Christopher Nosnibor
Two of the bands on tonight’s bill are fairly regular features here on Aural Aggravation: Knitting Circle have established themselves as solid staples of the York scene as exponents of pissed-off, political post-punk, while WENCH! originally from Hull but now a Leeds band on account of two-thirds of their members having relocated, are always worth making the effort to turn out for whenever they’re in the locale. But what’s particularly noteworthy about tonight’s lineup is that not only do we have three female-fronted acts, but more women on stage than men. This matters, because female representation is a topic which has been cycling in discussion for a few years now, and becomes particularly prominent when festival lineups are announced. There’s no shortage of women in music, either in bands or as solo performers, so why are so many gigs, and festivals in particular, so male-dominated? That’s perhaps a rhetorical question, but still. What’s more, it’s becoming increasingly apparent that women often rock harder than men. Perhaps it’s because they feel they have more to prove. Perhaps it’s because they’ve more to be angry about. There’s a lot to be angry about right now, of course, and that’s a dissertation in itself. I’m angry, as are most people I know. But as a white, middle class, and (reluctantly) middle-aged male, I recognise I don’t have centuries of patriarchal oppression and daily sexism and misogyny to push back on.
Up first, Knitting Circle open with ‘Where’s the Culture?’, which sets the tone in terms of the conversation sand the musical form – catchy, scratchy, and challenging the (patriarchal) status quo. ‘I am the Fox’ (a song against fox-hunting, told from the perspective of the fox) is particularly tense and bristly, part of its guitar line leaning heavily on ‘Not Great Men’ by Gang of Four. The fact that Pete Dale can actually play cutty, trebly guitar lines which are of a standard which puts him in the same frame as Andy Gill is testament to his guitar mastery. While there are new songs in their nine-song set, the fact that only one of them – set closer, ‘Losing My Eggs’ – is from their EP, and single, ‘Safe Routes’, which they dedicate to the RNLI has otherwise been released evidences the pace of their creative flow.
Knitting Circle
It’s worth taking a momentary side-step here. This song feels even more poignant and important than ever: a few days ago, right-wing agitator Daniel Thomas, who seems to think that forming a masked militia is the pinnacle of patriotism, was filmed slashing a dinghy in the English Channel. Not by a news crew, but by an accomplice. And he posted it on social media to demonstrate his fierce opposition to ‘illegal’ immigrants – but in court pleaded not guilty to the actions he himself had shared evidence of. Then cried like a child when remanded in custody. Of course. But these so-called ‘illegal’ immigrants… where are the legal routes? They don’t exist. Meaning, we currently have no safe routes. But we do have a lot of people fleeing war… and then these right-wing fuckheads decide that the RNLI – an emergency service run by volunteers – are the bad guys for rescuing people from the sea, and are legitimate targets for abuse and intimidation. How low can you get, eh? This is why we need Knitting Circle more than ever – to remind us that not everyone is a nasty piece of shit with a racist agenda when things get bleak. And things are bleak right now.
Oh, but Under the Influence are an absolute revelation. Woah. The ‘UTI’ acronym is no accident, of course. Their objective is to sting. And they do, hitting hard with their brand of fast and furious authentic hardcore punk / grunge crossover. It’s not hard to see why the anarcho-noise Sheffield trio have scored support slots with the likes of Subhumans and Discharge and a Rebellion booking. Maisie’s vocals are a combination of ear-splitting screams and full-lunged roaring… and she plays her guitar so hard that her bottom E string goes in third song, ‘Dead Babies’. “Bollocks,” and “Fuck it,” she says, like a true plain-speaking Northerner. After some deliberation, she humbly accepts the offer of the loan of Pete from Knitting Circle’s guitar with which to play the rest of the set. ‘7 Naans’ – about ordering takeaway – shouldn’t be terrifying, but with a rabid Courtney Love howl it is positively nerve-shattering. They’re passionate, sincere, and not without humour. They have a song called ‘Vegan Reich’ simply because they hate the band Vegan Reich (which is a perfectly sound reason in my opinion). Eyes wide, Maisie spits and screeches words at a rate of nineteen to the dozen, backed by some ferocious drumming and thunderous bass.
Under the Influence
Are we ready to be WENCHED? Well, as ready as well ever be ready to be hit with a shovel after being slammed with the two-by-four that was UTI. This is a band that brings all the attack and play so, so hard: the energy is infectious, and it’s like an electric current circulating through your body. During the very first song of the set, bassist Hebe loses her strap and singing drummer Kit sheds a cymbal. They don’t miss a beat or a note. Musically, they’re outstanding, and different in their compositional approach, with the bass often fulfilling the lead role. There are dual vocals, too, shared between guitarist Sev, and Kit, whose style is – at least in places, quite technical and almost jazzy, but played with metal force. Other times, she leans forward over her drums with an ogre-like posture and just fucking goes all out, and it’s brilliant to watch – not just her playing, but the interaction between the three and how they coalesce to create something so immensely powerful. They’re also disarmingly direct and spontaneous in between songs. This shouldn’t be mistaken for being amateurish by any means, but gives an insight into a band which is keeping it real in the truest sense. What you see is what you get. And what you see is three women who believe in social justice and not just women’s rights and feminist issues, but human rights and making the world a better place.
WENCH!
‘Deep Fake’ may be slower, with a psych-hued swing, but it’s certainly no gentler, and their set is a combination of hooks and rage. They blast through the songs in significantly less than the allotted time, but they’ve done the job and then some.
For all of the anger, the rage which emanated from the stage, tonight felt like one of the most uplifting, unifying events imaginable. The bands – all articulating dissatisfaction with the status quo, speaking out against shit governments and shit behaviour – brought, in their own ways, a positive message and a sense that together, we can make things better, and in the meantime, we can have a blast venting through music. In the face of everything, we have to have hope. Tonight gave a vital reminder that we do. It also evidences why we shouldn’t aspire to keep politics out of music. Because politics affects all of us, every day, and using a platform to take a stand is a powerful, and positive thing. Here, we stand unified in hope, and against hate.
