Archive for February, 2018

Christopher Nosnibor

There’s usually at least one band in a lineup of four that’s only so-so, only middling, or simply doesn’t appeal. This makes tonight’s bill unusual, especially given the fact there’s no specific genre theme. The four bands showcasing their wares tonight are pulled together from around the country is probably a factor: despite FURR being a Leeds band and Weekend Recovery having recently relocated to the city (and both having built themselves a bit of a following on a national level), this isn’t a ‘local bands’ gig by any stretch.

Sheffield four-piece Mollyanna deliver buoyant indie / alternative rock with – dare I say it? – infectious tunes. They have a good energy, but also an emotive, brooding edge, and tinges of darkness creep into the keen vocal melodies. The band’s gutsier, grungier side emerges as the set progresses, as do more cinematic aspects that call to mind Evanescence (only minus the pomp, and therefore better).

DSCF2342

Mollyanna

Tokyo Taboo are an altogether different proposition, and if Mollyanna have good energy, Tokyo Taboo have insane energy. The guitarist – Moöey is wearing a silver hoody and star-jumping, spot-running, high-kicking singer Dolly Daggers has accessorised her minidress with a kind of shrug that’s also a sort of stuffed toy. Or something. But they’re not just visually compelling: their brand of amped-up power pop with a punk edge – and a dash of grunge – hits all the right spots. Joe Scotcher’s basslines keep everything nailed down nicely amidst the frenzy. And they have tunes! In fact, the last song – a slow-burner that finds Dolly sitting in the audience to sing – is one of the best things I’ve hear so far this year. I’m too busy enjoying the set to take many notes and the ones I have are barely legible, and all of my photos are blurry, but then, writing about or taking still photographs of Tokyo Taboo seems vaguely pointless: go and see them for yourself. They really are a cracking live act. And utterly barking.

DSCF2358

Tokyo Taboo

I’ve written a fair bit about Weekend Recovery over the last year or so, and it was a year to the day I first caught them live in Leeds. They’ve come a long way since then, on many levels and not just geographically. Musically, they’ve evolved, and the songs on their debut album, Get What You Came For – the reason they’re currently touring and are here tonight for their local launch – have a harder, grungier, punkier, and more distinctive sound. Visually, they’re simply looking more like a band. And in terms of performance, they’re more confident and assured, and the time on the road has made them tighter and punchier. Not that older songs like ‘Focus’ and ‘Don’t Try and Stop Me’ sit awkwardly in the set: if anything, they contrast nicely with the more direct and biting newer songs.

DSC_0380[1]

Weekend Recovery

Lorin pogos around a lot while the guys kick out the riffs, with the album’s title track standing out in particular for its riffines. They wrap their set with a high-octane, full-throttle rendition of ‘Why Don’t You Love Me?’, the squeaky pop of the studio version transformed into a fierce demand that’s both exhilarating and a little bit scary (in a good way).

In the event, they prove to be the biggest draw of the night, and receive the warmest reception. And it’s well-deserved.

FURR are conspicuous by virtue of being the only all-male band, and not having a female vocalist. Having recently featured as part of the Leeds-based Come Play With Me singles club, the grungy guitar foursome have been attracting some attention of late. They’re probably too young to have even been born when Kurt Cobain was still alive, but they’ve got the c92 sound – with some keen melodies and clean vocals, they’re perhaps more Bivouac than Nirvana – nailed, as well as the look, only with a contemporary spin (by which I mean they sport plaid shirts, and have a 3:1 beard ratio). There’s no let-up for the duration of their set, as they piledrive their way through the songs. It’s all good, and they close with a ripping rendition of single cut ‘Fable’ (the set list scribbled on a Jiffy bag confirms this).

DSC_0388[1]DSCF2369

FURR

They fumble about a bit and deliberate before playing one more song, and it makes for a slightly disorganised end to proceedings, but who cares? It’s been a good night – better than good, in fact, even great – and one which reminds us precisely why independent music and the venues that support it are so essential. Every band on the bill brought the energy and their A-game, and the experience is an all-out rush. And given the pick of these for bands tonight, or Morrissey at the First Direct Arena the next evening, I’d make the same choice every time.

Advertisements

Christopher Nosnibor

There’s probably not much to say or write about Lydia Lunch that hasn’t been said or written before. A cult legend in her own lifetime – a rare thing indeed – she remains one of the most formidable performers around. Tonight – performing the only northern show of three UK dates with Weasel Walter with her ‘Brutal Measures’ spoken word show (why said show happened to be in York… Those present weren’t merely grateful, but overjoyed, but those present were depressingly few in number), she’s uncompromising from start to finish.

Before Lydia and sidekick Weasel Walter who drums and generates all mind of noise to accompany her take stage, Leeds punk foursome Flies On You deliver a visceral, in-your-face set of primal punk songs. It’s a challenging and emotional show, a mere fortnight after guitarist and lad songwriter Andy Watkins’ sudden and unexpected death. Front man Doug Aikman clearly struggles at times, but still pulls of a storming performance. And while the basis of what Flies on You do is meat-and-potatoes old-school punk, there’s a distinctly post-punk vibe that borders on goth in their rattling basslines and screeding reverby guitar peels. Moreover, it’s delivered with passion and a certain degree of wit – and the refrain ‘Katie Hopkins in human form’ is a great line whichever way you look at it.

She may have mellowed with age, but Lydia Lunch is still infinitely more fierce in every way than pretty much anyone. It’s all relative. And she may not be large in stature, but her presence fills the room. Her voice is a cracked rasp for the most part, but she uses it to compelling effect. It’s not about being seasoned, either: this is her nature, who she is. Raw, real. Intense. Intense. Intense.

DSC_0248[1]

‘Brutal Measures’ is an extended spoken-word piece set in a number of movements, split by segments of hefty percussion and augmented by extraneous noise passages. Or, as Lunch’s bandcamp page describes it, ‘a longform composition featuring tense spoken word versus manic free drumming outbursts, glued together by cryptic electronics’. Recorded live, there’s an improvisational aspect to the musical accompaniment to Lunch’s words, which she delivers alternating between two mics, one clean, one heavily reverbed. The twenty-minute recorded take stretches to a full fifty-minute set live. And yet there is no filler: the drum solos breaks are tight, taut, concise and blistering. The instrumental electronic passages and the extraneous noise which both accompany and intersperse the chapters are intriguing, and the beer barrels Lydia uses as a table for her notes double as percussion instruments in the sometimes cacophonous batteries of sound between spoken word passages.

She does get slightly pissed off when the stand for the clean mic slides down and is uncooperative, and the venue techs are slow to react – but then, who wouldn’t be? But she doesn’t make a deal of it, and continues her narrative stream regardless. She’s a performer, not a diva.

As a spoken word performer myself, I am in awe. For me, it’s a challenge, and one I sometimes struggle with. Even the good nights are challenges. Lydia is in a league of her own. She holds the room, even with a whisper. She silences the chatting tossers at the bar. Not because she’s dictatorial: she does it for everyone who’s paid to hear her and Weasel and the chat at the back.

Words fly every which way as Lydia sparks in all directions: she’s a relentless conjurer of images and ideas, with a perspective on everything. Even delivered slow, mean and low, it’s often hard to keep up with her endlessly swerving trajectory, but it all comes together to present a version of her world-view. And yes, it is pretty brutal, all told.

DSC_0253[1]

It’s an early finish – but then, it’s a Monday night – but what the set lacks in duration, it more than compensates in intensity – did I mention intensity? If some spoken word performances leave the audience departing wilting because they’re a trudge, tonight is very different: Lydia Lunch and Weasel Walter create something utterly compelling, that leave the audience wilting by virtue of its immense force. Spoken word at its best.

Centuries have premiered a video from their second LP, The Lights Of This Earth Are Blinding out now through Southern Lord. Set to the album track ‘May Love Be With You Always’, the video was filmed and edited by Derrick Flanagin, and uses footage from Germany, Italy, Austria, India, Thailand, Vietnam, and Japan.

In the band’s words, "the video is about human movement and the constant inertia we experience, frequently without taking time to properly reflect on it. Things we see, people we meet, places we go, stories we are told; events that are so fleeting they often don’t become catalogued in our memory and will forever exist only in that moment."

Watch the video below – tour dates in full after.

AA

CENTURIES EUROPEAN TOUR WITH PORTRAYAL OF GUILT:

28/04/18 GER Greifswald Klex

29/04/18 SWE Gothenburg Sekten

30/04/18 SWE Stockholm Firestorm Fest

01/05/18 SWE Malmö

02/05/18 DK Copenhagen

03/05/18 GER Hamburg

04/05/18 NL Amsterdam/Utrecht Fest

05/05/18 GER Cologne Privat

06/05/18 BE Antwerp Kavka

07/05/18 FR Paris La Comedia Michelet

08/05/18 CH / FR

09/05/18 GER Stuttgart Juha West

10/05/18 GER Bielefeld/GER Weimar

11/05/18 GER Berlin Miss the Stars Fest

+ + +

12/05/18 CZ Prague **

13/05/18 AT Vienna Venster 99 **

14/05/18 HRO Zagreb AKC Attack **

15/05/18 IT Bolzano Bunker Youth Center TBA **

16/05/18 AT Innsbruck DeCentral **

17/05/18 GER Regensburg Alte Mälzerei **

18/05/18 GER Darmstadt Oettinger Villa **

19/05/18 GER Leipzig/Halle **

**Dates without Centuries. Portrayal Of Guilt only

Gizeh Records – 2nd March 2018

Christopher Nosnibor

Tomorrow We Sail are a classic example of the kind of band who exist outside of their geography. Based in Leeds, the six-piece aren’t generally renowned as part of the local scene or prominent gig-wise, but have a reach that exists in the ether of the virtual world and into mainland Europe. Four years on from their debut, the collective have evolved their brand of folk-infused string-soaked post-rock into something even more unique.

Subdued, strolling beats and rolling piano provide the rhythmic backdrop to the nagging strings and aching vocals on the opening song, the six-minute ‘Side By Side’. It breaks into a sustained crescendo after just a couple of minutes, but it’s more a case of upping the volume and the intensity than hitting the soaring peaks which characterise so much ‘classic’ post-rock. And perhaps this is the key to the differentials which separate Tomorrow We Sail from their peers, and indeed, any other act. The Shadows is a careful and poised album which exploits the dynamic tropes of post-rock but in a contained fashion. There’s certainly nothing as expansive or sprawling as 2015’s ‘Saturn’, with its twenty-minute duration, or even the single ‘Rosa’ from the first album with its thirteen-minute running time. The Shadows is altogether more concise and all the more intense because of it. Moreover, the context feels different, the slant altered somewhat.

In some respects, the context is that this doesn’t feel like a ‘Leeds’ album. Even when the city was post-rock central a decade or so back, with iLiKETRAiNS (as they were then styled), Vessels and adopted Leeds friends Her Name is Calla all over everywhere, there was nothing this folksy or parameter-pushing as The Shadows, an album which expands the limits of post-rock. ‘The Ghost of John Maynard Keynes’ really pitches the folk aspect of the album to the fore, with a chorus of voices giving the almost shanty-like folk tune a lilting aspect.

There is unspeakable, throat-tightening beauty in the piano-led minimalism of ‘To Sleep’ which calls to mind the very best work of the now-defunct Glissando, and at the same time harks back to their debut.

The Shadows is a well-balanced collection: understated, delicate, melodic, it exists, as the title alludes, in the spaces between light and dark, exploring with deftness and sensitivity the infinite shades between.

AAA

tomorrow-we-sail-the-shadows-sleeve_1_orig

Loner Noise – 9th February 2018

Christopher Nosnibor

The second in their series of singles for Loner Noise, ‘Glitter’ finds Bristolian purveyors of post-punk / industrial racket mining a full-on grunge seam. And Christ, do they bring the weight on this outing. A thunderous, churning riff, as dark as hell and twice as dense, provides the backdrop to Charlie Beddoes’ angst-filled reverb-drenched vocal.

‘Glitter’ is pitched as ‘an introspective and poetic take on the mental strains of being a performer, with the moments of exhilaration on stage often coming at the cost of a great deal of stress and in some cases depression, ruminating on whether the highs would be as powerful without the lows’.

Lyrically, it’s introspective, but sonically, it throws it all out there, and slams it down, hard. And then kicks it around a bit. While Nasty Little Lonely have always had attack, ‘Glitter’ is perhaps one of their hardest, heftiest, and most unforgiving cuts to date. While instrumentally they’ve never been soft, the melodic vocal elements common to their previous outings are relegated in favour of all-out abrasion here. And it’s absolutely bloody storming.

AA

NLL - Glitter