Christopher Nosnibor
This is a very different kind of gig vibe. I arrive way before there’s any music due on with a view to giving my brain a rest from stress with a book and a few beers. The Duck and Drake is a cracking boozer which boasts no fewer than fifteen cask ales. There are three gluten free offerings, for those who need to know these things, and several vegan brews. The Wensleydale Fire It Up IPA at 5% is a particular standout, but they’re all well-kept and the Old Peculier is superb.
Personal disclosure: I wasn’t feeling like turning out tonight. My motivation and confidence were through the floor this morning, and the prospect of heading off to Leeds on my own to an unfamiliar venue while the reliability of the trains, particularly getting home, was in question, had done little to compel me to venture out. But since Noisepicker – whose last two albums, both released via Exile on Mainstream – I had reviewed and enjoyed, had made the effort to come up from London to play a free show, and labelmates Might had made the effort to come from bloody Hanover, I knew I’d regret it if I yielded to my urge to retreat.
Shortly after my arrival, the pub’s invaded by a board of corporate tossers on a treasure hunt by way of a works night out, but they fuck off before too long, and I get to sup my pint while listening to the soundchecks, and it becomes increasingly apparent that I’ve made the right decision. Around nine, a cluster of beardies, hairies, and folks in black filter in and take up around the bar. And then the music starts.
Noisepicker are an intermittent band, and a classic example of a band who fit making music around dayjobs and whatnot. There was a seven-year gap between Peace Off and the latest, The Earth Will Swallow the Sun, and they’re not a big touring band. But on stage, they present an almost telepathic cohesion from the outset. ‘No Man Lies Blameless’ lands second as they fire up the heavy blues riffery after a slow, drawling start. Harry Armstrong’s phlegm and whiskey (or Newcastle Brown) vocals growl and howl all the pain, anguish, and anger at the state of humanity, and there are times in the set where he and drummer Kieran Murphy articulate this with raw primal screams, and it’s magnificently cathartic. ‘Chew’ starts almost jazzy before hitting its stride with a thick riff. When they slow it down and strip it back, as on ‘A Taste of My Dying’, it’s got a hefty swagger. ‘The Earth Will Swallow the Sun’ brings a barrage of percussion, Armstrong playing drum and guitar at the same time. There’s a cover of ‘War’ which kicks ass, delivered with guts and gusto, and landing between Motorhead and ZZ Top. They go low and slow for the set closer, and they kill it. The rapport between the two players is apparent, as is the fact they’re clearly loving doing what they do.
Noisepicker
Making their UK debut, Might start their performance off the stage, with flashing lights, smoke and dark atmospherics, before a piano backing track starts… And then the drums kick in, followed by the and guitars. The sound is nothing short of mind shattering in its density. It’s hardly surprising with that towering backline which dominates the stage and this small room. They’ve not travelled light. On record, they sound immense. Live… they take the sound to a whole other dimension.
They way they’ve worked the sound – and the visuals – is remarkable. I’d been curious as to how the duo of Ana Muhi (vocals and bass) and Sven Missullis (guitar, vocals, drums) would contrive to multi-task, and what I first thought was a drum machine actually appears to be a recording of a live drum track, which is up in the mix at a volume which corresponds with a live drum kit. Consequently, it feels like there are three people on stage – and what’s more, it almost looks that way, too, as there’s a silhouette of the drums being played which – unless my eyes deceive me – is in perfect sync with the audio. And with Nosepicker’s kit on stage behind them, and an abundance of smoke, you actually get a sense of their being an extra body up there.
Might
They churn out some monster riffs, which churn and grind, but there’s more than brute force and brutal volume happening here – there’s texture and layering, and what I can only describe as sonic alchemy. And what they conjure is something which renders the cover art for their second album, Abyss, as an aural experience, and it’s one in which time is suspended and you find yourself completely immersed and on another plane.
Stripping it back to a drone on Mrs Poise, the percussion comes from Sven striking the back of his guitar while it’s laid across his knees. The acoustic-led penultimate song ‘Tightrope Walk’ is almost folky, but nevertheless intense, Ana’s vocal delivery delicate and utterly captivating, before they close with ‘Zero’ – the final track on their eponymous debut – and it’s immense.
Might
On the face of it, this – the first night of a little low-key package tour –was a pretty ordinary event. A couple of bands playing in a pub in a corner of Leeds. But, pitched on the premise of being 100% DIY, with free entry and serving to provide a drop of an antidote to the relentless shitness of the world, it proved to be so much more. The bands both gave it their all. The audience was small, but appreciative. They chatted with the bands, and bought T-shirts. They bought beer. And ultimately, it was pretty damn special. No corporate shit, no pissy lager in plastic cups. Grassroots music at its very best. No-one’s getting rich off this financially, but in terms of the humanity, the life-enrichment, and the inspiriting qualities of a night like this, we all end the night with wealth beyond measure.
Aural Aggravation 