Posts Tagged ‘The Franceens’

Christopher Nosnibor

What began life earlier in the year as one man’s seemingly crazy idea to organise a festival showcasing York-based bands, tentatively mooted on Facebook to see if there was any interest gained traction pretty swiftly, and a few short months later here we are: 18 bands across two stages. And not only is it a killer lineup, but it’s free. So while I fully intended taking the day off just to soak it all up, socialise, drink beer and watch bands, I figured that since Dan Gott and some of his mates put in so much work to make it happen, then the least I could do was record the occasion.

With bands alternating between the indoor stage and the second stage in the car park from 1.30 to gone 11 (with a civilised break for dinner), it wasn’t an event to race round and pack ‘em in as much as going with the flow, meaning that while I didn’t watch all of the bands on the bill and took some well-earned time out to kick back on the beach (yes, this summer a portion of the car park has been converted to an urban beach of golden sand) or on the grass in the beer garden, I got to see, and hear, plenty.

Anyone who complains that York doesn’t have much to offer, or that it lacks diversity isn’t getting out enough: with only a smattering of indie bands and even fewer acoustic performers, the quality and range of acts on the bill is impressive by any standards. And while it’s about the ‘local’ scene, many of the bands playing are making – or already have made – an impression in much wider circles, building audiences nationally. York may be a small city, but when it comes to its bands, parochial it ain’t.

It wouldn’t be a York event without Boss Caine, and Dan Lucas’ solo set gets the afternoon session going in glorious sunshine on the outside stage. In fact, it’s the perfect way to start a festival: there’s barely a breath of wind, it’s baking hot, but there’s plenty of cool beer served well (the Milestone Brian Clough was nice and refreshing, but it eventually ran out, forcing a shift to the Sunny Republic Shark Head Friesian Pilsener, which was superbly crisp and hoppy), and the sound is excellent.

With each act having a 20-minute slot, no-one outstays their welcome and everything runs smoothly, even giving ten minutes between acts to get to the bar and all the rest. It’s fair to say there wasn’t a duff act on the bill, but noise-rock duo Push provided an early highlight. Fusing choppy guitars with the dynamics of Nirvana and kicking out songs with titles like ‘Kitty Basher’ and ‘Moggy Wrecker’ with maximum scuzz, they’re anything but wet indie and make for an exhilarating experience. Putting on the full-throttle raging racket of Deathmace at four in the afternoon was a bold move, and ultimately a stroke of genius. The purveyors of ‘repulsive thrashing death’ are fully committed as they growl and grind their way through a set that’s a relentless onslaught of rage and monumentally heavy. Just the way it should be.

Deathmace

Deathmace

How I’ve managed to avoid Fat Spatula this long will forever remain a mystery, but hearing the hard-gigging alt-rock foursome leaves me confident I’ll be back for more, and soon. Having a genuine American-born frontman gives their Pavementy post-hardcore / noise pop / surf rock an air of authenticity. The scratchy guitar sound may be lo-fi but it’s eminently listenable and there are some strong melodies that provide earworms galore.

Soma Crew, meanwhile, I’ve seen a heap of times and it’s no secret that I dig their scene. On a good night, their psychedelic drone hits a perfect groove to hypnotic effect, and on this outing they really hit their stride.

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Soma Crew

After the break, Naked Six provided another of the day’s highlights. Again, a band who’ve bypassed me on the live circuit up to now, it’s not hard to grasp why there’s a buzz about them right now. They’re a classic power trio with a sound that’s rooted in that classic vintage, steeped in blues rock and with a big Zeppelin vibe and delivered with incredible panache. Making inroads into London and with backing from BBC Introducing, they’re a band on the up.

Naked Six

Naked Six

The last three acts on the bill have all been building reputations further afield and as a killer bam-bam-bam three-way finale, it works well: the power-punk of The Franceens gets things moving down at the front. As is standard for them, they’re on fire and their blistering energy turns the already hot room into a sauna.

The Franceens

The Franceens

It may be their second set of the day having pegged it back to York after playing at Hull’s Street Sesh festival earlier in the evening, but if they’re in any way weary, it doesn’t show. Martyn Fillingham plays the first half of the set, which boasts a cluch of new songs, with a guitar that could reasonably be described as ‘stripped back’: the body’s sawn down to minimal size, with just enough wood to house the essentials, namely the pickups, wiring and controls. It still yields a barrage of noise, it’s treblesome clang pinned down by Steven Reid’s superhuman drumming.

And the Hangnails

…And the Hangnails

And then there’s ((RSJ)). They may not be your everyday family-friendly festival crowd-pleasers, but the this isn’t your everyday festival, even though it’s been very family friendly all day: there’s no doubt they’re the biggest band on the bill, and have the biggest sound o match. That they’ve toured and played with Raging Speedhorn, Orange Goblin, Funeral For A Friend and American Headcharge, and opened for Slayer gives a fair indication of their stature, and to see them in a place this size is something else. Current single ‘Hit the Road Jack’ features John Loughlin of Raging Speedhorn (making it a kind of RSJ / RSH collaboration), and it’s suitably punishing. When it comes to delivering thunderous, sludgy riffs that hit like a juggernaut, ((RSJ)) are absolute masters. They’re also consummate showmen, and the in-yer-face delivery really amplifies the intensity of the material. There’s been much beer drunk and the floor is awash with at least half a gallon, and the moshpit erupts, but remained good-natured. It’s only fitting that toward the end of the set, Dan Cooke should be borne aloft and traverse mere inches below the venue’s low ceiling: because while everyone is melting, they’re also loving every moment, and it’s an uplifting experience indeed.

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((RSJ))

In all, a great day / night, not just as of and in itself, but also in terms of what it represents: a casting aside of all genre differences and a coming together of bands and fans. There is strength in unity, and in diversity, and Fully York is a triumphant celebration, which reminds us that ultimately there are only two kinds of music – good and bad. And at Fully York, it’s all good.

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Christopher Nosnibor

Temple of Boom is the epitome of the underground venue. Not in geographical terms, but in that it puts on way cool gigs you have to be in the know to find out about. And you have to find the place. Even on my third visit, I found myself wondering if I was in the right place, as I wandered barren streets lined by warehouse units and esoteric businesses with reinforced steel roller covers festooned with graffiti over their doors and windows, and had to double-check the so-inconspicuous-as-to-be-almost-secret entrance. And stuff happens when it happens. 8pm start means there’ll be someone behind the bar. The first band may be on at 9, perhaps half past or whenever. But that’s the thing with the underground. It’s not mainstream, it’s not out there in the public domain, and you have to seek it out and invest some effort to reap the rewards. Arrows of Love are a band who justify any such efforts.

I’ve seen Arrows of Love on three previous occasions. And I can’t get enough of them. From the moment I heard the dirty, low-slung bass thud of ‘Honey’ I was hooked. And as a live act, they’re something else. Their shows are wildly unpredictable, cathartic celebrations of beautiful chaos during which anything could happen, and often does. So very predictable, they aren’t. They’re as likely to set the place on fire as to crash and burn. And that is every reason why they’re the ultimate rock ‘n’ roll band going right now. They really do exist on the edge.

The Franceens (predictably) kick ass when they finally take to the stage shortly after 10pm. Their energetic, choppy, punky indie is infectious in its own right, but live is where they really kill it. Guitarist / singer Dan Oliver Gott races into the crowd on a number of occasions, exuberant, larger than life. They’ve got songs, and hooks, too. Delivering high–octane rock action from beginning to end, it really is hard to fault ‘em.

Franceens

The Franceens

Scrawny leather jacket wearing skanks Ming City Rockers look like a rock band. By which I mean, if you were to gather together every stereotype of the last 40 years and distil it into a single act, it would be Ming City Rockers. The singer sports wildly backcombed hair and looks like he’s stepped out of a Chris Morris sketch, while the lead guitarist looks like she’s wandered in from an 80s fancy dress party where she’s gone as Strawberry Switchblade, but in Ian MacCulloch’s coat. If they were half as good as they think they are, they’d be awesome. Revelling in rock ‘n’ roll cliché only works with a heavy dose of irony, and if you’ve got some really strong songs. The red-lipsticked bassist has nice teeth though.

Ming City Rockers

Ming City Rockers

 

Arrows of Love are close to unveiling their second Bob Weston mastered long player, Product, mooted as being quite a progression from the squalling grunge racket of their debut, Everything’s Fucked. On the evidence of ‘Toad’, which they’ve recently put up for streaming, they’re venturing into even murkier, noisier, more angular, territory. They’re also showcasing a (relatively) new lineup: in replacing drummer Mike Frank and singer / guitarist Lyndsey Critchley, Craig Doporto and Alex Brown have got a major task in prospect. I did briefly meet them before they played, and like the rest of the band, they’re lovely people. It turns out they’re also bloody good on stage and possess the energy and charisma that’s so essential to the band’s style.

Arrows 1

Arrows of Love

It’s gone midnight when they take to the stage, and Nima Teranchi is rocking the Jaz Coleman look with untamed dark hair and utilitarian boiler suit (which makes a dazzling contrast with bassist Nuha’s electric blue locks and rather more slinky stagewear). He’s not low on intensity when in front of the mic, either, and the second they strike the first chord, everything about the band crackles with manic energy, and exude an ineffable magnetism. They’re beyond – and above – mere ‘cool’. Yes, they put on a show, but it’s not merely performance: there’s something almost transcendental about an Arrows of Love show, with five people completely immersed in the music and the moment.

Arrows 3

Arrows of Love

I soon realise that while trains between Leeds and York are good, there’s nothing between 00:45 and 02:15, and with a 6am start looming, I’m going to have to bail early. But then ‘early’ is relative…

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Arrows of Love

I manage to squeeze four songs before having to peg it, and while I’m itching to know what they’re going to do next, I’ve already seen enough to get a handle on the fact they’re on blistering form, and seriously loud. They’re already bigger outside their homeland, and may yet to really crack the Leeds scene and the north more generally, but shows like this can’t fail to build their reputation, and it’s hard to believe that Product won’t see them explode. If ever a band deserved global cult status, Arrows of Love do.