Posts Tagged ‘Leeds’

Christopher Nosnibor

It’s all about the work / life balance, right? That’s what I tell myself, and my colleagues, an anyone who will listen. The truth of maintaining a work/life balance often – at least in my experience – means killing yourself to meaningfully fulfil the life element. Because life isn’t about resting, it’s about doing the things that matter, pursuing your passion, not binging on Netflix. That isn’t life, that’s hiding from work, finding a mental space in which to escape and decompress. But no-one ever lay on their deathbed saying ‘I wish I’d watched more TV’. I haven’t watched a single episode of ‘Love Island’, ‘The Voice’ or ‘X Factor’ and am fairly confident my life isn’t in any way deficient because of it. Being a writer is more than tapping out a few jolly lines while sitting on the sofa watching a nice rom-com with the wife after the kids have serenely taken themselves to bed straight after dinner, and being in a gigging band, however infrequently you may gig, takes some serious effort, especially in addition to full-time dayjob and family commitments and all the rest.

And so I disembarked in York, where I live, after a two-day work trip to Norwich, and seven minutes later was on a train to Leeds. Some people are accustomed or otherwise adjust readily to travel: I’m not among them. People laugh at me when I use the term ‘train-lagged’, especially when in the context of a day-trip to Sheffield from York, but believe me, I feel it on a molecular level or something.

Another thing I’ve discovered recently is that reviewing and performing are very different disciplines, more so even than leading a meeting and taking minutes – which is pretty much what I’m attempting here.

Performing requires beer, and I had a couple on the train, and a couple more while grabbing some food and plotting a vague strategy for mayhem before going to set up. Unusually, we had a proper soundcheck, although I hate vocal soundchecks. As long as things work, I’m more concerned about volume and tonal impact than mix, given that what happens during the performance rarely resembles the soundcheck anyway, and the while white noise and shouting only works at speaker-shredding, tinnitus-inducing volume. You don’t need to hear the words, you just need to feel the force, ad anything less than freight-train impact falls short. We made noise. We nodded, retreated to the back with more beer.

The Truth About Frank’s set started unusually gently, with an ambience that wasn’t even particularly dark, before murk and muffled samples edge in. Before you know it, the PA is blaring a surging swell of beats and a wash of noise, oscillating washes of discoordinated sound layers meld with off-kilter techno. This is one of TTAF’s more structured-sounding sets, and it builds well and culminates in a fragmented flurry of fractured noise.

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The Truth About Frank

…(something) ruined crash-landed by happy accident, and once again, in the squall of brutal noise, I ruined myself. This simply seems to be how it is. This was probably our strongest and most brutal, tinnitus-inducing set yet. I told the sound guy during soundcheck that I wasn’t fussed if my vocals got buried in the barrage of noise, and unlike some, he respected that. There are fantastic audio and video recordings of the set: I’m barely audible for large portions, but Paul Tone is on absolute A1 peak form for brutal electronic noise, and the volume, it would seem, was pretty much excruciating. So I’m happy.

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…(something) ruined

My sketchy notes state that Black Alert play Tangerine Dreamy Krautrock with samples. It’s an evolutionary electro set that’s heavy on vintage synth and drum sounds, with the drums pumped up in the mix. It’s a nice contrast, and the emphasis on melody is welcome at this point in the evening.

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Black Alert

And then there’s Un Sacapuntas. The solo noise project of Alice Nancy, this performance – and it’s all about the performance – is something else. There’s a reason I prefer to play early, an acts like this are all the reasons why: you wouldn’t want to follow this. Alice is mesmerising and intense as she fastens a contact mic to her throat while unlacing her shoes. What follows is an intense and hypnotic show, both sonically and visually: burrs of treble and shrieks of feedback break through a dank rumble while she shrieks unintelligibly and wafts around the stage, a ghostly presence.

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Un Sacapuntas

It’s a superb end to a great night which is exemplary of the Hogwash experience: Dave Procter’s curation is both considered and intuitive, bringing together a road range of unusual non-rock acts from near and far. With a respectable and enthusiastic audience, Leeds underground scene is very much kicking.

With their recent single ‘Going Nowhere’ taking a lunge into darker, surfy/gothy territory (while retaining the garage/grunge style of their debut album and the ‘In The Mouring’ EP), Weekend Recovery are a band who clearly aren’t content to stay in one place for too long – musically or geographically.

With their second album, False Company, just around the corner – and the indications are it’ll be a belter – the recently streamlined power-trio are hitting the road later this month with a handful of shows to showcase some new material. No doubt there’ll be a few older rabble-rousing favourites, too.

Since the release of their debut album, Get What You Came For in 2018, they’ve garnered radio play, played at Camden Rocks, and expanded a committed fanbase through some hard gigging. We’ve covered them enough times here at Aural Aggro to give a two-thumbs-up recommendation to get down and see them.

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Dates are as follows:

20 March – Blackpool, Bootleg Social (supporting Cut Glass Kings)

21 March – Leeds, Headrow House (w/support from Carry the Crown)

28 March – Manchester, Retro (main support to Joan the Wad)

Event details and tickets are on Weekend Recovery’s Facebook page.

Christopher Nosnibor

I’m here for the support. So much so, I’m here as a paying punter wearing a PIG T-Shirt. One of those bands who’ve existed on the fringes for over 30 years now, and have fared better in Japan and other territories than domestically, they’re an act which has evolved while retaining a unique and singular vision, with a particular slant on the whole ‘industrial’ thing. Raymond Watts may have taken his early cues from JG Thirlwell and KMFDM, and various collaborations have proven remarkably fruitful, but ultimately, PIG are special because their sound and style is possessed of a certain flair, an irony and self-awareness that’s atypical of the genre.

This is only their second UK tour since they supported Nine Inch Nails on the Downward Spiral tour back in ’94, and I wonder how any people in the room can claim to have seen all three of their tours? Half the audience probably weren’t even born in 94, but for once, rather than bemoaning my age, I get to pity them for being born too late.

Having slung out a slew of new prime cuts in recent years, with a new covers album hot off the press and hot on the heels of Risen in 2018 and an attendant remix album and a Christmas EP last year, one would have been forgiven for some heavy pluggage, but tonight, PIG- featuring a lineup including the near-legendary En Esch on second guitar.

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PIG

After an opening salvo of recent material including ‘Mobocracy’, a grating thrashgrind of a number, they delve into the rich pickings of the band’s extensive back catalogue, dredging up the cabaret sleezegrindgroove of ‘Hot Hole’. ‘Find it, Fuck it, Forget it’ and ‘Painiac also get unexpected airings, and Watts is on magnificent form, a fluffy of fake fur and pelvic dynamism: it’s a small stage and he’s a tall man, but it’s his presence that fills every inch of the space as he works the room. ‘Pray Obey’ thunders in before they close with 1997 single cut ‘Prime Evil’. It’s far too short a set, but it packs some punch and slams some ham and that’ll do nicely.

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PIG

3Teeth are a band who’ve completely bypassed me before this tour was announced, which probably says more about how poorly I’ve kept abreast of the contemporary industrial scene than anything. They’re from the industrial metal strain that revels in the S&M aspect of the imagery (which explains all the leather jackets, fishnets, and mesh tops out tonight) and they push it hard, so hard that Alexis Mincolla’s presentation swings into the territory of camp machismo, and musically, they represent entire Wax Trax! catalogue compressed into one band. And perhaps that’s the issue and the reason I haven’t kept up to date: there doesn’t feel like any real progression has taken place in the last quarter of a century or so.

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3Teeth

They come out strong with gritty metallic riffs and hard rhythms. With a 5-strong bass and 7-string guitar setup, there’s a real density to the sound, and they’re all about the crisp chug, and they display no shortage of hooks.

What struck harder than the music was Mincolla’s observations on the proliferation of CCTV here in Britain is more pronounced even than back home Stateside. It’s a sobering thought that stays with me while they power through a solid set during with they showcase new additions to the live repertoire from last year’s Metawar in the form of ‘Sell Your Face 2.0’ and ‘Time Slave’ about the corporate grind. It’s relatable.

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3Teeth

Running close to the curfew, they manage to just squeeze an encore, Mincolla returning to the stage in a suit and red lizard mask for ‘President X’.

It may not be revolutionary, but it’s well executed and played with passion, and the audience reception is definitely deserved.

Christopher Nosnibor

My appreciation of Man of Moon is well-documented: so well so, in fact, that a link to my review of their last show in Leeds, where they supported The Twilight Sad at The Brudenell; featured in their sponsored ad for tonight, which is bang in the middle of the UK leg of a significant European tour, that also coincides with independent venue week.

Oporto isn’t a venue I visit often, other than when it’s Live at Leeds, but I have fond memories of thrashing a few chords at the chaotic end of an Arrows of Love gig here some years ago, and the fact it’s still going and housing shows like this is cause for celebration.

Touring the UK not once, but twice with the Sad has served them well, in many ways: they’ve reached a bigger audience, their songwriting has evolved remarkably, and they’ve followed the lead in inviting artists they believe in to be their touring support.

And so it is that Wuh Oh – the musical project of fellow Scot Peter Ferguson – opens tonight’s show with some thumping electronica: he’s dressed in a superhero cloak and has a bionic arm, and it’s all delivered with high theatre and elements of interpretive dance.

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Wuh Oh

There’s a lot going on, with deep, quivering bass and monster percussion driving it all. Sampled vocals, heavily processed feature prominently in a set of all-out euphoric dance. It’s as commercial as it gets in a club context and this is never going to be to my taste musically. But the execution is outstanding, and besides, it takes some serious guts to pull this kind of DJ / mime karaoke shit off, and it’s a stunning performance with all the energy.

As they did at the Brudenell in October, Man of Moon om take the stage to Suicide’s ‘Ghostrider’, and they’re straight in with driving cyclical chords and propellant drumming on ‘Sign’, before debut single ‘The Road’ from back in 2015 goes full motorik psych.

Despite being only two in number, the sound is full and by no means lacking in depth, with the guitar signal split between a pair of two-by-twelve-inch amps, with the speakers placed facing back to the rear of the stage, resulting in the majority of the sound coming from the PA rather than a blast of backline.

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Man of Moon

The set isn’t much different from their last visit, and is primarily constructed with material from their forthcoming album, but they’re tighter and more solid than ever, and the new songs have had time to bed in and take some proper road-testing.

‘Ride the Wave’ brings some thunderous bass, hefty vocal reverb and an insistent rhythm, and elsewhere. samples drift in by way of an intro, and there’s sonorous sequenced bas that churns the guts and an abundance of spaciously atmospheric guitars. ‘Rust’ brings classic vintage 80s electro with heavy Cure filtered through Twilight Sad influence with smoggy guitars and all the emotion. Dynamic and layered, it reaches the parts other songs can’t reach. And it’s this emotional intensity and increasing maturity that’s one of the most striking things about Man of Moon now in contrast to Man of Moon just 18 months ago.

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Man of Moon

‘Skin’, the penultimate track and which featured on the Chemicals EP is a clear standout: while the studio version is smoothed out and leans toward Depeche Mode, live it’s a sharp, tense, uptempo groove and with a massive nagging bass line carry hints of Placebo, and the only criticism is that it could never be long enough. Throbbing dance grooves and cowbell drive closer ‘Stranger’, which threatens to veer off on an extended ace-rock workout, but instead, stops short leaving us wanting more. The album can’t land soon enough.

Christopher Nosnibor

Leeds’ DIY scene is becoming increasingly adept at turning poky rehearsal spaces into gig venues: it makes sense from a funding perspective, but also means that while conventional scenes are struggling to stay open for various reasons (as often redevelopment as being squeezed financially) and new and niche acts are finding it increasingly difficult to get gigs, the Leeds scene is thriving and as diverse as ever.

I’ve previously sung the praises of rehearsal-room-turned venue CHUNK, and it’s Theo Gowans, who does a lot of the stuff there, who’s behind this evening’s show. Tonight, Mabgate Beach (or Madgate Beach, as the poster has it), tucked away in a corner of an industrial estate in an obscure corner of the city plays host to a brace of Newcastle noisemongers, supported by a brace of very different local supports.

I’d been forewarned that the room was small, but that’s something of an understatement.

Intimate isn’t even close.: it’s about the size of my living room, although it’s still probably a few feet bigger than The Hovel in York’s South Bank Social, which has a capacity of maybe 16. The drum kit and back-line fill most of the room, after which we manage to pack in maybe 20. And the lighting is as minimal as the space, only less consistent.

The Truth About Frank have been knocking around for over a decade now, and Alan Edwards’ sets don’t get any more mellow over time. Kicks off the bill with a riot of samples, the set comprises a single continuous improvised soundwerk, a jarring audio cut-up through which murky beats fade in and out through an ever-shifting collage of noise, creating what cut-up originator Brion Gysin would refer to as ‘a derangement of the senses’. Playing in near-darkness with a pencil beam of light emanating from the arm of his glasses to illuminate his minimal digital kit, Edwards’ stubby nicotine-stained fingers manipulate shapes on a touch screen and jab buttons, and with each prod and poke, more strange sounds emerge, and it’s brilliantly bewildering.

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The Truth About Frank

Things start to feel quite cramped when a full band with bass and two guitars play, and I’m less concerned about site lines for photographs than being smacked by the bassist’s headstock, meaning I’m happy to settle for the second row to observe Loro spin a set of mellow post-rock. It’s kinda standard circa 2004 fodder for the most part, but it’s nice, and with twists of mathiness and jazz without being indulgent.

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Loro

Penance Stare prove to be an absolute revelation. Their recent recordings are a hybrid of ethereal shoegaziness with black metal production values, and while those elements are very much present here, witnessing their colossal noise in such an enclosed space is an incredibly intense experience. There’s ferocious reverb on the vocals, and murky as fuck guitar duels with thunderous drumming. The duo explore some deep, dark atmospheres, too, and coupled with Esmé’s brutal anguished shriek, there are comparisons to both Amenra and early Cranes to be drawn here. Some of the soft instrumental segments are achingly beautiful and affecting, and are invariably obliterated by devastating distortion and howling agony. This is music that reaches deep inside and leaves one feeling somehow altered.

James Watts has more bands and projects than I have albums in my review pile, and having met him and performed alongside Lump Hammer in the summer, I was keen to see how things worked with a different slant and lineup, and an absence of knitted head/face garb. Whereas Lump Hammer ae sludgy and repetitive, Plague Rider mine a seam of pounding math metal, with Watts’ vocal veering between shrieking demonic and guttural taking a shit deep grunt. And what the fuck even is his two-string instrument with some kind of touchscreen attached? In the less-than—half-light, I’m struck by how much Watts resembles a young Alan Moore. It’s so dark, I can barely see the rest of the band to know what they look like, but they relentlessly kick out juggernaut riffs that hammer hard.

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Plague Rider

Technical difficulties struck 15 minutes in, with a power outage on the guitarist’s pedal board bringing a halt to the set, but after a brief intermission they resumed as loud and punishing as before, and then some.

In such a confined space, the effect is staggering: every beat, every chord, lands like a punch to the gut. It’s exhausting but exhilarating.

We’ve been bigging up Modern Technology since the release of their eponymous EP – not just because it’s powerful musically and lyrically, but because the duo believe in trying to make a difference in a bleak world. And so we’re inordinately proud to be involved in the latest Human Worth charity fundraiser, which sees proceeds donated to Mind and Shelter, and which sees their first Leeds show in 9th February 2020. It’s headlined by percussion-heavy racketeers Cattle, and they’re joined by one of Newcastle’s heftiest, sludgiest bands in the form of Lump Hammer, Leeds’ finest maker of manic electronic noise, Territorial Gobbing, and relative newcomers, …(something) ruined, a brutal power electronics duo consisting of Paul Tone (Foldhead, Inverted Nepal) and one Christopher Nosnibor.

The event will be held at DIY venue CHUNK, and tickets are a mere £5.50, available via this link. There’s also a super limited run of Early Bird cheap tickets: just 15 in total, then onto Advance Tickets which saves money on door and guarantees entry.

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