Posts Tagged ‘Christopher Nosnibor’

We usually review albums and live shows. Sometimes we preview them. Following our involvement in the recent Humankind show in London featuring Bruxa Maria, Modern Technology, and Christopher Nosnibor vs Cementimental, this extends the departure into hosting and promotion….

Gig Poster 29 Aug 19

Facebook event? Yep… https://www.facebook.com/events/346436192966478/

Christopher Nosnibor

This is a show I’d been looking forward to for weeks, even months. Arranged as a benefit gig for Mind and Shelter, Aural Aggro and personal faves Modern Technology have pulled together a truly killer lineup for their official hometown EP launch show.

So I arrived at The Victoria a full two hours before loading in and soundcheck was due to begin. Ordinarily I’d be positively crapping myself, a mess of perspiration and palpitations, but unusually, the only reason I’m sweating is because it’s bloody hot. But kicking back with my book in the beer garden outside The Victoria, I’m decidedly chilled.

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I get a message from Owen, Modern Tech’s drummer, asking if I want a pint since he’s arrived and getting a round in. Of course I do: I’m sweating them out faster than I can sink them, and I finally meet him and Chris in person after months of to-and-fro and co-producing a tabloid zine for tonight’s event, which I’ll soon see has tuned out brilliantly.

I walk in during Bruxa Maria’s soundcheck. The snare alone is punishing, and the full band’s run-through is devastating. This isn’t a venue that’s afraid to turn it up. It’s also a really nice space, too, something Owen and Chris comment on as we riff bout work, mental health, merch, and whatever else. The rest of us soundcheck. We’re all buzzing with anticipation. The sound is fucking incredible. And I realise I’m in a room with some of the nicest, most decent people you could find. No bullshit, no posing, just mutual respect and support.

Tim, aka Cementimental, and I take the floor – literally. We’re playing in front of the stage at 8:20. The plan really is as simple as ‘you do what you do, I’ll do what I do. I’ve got maybe 15-18 minutes of material including gaps, and I’ll drop the mic and walk off when I’m done.’ And we stick to the plan. It works better than I could have ever dreamed.

Nosnibor v Cementimental

Nosnibor vs Cementimental – photo by Phil Mackie

I’d been genuinely concerned about my ability to perform, wrestling with a cold that had affected my ability to speak for a full week. Friends had advised me not to perform, but I don’t ‘do’ defeat. I don’t know how long we played for, but I managed all six of the pieces I’d planned – ‘Thoughts for the Day’ / ‘News’ / ‘Ambition’ / ‘Punk’ / ‘Cheer Up… It Might Never Happen’ / ‘Alright’. Tim’s racket was punishing, and spanned broad sonic range, tapering down and going full nuclear with remarkable intuition. It was brutal, and it broke me. And we went down a storm: I was inundated with people – perfect strangers – enthusing about the set, how well it worked. They were all incredulous when I croaked, squeaked, or barked at them that we’d not even met properly, let alone rehearsed even once beforehand.

Lump Hammer – whose front man James I’ve has been sending me stuff from his label for review for a while, but who I’d also not met in person previously – are a different kind of punishing. With pounding drums, and guitar – churning, overloading with distortion – providing the music from the stage, James is in front of the stage with some kind of sacking over this head and eyes. He’s a tall guy with big presence and a lot of hair, and he howls impenetrable anguish into the churning aural abyss of dirgy downtuned grinds, some of which last an eternity. And yet for all the agony, the unremitting catharsis, there’s something immensely enjoyable in this kind of torture.

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Lump Hammer

Exploiting the limitations of a drum ‘n’ bass (no, not that kind) duo arrangement, Modern Technology focus heavily on the rhythmic and the low-end. It’s the perfect backdrop to Chris’ dramatic vocal style: there’s an arch-gothic hint to it, and it lends a sense of detachment and alienation to the heavyweight blasts of disaffection and desolation. Tonight’s show is the first of three of a mini-tour to officially launch their debut EP, and while on record they’re intense, live, they take it to another level. There’s nothing fancy, or even pretty about their performance. There’s no great showmanship, no empty chat between songs, just hard riffs played at hard volume.

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Modern Technology

Things are starting to catch up with be a bit during Bruxa Maria’s set: I get to witness it from the front row, next to the right-hand speaker stack, which is both an optimal spot and handy as my voice is so fucked I can barely speak. And Christ, they’re noisy and intense. The guitars are dirty and distorted, and they play fast and furious, a relentless frenzy of punk and no-wave that tears your ribs open and punches your intestines, laughing at the blood. Gill Dread may be diminutive but she’s one hell of a presence – just on the other side of deranged, her raw-throated scream goes right through you. If I was close to being finished before, I’m utterly spent by the time they bring their set to a roaring close.

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Bruxa Maria

People hang around afterwards to chat, and the merch stall does steady trade. I’m struck by the levels of enthusiasm and appreciation for all of the performers, and not only has the evening drawn a respectable turnout, but a bunch of really great people, the likes of whom collectively demonstrate that however bad sit gets, not everyone is bad shit.

We have more beer, and Owen finds a late-night wrap joint where I join him and the Lump Hammer guys for what I realise is my first proper meal of the day. It’s 3am when I finally hit the hay. Rock and fucking roll. Yeah!

Christopher Nosnibor

This conversation happened. It didn’t quite happen as was originally planned, but shit happens and storms happen. Maidstone-based pop-rock quintet Weekend Recovery may have been late – way late, after storm Doris fucked all things traffic, meaning the journey to Leeds took an insane eight hours – to their own show on first night of their first headline tour, but they still made it on stage in fair time and finished on time, played like pros and rocked the house down in the process. All of which is to say, they may be a relatively new act, and they may be young in years, but they know how to conduct themselves, and demonstrate an admirable work ethic and commitment to what they do.

These are not easy times for being in a band, and the economics of the music industry in the twenty-first century mean that music-making can only be a sideline or hobby for most. But the way to make it is to treat music-making like a full-tie job: it takes 110% just to get off your arse and tour without label backing. Weekend Recovery – with a bit of crowdfunding assistance have taken the enormous leap from local band occasionally venturing further afield, to proper touring entity, in order to promote their new single ‘Don’t Try and Stop Me’.

AA: Before becoming Weekend Recovery in April last year, you and your fellow band-members were the Lauren Forster Band. Why the change?

LF: We changed it because I didn’t feel like being called Lorin Jane Forster Band. Credit to my band mates who work very bloody hard – also it’s really tricky to get higher up a bill when people think you’re an acoustic act.

So more about making clear you’re a proper band, rather than a solo artist with backing?

That’s exactly it.

Why Weekend Recovery?

Well, I personally wanted Ninja Pandas, but I got voted out, she explains. I can’t help but laugh. Ninja Pandas would have been ace. But perhaps not as easy to be taken seriously with. It actually comes from my guitarist Jordan’s favourite band The Darkness’ song ‘Friday Night’.

Ok, so I do find it difficult to digest the fact that The Darkness could be anyone’s favourite band – other than perhaps Justin Hawkins’ mum, but I let it ride. Because there’s a time for music snobbery and being a twat, and time to rein it in. Weekend Recovery don’t sound like The Darkness, or any other second-rate Queen tribute, or any other overblown pomp-rock.

You describe yourselves as pop rock. Pop is often a dirty word in rock circles, and pop-punk tends to be lame as, but Weekend Recovery have some serious nuts on the evidence of your first two singles. Musically, who inspires you – and why?

Personally, I love Paramore. I’m sure that’s obvious and Katy Perry is my hero! But I love Bikini Kill and Slaves as well, so a real mismatch.

In context, those seemingly incongruous juxtapositions work well, and yes, they do come through in the music. For my money, I’d take Weekend Recovery over Paramore (too obvious, and Hayley’s voice grates) or Katy Perry (too bubblegum and lacking in substance) any day. Here is a band with some substance, not to mention a singer with a decent voice. But I’m curious: how about the rest of the band, and to what extent do they contribute to the songwriting and development?

They love a variety of music – Artur likes funk; Jordan loves The Darkness; Sean, Aerosmith, and Matt metal and Little Mix. I write the songs, lyrics and melody, but the lads jazz ‘em up.

That’s one hell of a range, and no mistake. It shouldn’t work. I daren’t ask if she’s having me on about metal and Little Mix, but then, I have a hefty stack of albums by Sunn O))) and Godflesh in a collection which also houses records by A-Ha, Duran Duran, and even a Stefan Denis 12”. What would you say distinguishes you from other bands?

It’s hard to say, because there are sooooo many bands. She had a point. We’re at band overload, a point of saturation beyond saturation. I receive in the region of up to a hundred releases a week to check out, and in truth, half of my emails don’t even get opened. And so it comes down to bands putting themselves out there and pushing like hell. We work really very hard and not afraid to fail, she says. And perhaps that’s it, in a nutshell: fearlessness is the key.

Image: how important is it? I’m aware of the fact I’m asking this question of a woman who strolled nonchalantly into a tiny venue wearing a calf-length animal-print coat and then performed in a crop-top on a wild night in Leeds in February. It’s not that she radiated ego, but a sense of occasion and role.

I think it’s important that the crowd know who the band is and doesn’t just think it’s a random person off the street – if that makes sense.

Weekend Recovery 1

It does: jeans and t-shirt bands just look like they don’t care and could be just anyone. Everyone’s anonymous: we need bands who look like bands, rather than guys who’ve wandered on stage after a shift in some IT department. So I push a bit further. Women in rock: there are many, and yet I still get the impression it’s not an easy ride. What’s your experience so far?

I rise to it, like I’ve had the looks and the ‘oh here we go’ but I’m more of a bloke than most of ‘em.

I can believe this. She may be smiley and affable, but it’s abundantly clear that Lorin has colossal balls, at least metaphorically. You’ve toured and played support to other bands – notably Hands Off Gretel – but this is your first proper headline tour: how does it feel?

Scary as hell! If it weren’t for Hands Off Gretel I probably never would have had the kick up the arse to think ‘hell this can be done on your own without help of agency or pluggers, etc.’ – but we love it, love meeting other bands and seeing the country and what every city’s music scene has to offer!

From the live clips I’ve seen on-line so far, and from your show in Leeds on the first night of your tour, I get the impression you’re a band who thrive on playing live: is this the case, and what does playing live mean for you?

You get such a different atmosphere from playing live than a recording, the energy is something that you can’t expel to your fans from playing in a studio – I think anyway – it’s an experience you can only share to a live audience. Also, I love meeting people that like our music!

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What’s in the pipeline for Weekend Recovery once you’re done with the tour?

Well, we’re supporting Skinny Girl Diet, which I’m super amped about, then it’s back in the studio I imagine, and then take over the world!

No two ways about it: Skinny Girl Diet is an ace support to bag. And I always say that ubiquity is the key to world domination.

It totally is! Yes, we’re supporting them at the Lady Luck on 30th March, which is funnily enough where we supported HOG.

It’s funny what goes around comes around, and perhaps this is fate. Weekend Recovery aren’t only a hard-grafting band, but a band who are intent on driving their own career path and making their own luck. Armed with a bunch of killer tunes and a go get ‘em attitude, if ever a band did deserve world domination, it’s Weekend Recovery.

‘Don’t Try And Stop Me’ is out now.

Christopher Nosnibor

Is it wrong to review an event you’ve participated in as a performing artist? Very probably, but in the scheme of things, and in the current global socio-political climate, a minor display of poor etiquette really doesn’t amount to anything. Besides, this is more about what I – as a writer, reviewer, artist and site editor – believe to be the primary function of running a site dedicated to the coverage of non-mainstream music, namely to give artists and acts I believe in exposure. At times, focusing on a niche – albeit a pretty eclectic niche – feels like the audience are likeminded obscurists but I like to think there are things for those likeminded obscurists to discover here. So. I landed a spot initially to provide a spoken-word interlude to some bands – bands I like. The night before the gig, this evolved into a collaboration with one of the bands, one-man experimental noise act Legion of Swine. It was something I’ve wanted to do for ages.

So I rocked up while the soundchecks were getting going to discuss what we were going to do. The little pub venue was bursting with more kit than many all-dayers and everything was pointing to this being one loud night before anyone even got plugged in.

And the lineup! Five acts, three (and a half) over from Leeds for a measly three quid? You have to hand it to both the venue and first-time booker Jim Osman for the wild ambition here. There’s so much that could go wrong.

Neuschlaufen are only just soundchecking fifteen minutes after they’re due to play, and their bassist, Ash, has to be out and on his way to another gig by 7:45. Yet somehow they manage to pull it together and are churning out their heavy, hypnotic grooves in next to no time. Ash Sagar’s hefty, Jah Wobble-esque basslines boom out, underpinned by Jason Wilson’s uncluttered drumming. In cominationm they provide  a solid base for John Tuffen’s textured guitars, and while the set may be short, it builds nicely, going beyond Krautrock and into territories as yet unexplored.

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Neuschlaufen

Immediately after, everyone vacates to cool down in the car park, with its impressive beach art installation. It also serves as a sandy area where people can go and sit and smoke and buy cocktails and stuff and pretend they’re not in a car park in a city pub.

Consequently, I began spouting my first rage monologue (a recent piece entitled ‘Ambition’, if anyone’s interested) to an audience numbering half a dozen (plus sound man and bar staff), but – probably for the first time in the years I’ve been performing – people began to filter into the room by the time I left Legion of Swine to run the set to its natural conclusion of feedback and bewilderment (what other response is there to a man in a pig’s head and lab coat, ambulating the space with a condenser mic taped to his face and a battery-powered 3W Orange amp to his ear?) there was a substantial crowd. Most of them were confused, and more interested in the spectacle than necessarily enjoying watching a 40-year-old man spew vitriol and expletives into a mic, but I had an absolute blast. Literature is the original rock ‘n’ roll and the new rock ‘n’ roll, and the footage of the performance, for which I can take no credit whatsoever, is outstanding.

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Legion of Swine

https://player.vimeo.com/video/175067654

 

One of the benefits of being lower down the bill is that it’s possible to kick back, drink beer and watch the other acts, and while the temperature was steadily rising, it was a joy to sup a cool pint and listen to Fawn Spots road test a set based on their upcoming second album. I‘ve lost count of the number of times I’ve seen these guys since they started out as a snotty York-based two-piece and it’s been a source of pride to witness their evolution to a Leeds-based four-piece with a debut album on Fire Records. Their hard-gigging work ethic is admirable, and they’ve got both songs and attitude. If the new material showcased tonight is a little less frenetic than the older stuff, it’s no less intense, and there’s every indication that album number two will be a stormer.

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Fawn Spots

It’s a little over a year since I saw Super Luxury play. Supporting Oozing Wound at the Key Club in Leeds, I’d been impressed by the power of their performance. However, as their gig photos and the anecdote I’d heard from a friend about front man Adam Nodwell delivering vocals for a large portion of a set from inside a box on stage, it seems they’ve been evolving the performance aspect of their show. They pulled out all the stops for this one, Nodwell arriving on stage cowelled in a hooded cloak, stripping it off to reveal some crazy man/badger legs thing that simply looked wrong. With confetti guns bursting all over and crowd-surfing and a general air of crazed mayhem, you might think the music was taking a back seat. But you’d think wrong: with enough back-line to shake a venue three times to size to its foundations, they blasted through a ferocious set with terrifying vigour and psychopathic precision. They may be zany in their presentation, but when it comes to the songs and slamming them in hard, they’re entirely serious.

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Super Luxury

Irk are pretty fucking serious, too. It’s barely been a fortnight since I caught their set in Manchester supporting Berlin’s heads, and while they were pretty ripping them, tonight they really do take things to another level. Of course, when I previously stated that they sound like fellow Leeds band Blacklisters, I meant it as a compliment: Blacklisters are one of my favourite bands of recent years. They’ve delivered two gut-wrenchingly hefty albums and are one of the most consistent live acts you’ll find. But it’s on this outing that I first truly appreciate Irk in their own right as the drum / bass / vocal trio lumber, lurch and piledrive their way through a full-throttle set. Jack Gordon – an affable, articulate chap off stage – comes on like a man possessed, hurling himself about the low stage amid crushing bass riffs and powerhouse percussion. While the power trio format is often lionised as the optimal band configuration, there’s even less room to hide when there are only two instruments and a vocalist. And so it is that Irk are tight as hell and double the intensity of the playing to compensate the absence of instruments and bodies on stage. In contrast to Super Luxury, here’s little by way of over showmanship on display here, and instead it’s all about whipping up a blistering intensity through directness and unadulterated force.

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Irk

With not a weak act on the jam-packed, super-value bill, and every act giving every last drop of juice to their performance, this is going to stand as one of the gigs of the year. The venue may not have been packed to capacity, but there’s no question that those who were there will be talking about it. That’s precisely how legends are made, and I’d wager that that at some point in the future, tonight will go down as one of those landmark events. And if I’m wrong… fuck it, it was a great night.

SIGE Records – 1st April 2016

Christopher Nosnibor

How often do you read reviews with the words ‘haunting’, ‘evocative’ and ‘brooding’? I’m as guilty of trotting these terms out as the next hack, and I’ll admit that oftentimes, I feel like a bit of a twat for doing so. Hyperbole doesn’t enthuse me as a writer or a listener. I can’t speak for all reviewers, but I mean them sincerely. I live and breathe music, it’s in my blood and it’s in by brain. Music moves me, and I use it to both reflect and to steer my moods.

But on The World Unseen, Mammifer (Seattle duo Faith Coloccia and Aaron Turner) forge a transcendental listening experience from piano, voice, guitar, Wurlitzer organ, bass synthesizer, tape machines, and effects pedals, and over the course of the album’s eight tracks transport the listener, taking them first inside their own minds, and then heading on a long trip outside.

They’ve not done this without the assistance of some noteworthy collaborators:

Eyvind Kang was responsible for the string arrangements. Geneviève Beaulieu (Menace Ruine) and Joe Preston (Thrones and formerly Melvins, Earth, The Need and High on Fire) make guest appearances on “Domestication of the Ewe pt. III”, contributing additional choral vocals and bass. But The World Unseen is very much about its creators remaining in the long shadows while the expansive music that conjures images of a mythical age which predates human supremacy and instead evokes hills and trees, stands on its own merits.

Soft, subtle vocals drift over carefully-constructed passages of delicate ambience, rolling piano and layer upon layer of considered strings. In places, only the rumble of wind over a microphone is audible. As a sustained rumble, it’s menacing, but heard as wind, it’s the sound of a vast open expanse and somehow strangely liberating.

The World Unseen is a subtly powerful and ultimately moving work. It is without doubt quite definitively ‘haunting’, ‘evocative’ and ‘brooding’. It also speaks to the subconscious self and resonates on an almost subconscious, biological level.

Mamiffer - The World Unseen

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