december 2007 live reviews

TESTTONE3 - CERT 18, YORK - 27/10/07

Ever seen the movie Almost Famous? It’s a detailed exploration of a band on tour and on a journey. There are moments of high emotion showcasing an un-bridled love for music. Tonight, Testtone3’s final gig encapsulates the band’s journey of three years in one evening.
To open the gig we have, “Barry And The Bad Lads” who produce at times inspired yet, confused indie sounds. Despite well thought out guitar lines and a steady following the band fail to whip the crowd into shape.
Similarly, The Silent Film Project from Sheffield are good, but they are generic. Strong vocals work well on “Singer Songwriter” while the pop sheen of “Good People” works nicely. The feeling is still that the crowd is waiting for something a little more exciting, something to really dance to…
Rule Of 40, are an intelligent blend of grunge rock and indie sensibility. It’s brash early Greenday guitars on “Literature” meeting with The Smashing Pumpkins atmospheric backing style on “Where I’m coming from. They take a moment to put an amplified take on TT3’s: “get on the dancefloor” in a fitting tribute to the band. This of course gets everyone moving, including Testtone! Rule of 40 set the tone sky high in anticipation mounts for Tt3 to take to the stage.
In a set that was a treat for all, Adz broke some guitar strings and we were subjected to a cute “interlude” song from the Precious bros. We were gifted the infectious “time is now” and the rip roaring energy of “It’s Going Down.” The epic quality and pinpoint precision of “Getting’ Nasty” is where the sound turns into pure attitude. It’s not hard to see why they have acted as an inspiration and led the way for many electronica influenced acts around Yorkshire.
They close the evening with their own “Rock‘n’Roll song” their own snottingly ace Britpop anthem. It is clear to see what a dent TT3 will leave in York’s vibrant music scene. Though it must be said many of these up and comer’s were in attendance tonight. Members from bands all around the area can take some inspiration from this truly entertaining high on energy outfit.
Testtone maybe back soo-n, but just in case, we will remember them as innovators, a group of very clever lads for whom it has always been all about the music, the people watching wide-eyed, and “just having it” every single night.

words: dom smith

Random Hand + Captain Hotknives + Mybe + Alt Track - The 1in12 Club, Bradford - 03/11/07

The 1in12 Club supported the growing punk scene in the 70s and it’s a wonderful thing that, 30 years on, it’s still going strong hosting fantastic underground, alternative bands. But tonight it feels like ‘alternative’ translates as ‘psychotic’. Alt Track, an electro duo, specialise in ambient and atmospheric synth music employing sets of keyboards and guitar. Though they only play a short set they have variation of both smooth and blasting songs. Mybe from Sheffield have a seemingly dazed lead singer and a psychotic bassist who looks like a dangerous animation. They play fast-paced punk rock without pause; they never let the energy drop for too long in between their fantastic, snappy songs. Captain Hotknives is a local hero, Patti Smith if she was a fat alcoholic man from Bradford. Because it’s the eve of his 38th birthday, The Captain tells us little stories through spoken word and simple acoustic guitar about how he came to the ‘profession’. Songs about him being mates with Jesus and how pigeons tell him to do various sins are all hilarious but tinged with a psychotic glint. Anyone who fails to coo like a pigeon will be hunted down and killed. A variation of ‘A partridge in a pear tree’ references his various songs, the trick to his humour is his unhinged manner and surreal twist. Then it’s Random Hand, Keighley’s Titians who are mashing up ska, punk, rap and metal into this perfect monster. To open RH slam into ‘Anthology’, their manifesto about prejudice and the human condition. Influences include King Prawn in both style and lyricism, the off-tempo skankable ska contrasted with blistering riffs and intense drumming. A spot of RATM helps too, with Lietch blasting trombone like Capdown or the Filaments. Font man Robin Lietch is a no-nonsense man in between signs, simply announcing ‘Milk’ as “an Anti-Racist song” and Answers, quite frankly, as about “not having all the answers”. But when the song kicks in he’s an explosive dynamo, barking the song like a punk Caliban, whilst guitarist Mathew Crosher is a demon when he gets chance to let loose with his metal. Most songs are fast and intense blasts, but the highlight for me was the song that summed up the evening, the volatile ‘Tenant of Rotherwood Hall’. Bubbling with insane intent, it represents RH, Captain Hotknives and even the support acts as wonderfully unhinged connoisseurs of alterative/punk music.

words: henry raby

Make It Better Later + Kickback + Kid Cosmic + Phat Phace - The Fenton, Leeds - 14/10/07

This is York-based ska-pop-punk band’s first headlining gig in Leeds after what seems like forever touring the country. But first up are Pat Phace, fast and energetic punk, I’d say NOFX if they were from Liverpool. They’ve got fantastic vocal harmonies and play an amazing Misfits cover. Kid Cosmic were a pop-rock three-piece constantly dogged by technical problems leading them to resort to mildly amusing jokes (I rather enjoyed the E song, followed by the A song and the look of sheer bewilderment on the guitarist’s face). When they did manage to get going we caught a glimpse of their explosive rock sound on songs like ‘Lighting Matches’. Kickback have over half a football team on stage, featuring 3 brass players. Presenting fast skacore (Voodoo Glow Skull and The Mighty, Mighty Bosstones spring to mind) Kickback’s sound really kicks out. And with so many members there’s always plenty to watch! Make It Better don’t so much make a heroic entrance as test out their wireless system and stand at the back of the audience. Lead singer Aaron takes a little detour before they get started. Make It Better Later are famous (infamous?) for their use of a violin to create enjoyable Reel Big Fish-esque ska, but unfortunately violinist Amy was unable to play. Luckily the band managed to employ a fantastic guitarist to fill in the gaps. The band seem to play songs from their punk repertoire tonight, but audience-pleasing classics like ‘Eric’ (tribute to South Park’s Cartman) and ‘Legend of the Ninja’ all get played. A very bizarre amalgamation of several covers features halfway through the set with ‘I Predict a Riot’ and ‘Love Machine’ to name but a few. Steve the drummer fires Aaron (twice) which he’s done on every night of the tour. In mock disgust, Aaron walks off during one song (NO!), but MIBL are soon reunited (Phew!). They dedicate ‘Legend of the Ninja’ (a song if it were written by a ninja) to organisers Peeky & Rich (the latter of whom yells the warrior cry in the song as ‘punishment’ for missing half of it). And, of course, what else but they finish with ‘Theate Song’. Fantastic Ska-Pop energy from a band guaranteed to put a smile on your face.

words: henry raby

Capercaillie - Grand Opera House, York - 28/10/07

An air of chaos pervaded the stately halls of the Opera house from the start. Support artist Roddy Hart hit the stage breathless after being held up on the A59, having initially been heading for Birmingham due to a diary mix-up. Still, at least his merchandise turned up, unlike the headliners’. Though not to my taste, Hart turned in a sound set of contemporary singer-songwriter material which went down well with the packed house, and which occasionally transcended the norms of this over-populated genre with some neat guitar picking and haunting harmonica, summoning up gaols and railroads a long way from his Glasgow home.
The main event began in fine style, with fiddler Charlie McKerron showing that he’s fully recovered from his recent injuries following ‘mistaking a hotel staircase for a bouncy castle’. Along with Donald Shaw on squeezy boxes and keyboards, and BBC Folk Musician of the Year 2006 Michael McGoldrick on pipes and anything you can blow down, McKerron provides the dazzling instrumental focus of the band. However, beneath their obvious dexterity and flash, there is a remarkably supple rhythm section, taking the Scottish-Irish-Breton heritage on a world tour with some tasty jazz inflections amongst their folk / folk-rock accents. As a bridge between these levels, Manus Lunny’s octave mandola adds colour throughout, with flashes of startling fingerwork at just the right moments. But what of chanteuse Karen Matheson? Ah, we’re back to the chaos again, as she had succumbed to a throat infection and was unable to appear. A lot of bands – most bands – would pull out at this point, but Capercaillie aren’t most bands. So, with apologies and offers of refunds, they decided to give us a show, and what a show it was. With the exception of a couple of rarely performed Irish Gaelic songs from the wittily self-deprecating Lunny, we were treated to a dazzling hour and a half of tune sets, with traditional material slipping seamlessly into the sort of material that made Shaw Scottish Composer of the Year. Cinematic in scope, the fine interplay conjured visions of storm and fire or windswept hills with a nod of the head from one musician to another.
Closing with the stomping tour-de-force of The Rob Roy Reels – with a final nod to the chaos in McKerron’s string change as it neared its climax – Capercaillie ensured that few, if any, punters would be queuing for a refund, and returned for a well-deserved encore of The Whinney Hills Jigs. Clearly, there was disappointment at the reduced line-up, but at the same time real excitement in seeing some of Scotland’s finest musicians flying by the seats of their pants and turning in a truly magnificent session.

words: oz hardwick
pic: andy stanistreet

BREATHING SPACE - POST OFFICE CLUB, YORK - 26/10/07

Iain Jennings, keyboardist, is the main writing force behind Breathing Space and tonight was the launch show for his band’s second album “Coming Up For Air’. Entering to the unrestrained applause of a full house at the Post Office Club, we saw collective who have a very strong fanbase and are quickly building momentum. A full house despite not being a regular name on the regional circuit? Promising. Their first set consisted of back catalogue material and the picture very soon developed: a very tight rock sound, richly layered double keyboard parts, well-textured guitar work with sizeable solos, guest sax and flute and very, very good vocals. Here Olivia Sparnenn is obviously (and deservedly) noted for her confident stage presence and vocal delivery. For a young singer she already has a load of gigging experience and consequently controls her range excellently - the stripped down ‘Rain Song’ showed this well. The decision to play the second set - the new album in its entirety and in the same order as on the CD - underlined their dedication to “Coming Up For Air” being a ‘concept album’. All the music is thematic, orchestral and very involving. I can safely say it’s not a sound for the young hip, cool cats who want to skip along in the fast lane; these Progressive Rock extended tunes are appreciated, as seen live, by a mature audience - listeners with a penchant for Classic Rock. Thus they’re not a dancing band or dancing crowd - but it is so evident, from the response the band received and the demand for encore, these supporters already know some of the material and will follow this band for a very long time. I take my hat off this band who write the style they feel passionately for and don’t give a hoot for a scene or the hype. This is a band with longevity, mark my words.

words: dean saint john
pic: paul newsome

¡Forward Russia! + I Was A Cub Scout + Duels – Fibbers, york - 01/11/07

A truckload of Leeds talent arrives in York and Fibbers is duly heaving. Must be quite galling for Duels though – last time they were here they were proud headliners, bearing an acclaimed album and seemingly on the cusp, but sadly fickle fate and the Leeds radar has somehow missed them. They’ve also changed, their previous glam-stomp aggro largely forsaken for moodier, more epic-sounding pieces. They’re still damn fine, still on intimate terms with a cracking crescendo, and the new tunes allow Johnny’s vocals room to breathe. And any band that features violin and Russian-style handclaps has to be encouraged, so welcome back Duels. I can’t get on with I Was A Cub Scout, a duo doing the faux-naive schtick of mixing vaguely noisy guitar with plinky-plonky keyboard samples and sensitive tales of girl trouble and the like, delivered by a puppydog-ish singer/guitarist. You can’t really dance to them, the cod-disco tune comes across as trying too hard, although the drummer is admittedly excellent. I know they have legions of fans, I know it’s supposed to be breezy fun, I know I’m an old misanthrope who should be buried under his prog CDs but c’mon, kids, this is not good.
And so art-punk-experimental-madballs du jour ¡Forward Russia!. They come on to Black Sab’s ‘Iron Man’ and a rapturous reception, but initially I’m underwhelmed, disappointed at how little they project beyond the animated front rows, how they’re only scratching when they should be slashing, itching when they should be burning. For an allegedly arty band, the songs, with their numerical titles, seem relatively straight, with only the livewire writhings of singer Tom to truly energise them. But as the set goes on, they gradually gather force, Whiskas’ guitar really begins to sting and Tom’s oddball falsetto vocals properly settle in the ear. And when they unleash the barking epic ‘Don’t Be A Doctor’ (their first song with a non-numerical title, trivia fans), they’re truly transformed. This raging piece spasms and slashes, morphs and changes like a revved-up punkoid Marillion on truly paranoid drugs. And thankfully they don’t let up from there, and the second half of the set sees them really live up to their reputation. And encouragingly, the new songs with proper names all seem like really boundary pushers that leave older numerical offerings like ‘Seven’ for dust. Take the tense ‘Gravity And Heat’, or the hypnotic closing dirge ‘Spanish Triangle’, and you’ll find ¡Forward Russia!, well, going forward at a rapid rate of knots. So ultimately a triumph, and their forthcoming album should be something to get really excited about.

words: tim procter
pic: wiiinston

Gonzo 5th Birthday tour - FIBBERS, YORK - 20/10/07

Well, it’s a packed out house (or a packed out-house if you hate middle class wannabes!), and things look set to be great. The show starts with Aussie younglings, Operator Please. With synth pop and new wave vibrations, they build into an energetic set merging punk style shouts and dance ethic beats (the like of which was popularised by Franz Ferdinand if anyone remembers them!). The more melancholic elements of the set are well performed, but ultimately only exist to allow the audience (and no doubt the band as well) a breather from the continuous energy and drive that’s thrown out track after track. Whilst they are certainly for real and have a grimy edge, the overall output is catchy and poppish, kind of like The Muffs meets Bis, but grungier somehow than the latter. Expect them on a screen or radio near you soon performing a crowd pleasing song about ping-pong (Frank Black anyone?)!
Damn this smoking ban! No sooner are we back inside from a well deserved nicotine break, than Zane Lowe is introducing what is to become the awe of Dan Le Sac vs. Scroobius Pip. The audience falls silent; unable to figure out if they should run for the hills or laugh their guts up at the sight before them. On stage stands the mighty form of the bastard love child of Osama Bin Laden and Zane Lowe; Scroobius Pip hisself! The crowd remain gob smacked as monkey-fried beatsman, Dan Le Sac blows apart all forms of ceremony and drags us down his favourite dirty alley way. The sound of Dizzee Rascals ‘fix up - look sharp’ fills the room and Mr.Pip begins his incredible rambling beat poetry. Its not hip hop, its not rap, its nothing you know. Suddenly the beats are cut with a frenzied style akin to double peddling (the likes of which are normally only seen in metal bands) and the bass thickens to funky soup. This is intense! I can’t really say too much more without spoiling the enigma, but things just get weirder. Mr.Pip does his Zane impression and changes costume more times than a one man panto. Le Sac excretes beats which have only ever been produced in equal intensity and groove by the Ebo-Man. The fake beards are unanimous in the audience and everyone is left reeling - unsure as to what just happened, apart from one thing; it fkin rocked! Look, yer all myspaz freaks, so check em now!
Lastly came Jack Penate. This was a real turning point in the evening. I had looked him up on the net earlier in the day and realised that he may well be deserving of all the praise bestowed upon him by the press at large. Maybe it was the booze, maybe it was the crowd, and maybe he had just been blown off stage by the previous two acts… maybe he was just a bit useless live! Somehow, the dub elements of his music that were so evident in his recordings had vanished and been replaced by hollow sounding melody, the groove was non existent and his voice simply came across too shrill and lonesome to really rock anything; it was more likely to turn you to stone. I think the less said the better by me at this point, so… If you are a huge fan of the likes of James Blunt or Katie Melua, then you may well be bland enough to enjoy this guy live. If not, get a recording; cause that's where his talent lays!

words: cyrus crashtest

Cat fish Keith + MARK WYNN - basement, york - 08/11/07

This was the gig I almost missed and would have been kicking myself about for the rest of my life, I’m glad I didn’t. Unfortunately I did miss some exciting stuff from York support Mark “Blind Dog” Wynn. And you could tell, because when I entered the Basement you could feel the anticipation. A lot of people had waited along time for this gig and I was one of them. I’d herd of Catfish Keith about a year ago, a colleague that I work with he knew I loved Delta blues so he lent me and album “A Fist Full Of Riffs” and I loved it - morning and night I listened to it.
But to sit there and see it, it was some thing completely different.
Catfish came on to the stage looking like the old Louisiana style door to door sales man, with the charisma to mach. He played a mix of his own work with that of some of the classics (Blind Lemon Jefferson, Blind Willie Johnson, Mississippi John Hurt and Bob Carter) and he did them justice.
Ok there were a few hiccups on the night: some notes he couldn’t hit on the strings and the reverb being too much or too little, but other than that his soft southern voice pulls you in to the songs much before he even starts it, his little stories and intros have you hanging of his every word, and that white toothed smile just added to the over all presence of a really good night. He really enjoyed him self and thanks to the organiser Eddy Ludlow. We all had a night to remember. Catch him if you can.

words: Gsu

AYNT SKYNYRD – RIO’S, LEEDS – 20/10/07

It’s been 30 years since Ronnie Van Zant, Steve and Cassie Gaines left the world of music that much more poorer. Lynyrd Skynyrd fans gathered for a memorial on the 20th of October and watched Aynt Skynyrd rise to the stage and infect them with the spirit of southern rock, when they blasted Rio’s with ‘Working for the MCA’. A bare footed whisky soaked voice accompanied by two backing vocals with enough groove to inspire the most subdued in the crowd to loose it on the dance floor. They performed songs like ‘That’s How I Like It’, ‘Sweet Home Alabama’ and ‘Double Trouble’ with so much rhythm and energy, it was impossible to just stand still. There were kids no more than 20 wanting to mosh and beer belly oldies so content and spaced out it didn’t seem normal, but it sure felt great to just watch their reaction to the music. I saw a front row of young lads and girls head banging and dancing. Some knew some of the songs and one graduate from Leeds Met told me: “Not really my kinda music, and I wasn’t sure about givin 9 quid for a band I dint know, but shit! THEY’RE ACE!”
So what makes Aynt Skynyrd so special then? Everything, really.
They managed to improve the sound of ‘Free Bird’ in such a way I ended up head banging all the way through the long guitar solo (3 metal head guitarists – can you imagine?). Sorry but I never thought anything of that song until I heard Aynt Skynyrd do it. Just one of those things... It’s a boring song!!... But these guys took the boredom out of it and kicked it up the back side big time! In songs like ‘Gimme Me Back My Bullets,’ the drummer and bass player managed to give that southern rock sound a rockier twist that hits you so hard and so good – that kind of hard hitting beat. That’s what’s so special about these guys. What makes them so different from all tribute bands is that they don’t try to look or be the original band. They just do their utmost to interpret the songs exactly how they should be played in the 21st century – with balls, guts and style. Lead singer Mick Sawyer possesses a voice that clearly has the blessing of Ronnie Van Zant himself. His enigmatic stage presence turns a musical moment into a spiritual experience. And that’s not an exaggeration! That Yorkshire man sings ‘Simple Man’ and ‘Ballad Of Curtis Lowe’ in a way that makes your chest ache. Gotta see them again!

words & pic: s. garção

PAUL HEATON + PETER AND THE WOLF - FIBBERS, YORK - 06/11/07

Paul Heaton gave us a very curious experience, watching how he would do it before a jam packed, sold out ‘couldn’t fit a flea if we tried’ Fibbers. We were the first audience to listen to ‘The Paul Heaton Sounds’ project and that was a mighty privilege. His voice was in top shape. And talking about shape: how come he’s lost half his weight? He’s skinny, I kid you not. Someone said he quit drinking to pay more attention to his family, which is commendable. Don’t know why one should quit drinking to do that, but who am I to comment? Just that he was cuter when he was chubbier. But back to his talent – his voice’s still that voice. The song writing ability is still bursting with the subtle dark wit, soul searching, deep, thought provoking lyrics, combined with fun, sometimes sing along sophisticated melancholic sounds. Very Heatonishly written songs and well played by Steve Trafford on guitar, Freddy Edwards on drums and a very impressive French Tom on bass. He really was an impressive bass player. The crowd knew the words to some songs, which is reassuring to an artist performing the very first gig of a UK tour bearing his own name and talent is still there, fresh as ever, possibly even more grown up than ever. What would have made his performance 110% spot on is if he had loosened up a bit and stopped looking so bloody serious and tense. Not even the crowd’s Yorkshire wise cracks did the trick. Sometimes it seemed as though he controlled his laughter and suddenly lost control over a really loud wise crack that got everyone in hysterics. But that only lasted like… 3 seconds. Then back to the very ‘I’m a serious singer now’ stern look. Why? Maybe he should have had a bit of booze before climbing up on stage. Still, can’t help loving him. From the bottom of my pencil case. What di make the whole evening 110% spot on however was Liverpool support band – Peter And The Wolf. Damn good! Barefooted, funky, talented and jubilant Donna Dosanjh on percussion, Hugo Harrison on double bass and Marc Sanderland on vocals are rising to the stars. For a brand new band with a review in Q magazine describing their album ‘Storyteller’ as an “oak smoked classic sound”, they’re not doing bad at all. Please check their music and whereabouts on myspace/peterandthewolfmusic. I can’t stress it enough - they are an unmissable live act.

words & pic: s. garção