovered musical geniuses was not one to be missed. And all that for the price of a McDonalds? You should be kicking yourself if you chose the latter.

words: rl wade

SUPAFI: FENNA RHODES & THE TRUE INGREDIENTS + JESS GARDHAM + THE SUMMITS - CITY SCREEN BASEMENT - 23/02/07

I can just imagine the conversation that the first band of the night had when choosing their name: “Right then, what shall we call ourselves?”, “Dunno…The Doodahs? The Watsits? I know, The Summits”. They open with the familiar melodic strains of “Carry me across”, a Gospel tinged piano-led tune. (Wait up, this is The All Saints, right?) But, before you baulk and roll you eyes in derision, consider this: Jess’s smoke filled vocals provide the edge to break the song out of mainstream pop-tat territory to move it up onto another plain. I settle down for a laid back, chilled out set…..BAM! The guitars cut in, the volume is turned up to eleven, the distortion kicks in and they start rocking. Three-part harmonies, Folk, Soul and a flurry of scuzzy Garage Rock, a mix of styles, a sound clash, a winning combination. “Stomp” shakes the room and they finish off with the audience in their pockets by playing a cracking cover of “Respect”. Ah, I get the name now… high quality, “The Summits”.
Jess Gardham has become a bit of an institution at Supafi, a professional with pedigree who knows how to pen a perfect song. I’ll avoid repetition and simply tell you to go and see her live. You will not be disappointed.
Rag-tag hip-hop collective “Fenna Rhodes & The True Ingredients” delivers a smack of Blackalicious Funk inflected beats. They take us on a journey through “Space and Time” with clever lyrical dynamics, alphabetical acrobatics and expansive technical panoramics. They create a positive, danceable, entrancable, hypnotic vibe on “We don’t give a…” and, to avoid tainting his tongue with the F-word, the front-man encourages the crowd to fill in the blanks. Hilarity ensues with the utterance of such obscenities but in reality, we don’t give a…and join in merrily. We’re in the hands of expert surgeons, urging us to get down with the flow, operating swiftly, massaging our frontal lobes. Crazy monologues quoting philosophy, exploiting wordplay, cutting up consonant and vowel . They put all of the pieces of this puzzle together to reveal something refreshingly deep, an ocean of talent. The superb, funky, improvised-yet-polished, hip-hop jam at the end with members of “The Summits” underpins the fact that “Fenna Rhodes & The True Ingredients” are the real deal.
D.J. Duke Dylanja set up Supafi to give local bands the opportunity to jam together and collaborate. Over the years a multitude of musicians have graced the darkened depths of the basement bar: Endgunn, Deltawave, Mr Parker, Monkey Business, The Circles, Idle Jack & The Big Sleep, Cardboard Radio, Hijak Oscar, New Soul Company, The Mad Science Project, Filthy Sanchez, The Muthafunkstas…to name but a few. A birthday, a sad day, the final Supafi, an end of an era. We have had a party, we have been entertained.

words: evil twin

LEVI’S ONES TO WATCH: AIR TRAFFIC + GHOSTS + SNOWFIGHT - FIBBERS, YORK - 22/02/07

By jingo, the place was awash with things - THAT hair, THOSE eyebrows, SUCH pants, mobile phones clickety-clicking for THAT shot - and that’s just the boys. “I was there, I was there! Look at me, look at us. We are here!” YouTubed and NME TV’d the band today and you’ll Myspace the gig tomorrow. Yes, the latest monthly instalment of the most vibrant musical ideas to surge up the country on the Bar Fly tour, courtesy of Levi Strauss, pulled a pretty crowd. Don’t misunderstand me, I can easily hold my own where ever noise is made and appreciate it like the rest - though I do move to my own rhythm and at a more leisurely pace with less maintainence and slap. I’m there more for the music.
The night had cohesion - all were accomplished musicians and hit the mark. Snowfight are a good band and will very likely make a wage from their music. The best track of their set being ‘Listen’ - as not only did you get the nod going from the start, the all-important hook snared effectively. I think it’s quite right that this band was jumping ship momentarily to support Kings Of Leon for three dates in the Midlands and South.
Ghosts’ gold top full cream radio friendly tighter-than-tight compositions sadly erred towards sterilisation. Maybe too harmonically accomplished and polished, I missed some rawness and rough edges. This said missing edge, however, was reported by the Evening Press to have reared its head the next day with front page blarings of antics of hotel room destruction and arrests. Boys, please! Clichés are so unimaginative.
Now Air Traffic I really got on with because 1) they made me feel the way you do when you’re waiting for something which you think just may be crap but you have to say you like it because Aunt Flo knitted it and - wow- it turns out to be a wickedly cool something you never thought she knew you were into. Like modern indie/punk with a Joanna thrown in. 2) they displayed bold control of texture with some downbeat piano-led numbers and 3) their man can sing: a strong vocal delivery which explored many ranges. For me, it was their guitar based tracks whch connected better beacuse they brought out the conventional punk element. Gripping guitar intros, deliberately mileading in their chord progression, coupled with a very snappy rhythm section made a satisfying format. All tracks from their EP were played and sang along to by the kids who wanna be seen. Talking of which, how do I work this damn camera on my mobile....?

words: dean saint john
pic: phil swift

EDDI READER + BOO HEWERDINE - GRAND OPERA HOUSE, YORK - 23/02/07

There are some people that you just know are going to put on a good show. Eddi Reader knows how to deliver, and at this gig she did just that. Playing songs from her new album, Peacetime, to an audience of around 600, she also played her number one hit from her days with Fairground Attraction, Perfect. The band she had were the business - amongst them Boo Hewerdine on guitar, Roy Dodds on drums, and the excellent John McCusker on fiddles etc. For my money there was rather too much evidence of Reader’s love affair with the ghost of Robbie Burns, whose songs have made up the bulk of two of her solo albums, and as a consequence we lost out on some of her best songs, like Hewerdine’s gorgeous “Felt A Soul Move Through Me”. The Burns material was a little too one sided, with too much emphasis on mid-pace ballads, and it would have been good to have had more dynamics, especially given the quality of the band. When Reader, Dodds and her acoustic bass player whipped through Elvis “Mystery Train”, though, it was a moment to savour - energetic and full of spirit. Come back soon, Eddi.

words: miles salter
pic: david x green

EGO - ROMAN BATH, YORK - 08/03/07

It was an intimate, cozy gig and these five guys created a mesmerizing atmosphere for this little pub. Their timing and style is to be compared to classic indie bands such as The Charlatans and The Libertines; their personality oozes with love for their music and its heritage. They bring infectious excitement to any venue with their dirty, adolescent anthems – screaming guitars and rumbling bass-lines make for a razor-sharp, powerful performance.
Ego’s lazy but serious attitude to the way they play really gives them a pure indie image. They are playful with rhythm and the enthusiasm pours out by the bucket load with each song.
Ego are one of the most ingenious bands of this generation, their memorable, catchy lyrics combined with their complete indie image and “rocking out” capability is beyond comparison to any other indie-rock band in York at this time. Ego have a unique talent of making the old sounds of the 90’s come alive, it’s new and refreshing. They have created typical indie rock and roll worthy of the 21st century – The Stone Roses would be proud.

words: annie albericci

ANGEL BASS - THE CAVERN, LIVERPOOL - 15/02/03

Following the success of being voted the top indie UK band in a recent global My Space vote, Angel Bass have achieved another milestone in their musical career - top billing at The Cavern, Liverpool. The trip was rocky, to say the least. The bands usual singer decided to quit 48 hours before the gig so a replacement was needed pretty quick and in stepped Bat Downey to help pick up the pieces. Whilst his style is more metal than indie rock, he stepped up to the plate and inspired Angel Bass to perform the gig of the lives.
The Cavern has two main areas to perform, the ‘Beatles’ stage which is largely turned over to fab four tributes for the tourists, and the ‘Big Stage’ which is where Angel Bass performed. The set started incredibly with two new songs, ‘Come On Everybody’ and ‘In A Cage’. These set the atmosphere for the rest of the gig as Bat Downey established why he is the future of where this band are going to go. The next five songs were Angel Bass anthems: ‘Unnecessary’, performed with a metal growl - ‘See You, a great track whether fronted by a hardcore exhibitionist (meant in the nicest way) or a decent voiced singer rooted to the spot as previously witnessed with their former frontman. ‘Forest Growing Wild’, ‘Life Support’ and ‘Paranoid Eyes’ were all gobbled up by the crowd. Tee-Shirts and badges were thrown to the audience, which from the reaction will become collectors items in years to come.
Angel Bass had drawn an enthusiastic audience from York, Liverpool, Bury, London and incredibly enough Poland and by the end of the evening many more fans from all over the UK can now be added to that list. They also announced that they were expanding their musical direction by creating a new band called Spinal Rage which mirrors their desire to move into the Metal arena.
All in all, the story is true rock and roll history. What better place to end one bands incredible story and start another, than at the most famous club in the world?

words & pic: rob scott

BLACK ABALONE/HOLLOW MOUNTAIN - BEAT THING - CITY SCREEN BASEMENT - O6/02/07

It is the End Times. The sky as black as sackcloth. The Four Horsemen. The opening of the Seven Seals. The very fabric of the universe itself disintegrating around you. The earth aflame, the seas broiling with the blood of slain angels. Sinners cower in almighty terror. None shall be saved. Judgement Day.
Only after a couple of minutes you think; ‘**** this. I ain’t goin’ out like Satan’s bitch. I don’t got time for this corny Apocalypse Of John Book of Revelations shit. Maybe you fools wanna sit around waiting for the Final Reckoning, but you can kiss my ever-lovin’ ass gooodbye.’ Looking around, you take in the scene hoping to identify some way out of this madness; sinners being judged...throne of God...blood of the Eucharistic Lamb...The Tardis...WHAT?!!
Of course! Doctor Who, being a smug time travelling bastard who can zip from one side of the galaxy to the other in the blink of an eye, has taken a break from busting Dalek heads to come watch The Judgement Show, the all kickin’ all screamin’ death throws of humanity, he’s a sick sorta punk and this is how he gets his kicks. Instantly, you know what you have to do. There’s only one way out of this mess. You’ve gotta jack the Tardis. But you can’t take down The Doctor by yourself. He’s got that sonic screwdriver thing, and he re-generates when he dies so you’re probably gonna have to straight-up murder his time-travelling ass a whole buncha times. You need a posse.
Having made a few quick phonecalls, you manage to assemble your own Wild Bunch consisting entirely of super-heavy progressive space rock and avant garde noise outfits from the ‘60s to the present, including members of The Grateful Dead, Hawkwind, Mogwai, the Bitches-Brew era Miles Davis band, the BBC Radiophonic Workshop circa 1963, and Faust, plus various post-rock and free-jazz instrumentalists and the London Symphony Orchestra, all of whom, driven completely insane by the coming apocalypse and having ingested as many skull pummelling drugs as possible, are performing the complete works of Stockhausen, backwards. You were kinda hoping for The A-Team or Chuck Norris or something, but you gotta work with what you got. The assault on the Tardis is long and bloody, The Doctor defending the phone booth from wave after wave of deranged East European jazz-fusionists, until finally the Sun Ra Arkestra make one last death-or-glory attack, relentlessly beating Who around his head with vibraphones, percussive rattley shaker things and flutes, pounding the defeated Time Lord to the ground. Regenerate THAT, you twat. The Tardis is yours for the taking.
Blasting off into the ether, you stare out the Tardis windows at the disintegrating earth shrinking away below as you race towards the stars, the once blue sphere burning blood red with the fires of Hades. You’ve made it. You’ve escaped. You take one last look as Planet Earth breathes it’s last breath, briefly collapsing in on itself, imploding inwards like a deflated balloon before igniting in a final orgasm of galactic fury, continents rupturing, a million megaton bombs erupting simultaneously, space itself buckling under the thunderous expanding halo of energy released by the explosion. It is over. History ends. You are alone.
Put all that together and you’ll be about halfway to understanding what Black Abalone/Hollow Mountain sound like. Only they’re louder. paul fuzz