Christopher Nosnibor
Llama Mollo have a lot of family and friends. And they’ve brought them all down. It feels more like a second cousin’s birthday party than five minutes after doors open for a gig showcasing a disparate bunch of bands when I arrive. My first thought is of how the grannies will take to Bitchcraft. My second thought was ‘good for them’. They’ve bought tickets and made the effort, which is more than can be said for many on a lot occasions, and maybe they’ll even have a good time.
The acoustic indie duo have some tidy tunes with poetical lyrics and deft guitar lines, and if they’re nervous making their debut, they don’t show it beyond the occasional awkward-sounding laugh. The reverb-soaked guitar part for ‘Inconspicuous’ has hints of Chris Isaak’s ‘Wicked Game’, and the song sees them share vocal duties for the first time in their seven-song set. In an unexpected plot twist, Lawrence (guitar and vocals) switches to electric guitar and takes the lead on the vocals for the last song, and there’s a drum machine pumping from the PA. ‘Mr Blue Shoes’ is post-punky and makes for quite the shift in every way, and, seemingly from out of nowhere, tells us that this is an act who have a lot up their sleeve, and much potential to explore. A very promising first outing, and one to add to the watchlist for 2027.
Llama Mollo
BitchCraft spent their uni years developing their skills, and recently relocated to London to further evolve and to see if they can progress. On the evidence of tonight’s hometown return – holy shit. Leaps and bounds, leaps and bounds. There have been some moves in their ranks. Their new singer, Lily, is the former drummer who would previously switch with singer Amelie to front a couple of songs, and stepping up to take the mic on a full-time basis she’s really come into her own. It’s not just the vocals – which are so, so powerful, and she’s got a proper grunge roar that sends shivers down the spine and sets the hairs on the back of your neck aquiver – but she is a commanding presence who dominates the stage, and the entire room. The new drummer is powerful and energetic, too. The result is a set that’s raw, grungy, and finds them playing better than ever. New song ‘Loser’ hints at a poppier direction, and has swing as well as crunch. And then they close with a cover of L7’s ‘Shitlist.’ They absolutely nail it. They’re pure quality, and deserve a bright future in the big smoke.
BitchCraft
There’s a certain element of controlled chaos about Chaffinch set – and a certain element of chaos without the control. The jarring interplay of the twin guitars sees them trading shards of treble over thick, rolling basslines and stop-start drums. The song structures aren’t conventional or even necessarily obvious, and there are parts which are semi-improvised, and not for the first time, I’m reminded of Shellac in they combine math-rock and noise-rock, discord and angularity. There’s not a moment where all four of them are on the stage (which makes getting a shot of the whole band a challenge, and the guitars are more often than not played in front of the stage and there are trailing cables and instrument swaps… although at least on this outing there’s enough concrete in front of the bass drum to keep the kit in place instead of encroaching forward towards the edge of what is a particularly bijou stage. But herein lies the joy of a Chaffinch set: there’s a physicality, a kineticism, to the performance, and just as the songs are in a state of continual flux, so there is perpetual movement on (and in front of) the stage, making for a hyperstimulating and highly entertaining experience.
Chaffinch
Due to a late reshuffling of the schedule, Manchester’s Oort Clod, who should have been the main support before BitchCraft, find themselves in the headline slot. No pressure, then. They do a decent job of it, too, encouraged by a supportive and welcoming crowd, a respectable number of who have stuck around from the start. This is one of the things which makes these Utterly Fuzzled nights what they are: people turn up and are open to hearing different stuff, accepting they won’t love all the acts equally but providing a warm and accommodating atmosphere. It’s a DIY microscene unto itself, in some ways resembling that which centred around CHUNK in Leeds a few years ago, and the likes of which is rare – but absolutely vital for showcasing new and up-and-coming and niche acts.
Oort Clod
Oort Clod present a set of two distinct halves: during the first, they’re a fairly middling jangly indie band in the British tradition of the mid-80s to early 90s. They avoid being twee, but are good fun. And then there’s the second half, which sees them turn towards a style that’s more US indie / college rock of the mid- to late-nineties. It’s a bit looser, more Pavementy. The switch is occasioned by a poetry intermission, during which bassist Richie, whose last gig it is before he goes travelling and exploring a career in writing reads a couple of pieces from his chapbook. It’s a bold move, which some would probably consider a bit wanky, but they wear their arty and literary leanings well, and with an admirable confidence. He is, after all, wearing a brocade jacket and thoroughly beaten-up hat perched atop his head, and if the wild amp feedback mars the moment somewhat, the fact they style it out with humour reveals the character of the band – and it makes them a good fit for Fuzzled, where there are no divas, no dickheads, and everything runs to time. And it’s a 10pm finish. All the win.
Aural Aggravation 