Archive for the ‘Live’ Category

Weekend Recovery / Brooders / Paint Nothing – The Fulford Arms, York, 22nd March 2018

Posted: 24 March 2018 in Live
Tags: , , , , , , , , , , ,
1

Christopher Nosnibor

The fact the word ‘fan’ comes from ‘fanatic’ is perhaps worth bearing in mind. A band can probably be considered to have achieved a certain level of fan appreciation when they see the same faces in the crowd at venues around the country on a given tour. As one of those fans who’s attended multiple (although never more than a couple or three) dates on a tour for several bands, I’ve found it interesting to observe how audiences in different cities react, and also how those reactions feed into the performance. And, of course, there’s a certain curiosity about a band’s consistency. And in my capacity as a critic, the same is true – although it’s fair to say that as far as my second time of seeing Weekend Recovery in a month is concerned, I’m attending as both fan and critic. Having just unveiled their debut album, their touring schedule has amped up considerably, with almost three months of dates around the UK now to promote it, followed by a cluster of festival dates in the summer.

But here are now, this does mean I’m playing compare and contrast with Leeds on a Friday night where Weekend Recovery are the main support, and York on a Thursday, where the band, with their origins down south and now based in Leeds, are headlining. It’s hardly like-for-like. Much as I love York and its music scene, there is a conservatism which runs deep in the city’s gig-going community. Local bands will fair ok, but any act from out of town who isn’t well-known will, more often than not, find there’s a lot of space in the room. So it’s credit to Weekend Recovery that while the place is far from packed, there’s a respectable turnout, especially given that it’s the week before payday.

Maybe it’s my age. Maybe it’s my rage. Increasingly, I’ve come to respect and admire and enjoy bands comprising guys of or approaching middle age ranting about the mundane. They’re not all even a fraction as good as Pissed Jeans, but Paint Nothing, while endlessly ripping off The Fall up to 1983, occupy the same office-based miserabilist territory as Scumbag Philosopher. The singer’s wide-eyed intensity augments the spitting anger. The audience may be divided, but those who don’t dig these four shouty, balding midlifers ranting about stuff clearly haven’t lived.

DSCF2462

Paint Nothing

Brooders are probably young enough to have been parented by Paint Nothing, and probably were busy being born when grunge was all the rage. But having built themselves up as a live act with some impressive support slots and single release ‘Lie’ on Leeds label Come Play With Me imminent, the trio bring a finely-honed fusion of abrasive noise and not-so-abrasive melody. When they hit optimal heavy, they’re in the territory of Therapy? in collision with Fudge Tunnel, and the clean guitar sound, that’s awash with chorus and flange is lifted wholesale from Soundgarden’s ‘Black Hole Sun’. At times they get pretty and it’s more indie than grunge, and with a psychey / shoegaze twist. There’s never a dull moment in their varied but relentlessly riffcentric set.

DSCF2499

Brooders

Last time I saw Brooders, it was supporting Hands Off Gretel at the same venue, so it’s perhaps fitting that Weekend Recovery’s front woman Lorin’s sporting a short dress, holed tights and knee-length white socks, passing a note to the now-classic 90s kindergarten whore look.

DSCF2508

Weekend Recovery

Their set isn’t radically different from the one in Leeds last month, and kicks off with a driving rendition of ‘Turn It Up’ which encapsulates the up-front grunge-orientated sound of the album, which marks a distinct evolution from their previous work. ‘Oh Jenny’ sees the titular character introduced as a ‘colossal slag’ after I’d chatted with Lorin before the show about the merits of ‘colossal’ and ‘massive’ as adjectives (we have a colleague who’s a colossal pussy; my boss is a massive cunt) and the set closes with ‘Why Don’t You Love Me?’ as is now standard, and it’s delivered full-tilt and brimming with a balance of desperation and sarcasm.

DSCF2513

Weekend Recovery

In between…. Lorin may not pogo as much or appear as bouncy in general as the last time I caught them, but bassist Josh (wearing the same outlandish shirt as at the Leeds gig – not that I can comment on outlandish shirts) and guitarist Owen throw lunging, leg-splaying poses all over. But this isn’t mere posturing: they’re really giving it all the energy. And the crowd appreciate it. Did they get what they came for? Of course.

Bearfoot Beware / ZoZo / Ganglions – Wharf Chambers, Leeds, 15th March 2018

Posted: 17 March 2018 in Live
Tags: , , , , , , , , , , ,
0

Christopher Nosnibor

It’s fitting that a band as wildly eclectic and sonically unpredictable as Bearfoot Beware should have a suitably varied and contrasting but complimentary lineup of bands on the bill for their album launch show. And it turns out that tonight is a night of energetic bassists.

Ganglions’ bassist is almost swamped by her instrument, but she kicks out some thumping basslines around which the Sheffield trio forge an unusual blend of grungy post-rock jazz with melody. It’s an unusual blend. Some moments border on the twee, a shade muso, even a touch indulgent in their noodliness, but their tightness carries the complexity of the songs’ structures and nagging, interloping guitar motifs which even incorporate currents of reggae and skiffliness. They’ve also got enough energy and drive – both the songs and the band themselves – to make it all pull together, making their set engaging and entertaining.

Ganglions

Ganglions

It’s quite the leap to go from a compact three-piece unit to the sprawling ten-legged groove machine that is ZoZo. RSI means that front man Tom has had to ditch the guitar and stick to vocals only. The two vocalists are set up in front of the small stage, and Fred really throws himself into the choppy, cutty guitar parts.

However, it’s the exuberant lunges of bassist Joe, who cranks out some driving bass noise, that provide the band’s most striking visual focal point, while sonically, it’s the big, raucous, sax sound that defines the band’s brand of art-rock. Their frenetic funk fusion calls to mind aspects of Gang of Four, Talking Heads, and Shriekback, but their more flamboyant inclinations and pop sensibility perhaps owes more to acts like The Associates, ABC, and Orange Juice. They’re as tight as they are lively, as well as being good fun.

ZoZo

ZoZo

Bearfoot Beware blur final soundchecking with the actual set, lurching headlong into scorching rendition of ‘Point Scorer.’ It’s a hell of a way to introduce the new album to the crowd, and they follow with a couple more newies before touching on the back catalogue. The songs twist, turn, lumber and lurch unpredictably, and as I watch them, I can’t help but wonder just how much they must rehearse to memorise the complex song structures and play every change with such precision. They don’t just play, either, but really perform. Again, it’s the bass player, Richard Vowden, who provides the axis around which the band spins, both as a physical and sonic presence. Energy emanates from him as he bounds and lurches around, legs going all over, a perpetual blur, his contortions almost literal interpretations of the musical compositions, while the chunky grooves hold down the spasmodic, fractured guitars.

Bearfoot Beware

Bearfoot Beware

Their Pavement meets Shellac meets No Age stylings make for an angular racket, but it this somehow suggests a band out of time and hung up on the US alternative scene of the 90s, its delivered with a twist that’s representative of the contemporary Leeds scene. It’s perhaps hardly surprising that a band whose members have established a rehearsal space and studio that lie at the heart of a DIY subscene all of its own should epitomise it.

I’ve digressed, and am no longer focusing on the set, but any launch event is only the beginning of a journey. Bearfoot Beware are here, and they’re now, and they’re kicking ass with Sea Magnolia. Tonight, they’ve thrown it out to Leeds, and tomorrow the world. It deserves to float.

FURR / Weekend Recovery / Tokyo Taboo / Molly Anna Band – Santiago, Leeds, 23rd February 2018

Posted: 25 February 2018 in Live
Tags: , , , , , , , , , , ,
1

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.

Lydia Lunch & Weasel Walter – Brutal Measures / Flies on You – Fibbers, York, 12th February 2018

Posted: 16 February 2018 in Live
Tags: , , , , , , , , ,
0

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.

Viewer / Naked Six / Soma Crew / Meabh McDonnell / Percy / Flora Greysteel

Posted: 18 January 2018 in Live
Tags: , , , , , , , , , , ,
2

The Fulford Arms, York, 14th January 2018

Christopher Nosnibor

Two weeks into the year and I haven’t had a single night off writing CD reviews to drink beer and check out some live music. The simple fact is, times are hard and I’m in the mod to hibernate. But tonight’s extravaganza is one of four nights of epic showcase events to mark the fourth anniversary of the current management – Messrs Sherrington and Tuke – taking over the venue. It’s something that deserves to be celebrated.

Time was that there was nothing much to be found in York apart from acoustic blues. York became synonymous with blues. You couldn’t walk into a pub without some bloke with a guitar doing blues. Some of it was good. Some of it was extremely good. Some of was less good and the less said about the remainder, the better. It’s all too easy to have too much of a good thing, let alone a middling samey thing. The Fulford Arms, as was, was integral to the scene for a time. Then, everything changed. Under new management, The Fully Arms really started putting on proper gigs. Taking chances with less obvious artists. Sorting out proper lighting. And with a decent PA, upping the volume.

Tonight is one of four gigs showcasing the expansive range of local talent which is anything but centred around gentle acoustic blues. Of the four nights, this is perhaps the most eclectic, with everything on offer from quirky, theatrical avant-art folk pop to droning psyche, via hard-groove electro and post-punk pub-rock.

Having still been cooking with my own fat spatula at 6pm, I’m too late to catch the band Fat Spatula. Shame, because their brand of US-influenced alt-rock / indie is rather cool. I was also too late for the electro pop of Short Dark Stranger who I heard good things about. I suspect he was the gut standing to my left in the conspicuous silk shirt while I supped my first pint to the strains of Jonny Gill’s acoustic alt-rock which furnished the space between sets ahead of the arrival of Percy. These guys have been knocking around since forever, and still hit the mark (E. Smith) with their post-punk, Fall-influenced sneering takes on the workaday life.

In fact, the first time I heard Percy was circa 1998, at a pub just over the river. They were on the same bill as a band called Big Vicar, who were fronted by AB Johnson, who now forms one half of tonight’s headliners, Viewer, who meld sociopolitical lyrics and indie sensibility to driving dancefloor-friendly beats courtesy of Tim Wright, who in another world is the seminal TubeJerk.

There’s so much more than blues, and so much more than Shed fucking Seven going on here. Meabh McDonnel’s self-effacing kitchen-sink folk tunes are good fun: she’ll probably not take the compliment, but her voice is superb and her lyrics are funny and often poignant, and unstintingly honest and direct. The delivery is an integral part of the charm of her performance: it’s not about polish, but relatability and being real.

Soma Crew’s set is abridged due to apparent technical difficulties but out front their psych-drone attack had been sounding good, while Naked Six – the closest to blues it gets tonight – crank out the kind of vibrant, full-tilt set melding AC/DC and Led Zeppelin with a grunge twist that they’ve made their standard.

DSC_0184[1]

Naked Six

It’s been a while since we’ve seen Viewer, seeing as they called it a day before re-emerging as Stereoscope a while ago – and playing in darkness for the majority of their set, or otherwise illuminated only by stark backlit images. I’ve watched – and reviewed – these guys more times than I can recall, and not because I invariably drink too much beer at their shows (AB is one of those guys who is just the best for sinking pints and talking bollocks with – but, miraculously and ever the professional, he always manages to deliver the lines, cast the poses, and, just as miraculously, stay upright during their sets). They’re late starting, but this seems to work n their favour: the audience is even more buzzed up and ready and they groove hard as Johnson throws his shapes and wry commentaries into the space before him. They get down, albeit a bit tipsily – to Wright’s insistent beats and grinding synths. And Viewer were – are – ace because they straddle the line of playing dumb and acting up to dumbness.

DSC_0190[1]

Viewer

Every single last one of the acts playing on tonight’s bill could go far given the right breaks and adequate effort. But this is the time to simply celebrate a landmark moment for a venue that’s spent the best part of its four-year existence punching well above its weight (Ginger Wildheart? Wayne Hussey? The March Violets? to name but three) while providing a space for some far-out and emerging acts. Hell, they’ve even had me on, more than once. But this is what small independent venues are for. It’s so hard to get a break these days, and it’s venues like this, with open doors and open minds, which keep new music alive.

Arrows of Love / Naked Six – The Fulford Arms, York, 26th November 2017

Posted: 29 November 2017 in Live
Tags: , , , , , , , , , ,
0

Christopher Nosnibor

A few weeks ago, before the start of a spoken word night, another performer approached me and opened with the line ‘these people hate you.’ She went on to explain the specifics of why they hate me, citing a piece that was – but wasn’t – about suicide that I performed in August, and how the ferocity of my sets in general were not appreciated at this particular night. I was taken aback, shaken, and rather wounded. My confidence was rattled. It took me some time and reflection to realise that not only did I not care, but was actually pleased – elated, even – that people could react so strongly to my work. After all, it’s not hate speech or anything nearly so insidious, and ultimately, if you’re pleasing all of the people all of the time, you’re not making art, but entertainment.

The reason this is relevant is because Arrows of Love make art. They refer to themselves as art-rock, but there’s nothing pretentious about them or their music. In person, they’re some of the friendliest, most approachable and generous people you could wish to meet. On stage, they’re as challenging a band as you’re likely to see – or half-see: tonight, they play in near-darkness to a depressingly small crowd, moving shadows cranking out a fearsome wall of angular noise that straddles grunge and goth-tinged post-punk. And they don’t care: if anything, they revel in the perversity and play as hard as ever.

DSCF2162

Arrows of Love

With more time than usual on account of the original co-headliners cancelling, they dig deep to deliver an attacking extended set which features the majority of the new album, Product. As well it should: while its predecessor, Everything’s Fucked was a snarling, sprawling squall of an album, Product is more focused, denser, more intense, and even more pissed off. The first song of the set is also the album’s opener and single cut ‘Signal,’ a sinewy slice of tension that explodes in every direction.

‘Desire’ is deep, dark, and brooding, and The Knife’ from the debut is deadlier than ever, with added guitar noise and played with a blistering ferocity at its searing climax. The grinding dirge that is ‘Restless Feeling’ invites comparisons to Swans circa 1983/84, and the jarring, grating sonic backdrop is rendered literal as Nuha swaps her bass for a plank of wood and coping saw, which she proceeds to gnaw away at while drums and bass shudder along at a glacial pace. It’s mighty, but hardly moshable.

DSC_0042[1]

Arrows of Love

Nimah would later tell me that he was tired and – on account of having to drive after the show – completely sober, but he still fires into it with unbridled fury, spitting the lyrics like they’re his last words as he’s being dragged off to his execution, and the band crackle with dark energy.

It’s this unstinting, uncompromising, total bloody-mindedness that makes Arrows of Love the band that they are, and as they churn out a juddering, sneering rendition of ‘Predictable’. The only thing predictable about the band is the intensity of the performance (as if to illustrate the point, guitarist Alex, who stepped in when Lyndsey left, is now Alice, who’s perhaps less flamboyant than her predecessors, but still cranks out a mean overdriven six-sting racket), and this highlights the contrast between them and the evening’s support act, Naked Six. The York duo kick out a fiery and energetic set of heavy, balls-out, stomping blues rock with big nods to Led Zep, and having seen them a handful of times, they’re incredibly solid and consistently entertaining. But it’s not art.

DSCF2142

Naked Six

Art is dangerous, risky, uncomfortable. With the roaring attack of ‘Toad’ and the tempestuous closer ‘Beast’, Arrows border on the unlistenable, presented in a style that borders on unwatchable, with no concessions to commerciality. There is something about the lack of illumination which renders them even more inaccessible, more untouchable tonight. If Arrows of Love’s latest album really is the ‘soundtrack to the impending societal collapse’, then bring it the fuck on if it means more shows like this.

Ming City Rockers / Mannequin Death Squad / Naked Six – The Fulford Arms, York, 21st September 2017

Posted: 23 September 2017 in Live
Tags: , , , , , , , , , ,
0

Christopher Nosnibor

Last time I saw Ming City Rockers, supporting Arrows of Love in Leeds, I wasn’t hugely impressed, and thought that if they put as much effort into the songs as into looking like rock clichés, they might get somewhere. I’m here, in fact, for grungy Australian duo Mannequin Death squad, whose debut EP was one of last year’s highlights. Anyone who caught them on the supporting tour over here, thanks to their Hull-based label, would have witnessed a treat.

Back in the UK once more, they’re gracing York with their presence on the night before dropping their first new material since the Eat, Hate, Regurgitate EP in the form of the track ‘Blue’.

Warming things up are local lads Naked Six. At one time a three-piece, they’re now reduced to a two-piece. But rather than diminishing their power, the guitar / drum combo have focused and concentrated their energy, and with the guitar signal split across two amps, there’s a real depth and solidity to their sound. And it helps that the amps are cranked up loud. It’s the best way to listen to their swaggering, ballsy, hard-edged blues rock. Seb Byford not only has a classic blues rock voice that also works well when they move into grungier territory later in the set, but he’s got a stomp that’s half Angus Young, half frenzied madman as she grinds the riffs into the stage with his heel. It’s a cracking performance.

Naked Six

Naked Six

Mannequin Death Squad certainly don’t disappoint, and it’s telling that the instrument-swapping pair have evolved a set with enough new material to be able to drop killer tracks like ‘KYMS’ from their debut EP without the set being remotely lacking.

The eight-song set, which kicks off with ‘Sick’ from the aforementioned EP boasts almost 50% new and unreleased material. For a band who are yet to really break the market, it’s a bold move, but with a debut album in the offing and so many ace tunes, it means they’re able to arrange the set based not on simply what they’ve got, but to sequence it from a selection that gives the set shape and a dynamic beyond the individual tracks. It’s clear they’ve spent time out and about, on the road, refining their sound, and they benefit from the venue’s appropriate volume to make for an attacking sound.

MDS1

Mannequin Death Squad

‘Nightmare’ marks a change of pace and style, bringing a darker hue and a bass-led dirginess to break up the succession of driving grunge tunes with killer hooks which define the band’s sound.

Swapping instruments at the set’s mid-point and again near the end (much to the appreciation of those who thought they were about to finish), they keep themselves and the crowd on their toes, and they work bloody hard to power through a full-throttle set often coming on like Live Through This era Hole, with the added punch of a spiky post-punk edge. They’re fucking awesome.

MDS2

Mannequin Death Squad

With a surly-looking female guitarist, a trashy aesthetic, and a slew of uptempo punk tunes, what’s not to like about Ming City Rockers? Regrettably, and despite the consensus of the aged punks going nuts down the front, they still suck. The lack of imagination is the issue. It’s bog-standard spirit of ‘77 4/4 punk, and like many of the bands of the era, at its heart it’s just pub rock played fast with the amps cranked up. The songs are churned out with an abundance of posturing and posing but without any real substance, or tunes, and the sameness gets tedious very quickly.

MCR

Ming City Rockers

They introduce one song as being about playing a gig in Lowestoft where a man chased the singer and ‘tried to pin me down and fuck me, I mean proper fuck me!’ but the lyrics are articulated as something along the lines of ‘wahwahwahwahyaggch’. It’s crass, lowest-common denominator stuff, and much of what happens on stage feels extremely contrived: the walking off stage into the crowd, knocking over cymbals on the way by way of a finale is pretty much emblematic.

Filing out, a few punters could be overheard commenting that Mannequin Death Squad were the best band of the night, and those punters would be right.

Weekend Recovery / The Bohos / The Claxbys – Verve Bar, Leeds, 26th August 2017

Posted: 28 August 2017 in Live
Tags: , , , , , , , , ,
1

Christopher Nosnibor

It’s Saturday night on the August bank holiday weekend. The students are on holiday, and it’s Leeds Festival weekend. On the face of it, it seems like madness to put a gig on in a tiny underground venue in the city centre, but in fact, it makes a lot of sense. Not only are the big festivals insanely expensive, but because commercial concerns are inevitably a priority these days, they represent an ever-narrowing musical choice. Festivals have become tediously safe, with corporate sponsorship and the same obvious, established acts playing the headline slots at every festival year on year. But it’s at gigs like this that future festival features cut their teeth. I’d take four little bands, up close and personal, at a free entry show, over the entirety of Reading and Leeds any day.

The first band up, who I assume are The Blewes (since they’re mentioned on the poster if not the event page, and they don’t say) deliver a competent set of alternative rock tunes, foraying into light funk rock mode around halfway through the set. The singer / guitarist’s wearing cherry-red 12-hole DM’s, but his butch credentials are covered by the fact he’s got his shirt, off and relentless calls of ‘show us your tiger’ from the back to the room (presumably the band’s mates) sees the bassist get his moobs out too. Unremarkable but entertaining enough, they’re more than adequate bill-proppers.

The Claxbys proved rather less entertaining. The bassist may have a Big Muff in his rack, but it doesn’t do anything to elevate the three-piece’s pedestrian pub rock. It’s only on the last song when the Scunthorpe trio kick out some beefy blues rock that things get interesting, but it’s rather too little, too late.

DSCF0809

The Claxbys

It turns out that the cocky kid who engaged me in conversation earlier, with seemingly good intentions, is the nineteen-year-old singer with The Bohos. It’s a crap name, but the Liverpool quartet blend psychedelic and 60s rock elements into neat packages delivered with energy. They look the part, too, and emanate a confidence befitting of a band who’ve got some big gigs including a support slot with White Lies under their belt. A critical stance would be that there’s little to differentiate them from a great many other bands, but there’s no question that they’re solid. The final song of the set, ‘I’m a Hero’ comes on like Oasis wrestling with The Cooper Temple Clause, and is the work of a band with enough assurance – or ego – to go places.

DSCF0828

The Bohos

Weekend Recovery are a band with definite star quality, and in singer Lauren Forster, they have a compelling focal point. She does a good line I that ‘grrrrghhh’ throat thing. She plays guitar. She has a natiral charisma. And while she may have devoted more time to practising her eye movements than her fretwork, as a unit, they’re musically tight throughout. The fact the band are playing with a stand-in bassist in the form of Joe Scotcher makes this even more impressive.

WR3WR2

Weekend Recovery

Yes, they’re a rock band with a keen pop sensibility, and since I first caught them in February, on the release of ‘Don’t Try and Stop Me’, they’ve honed their sound and grown in confidence through touring. Debus single ‘Focus’ is dropped early in a well-paced set, and latest single, ‘New Tattoo’, lifted from their ‘Rumours’ EP and their darkest, broodingest moment to date – showcases a capacity to combine emotional intensity with anthemic tunage. And despite the lateness of the hour (they don’t start till 11pm), they manage to hold the attention and even get some people moving down the front. They wrap up the night with a stomping rendition of ‘Don’t Try and Stop Me’, and exit triumphant. So yeah, take that, Eminem.

Older Entries
Newer Entries