Posts Tagged ‘Live Review’

The March Violets / Vision Video – The Crescent, York, 3rd July 2025

Posted: 4 July 2025 in Live, Reviews
Tags: , , , , , , , , , , , , ,
0

Christopher Nosnibor

Seeing the same band twice on the same tour – especially twice in the same week – may seem excessive to some. However, it’s not – and certainly wasn’t historically – unusual for fans to follow bands around the country, and even the continent. It’s something I’ve only done a couple or so times myself previously, at least that I can recall, and discounting the misfortune of having seen Sona Fariq around six times in three months supporting various bands in the early noughties. My first experience was seeing The Sisters of Mercy in Glasgow and Nottingham in the same week in 2000. The setlists may not have been radically different, if not identical, but the experiences could not have been more different. The Glasgow crowd was lively, and the band, visible through minimal smoke, were relaxed, and Andrew was chatty. A couple of nights later, in front of a static audience, the band were barely visible behind the wall of smoke and Eldritch didn’t speak a word all night. And so it was that I came to appreciate different locations, different crowds, etc., all have a bearing on the experience, and how two nights are never the same. I also decided to stand to the other side of the stage tonight, and being at the front that not only means a different view, but a different mix due to the proximity of the backline. We’ll come back to this shortly.

It’s perhaps less common to follow bands around now because the cost of tickets, accommodation and travel has skyrocketed way above the rate of inflation, and no-one hitch-hikes or sleeps on train stations anymore.

Anyway: some disclosure. Tonight is personal, I suppose. Having been offered press for the Leeds show before this one was announced, I jumped in, but on seeing a show a fifteen minutes’ walk from my house added to the itinerary, felt compelled to buy a ticket for the simple reason that I love the band, and – as they later remind us – their last visit to York was in 2011.

In the bar before doors, there’s a DJ spinning goth and post-punk tunes, and I get to hear ‘The Killing Moon’ over a PA for the second time in three days. And for the second time in three days, and the third time in as many months, I’m (pleasantly) surprised by the demographic: the first wave goth acts are no longer primarily the domain of those in their late forties or older. It could be that bands like support act Vision Video are proving to be something of a gateway – having discovered bands like The Violets and the whole early 80s scene pretty much the same way I did as a teen, they’re making music that’s influenced by those bands, with clear and accessible nods to The Cure and New Order, and finding an audience who are the age they were… etc. Anyway, it’s all to the good, and tonight’s audience is an enthusiastic one, and with youth on their side, they can dance and wave their arms without worrying about giving themselves a hernia.

The Crescent is a smaller venue than The Warehouse, and when Vision Video arrive on stage, aspects such as lighting and PA variations are thrown into sharp relief: it’s darker, smokier, the minimal lighting is predominantly purple, and the thumping bass I enthused over in Leeds was significantly less present or impressive. In between songs, they offer similar chat, but it’s clearly not scripted, but notably a lot less chat in general. Vocalist / guitarist Dusty Gannon talks faster, seems less more hyped up, rushing to remind us that the current tour is the ‘Death to Fascism’ tour. Given the state of things over here in the last week or so, they should probably be careful about things like that. But more seriously, anyone with a platform needs to be calling this out right now. Because it’s through silence – and allowing ourselves to be silenced – that fascism spreads.

DSC02601DSC02588

Vision Video

Notably, the whoops in support of the band’s anti-fascist messaging are louder tonight. It’s a smaller crowd, but they dance harder, encouraging Dusty to find the confidence to leave the stage and be among the crowd during last song of the set, ‘In My Side’.

I arrived home buzzing and without having written a single note during the whole of The March Violets’ set. The setlist was the same as Leeds, the intros were similar… but it was anything but a carbon copy show. On the one hand, the sound wasn’t as crisp, but this wasn’t by any means a detraction, in that it replicated that sonic haze of yesteryear, and even the early recordings. Not having Tom Ashton’s amp at face-height perhaps gave me a better sense of balance, and Mat Thorpe’s vocal were both louder and clearer, which was a strong plus.

DSC02614DSC02626

The March Violets

Notably, while the front of the Leeds show was frequently disturbed by a number of ambulant photographers – the usual types, tall blokes in T-shirts and knee-length cargo shorts hauling cameras with massive lenses – there was no evidence of any press or lens-luggers tonight (I exclude myself from this category because while I do now use a ‘decent’ camera, I stick to a small lens and keep to my spot, to one side, for numerous reasons, but not least of all to remain as inconspicuous as possible and not to interfere with anyone else’s view). As a consequence, the audience were free to move about down the front, and the band seemed more relaxed, presenting a different energy. They were still clearly enjoying themselves – if anything, more so. Rosie spent the entire set bouncing around like a pea on a drum, and her energy is infectious and joyous.

DSC02661

The March Violets

Ordinarily, one would anticipate a more rapturous response at a hometown show: this has certainly been my experience with other Leeds acts through the years. But perhaps Leeds has been spoiled: it was only last year they played at The Old Woollen, while across the border, it’s been a lot longer – like more than a decade (Whitby appearances notwithstanding).

Tellingly, in Leeds, the claps and chants after the main set had been the somewhat irritating (and rather lacklustre) call for ‘one more song’ which has become a thing in recent years. Tonight, there is a relentless baying noise from a crowd who want as many songs as they can get (there were calls for ‘Bon Bon Babies’ and ‘Undertow’ during the set, and there was a fair bit of banterous to-and-fro with the audience). ‘Fodder’ was well-received, but the place positively erupted for ‘Snake Dance’. The band seem to respond to this, and really attack it, making for a blistering finale to an outstanding performance. If the rest of the tour is half as good, people are in for a treat.

The March Violets / Vision Video – The Warehouse, Leeds, 1st July 2025

Posted: 2 July 2025 in Live, Reviews
Tags: , , , , , ,
0

Christopher Nosnibor

In terms of goth history, The Warehouse is pretty much ground zero. Synonymous in particular with The Sisters of Mercy in their early days, it was this milieu which also spawned The March Violets, making their return to the venue for the first time since 1983. I missed that one myself, having been seven at the time, but a fair few of the songs played that night are in tonight’s set list, too, and one suspects they probably sounded better this time around.

Early doors, there’s an almost 50/50 split of old goths and twenty-somethings, who really do seem to have embraced the original 80s dark punk look (as opposed to the ersatz emo stylings that passed as goth in the 90s). The Psychedelic Furs and Christian Death and Strawberry Switchblade are blasting over the PA as we wait for Vision Video, and I make myself comfortable with a pint of Weston’s Vintage at a reasonable £5.80 for a pint.

Vision Video have a long-established relationship with the Violets, with Tom Ashton having produced their first two albums. Stylistically, they’re at the rocky, post-punk end of the goth spectrum, who clearly take their cues more from ‘our’ brand of goth rather than the US ‘death rock’ scene (a mid-set cover of The Comsat Angels’ ‘You Move Me’ is illustrative).

DSC02498

Vision Video

A three-piece with guitar, synths and live drums, the sequenced bass is really solid and sounds… real, with proper low-end frequencies delivered at appropriate volume that make your nostrils vibrate. They’re over here from Athens, Georgia, with a message: they’re anti-fascist, anti-war, anti-capitalist, anti-Trump and anti-dickhead. And as guitarist / vocalist Dusty Gannon is a veteran and ex-firefighter, this is a message that’s delivered with sincerity from a place of experience, and a message which informs the songwriting as much as a vintage record collection. He speaks at length in between songs: none of is it preachy, but it is passionate, and the crowd warms to them (and judging by the clamour front centre, a fair few had warmed to them and learned the words in advance).

The March Violets take the stage as The Sisters’ ‘Marian’ comes on, and it’s a swift fade as they’re straight in with ‘Long Pig’, with a barrage of squalling guitars and stuttering beats. It’s immediately apparent that they’ve still got it, and pleasingly, they haven’t faffed about with the arrangements of the old songs, right down to the hyperactive drum machine programming which defined their early sound. ‘Crow Baby’, dispatched near the top of the set is still wild and sounds like nothing else.

Reminding us that they didn’t release their first album proper until after their post-millennium return, they give us ‘Made Glorious’, from their epic 2014 debut, followed by ‘Hammer the Last Nail’, lead single from recently-released follow-up Crocodile Promises.

DSC02543DSC02539

The March Violets

Playing ‘Grooving in Green’ and then ‘Steam’ replicates the running order of their 1982 single, and the interplay between the different elements comes through clearly: first, there’s that unique Leeds sound, with a thick, chunky bass welded to a thunderous drum machine, juxtaposed with a guitar style that draws at least a certain degree of influence from Gang of Four – scratchy, trebly, choppy, with some unconventional use of harmonics – and then there are the songs themselves, which are the product of distinct personalities. Bassist Mat Thorpe, who joined for the new album provides the more shouty male vocal counterpoint to Rosie Garland’s clean, theatrical enunciations, and as such, the essence (no, they don’t play that) of the old classics is retained. Meanwhile, ‘Kraken Awakes’ and ‘Crocodile Teeth’, lifted from the new album from new album sits comfortably alongside the older material.

The sound seems to get louder and brighter (and probably purpler) about halfway through the set, and they take things up a notch, Rosie confessing that they’re having a blast up there – although, truth be told, it’s pretty obvious: she’s in fine voice, and busting moves all over, and Tom spends half the set with a massive smile on his face. They know they’re sounding good, and they know we’re loving it, too.

DSC02556

The March Violets

Towards the end of the set, ‘Strangehead’ is particularly wild and wonderful. They encore with a blistering ‘Fodder’, and there is simply no way they could leave without giving us ‘Snake Dance’, which is one of the definitive anthems of goth – the Violets’ ‘Temple of Love’, if you will.

Tonight, we’ve seen a band on peak form, and proving that they’re a lot more than simply a heritage act, too. Long may they continue.

DSC02535

Shonen Knife / Speedreaders – The Crescent, York, 6th June 2025

Posted: 7 June 2025 in Live, Reviews
Tags: , , , , , , , , , , , , , , ,
0

Christopher Nosnibor

Sure, having Kurt Cobain proclaim his fandom and bringing them on tour as a support act may have helped bring Shonen Knife to a wider audience, but in the Internet age, when it’s much easier to discover bands who aren’t shoved under your nose by pluggers and playlists, it seems probable that they’d have reached the current place on their journey on their own merits.

And so it is that the original all-female Japanese pop / punk power trio return to York after quite some time, bringing their ‘Have a Knife Day’ tour to a sold-out Crescent the night after stopping at the legendary Brudenell in Leeds. With the twenty-seven EU / UK tour taking in Hebden Bridge, Manchester, and Sunderland, it’s nice to see the North getting a decent share of shows, and the turnout and response tonight shows it’s appreciated.

The front bar is busy a good half an hour before the doors open, and local support Speedreaders seem genuinely surprised by the size of the crowd they’re playing to. They’re never the most conversational of acts, with the gaps between songs spent turning up and keeping their eyes to the floor, but their brand of slowcore indie – a significant contrast to the headliners’ uptempo style – is well-received, and deservedly so: they’re tight, and the arrangements are such that there is considerable air between the instruments, The sound is crisp and clear, and their concise set no doubt won some new converts.

 DSC02209DSC02206

Speedreaders

Shonen Knife set up their own kit – drums, the lot, tuning, etc., all wearing their own current tour shirts. One bass pedal, perhaps half a dozen guitar pedals, small amps, there’s nothing fancy about their setup. That’s the essence of punk right there. A tech does come on and make some final checks before they return, T-shirts removed to reveal their co-ordinated colourful stage dresses, and they’re proceed to serve up a set which is pure joy from beginning to end.

For a band that’s been going for nearly forty-five years, their lineup has been consistent for long periods of time, and currently consists of co-founding sisters Naoko and Atsuko Yamano (guitar / vocals and bass / vocals respectively) and singing drummer Risa Kawano, who’s been with the band since 2015. This stability is likely one of the key factors in their tightness as a unit: the songs may not be especially complex, but their played really well – to the extent that it stands out. What also stands out is just how much they look to be enjoying themselves: they smile a lot, and Kawano in particular beams throughout the set, like she’s having the absolute time of her life on every swing of a stick. And that joy is infectious.

DSC02282DSC02251

Shonen Knife

For the uninitiated, Shonen Knife sound like a Japanese female Ramones experiencing a massive sugar rush. Their songs are perfect pop, and revel in the pleasures of ice cream, candy, and cookie dough. They’re the musical equivalent of kawaii drawing, and their stage show is in keeping with this. It’s not just the outfits, but the spangle guitars, the way the harmonies come together, the way the jumps aren’t jumps so much as bunny hops. Yet none of it feels trite or contrived, and it’s never cloying. It’s simply good, clean fun. A couple of times, I find myself thinking of Dogtanian and the Three Muskehounds – and it’s theme tune, that hyperpop energy the likes of which I had never heard before at the time.

DSC02215DSC02212

Shonen Knife

For an hour and a half, I find myself uplifted to a point that I am simply bursting with joy. While they play, everyone is in the moment, transported away from everything: the room is filled with happiness which celebrates simple joys. It’s pure escapism, and absolutely wonderful.

The Sisters of Mercy / Oversize – The Roundhouse, London, 25th May 2025

Posted: 26 May 2025 in Live, Reviews
Tags: , , , , , , , ,
1

Christopher Nosnibor

Yes, they’re still going. Despite not having released any new material since 1993, they’ve continued to tour frequently over the last thirty years, and have during that time showcased about two albums’ worth of new songs. And while performances of said new songs are all over YouTube, it’s no substitute for a live performance witnessed in person, which goes some way to explain why this, the first of two nights at the Roundhouse, is sold out. Another key reason of course is that people love this band with a rare devotion. I am here as one of those people, rather than in a press capability.

The support act, Oversize, deliver 90s-style alt-rock with grunge and shoegaze elements. I’d have probably dug them if it was 1992-3. Or perhaps not: there’s too much “How are you doing?” and “Let’s see those heads banging” calls between songs, in addition to the obligatory merch plugs. The longhaired bassist stomps about and flings his hair around, while the lead guitarist, who’s waring a Type O Negative T-shirt, does melodic backing vocals and also some metalcore screamy bits which don’t really gel within the overall sound. Still, they were well-received and did the job of warming the crowd up.

The Sisters’ set list on the current tour may not be radically different from those of the last couple of years, and as we will come to learn to no surprise whatsoever, identical to every night on this tour, but it’s certainly quite a different crowd they’ve drawn compared to the last few times I’ve seen them (either side of the pandemic, the last time being in this same venue in September 2021 on their three-night run belatedly marking their fortieth anniversary, and before that in Leeds in 2020). Dare I say it… younger. There are a lot of makeup goths out tonight, people born after the turn of the millennium dressing in the 2025 reimagining of 1985. Or something. No doubt many of the older fans – the ones who were there in 1985 who like to moan endlessly about how The Sisters have been shit since Wayne Hussey left will say that they missed out and are only seeing a karaoke tribute or similar now, but that they’re all here more than validates the case that The Sisters are still a going concern, and that there are plenty of more recent concerts who are keen to hear the unreleased material live alongside back-catalogue hits and classics. It’s certainly a livelier crowd than I’ve witnessed in these later years (although the less said about the tall woman dressed like a member of Bananarama who was swinging about and busting moves in the second row near me the better – I’ll simply leave it that there’s lively and there’s being an attention-seeking dickhead).

20250525_20542620250525_205246

‘Alice’ is dispatched early on in a set which largely ignores their pre-Floodland releases, with ‘Marian’ being the sole representation of First and Last and Always (in contrast, there’s a lot of Vision Thing). It’s almost as if Andrew is stubbornly ignoring the forty year anniversary of the band’s debut album to wind up the ‘golden age’ complainers, and you wouldn’t put it past him.

The band – and that extends to Chris Catalyst, former guitarist and now nurse to the Doktor – look to be enjoying themselves. Eldritch’s vocals sound rather more warmed up and he relaxes into the show more with the arrival of ‘Summer’, and the newer songs – in particular ‘I Will Call You’, ‘Here’ and ‘On the Beach’ – sound particularly strong. Yes, his voice is still a scratchy, crackling croak for the most part, but he’s much more audible and there some of the deeper notes come through. Eldritch seems to revel particularly keenly in giving it some on ‘More’: ‘I don’t know why you gotta be so undemanding’ he growls, before snarling a full-throated ‘I what MORE!’ and the bombastic backing vocals power in. Credit to Chris and Kai for their contributions on that score and the pair do work well together, bringing movement and energy to the stage, the former with classic rock poses, the latter twirling and pirouetting about with abandon, and Kai’s switching between electric, acoustic, and twelve-string guitars adds texture to the sound.

20250525_21223020250525_214626

On the subject of the sound, for many years, Sisters gigs have been on the quiet side, with the drums reduced to a clattering in the background rather than the relentless boom that was always integral to the band’s signature sound. Tonight, the volume and mix are both substantially stronger, with a denser sound overall, even the sequenced bass sounding more powerful and resonant. And this, this is what we came for: because when The Sisters are good, they’re GOOD.

Eldritch remains on stage after the band depart at the end of ‘Temple of Love’, performed in the 1992 style, with Kai doing the Ofra Haza parts. They do a decent job, too, although I find myself on the fence with it, not least of all because I wasn’t rabid about the later version in the first place. But, as with the more backing-track-based version of ‘This Corrosion’, a lot of people in my vicinity seemed to be absolutely over the moon to be hearing the hits in a recognisable form, and it’s quite possible that this is what the newer fans want to hear over, say, ‘Heartland’ or deep cuts from The Reptile House EP. You can’t please all of the people all of the time, but tonight, the Sisters seem to be pleasing enough of the crowd as well as themselves.

“I take requests,” he jokes, before muttering the punchline and leaving the stage.

20250525_21554620250525_212212

On returning, Ben takes up a bass guitar (something rarely seen onstage at a Sisters gig since the 90s, particularly since ‘Romeo Down’ was dropped from the set) and leads a hefty version of ‘Neverland’. It seems the song suits Eldritch’s current vocal range, and Andrew’s vocals sound the best yet, and remain strong for both ‘Lucretia’ and ‘This Corrosion’ which cap off a solid set. Overhearing exchanges on the way out, there seemed to be an overall positive consensus, and with this, I would have to concur.

Froglord / Kraken Waker / Chefs Kiss – The Fulford Arms, York, 21st May 2025

Posted: 22 May 2025 in Live, Reviews
Tags: , , , , , , , , , , ,
0

Christopher Nosnibor

It’s encouraging to arrive twenty minutes before the first band are due on, and, despite it being a pleasant, sunny spring evening in the middle of the week, it’s already busy inside the venue, and not just at the bar. There’s a tangible buzz.

The arrival of the first act, Chefs Kiss, who describe themselves as a ‘comedic food themed slam metal band’, brings a fair few forward, and it’s clear that they’ve brought their mates with them. There was a time when I may have viewed this in a rather sneery way, but what matters, I realise these days, is that if they’ve got people in through the door, then it’s all to the good.

With a wardrobe which included kilts and masks and aprons and chef hats, Chefs Kiss weren’t all that comedic – or at least that funny – a comedy act, nor especially musically accomplished either. Does the world need a joke thrash act? Actually, it probably does, and fair play to them, in that they didn’t take themselves seriously, and largely adhered to their rather daft concept, and were good fun, bringing out a life-size cardboard cut-out of Ainsley Harriot which was passed around the venue above the heads of the audience like some sort of crowd surfing cardboard deity. What’s more, they looked we enjoying themselves, and every young band has to start somewhere. This is once again why we need venues like this.

DSC02062DSC02070

Chefs Kiss

Just as Chefs Kiss were a shade shambolic, so Kraken Waker were finely honed performers, clearly with not only hours of rehearsals behind them, but also a lot of gig experience. They seriously were incredibly tight. Their sound is very much classic US rock at the heavier end of the spectrum, with a strong, dirty, stoner leaning. I had afforded myself a chuckle while they checked their mic levels: the three beardy longhairs all came on with affectations as if they were from Texas. But piling into their set, they were instantly impressive, and it soon became apparent that they were unapologetic Geordies, with strong songs about being drunk, smoking weed, and wanting all the billionaires to fuck off to Mars. Quite possibly the band of the night.

DSC02078DSC02079

Kraken Waker

If you’re going to pursue a concept – particularly one that’s ridiculous – you really have to go all-in to pull it off. Oh, and Froglord do. The Bristol band’s five – yes, five – albums to date, including the most recent, Metamorphosis, released just a couple of weeks ago, are all preoccupied with expanding the lore of The Frog Lord, centred around the Book of the Amphibian, with swamp rituals and The Wizard Gonk and the like. Behind all this stupidity, there are some fierce riffs, and a fantastically solid doom metal band. I would have been perfectly happy if they turned up in jeans and T-shirts and blasted out the raging riffs. I might even have found it easier to connect with. But this is about performance, theatre. It’s also about doing something different. There is certainly no shortage of serious doom bands. There are considerably fewer doom bands who have devoted their entire careers to a concept as absurd as this.

DSC02089DSC02098

Froglord

The more preposterous the concept, the more committed you have to be, and Froglord prove that they’re one hundred per cent committed (or that they perhaps ought to be), with a stage set which has all the props, from a stage backdrop to a lectern on which stands a copy of some esoteric bible, via masks, cloaks, and a giant plastic frog. The set is structured around a swamp ceremony, and there’s no breaking character – apart from when plugging merch, which is done in character while acknowledging it’s a break in character, which offers some postmodern reflexivity, and in the way front man Benjamin ‘Froglord’ Oak will adopt the stance of a high priest before getting down and grooving to the monster riffs, cloak flapping, mask slipping. It’s funny because they clearly know it’s daft but play it with straight faces. That kind of dedication is impressive – as is their shit-your-pants bass sound.

DSC02106DSC02111DSC02120

Froglord

And perhaps this is why it works. There’s a knowingness in the delivery of the performance, but they’re feigning that they don’t know we know it. Or something. And musically, they’re really strong. By the end, there are people traversing the venue, just grazing beneath the room’s low ceiling, in the same fashion as the cardboard Ainsley at the start of the night, and we filter out into the night to a chirping chorus of frogs. No two ways about it, Froglord put on a show.

IST IST / Oliver Marson – The Crescent, York, 3rd May 2025

Posted: 4 May 2025 in Live, Reviews
Tags: , , , , , , , , , ,
0

Christopher Nosnibor

Is it acceptable to wear the band’s T-shirt to their show? It’s a frequent topic of debate amongst my gig-going friends. As a rule, we tend to agree it’s not cool, although we all have our notable exceptions, and I got mine. But IST IST fans would largely disagree, it would seem – unless this is their exception band.

Usually, with the front bar right next to the auditorium, people sit at the tables supping until the bands start, sometimes until the headliners take to the stage. Not tonight. A large cluster of middle-agers in IST IST T-shirts are queueing and actually blocking access to the bar room half an hour before doors.  There’s a guy with an immense beard wearing a sleeveless black denim jacket with Sisters of Mercy and Fields of the Nephilim patches paired with red tartan trees and he’s standing in the queue too. The queue is practically out of the front door by 7:25, but the bar remains almost empty. These people are keen.

The support is an Ian McCulloch wannabe in a knee-length coat doing sub-mid-80s Psychedelic Furs lifts with a goth tinge. The drum machine is nicely up in the mix and the sound is great, even if the songs are only middling at best, and wince at worst. and it’s mostly backing track. But the Jarvis Cocker moves are overdone, suddenly throwing shapes in the most uncool fashion, sometimes going for a power pose or something a shade more aggressive and all the more incongruous, and the shades are off and back on and off and I again and the cringe only increases as the set progresses. It’s one of the longest half hours of music, and probably the most painful since the band supporting A Flock of Seagulls at The Brudenell a few years ago. It’s a rare talent to be this technically competent and so fucking embarrassingly awful at the same time.

DSC01981DSC01982

Oliver Marson

Having clocked a vintage Sisters T in the gents and emerging to find the front of the stage absolutely rammed, I was reminded just how hardcore – not to mention fucking stubborn – older gig-goers can be. It’s no wonder I learned spot-bagging and elbows when I started going to shows as a teen in the early 90s. And, as then, I’m probably a sound 10-15 years younger than the majority of these buggers. Those clustered in the front row in groups are discussing the set lists placed on the stage. Smoke drifts as Interpol’s ‘Roland’ blasts from the PA.

It’s not hard to comprehend why this band enjoys such devotion from this demographic: they present all of the quintessential post-punk elements, delivered with precision and panache. It is, it must be said, post-punk as viewed through the prism of the 21st Century revival. And there are many who are here for that, too, with plenty of under 30s grooving away behind the first five rows of old sods.

DSC01992DSC01990

IST IST

There has been no shortage of bands doing precisely this since around 2004, but Superlative drumming elevates their Editors /Interpol / White Lies – etc. – sound. The vocals are a flat, monotone and slightly twangy baritone with all the reverb, which take me a while to place, but they land somewhere between I Like Trains and She Wants Revenge. Credit to the sound guy, too, who’s working hard with the reverb and echo, especially on new song ‘Echo’, which has ‘instant classic’ written all over it and goes down a storm. They’re tight as and the sound is outstanding, with some super-solid bass at the pulsating heart of it all – and unlike Oliver Marson, leather jacketed bassist Andy Keating keeps his shades on – although I can’t help but wonder if they’re prescription and he’s doing a Wayne Hussey.

DSC02012DSC01998

IST IST

One of the tracks later in the set – my notes are sketchy as I was a bit engrossed – is pure She Wants Revenge, and it would be easy to shrug that IST IST offer nothing new, and it would be a valid criticism – but the counterpoint to that would be the consistency of the material and sheer quality of the performance, where some nice 12-string action adds some all-essential texture, and there are abundant I Like Trains-style post-rock crescendos along the way – and shshsh, don’t tell the younger fans, but it’s all as goth AF.

Suspicious Liquid / Velleity / Echoviolet – The Fulford Arms, York, 24th April 2025

Posted: 25 April 2025 in Live, Reviews
Tags: , , , , , , , , , ,
1

Christopher Nosnibor

And this is why it’s always worth turning out in time to see the support acts… Just last month, I was in this very same venue to see Feather Trade, a band who pretty much guarantee a quality show. There were three other acts on the bill, all of whom were well worth seeing, but the pick of the crop by some margin were Suspicious Liquid, who, it transpires, won the York Battle of the Bands last year. It wasn’t hard to see why. But has I stood outside chatting, or just rocked up for the headline act I knew, I’d never have seen them. And having seen them play as a support was what compelled me to come and see them headline tonight. And once again, the support acts proved to be good value – especially when you do the sums of three bands for seven quid.

As they took to the stage, I had some initial doubts about Echoviolet: image-wise they look a bit 90s indie, especially the singer / guitarist who’s sporting a bad indie haircut, and they sounded like a band who are still working things out. Sometimes the bass and guitar lines don’t really gel, with one running ascending chords and the other descending and not necessarily in perfect time either, but then suddenly from nowhere they’d land a cracking chorus. The vocals, too, aren’t quite there yet: they sound somewhat tentative, undersung, as if rehearsing quietly in a bedroom rather than going all-out. But, as a power trio, they’re unusual in that the guitar parts favour spindly picking rather than fully-struck chords. It’s certainly distinctive, and they’ve definitely got things going for them.

DSC01896DSC01898

Echoviolet

Broadly speaking, their sound could be reasonably described as alterative rock with a 90s flavour and some heavy moments that would have really hammered hard at higher volume. There are hints of Bleach era Nirvana, and a few dashes of dark psych, and at times they call to mind The Horrors.

The punky ‘Micromaniac’ is driven by some foot to the floor bass but dominated by an unexpected drum break near the end. Drummer definitely overplays, but he brings a vibrance, an energy to the stage, and while they’re a bit rough in places, there is clear potential here. Would see again.

Velleity are straight in with a groove, they’re as tight as fuck and the layers of synth add polish. Sure, they’re a bit muso, a bit groggy, there’s a bit too much sexface guitar wankery, but they radiate confidence and it’s forgivable because – and it’s a rare thing – they actually are as good as they think they are, and you could easily envision them going down a storm at festivals, bringing in a range of elements from Pink Floyd to Led Zepp and… Muse.

DSC01919DSC01921DSC01922

Velleity

It’s certainly a remarkable debut even from seasoned musicians, and the quality of the performance and musicianship is impossible to deny. Mid-set they drop a tune that could easily be a Smashing Pumpkins outtake, before going Alice in Chains for the last song. They grew on me as the set progressed, and the bass tone was supreme. During last song, singer popped to the bar and returned with shots which he fed the band before a particularly indulgent instrumental break. I guess you could call that showmanship…

Suspicious Liquid are the reason most of us are here, and while it’s only a third full, it’s not bad for a Thursday night when students are still drifting back after Easter. And they give the show 100% from start to end. It takes some guts to open with a slow, sprawling epic… which is just what they do. Showcasing new material – a lot of new material, for that matter – and some seriously meaty hard rock riffs, they are on fire. The small audience pack forward and close to the stage, things look busy. It must be gratifying for a band to see faces up close instead of playing to a void with lights in their faces. All the elements come together perfectly, with no weak parts. Sound and performance, everything is just superb, and they play with intense focus. They boast powerful vocals with incredible range, especially at the upper end, and collectively they seem so comfortable on stage, too. Yes, this is how it’s done.

DSC01933DSC01937DSC01963

They chuck in a King Gizzard cover mid-set, followed by more new material and some colossal riffery, debuting one nine-minute behemoth near the end of the set. Every second of the set is pure quality, and on the strength of the new songs, you get the sense that the best is yet to come.

Dead Space Chamber Music / The Silver Reserve / Hanging Freud / Futures We Lost – The Cemetery Chapel, York, 19 April 2025

Posted: 20 April 2025 in Live, Reviews
Tags: , , , , , ,
0

Christopher Nosnibor

As a venue for a live music event, The Cemetery Chapel in York is an inspired one. It’s not only a remarkable building and a perfect space for music – its high ceiling and being a perfect rectangle mean the acoustics are superb – but it is a functioning chapel in the middle of a massive graveyard. Again hosted by The Velvet Sheep, it’s a very different affair from the ‘Gothic Moth’ event held in this same space last September, but still feels entirely fitting to be here.

I arrive a few minutes before doors, and spend the time indulging in one of my favourite graveyard games, of ‘find the oldest headstone’ but soon find myself distracted by the ages of many of those who died in the mid-1800s: there were many children, some only months old, and many adults between the age of thirty-five and fifty, which made the ones who made it into their eighties and nineties something of a surprise. And this would not be the only surprise of the night after purchasing a glass of Shiraz and finding a seat close to the front.

Futures We Lost presented a pleasant surprise by way of a start to the evening. The solo project of Doug Gordon, the set offers up expansive, haunting synths, occasionally brooding and dark, propelled by reverby, hypnotic programmed drums. For large passages, it’s beat-free, and dense, sonorous drones, distorted, ominous samples, discordant chimes, and occasional blasts of abrasive noise echo around the high-ceilinged chapel. Cracking hums and fizzing static swell into thick layers which hang like mist in the candlelit space.

DSC01853

Futures We Lost

Following immediately, Hanging Freud – a band I’ve raved about in the recorded format for quite some time now – bring the temperature down a few degrees: icy synths, thick with gearing textures grind against dolorous drums. Paula sings with her eyes cast upwards to the ceiling, or the heavens, her vocal between Siouxsie and an almost choral croon, rich and often reminiscent of Zola Jesus. Musically, they offer strong hints of Movement era New Order. The songs are concise and compelling and pack in a palpable density of atmosphere into their brief spaces. It’s growing dark outside now, and against the candlelight the duo are barely visible apart from Paula’s platinum hair and pale forearms, but the mood is even darker inside as the songs bring an ever-increasing emotional weight. The songs are all driven by bold beats, with crisp and heavy snares cutting through the thick swathes of synth. They don’t talk, they just play, never breaking the wall or the spell, ending with a simple ‘Thank you’ before slipping away and cueing the arrival of the interlude.

DSC01863

Hanging Freud

Raising the curtain on Act II, The Silver Reserve – another solo project – bring a significant stylistic shift with a set of introspective post-rock / slowcore, with soft-focus solo acoustic guitar and vocals with additional loops and lots of reverb. A couple of the songs felt a bit disjointed, and sat at odds with the gentle flow of the emotive, reflective ballads, which draw heavily and with sincerity and honesty, on personal experience. The perhaps less-than-obvious comparison which came to mind as I was listening was later Her Name is Calla, although their work was in turn drawing on Radiohead. In between the tuning and returning and chat, the songs are pleasant, but the set as a whole, though well-received, wasn’t entirely gripping, and while contrast is key to keeping an evening moving, this set seemed to stall the flow a little.

DSC01874

The Silver Reserve

Dead Space Chamber Music are something else altogether, and you would never know by sound alone that there are only three of them. The set begins by stealth, a sparse introduction with percussion like soft waves on sand, folk vocals seem to emanate from the back of the room before ringing glasses create a haunting wail. Then things begin to get really interesting, and their innovative approach to the creation of sound is something to behold. Drummer Ekaterina Samarkina is particularly impressive in her work and provides a real sonic focal point, first applying a bow to the edges of the cymbals, while singer Ellen Southern occupies herself for large parts by creating remarkable sounds in unconventional ways: the rustle of a foil sheet being unfolded slowly is just a start, and abstraction gives way to thunderous drums and slow, deliberate guitar. This is dramatic, and this is exciting, unexpectedly so. They incorporate a wide array of instruments, from bells and whistles to horse’s skull – although in truth there are no whistles, but pretty much anything else you could name is in the mix their sound and performance is bold and theatrical.

DSC01888DSC01876DSC01890

Dead Space Chamber Music

I tend to wear earplugs when in the presence of live music, but didn’t for this: it wasn’t loud, until it was: from seemingly out of nowhere, the volume had crept up to a pulverising roar, evolving towards a Swans-like climax consisting of a brutal percussive barrage and squalling guitar and vocal ululations. The blistering wall of sound attained the force of a tsunami for a sustained crescendo, during which time stood still, and while some members of the audience swayed and nodded in their seats, I found myself practically paralysed by the sheer sonic intensity. The focus of the three musicians was absolute, and while Southern went through a number of changes to her visual presentation, Samarkina and guitarist Tom Bush, who really cut loose with some monumentally treble-heavy distortion during the second half of the set, lurk in the long shadows of the flickering candles as they grow ever shorter and the venue grows ever darker. The effect is nothing short of stunning, making for an almost overwhelming finale to a night of the most remarkable music.

Ultha / Ante-Inferno / Wolvencrown / Terra / Oneiros – The Fulford Arms, York, 13th April 2025

Posted: 14 April 2025 in Live, Reviews
Tags: , , , , , , , , , ,
0

Christopher Nosnibor

Ultha have been going for over a decade now, and have amassed an impressive catalogue of releases, but this is the German black metal band’s first UK tour. They’re out with Ante-Inferno as touring buddies, and tonight offers an impressive five-act lineup with early doors. And what could be better than back-to-back blistering metal on a Sunday evening? Some may suggest pretty much anything, but for many metal fans, this is the ultimate escape before the return to work. And with an early start and an early finish, this is gig perfection in terms of planning.

It’s not far off in terms of bands, either. Back-to-back black metal may sound like a slog, but tonight’s showcase presents the full spectrum of an increasingly diverse genre, with much to be excited about.

The venue is pretty busy from the start, and Oneiros make for a solid opening act, with atmospheric passages giving way to big, throbbing riffs. In terms of guitar work, apart from a bit of Brian May flourishing at the start of the second song, there’s nothing particularly flashy on display here, instead focusing on bold heavy chugs, and the songs evolve through movements defined by some deft tempo changes. There are some slower, trudging grooves which work nicely, and the front man doesn’t use his growly singing voice in between songs, which is a bonus. Sometimes, theatre is a stretch too far. They’re decent, for sure.

DSC01749

Oneiros

Power trio Terra arrive in a wall of feedback and then blast in with some bowel-shredding bass. And they bring power to the max, with dual vocals and a maximalist sound. The bassist has obviously nabbed his stance from Lemmy as he leans back and raises his head up to the elevated mic. This is fierce. These guys have all the hair and all the beards and deliver a devastating wall of noise, with lengthy instrumental passages plugging away at expansive, repetitive riffs: they’re something like a black metal Hawkwind. The set’s five listed songs were performed as a single, continuous thirty-minute piece, and it was truly immense. For a band of this calibre to be so low on the bill speaks volumes about the quality of the lineup here.

DSC01762DSC01766

Terra

Wolvencrown are rather more clean-cut, but still bring beards, albeit trimmed ones (apart from the drummer). The quartet also bring the evening’s first synths and a whiff of Deep Heat. Their sound is crisper, cleaner, more cinematic, with rolling piano and soaring strings in the mix amidst their wide-screen compositions, which are overtly more technical in their bent, the lineup boasting seven-string guitar and five-string bass. The vocals hit the higher range, which adds a certain tension. Expansive, emotive, and highly polished, they’re hard to fault technically, and offer some immersive noise, too.

DSC01782

Wolvencrown

Ante-Inferno bring the face paint. Not corpse paint, but dark smears, extending to arms and chests, too. With imposing candelabras positioned either side of the drum kit and smouldering incense smoke drifting from the stage, we’re in dark pagan territory here, and dressed in black and smeared in black, they’re barely visible in the low-level lighting. The sound is as filthy as their skins, scorched by the flames of hell as they create a sonic blanket that evokes pure purgatory. Heavy isn’t even close. It’s brutal and relentless, and there is no let-up at any point during their forty-five minute set.

 DSC01789DSC01806

Ante-Inferno

Ultha’s lighting of choice is red, and red only. The stage is bathed in a bloodlike hue as they unleash their relentless fury. Their kit has two bass drums, and they’re blasted hard throughout. The vocals are a rabid squawk, pitching down to a guttural growl, and the interplay between the two vocals is perfect. Apart from the drums, which are up in the mix and clear as day, the instruments mesh into a dense squall of noise. This meshing creates a wall of noise that borders on shoegaze, only with thundering percussion and everything coming at a thousand miles per hour. It’s a full-throttle raging racket and they play primarily under red lighting, but seem remarkably affable between songs, even laid back, unflustered by a bust snare as they borrow one from another band. Theirs is a confidence that only comes from experience, and it shines through in the solidity of the performance.

DSC01816DSC01834

Ultha

For anyone who is of the opinion that all black metal sounds the same, tonight’s lineup abundantly disproves such a misconception, and while it may sound perverse to many, there’s something, if not necessarily soothing, then escapist about extreme metal shows. Mostly, the fans immerse themselves in the barrage of noise, nodding along in their own worlds.

Even having worn earplugs, I leave with my ears screaming, but feeling ultimately calm and uplifted.

Gans / Mince / Richard Carlson Band – The Fulford Arms, York, 8th April 2025

Posted: 12 April 2025 in Live, Reviews
Tags: , , , , , , , , , ,
0

Christopher Nosnibor

This isn’t one of the three bands for six quid efforts I’ve been raving about, but three bands from out of town for eleven quid is hardly extortion, even on a Tuesday night, and Gans might have much social media presence, but they definitely have some traction building. Bearing in mind that it’s the Easter break and many students at both of the universities have gone home, the place is noticeably busy, and there’s a conspicuous number of really tall bastards in tonight, young and old. And while I’m inching towards being an old bastard myself, I shall never be tall, but will be eternally aggravated by the towering twats who step to the front row in a venue with a stage that’s barely a foot high. That’s just a personal peeve, and there’s not much you can do about biology.

But there is something you can do about being a decent band, and I’ll admit my expectations are pretty low at the start of the set by the Richard Carlson Band, from Sheffield. It’s not the sax per se, but the slightly awkward presentation, the smooth jazzy leanings, my instinct to summarise this as ‘nice; and move on… but while their set is jazzy in part, it’s also varied, in places evoking Ian Dury, in others Duran Duran circa Seven and the Ragged Tiger… ‘Barrymore’s Pool Party’ goes darker and calls to mind Girls Vs Boys and The Fall, only with sax. They’re a five-piece with two – or three guitars, the third guitarist sometimes does keyboard, and they’ve no bass, instead finding the second guitar being run through a pedal that turns it into a bass. It’s unusual, and their set is both interesting and well-played.

DSC01597.edit

Richard Carlson Band

Mince, from Leeds, are also a quintet, and appropriate for their name, serve up some fairly standard meat and two veg punky fair. In fairness, they do at least do it with some energy. A few songs in the whip out a choppy guitar that’s pure Gang of Four and for a moment they’re ace. Then it’s back to sounding like The Godfathers crossed with generic indie / punk. The pace picks up as the set progresses: the standard doesn’t, descending into shit shouty indie. The last song, their upcoming single, is the best they have by a mile. It’s solid, but they’ve set the bar low.

DSC01607.edit

Mince

Gans are something else, and that something is superlative. Hard-hitting two-piece acts have become a prominent feature of the rock scene in the last decade, with Royal Blood blowing open a fair few doors before blowing their cool in spectacular fashion. Being rather less preoccupied with classic rock and more about raw punk energy, Gans are more reminiscent of Slaves before they sold out to the Man and became Soft Play. Gans set out to entertain, and absolutely give it their all, making a massive bloody racket in the process, with only bass and drums. I say ‘only’, but that bass sound is immense, and the bassist can’t keep still for a second: he positively vibrates with energy, while the drummer… kicking out rolling rhythms that have the glammy swagger of Adam and the Ants and The Glitter Band, he plays hard and with style: watching him, I continually return to the question ‘how does the man breathe, let alone sing while doing this?’

DSC01620DSC01643.editDSC01645DSC01649

Gans

Although they’ve only released five songs to date, they’ve got plenty more in the bag, and there’s no filler to be found here. They are truly a joy to watch, and they maintain the energy from start to finish throughout their high-intensity forty-minute set. Catch them in a small venue while you still can.

Older Entries
Newer Entries