Posts Tagged ‘Hole’

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.

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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.

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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.

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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.

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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.

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Christopher Nosnibor

“I’ve fucked my wrist – chipped a bone in rehearsal.” I’m talking to Dom Smith, drummer with Seep Away. His band are due on in ten minutes. Should he even be playing? He’s not exactly a gentle percussionist. But as he and the rest of the band take to the stage to Hole’s ‘Doll Parts’, it’s clear he’s adrenalized and up for going all out. Screamer Jay is kitted out in full mini-skirted drag and looking killer. Seep Away get harder, heavier, denser and louder with each outing, and tonight, Jay is even more manic and confrontational than ever, writhing on his knees among the front rows.

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Seep Away

Brooders might have a tough act to follow, but if it bothers them, they’re not showing it. They may be young – they certainly look it – but this power trio are solid as they come. They knock out some driving grunge tunes, which are dark, dense, and weighty, but also so much more. They pack in some neat and hooky melodies alongside the chunky, bass-driven noise: in many respects, they’re the quintessence of 90s alt-rock, and they know how to nail down a hefty Nirvana-inspired riff.

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Brooders

Hands Off Gretel have drawn a decent crowd, particularly for a Thursday night that’s blessed with beer garden weather. In fact, it’s a battle to get a decent spot down the front on account of the clamour of folks with their phones out, filming. It’s not hard to see – or hear – why: they’re a killer live band, who combine a raw, ragged energy with a musical tightness. And there’s simply no sidestepping the appeal of Lauren Tate.

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Hands Off Gretel

I’ve been criticised on occasion for commenting on the physical attributes of women in bands, because despite the fact I’m equally likely to comment on the physical aspects of a man in a band, it’s not really the done thing. But Lauren Tate doesn’t so much invite the eyes to focus on her, but demands it. If the powder-blue hot pants and matching top, accompanied by knee-high socks, is sort of cutesy-sexy, the heavy eye makeup, smeared lipstick and truly ferocious full-throated vocal is terrifying. It’s the perfect paradox of appeal and repel, the cheerleader slut who’ll murder you and play with the blood. This, of course, makes her the embodiment of the grunge style; the oppositional elements of quiet / loud, melody and discord, introspection and screaming rage. And the songs encapsulate all of this perfectly. Yes: let’s not forget the songs, or the rest of the band. Both are equally essential to the band’s appeal.

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Hands Off Gretel

Tonight, airing a set built around debut album Burn the Beauty Queen, the band positively tear into the guts of those songs, channelling every ounce of fury into those angst-filled aural assault. Dropping ‘Be Mine’ as the second track of the set, it’s a shuddering, full-on bass-led attack. ‘Bad Egg’ is served with a huge dose of venomous self-loathing, and ‘One-Eyed Girl’ is pure Live Through This era Hole – although unlike their forebears, Hands Off Gretel don’t sound ropey, and you can be pretty confident they’ll make it all the way through the set. And by the end of the set, everyone’s a sweaty mess, uplifted by the joy of catharsis.

Aural Aggro faves Hands Off Gretel return to York on Thursday and promise to bring with them a tidal wave of angry, angsty grunge rock.

They’re pitched as being ‘for fans of Nirvana, Hole and Alt Grunge’, and it’s an accurate enough summary, as their debut album Burn the Beauty Queen evidences in spades. But what it doesn’t really convey is just what a killer live act they are, and in Lauren Tate they have a real star in the making as their focal point.

Support comes from Brooders and the mighty (and seriously noisy) Seep Away. Needless to say, we’re fans.

There’s more info, including ticket links, at the Facebook event page. See you down the front!

 

 

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Christopher Nosnibor

It’s an interesting demographic spread in the Fulford Arms tonight, almost evenly split between middle-agers and young alt types. This will make perfect sense to anyone who’s already heard Hands Off Gretel: founded and fronted by 19-year old Lauren Tate, they’re the sound of youthful angst, raw and brimming with rage and entirely relatable to their peers. Their sound also bears more than a passing resemblance to early Hole, and in Lauren, there’s the wild energy of late 80s / early 90s Courtney Love that’s instantly recognisable to those who remember that far back. I’m conflicted: downcast at being reminded so starkly that I’m now in the middle-age camp, elated that I was there the first time around and also that there are young bands with this much passion and this much gut making music that’s real and fearless.

Humble Scoundrel kick things off and while they’re also young, they’re also seriously good. They’re fronted by a guy who looks kinda nerdy in his specs, but said front man is renowned Leeds band poster / flyer / t-shirt etc. artist Tommings, and they’re no flappy weaklings: the plaid-shirted power trio kick out a decent brand of rocking indie with some strong harmonies and some elastic 90s alt/rock basslines whacked through a BigMuff and cranked up to gut-churning levels to give them something special. The lead vocals are poppy, but countered by some crunching guitars. Somewhere around the mid-point, they drop a ‘quiet track. It’s built around a gothy Celtic guitar line over some thumping martial drumming, and it brings some well-placed variation in a strong set, and the between-song banter is genuinely amusing.

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Humble Scoundrel

It’s been just shy of a year since I last saw Seep Away play, and they’ve come on no end in the intervening months. Tighter, louder, more in-yer-face, it’s their increased confidence that really makes the difference, and this – and a triangle – is what drives their full-throttle bass-driven grindpunkthrash racket. Jay Sillence raves and lurches around like a man possessed, while the musical proponents of the band – Max Watt (guitar, backing growls), Dani Barge (bass) and Dom Smith (drums) – give it their all. I’m always drawn to bands who pour in every last ounce of energy into a performance, largely because it’s indicative of their passion and commitment, and to see a band who sound great but are clearly coasting just doesn’t provide the same excitement. That Dom’s on the brink of exhaustion by the last track, but powers through at a hundred miles an hour tells pretty much all you need to know about the frenetic force of their live assault. Carnage of the best kind.

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Seep Away

There’s a crush for the front at the little low-staged venue for Hands Off Gretel, and it’sno surprise: while their aural assault is quite something, they’re a live band you need to see as well as hear. Lauren – dressed in hot-pants and ripped tights, a tiara nestled in her long dreadlocks and ‘BURN’ scrawled onto her chest in makeup – is high-kicking and hollering hard from the start as they tear through a set which showcases the majority of their incendiary Burn the Beauty Queen album.

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Hands Off Gretel

Every track is a highlight (although I’m personally pleased to hear ‘Bad Egg’), and while Lauren is obviously the focal point and an immense presence on stage – not to mention a singer of immense power, with a terrifying, full-throated holler, and to describer her as a compelling performer would be an understatement – it wouldn’t work if they didn’t operate as such a cohesive unit. Hands Off Gretel are a band, an a strong one, who really work the quiet/loud dynamic, and when they break out into the chorus riffs, they really give it.

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Hands Off Gretel

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Hands Off Gretel

By the end of the set, the stage is awash with beer – on account of numerous spillages and the fact Lauren has a tendency to cool herself by pouring it over herself – and perspiration. Lauren’s makeup is smeared, and after a racketous rendition of ‘Oh Shit’, they don’t bother to leave the stage before encoring with a killer one-two of ‘Eating Simon’ and ‘My Size’. When it comes to blistering intensity, Hands Off Gretel have got it nailed, and judging by tonight’s turnout, there’s a real thirst for their brand of angst-laden rage.

Aural Aggro favourites, female grunge trio The Kut, are supporting the release of their new single ‘Bad Man’ with their most extensive tour to date, taking in a whopping 37 dates. Yes, that’s ovr month of shows. And they’ve unveiled a video to accompany the single release. Watch it here. Go see them.