september 2007: live reviews

‘Bouncers’ by John Godber - York Theatre Royal - 12/07 - 04/08/07

Only a fool would suggest Bouncer’s themes are no longer relevant. Booze, sex, masculinity, femininity and tacky discos. However some things do change in 30 years, and the play did need its 21st century ‘remix’. Damian Cruden’s piece does this exceptionally well, packed with modern references and pop tunes (though alas no acknowledgment of drug culture). One of the best moments is the remix of the (appropriately northern) Kaiser Chiefs ‘Ruby’ to new lyrics. The play tells the story of three different quartets; the Bouncers (vying for male dominance) and the young yobs/garish lasses both on a night out and on the pull. The 4 sets are played by the same 4 skilled actors who use exaggerated characterisation for the 2 sets of party animals, making them universally recognisable, whilst the naturalism of the Bouncers feels very honest. The play is set out more like a sketch show, featuring a selection of funny (almost out-of-context) skits based on nightlife. Genuinely laugh-out-loud funny, superb moments stick out in my mind such as the Swedish porn video and the comparing of penises in the bogs. The actors use accomplished mime to tell cartoon, and yet all too real, stories. Perhaps almost like a drunken dream? During the talkback afterwards Godber entertains us with funny yarns and it’s obvious to see where the northern anecdotal play comes from. Cruden, it seems, was interested in bringing out the filmatic features of the play, making references to sci-fi/Frankenstein in the opening and then James Bond at the start of the second half. However, I wonder if the play isn’t filmatic at all, but relies heavily on relationship and interaction with the audience. After all, the play is reflecting our lives on stage. The actors regularly break the barrier and scour the audience for matching underwear or a victim to vomit on. Entering the theatre was like entering a club with the actors in suits ready to frisk suspicious punters, not to mention the disco in the foyer playing all those classic nightclub tunes. Even though I felt the dialogue lacks deep poetry other plays can provide, the movement and zany characters made the play charismatic and enchanting, the only time it slowed down was for Lucky Eric’s (Andy Hockley) speeches which were admirably delivered. All in all a cracking show, portraying the witching hours on stage so scarily recognisable.

words: henry raby

SHINY TOY GUNS - FIBBERS, YORK - 22/07/07

Opening this adrenaline filled night of joy-gasm worthy electro are Leeds based Rochelle. Disco beats and raunchy guitars set the scene. Its heavy indie rock and the music is something of a fatal fourway extravaganza between Massive Attack, Peaches, Hot Hot Heat and The Yeah Yeah Yeahs. The thing that strikes me particularly hard is that this band do a better job than any opener (for a major band) I have seen in a long time.
Of course it helps to have a group of multi-instrumentalists who can really play but also know how to have a good time and in turn infect everyone else with their good vibrations.
The second act tonight Neon Plastix can only be described as possibly the most amusing entity to ever make it out of Doncaster. Its psycho dance punk with fast paced drums and a really quirky vocalist, part Nick Cave and part Jim Morrison.
“Electricity” is simply a rave party on stage, crazy vocals and intricate guitars are splashed all over this pretty little effort. “1830’s” in contrast is dirty and terribly infectious which is unfortunate for the poor dancing foolsat the front. Finally we have the standout “Gentleman’s Gold” while the brooding guitars remind of the Cure, the raucous vocals would find a home on any dance floor. Unfortunately that isn’t enough for the vocalist Goss who proceeds to jump into the crowd and has the fans play the keys for him. A truly rock and roll ending then, this is a club hit and this band are the underclass heroes of electro. Prepare for this band to jump on you.
After a long wait, and loads of pesky smoke (for atmosphere it seems) alongside one epic guitar track, L.A’s favourite electro boys and girl take the stage late on. Each of their now trademark songs has impacted each and every one of these fans in some way it seems. Some girls and guys are so happy to be seeing this quartet that they are close to tears.Both vocalists are on top of their game, Carah pours her heart into every utterance and syllable while Chad spits his soul out for us all to see on an uber-loud cover of Depeche Mode’s “Stripped”. The bottom line tonight is that as STG head into a Reading/Leeds performance in August, they make the tiny Fibbers seem like a stadium. It’s not because their magic, or that the blinding strobe is tricking my eyes into believing the building is transforming…it’s simply because the crowd make it seem that way.
I’m not one of these people that knows all the words, but I know from the smiles on everyone’s faces as the band break into their closing anthem “You Are The One” that STG have weaved their way into the hearts of the masses just so they can make us all feel good enough to dance like nobody’s watching underneath those brightly coloured disco lights.

words: dom smith

DARKLANDS LIVE SPECIAL: THE CRÜXSHADOWS + UBERBYTE - THE JUNCTION, YORK – 07/08/07

It seemed that tonight I was Mr. Beige. Possibly even Mr. ÜberBeige. I was the Light Pastel One - and that was ok. I had come for a look-see and I admit this was a very different night for me - other journos more suited (and platform booted) to the Darklands style were all engaged - and I’d stepped into the cobwebbed and darkened Junction den to soak up the Goth and Alternative stylings of Uberbyte and The Crüxshadows.
Darklands promoter Jared had pulled in a big headline name on the Live Goth front and the crowd was swelling nicely as support Uberbyte struck up. With a 3 piece line up of synths, vocals and cymbalist (!) I reckoned they would have to work hard to cut it over the heavily pre-sequenced sound. Sadly the most exciting aspect was UberBitch’s cool get up - too little dynamic action on stage underlined the amount of pre-production their show relied on. A fuller percussion section could have been used to more effect and the vibe did swerve dangerously close to Dance towards the end of the set.
Chatting to the Darlington trio at interval - among them a mental nurse and a lawyer - I realised how popular a band The Crüxshadows were. They’d last seen them at the Whitby Goth Fest and absolutely recommended them. “Wee. Bar. Gig.” one said and we were back inside.
The Junction’s dark stage was a void except for keys, laptop, electric guitar and a huge tour lighting rig. What did they have in store? The Crüxshadows came through the crowd to applause and took their positions, minus lead vocalist Rogue. The beats kicked in, the lights and lazers busrt into life and we were off and for the next 80 minutes The Crüxshadows displayed a slickness and professionalism of the highest order. Segueing pieces with a smoothness which only comes from constant touring and honing their show; these guys and girls had been on tour for the last year and it showed. They produced a fantastically powerful sound, predominantly led by big electro back beats and embellished with effortlessly gorgeous rich lead and rhythm violin parts and synth pads all roughed up by dirty guitar. Neo-Folk meeting electro maschinations; industry meeting agricola. Warped, melded, trussed up and presented against a backdrop of mesmerising erotic dancers upon a cloud of dry ice, illuminated by lazers and blazes of colour. Radio mics for all vocalists and violin enable the band to really bring the show out into the crowd, using audience and furniture as props. Visually compelling and musically fulfilling: four part vocal harmonies, dynamic highs and lows within tracks and within the set. Rogue only addressed the audience once to say thanks and give info about their tour then into the home straight. Some style indeed. So, what say you outsider? What say you? Mr. ÜberBeige, he say yes.

words: dean saint john
pic: david x green

Testtone 3 + Vinnie and the stars + King Simian – CERT 18, YORK - 03/08/07

First up on this night of wholesome noise and bleepy noises we have the indie-sleaze of King Simian. Their opening song finds us looking at a crossbreed of early Greenday and The View. The chords are reminiscent of the popular pop-punk pioneers, mixing a raw energy with pop sensibility and that’s what gives this band life here. At times the vocals are un-remarkable, and sound a little too much like everything else. However, the band work hard and change the pace a little with “Friday Night.”This one was a highlight, much faster and more equipped to make you move your feet than other songs in their arsenal.
“Vinnie and the stars” are a completely differing outfit, it’s rap and blues rock…for once really, this is something slightly different than anything you will have heard in recent memory. “Time Flies By” incorporates a little jazz and a little bit of ska. This is perhaps what we should be able to call: “real feel good music.”
Acting as the “Sublime” or “Of A Revolution” for the U.K, Vinnie and The Stars (complete with infectious “get-happy” songs like “Day Off” and the new single “Gone”) seem to have mastered the art of creating quality music, that crosses genres and makes people happy.
For the most part in these songs the saxophone compliments the steady rock beats, while the vocals slide down our ear holes like a pint of the smoothest... whatever you want. The aforementioned “Day Off” smacks of early Chilli-Peppers if you crossed them with the Gorillaz and a pinch of The Eels added to spice up this wonderfully random concoction.
After a short wait Testtone3 take the stage and Adz, the lead vocalist looks pretty happy (if slightly tipsy) that he and his band have made it here…got an E.P out, and are going particularly strong at the moment on a national scale. Of course they are not thinking about that, they are having a laugh and ready to put on a show…it’s not business for them, its pleasure and that’s how it’s always been.
The band open the night with the rock orientated “Time Is Now,” and are off to a decent start easily appeasing their core fans. “Get On The Dancefloor” meanwhile re-evokes the “feel-good” factor that the previous band set in motion. Tonight, for this band it doesn’t seem that it’s about the music that they have spent so much time crafting, blending together rock guitars and upbeat synthesisers, it’s about proving that they can make it to the people that love them. With songs like the effortlessly bouncy “Goin’ Down” and the edgy electro cover of their major influence Jimmi Hendrix’s “Purple Haze,” they prove it easily and stand proud ending the night with “Feel Love” an anthem and no doubt a nod to dedicated fans.
TT3 are a band apart when it comes to live shows, and they have given their home everything they have and then some, only time will tell now if these three lads can translate their big electro sound onto a massive stage. This is simply put, music for the “24 hour Party People” of every year from now onwards in Yorkshire and Worldwide.

words: dom smith
pic: bertie smith

FATHER + BLED IN AGONY + DYSFUNCTION + MANTRA - THE JUNCTION, YORK - 07/07/07

This was Father’s second visit to The Junction this year, no mean feat when you have had to drive all the way from Croatia to get here. When it pisses down an hour or so before something you are organising, you do tend to panic that nobody is going to turn up. I need not have worried though. All the bands turned up, the sun came out, sound engineers were overcoming language barriers and a queue was forming outside.
Mantra kicked off proceedings in fine style. I had not seen Mantra before tonight. Heard lots of good things about them though. They had a new drummer making his debut at this gig who looked and played as if he had been with the band for years. Oli’s guitar playing is class, and his brooding presence and growling vocals give this band an air of something slightly different over many other local metal acts. Oli is ably supported by Cat on bass whose fingerwork would put her in the top ten bass players in the city. I liked the song dedicated to the chavs who broke into his van, aptly called “Choke”.
Dysfunction were on shortly after, or rather Dambo and Nos joined Oli and Cat on stage to form Dysfunction. The band has been running this line up for six months or so now and they get better, and more energetic each time I see them. They got the crowd going very quickly, as they always do. Even I join in with the anthemic “Touch The Blood”. Bled In Agony have had a bit of time off while they tried out a few bass players and have only returned to gigging in the last month or so. I have written about them before when they did The Winning Post BOTB last year. They still have it. Karlos providing screaming lyrics that come from deep within, while Josh provides appropriate harmonic growls, The audience seemed glad to have them back.
So for the big moment, Father. There were a lot of familiar faces in the audience from the last gig, good to see them return. Better still were the new faces who had stayed to see what all the fuss was about. Who was this band that had just supported Korn in Zagreb, and why were they playing York? Well, they were touring the UK because their album “Inspirita” was released at the end of August, and they were playing York because the two people who got them into the country are from York. A hometown gig, if you like. They made a lot of friends the last time they were here. Their 45 minute set flew by. Their version of “Chop Suey” by System Of A Down got the audience worked up into a frenzy. Their own material was performed with passion, energy, and the precision and impact of a laser guided bomb. The audience were loving it, a lot of them knew the words to “Machina”, “Cynosure”, and “Emon”. As with last time, they finished with a metalled up version of “Eleanor Rigby” I had told the audience they were going to get an evening of supreme metal. I know that is what they got. The album “Insprita” is available from Acomb Music.

words & pic: paul cunniff

Rolo Tomassi + Meet Me In St. Louis + Assembly Point 3 + Bad Shots Reunion - Fibbers, YORK – 23/07/07

Bad Shots Reunion are pretty much professionals on the local music scene, having done endless support slots for some incredible bands during their time - tonight’s performance demonstrates why. Loud, energetic, and taking no prisoners, Bad Shots storm through a set of controlled chaos with some blistering riffs and strong vocals. A faultless performance; they came, they saw, they yet again conquered.
No strangers to Fibbers, Ian and friends take to the stage as Assembly Point 3, a prog-rock-and-proud four-piece who play with energy and compassion from the start of their set to finish. Delicate guitar parts merge with wavering bass-lines, engaging vocals, and drumming that flicks between rock, punk and brass band. A set that didn’t stop to aim for epic song after song, they were perhaps a little restricted in the intimate venue, but a fantastic performance nonetheless.
The first of tonight’s double headliners were Meet Me In St. Louis, a band causing small ripples in the music scene but still remaining underground in their style, label, and fan base. While on record they shine in originality and vibrancy, live they achieve something altogether different. Meet Me In St. Louis on stage is the sound of a complex science - intriguing and unpredictable, yet with such precision and perfection that you’re left in complete wonder. Tonight’s display at Fibbers was no exception, with each member giving an outstanding performance through a set showcasing the pinnacle of band musicianship – labelling these as ones to watch would be an understatement.
Holy Roar Records is one of those undiscovered gems of a label, but with the likes of Gallows on board, they’re causing growing interest. With it being renowned for the best in hardcore and experimental noisecore bands, it’s not difficult from tonight to see why Rolo Tomassi were signed on board. Five school kids, having just done their exams, create the sort of chaos that Dillinger Escape Plan would be proud of. Their music is a Frankenstein of the best and most original contemporary metal, hardcore and electro bands, performed with an electrifying energy and style and an exceptional vocal performance from their young female lead singer. The crowd seemed to be dumbfounded by a mix of terror and awe at watching the band, leaving the venue in no doubt that this was an incredible night of music headlined by a very special act indeed.

words: r l wade

This ‘R’ Two-Tone + Bombskare + Skababs - The Junction, YORK - 04/08/07

Anyone who has seen ‘This is England’ will know in the late 1970s/early 1980s Two-Tone and ska ruled the underground music, and as evidence The Junction is packed to the rafters with skinheads, rude boys, scooter boys, mods, psychobillys, and punks all up for the sound of ska. There was a friendly vibe of shared love for this underground genre. And also interestingly, it was up to the Scots to teach us about this branch of Jamaican music, all the bands hailing from Edinburgh. The Skababs start off and despite technical difficulties played some enjoyable gems like ‘Teenage Kicks’ and Montez’s ‘Let’s Dance’ ska’d up. Bombskare explode on stage with loud, fast ska instrumental. Despite being a few members down they played ska that radiated energy thanks to the band’s charisma. Finally This R Two-Tone, a pure ’77 Two-Tone tribute band, march on stage. I was a little apprehensive about seeing a tribute band as a headliner (and even Bombskare implied bands should be doing their own music…”This is now” said frontman Andy P). However This ‘R’ Two-Tone not only play all their songs with perfect skill but also raw energy. Once underway the entire place is skanking away, each member of the audience dancing in their own custom style. Sweaty vocalist Rich Lyon leaps around with the passion of Goldblade’s John Robb, jumping into the audience and during ‘A message to you, Rudi’ encouraging everyone to take a seat on the floor for this laid bad anthem. The singer’s swap over for Bad Manners tunes, apparently the Buster Bloodvessel-look-a-like has been drinking since about ten this morning and won’t remember anything. But we’ll remember him. All the best Specials and Madness tunes come out, as well as some nice unexpected treats like ‘Bed and Breakfast Man’, ‘Stupid Marriage’, and the manic ‘One Step Beyond’ with an audience member doing the intro. After what seems a dozen encores which include the atmospheric ‘Ghost Town’ they finish with ‘Enjoy Yourself’ with most of the audience on the stage in full chorus sing-song mode. It was a shame there was no female singer for a bit of Selecter or Bodysnatchers but the band played a set packed with material. I’ve honestly never skanked so much in my life and as I write this my legs are sore as hell but it was all worth it for a night of Two-Tone. Ska’d for life.

words: henry raby