Posts Tagged ‘The Fulford Arms’

Paskfest – The Fulford Arms, York, 22 February 2025

Posted: 23 February 2025 in Live, Reviews
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Christopher Nosnibor

One might feel that naming an event after yourself is a bit of an egofest, but when the event in question is, essentially, the organiser’s birthday party, well, fair enough. And Mr Pasky has been putting on decent gigs for a while now, boasting eclectic lineups, and if live music is your thing, is there a better way of celebrating a birthday than putting on a bunch of bands you like and opening the venue doors to see them free of charge?

With doors being at 3pm, I missed the first couple of acts, and arrived in time for Pat Butcher, who I’ve not seen in an age, and all I can remember about them is carrots. They deliver a confident set of aggressive punk rock, with angry-sounding songs about- kidney stones, IBS, and raceday wankers – relatable to anyone who resides in York. And late on, they land the comical, gimmicky ‘Carrot in a Minute’, whereby they distribute raw carrots among the audience and challenge them to eat them within the song’s minute-long duration… just for shits an’ giggles. There’s something quite uplifting and entertaining witnessing a bunch of guys getting worked up about mundane stuff like neighbours who vacuum clean at all hours.

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Pat Butcher

Fat Spatula are up next, and I find I like them more each time I see them. Did I write that about them last time, too? Quite possibly, but then it’s true. They really seems to be hitting new peaks and seem more confident, too. ‘Benefits Tourist’ goes uptempo and shoutier amidst energetic but affable US indie style. There are hints of Pixies and Pavement, and some country leanings, too. A lot of the verses are delivered rapidfire like REM It’s the End of the World as We Know It’, but later on, experimental spoken word gives way to kinetic space rock with blasting motorik drums on the penultimate song. I’’s only three or four minutes long, but with that locked-in groove, they could do a half-hour long version and it still wouldn’t be long enough.

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Fat Spatula

As I mentioned, eclectic lineups are Pasky’s thing, and OG3 are a power trio who start out like Beastie Boys circa ‘83, but the rest of the set is a melding of punk and emo and some weird hybrid efforts that are like Eminem fronting a grunge act. And then they cover ‘Fight for Your Right’… and do a top job of it. There’s a bit of nu-metal going on, too, and the overall vibe is kinda Judgement Night soundtrack. It shouldn’t work, but it actually does.

Illegal Fireworks take to the stage sporting quite spectacular gold brocade jackets… Yes, plural: the bassist, guitarist, and drummer are all decked out in these quite remarkable garments, while the singer is all the sequins. It’s a bold look, and no mistake. The trouble is, it’s not an ironic gesture, and in the first minute I find myself absolutely detesting their smug, smooth, funky jazz. Not that I’m judgemental or anything… I just detest smug, smooth, funky jazz. But then they get a bit prog, a bit post rock, and show some potential. But thereafter they stick to smug, soul-infused smooth, funky jazz. Technically, they’re faultless, objectively they’re outstanding, and they go down a storm. But subjectively, I absolutely fucking hate it all, but especially the gurning bassist. It’s the kind of thing that would have been massive in the 80s, they’d have been all over Top of the Pops with glitterballs and dry ice and balloons bobbing about, and I’d have fucking hated it then, too. I know, I know, it’s a question of taste, but seriously, they should be illegal.

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Illegal Fireworks

I have reservations about Flat Moon at first, coming on like Glasto-loving middle-class hippies with their brand of parping sax-heavy jazz space rock. But there’s something compelling about their style and the delivery. I’m reminded in some way of Gong, and that trippy, whimsical strain of psychedelia, and they’ve got some riffs, and shit. are they tight. It’s no small feat considering there are six of them. They work seriously hard and bring entertainment to the max – and ultimately this is what tonight is all about.

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Flat Moon

There will be very few who loved every band on the bill, but that’s kind of the point of a lineup like this: you’ll get to see bands you might not have otherwise gone to see, you might like some and not others, and that’s fine. For a long, long time, the best thing about York was its proximity to Leeds, but now, even while there’s a dearth of venues, the city is throwing up a remarkable number of quality acts – for all tastes. And that is something to celebrate.

Teleost / Cwfen / Makhlon – The Fulford Arms, York, 6th February 2024

Posted: 7 February 2025 in Live, Reviews
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Christopher Nosnibor

On arrival, it looks like Nu Jorvik have pulled and been replaced by Makhlon, and at somewhat short notice, but it’s hard to grumble when you’ve got three heavy bands for six measly quid and the headliners are guaranteed to be worth double that on their own.

There’s lots of leather, studs, long coats, and long hair in the gathered crowd, it turns out those sporting corpse paint – perhaps not entirely surprisingly – belong to the first band who are straight-up black metal.

Makhlon’s singer has Neil from The Young Ones vibes. He’s about 7ft tall and wearing a Lordi T-shirt, but snarls full-on Satanic rasping vocals from behind his nicely-washed jet-black hair. The lead guitarist and front man swap roles for the last two songs – both of which are epic in scope, with some nice tempo changes, and they really step up the fury. It’s quite amusing to see him clutching a notebook in the arm which is thrust forward and enwrapped in a spike-covered vambrace, and checking the lyrics, as if it’s possible to decipher a single syllable. But this is all good: time was when York was wall-to-wall indie, folk, and Americana. Now… now we have homegrown acts like this, and the thing with black metal is that it only works when the band and its members are one hundred percent committed to the cause. These guys are, and while they may be fairly new, they’re tight, they can really play, and they give it everything.

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Makhlon

Cwfen – pronounced ‘Coven’ – aren’t Welsh, but in fact Scottish, and this is their first trip south of the border. It seems that since relocating to Glasgow, Teleost have been making some good friends. And Cwfyn are good alright… Woah, yes, they’re good. They are heavy, so heavy, as well as melodic but also ferocious. There’s a lot going on, all held together by a supremely dense bass. The ‘occult metal four- piece’ may be the coming together of artists who’ve been around a few years, but the fact they’ve only been playing as a unit for a couple of years is remarkable, as they really have everything nailed. They’re both visually and sonically compelling: Siobhan’s fierce presence provides an obvious focal point, but the way everything melds instrumentally is breathtaking. The third song in their five-song set slows things, and brings some nice reverb and chorus textures. Piling into the penultimate song, the crushing ‘Penance’, which features on their debut release, they sound absolutely fucking immense. The closer, the slow-burning, slightly gothy ‘Embers’ is truly epic. With their debut album in the pipeline, this is a band to get excited about.

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Cwfen

I’m already excited about Teleost, and the fact that there’s such a turnout on a cold Thursday night says the people of York are extremely pleased to welcome them home. Having knocked about in various bands / projects previously, with Cat Redfern fronting Redfyrn on guitar and vocals, before pairing with Leo Hancill to form Uncle Bari, who would mutate into the ultimate riff-monster that is Teleost, they departed for Glasgow, leaving a uniquely Teleost-shaped hole at the heavier end of the scene.

Absence not only makes the heart grow fonder, but it’s apparent they’ve spent their time getting even more immense since they left.

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Teleost

They’re a band to watch with your eyes closed. Not because they aren’t good to watch, but because their sound is so immersive. Teleost have perfected that Earth-like tectonic crawl. Imagine Earth 2 with drums and vocals. Or, perhaps, Sunn O)))’s Life Metal with percussion. Each chord hangs for an entire orbit, the drums crash at a tidal pace, and with oceanic, crushing weight. Somehow, Leo Hancil’s guitar sounds like three guitars and a bass, and it looks like he’s actually running through two or even three separate cabs. It’s not quite Stephen O’Malley’s backline, but it’s substantial. And you’re never going to get a sound like that just going through a 15-watt amp, however you mic it up. They play low and slow, and Cat plays with drumsticks as thick as rounders bats, yielding a truly thunderous drum sound. In fact, to open your eyes is to reveal a mesmerising spectacle: two musicians playing with intense focus and a rare intuition, and Redfern’s slow, deliberate drumming is phenomenal, and the whole experience is completely hypnotic. They play over the scheduled time, and then, by popular demand, treat us to an encore with an as-yet-unreleased song. Everyone is absolutely rooted to the spot, currents of sound buffeting around us.

Teleost’s influences may be obvious, but they’re at the point where they’re every bit as good as their forebears. The future is theirs. But tonight is ours. We can only hope they visit again soon.

Chonky Dogg / Covent / Patience – The Fulford Arms, York 16th January 2025

Posted: 17 January 2025 in Live, Reviews
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Christopher Nosnibor

I expended a lot of typing extolling the virtues of grass-roots venues last year, and mentioned in my end -of-year summary how a change in personal circumstances had changed my gig-going habits somewhat. And so it was that I picked this one more or less on a whim: after DarkHer’s show on Monday was cancelled due to band illness, I found myself itching to see some live music.

Having been blown away by the Jesus Lizard last week, I figured seeing a band I had no knowledge or expectations of might be a good idea, as there would be less likelihood of disappointment.

A Thursday night in the middle of January is pretty much the ultimate lull in the gig year – ordinarily. So it’s pleasing to see a decent turnout early doors, with surprising mix of studenty types and older men. Grey hair, beards, bald heads… Yes, broadly my demographic now, but more like retirement age than approaching 50. At the opposite end, nerd glasses, mullets, turnups. And all as lanky as hell. Why is everyone under the age of thirty so bloody tall?

Patience are first up, bring a set of middling alt-rock with a bit of an emo edge and some flash mathy licks. The singer looks a little uncomfortable on stage: she makes rather hesitant moves when not singing, mostly with some small-stepping jogging on the spot. The band have some serious pedal setups for a bottom of the bill band with just a handful of tunes on Spotify. Perhaps partly on account of this, they sound really good. Things fall apart a bit during the last song, with tuning time-outs and false starts, and the bassist, who’s about seven feet tall and using a wireless setup, not content with bouncing and flailing in his own space, repeatedly encroaches on the singer’s space as he crosses the stage and lurches about around the drum kit. It’s a solid enough performance from a band who have no shortage of technical skill or kit, but whose songs are lacking in that all-essential grab which would make them memorable. They have clear potential, though, and I’d be interested to see them in another six months or so.

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Patience

Covent’s single, ‘Peace’, released just last week, was the only bit of pre-gig research I managed. Showcasing a proficient grunge-influenced sound, it’s more Bush than Nirvana, but I’d take that over Nickleback any day – and as a consequence, I was rather looking forward to their set.

They have even more pedals than Patience, especially the bassist. And fuck me if he’s not wearing a bloody Nickleback T-shirt. They’re certainly at the more radio-friendly end of grunge, sounding like Language. Sex. Violence. Other? era Stereophonics crossed with Celebrity Skin era Hole – not to mention Smashing Pumpkins. They sound great, mind, and the singer’s voice has a good level of grit and gravel, and when they do really kick it hard, as on ‘Under the Surface’, they move above drive time grunge into heavy-hitting territory. ‘Out of the Blue’ does remind me rather of Weezer, although I can’t put my finger on anything precisely, and they close with ‘Peace’. It’s a sound choice and a strong finish to a thoroughly decent set. I could easily see them playing considerably larger rooms.

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Covent

Chonky Dogg demonstrate why it’s worth taking punts on bands, and why grassroots venues are vital. Where else would a local band with no label backing – that is to say, a real band rather than a manufactured one – get to cut their teeth and build a fanbase? There’s been much made of the cutting of the pipeline, how the not-so-slow death of the small venue circuit is starting to choke the development of acts who will be playing arenas and headlining festivals in years to come. Chonky Dogg are never going to be headlining Glastonbury or selling out O2 venues around the country – but given the right exposure, clearly have the potential to play to substantially larger audiences than this.

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Chonky Dogg

Theirs is a daft name, but it so happens they’re a great band, strongly reminiscent of And So I Watch You from Afar, another band I discovered by way of a fluke because I went to see maybeshewill – on the basis of hearing a single – while staying in Stirling for a conference. They play noodly, mathy post rock driven by big, big riffs. Their music is complex, yet accessible, richly layered, with some magnificent detail, wonderful guitar interplay, and some dense, crunchy bass. The songs pack some weight and substance. And, they’re as tight as they come: is it really only their third gig? ‘Barbenheimer’ is a blistering riff-fest with soaring lead work, and everything about their performance is perfectly balanced and brilliantly executed. A beautiful proggy neoclassical interlude prefaces the final song, scheduled for single release soon (I think), and it’s a blinder.

I’m going to call it here first while I can: they really are the (Chonky) Dogg’s bollocks.

Street Soldier / Colpoclesis / Final Words / Miško Boba / Theseus / Idle Eyes – The Fulford Arms, York, 13th December 2024

Posted: 14 December 2024 in Live, Reviews
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Christopher Nosnibor

‘Do your research’ has become an admonition in recent years, mostly since the advent of COVID, and it’s probably sound advice when it comes to picking gigs. But a mate who had tickets alerted me to this one, and as it was pitched as a night of hardcore and the poster was bristling with illegible spiky writing, I thought it would be worth a punt. It’s healthy to be exposed to the unknown, to new artists and acts which may exist beyond the domain of your comfort zone. If you don’t like them, what have you really lost? I elected to do precisely no research in advance, and to take the bands as they came, with no expectations.

In the event, none of the acts were hardcore in any sense I’ve come to understand the term, and we’ll come to this – in particular Street Soldier – presently, but first, there were five other acts on this packed lineup.

With it being an insanely early start, arriving at 6:40, I only caught the last couple of songs by Idle Eyes. They presented a quite technical sound, with a sort of progressive instrumental metal feel. They announced the end of their set that they’re on the lookout for a singer. I’m not entirely convinced they need one, but it would likely broaden their audience potential.

Next up, Theseus opened with samples and atmosphere… And then went heavy and the headbanging and moshing – or solo slam dancing – started. With 5-string bass and two 7-string guitars, they bring some chug and churn. The songs have a fair amount of attack, but their sound is fairly commonplace metalcore, the look being regulation beards and baseball caps. Fine if you dig it, but it’s all much of a muchness.

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Theseus

Miško Boba stand out, being the only female-fronted band – and indeed, the only act to feature a woman in their lineup – and also the only black metal band of the night. My mate shrugged and said that he simply didn’t ‘get’ black metal or its appeal, and it’s easy enough to see his point: as a genre it has a tendency to be pretty impenetrable. Misko Boba only accentuate the impenetrability with lyrics in Lithuanian, and they’re dark, the songs propelled by double pedal kick drum. But while black metal conventionally shuns any kind of studio production values, Misko Boba sound crisp and sharp through the PA, and are straight in, hard and fast, with raging guitars and demonic vocals. Epic blackness, and relentlessly fierce, and above the reasons mentioned previously, they’re a standout of the night for quality.

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Miško Boba

Final Words’ bassist has a hint of Derek Smalls about him, but with a 6-string bass and the biggest earlobe holes I’ve ever seen. The audience member who looks like he’s here for East 17 and keeps busting moves which are more like bad street dancing is bouncing around while they’re still setting up. They may have the grimy industrial hefty of early Pitch Shifter, but ‘motherfucker’ seems to account for sixty percent of the lyrics, and in terms of fanbase, they’re less industrial and more tracksuit and camos wearing, kick-the-crap out of one another metal and it’s carnage in the crowd. By now, the place is rammed, but there’s a good ten feet between the stage and the first row proper, with people staying back to avoid risk of harm from the increasingly wild scrummage down the front.

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Final Words

It may have been after their set that the bar staff were out mopping the floor after what I had assumed was beer spillage, but transpired to have been the result of a couple of punters standing on a radiator to get a better view, resulting in the radiator coming off the wall and water from the broken pipes soaking the floor. And then of course, they legged it. It would be this story which would eclipse the night on social media and even make local press. It’s always sad when the actions of a small minority eclipse the representation of the majority. I don’t want to dwell on this, but by now the space near the stage was a high-risk area, and anyone with a camera was cowering in the small safe zone either side of the stage – which meant pretty much shoulder and ear to the PA stack.

Colpoclesis soundcheck the vocals with a handful of guttural grunts. They’re still setting up the drum kit ten minutes after they’re due to have started. Proportional to the stage, the kit is immense. It’s a lot of kit to sound like the click and rattle of a knitting machine. But they are, indisputably heavy, and sound nothing like the vocalist looks, blasting out brutal grindcore. Between songs, they sound like affable Scousers, then announce the songs in a raw-throated roar. There’s something amusing about this, in that stepping into the song they suddenly switch into ‘hard guy’ mode. Inflatable clubs suddenly proliferate around the venue and comedy violence ensues, followed by a circle pit.

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Colpoclesis

Street Soldier, I soon learn, are exponents of a new – at least to me – kind of hardcore. Alternating between quick fire tap and guttural metal, they whip up absolute carnage. A scan online suggests there is no such thing as tracksuit metal, but perhaps there should be, and defined as ‘grunty metal by people in vests and trakky bottoms and baseball caps shouting “c’mon, motherfuckers” a lot while people windmill and karate kick the crap out of each other with Nike trainers’. “I wanna see violence, I wanna see blood!” they exhort, pumping the crowd into a frenzy.

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Street Soldier

It’s difficult to put a finger on precisely why this doesn’t feel comfortable, but having recently extolled to a friend how metal gigs often felt like the safest of places, where people were ultra-considerate and kind to one another, united in their outsiderdom and sense of society being wrong. Sure, as with other moshpits, the fallen got picked up, but not before a few punches and blows, and however playful, I felt an undercurrent of senseless brutality, the tang of a lust for violence intermingled with the smell of sweat, and there was something dystopian, Ballardian about the spectacle. Having given up on fighting the man, Street Soldier,– as their Facebook page puts it, in ‘SPITTIN SHIT MADE STRAIGHT FOR THA PIT’ have adopted the self-aggrandising tropes of rap, and with cuts like ‘Middle Fingaz’, ‘Nonce Killaz’ and ‘Nah Nah Fuck You’, they appear to espouse anti-societal nihilism, but in a form that’s more aligned to rap than metal, while encouraging crowd behaviour which is more akin to blood lust and a reimagining of Fight Club than unity. Given the current state of things, it’s not that difficult to comprehend their appeal, especially to the under twenty-fives: smashing the living shit out of themselves and one another is probably far more appealing than whatever dismal prospects the future offers. But this is a bleak and nihilistic entertainment, and it sort of feels like torture dressed as fun.

Moose Knuckle / Perennial / JUKU – The Fulford Arms, York, 11th December 2024

Posted: 12 December 2024 in Live, Reviews
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Christopher Nosnibor

My review of JUKU’s debut, at a Sunday matinee show last summer, continues to receive significant hits, and while they have played only a limited number of shows in the interim, it seems their reputation has been growing without their needing to take to the stage. It does mean that, personally, I’m keen to see them whenever the rare opportunity arises, and April seems like a long time ago.

They don’t disappoint: this is one tight, loud, band, and they pack the songs in back to back, no chat, no pissing about tuning up, no stalling to mop brows or regain breath. There isn’t a weak song in their half-hour set, but there are some standouts: ‘Pressure’ has the gritty drive of Motorhead and ‘No Fun’ is, actually, much fun. The set packs riffs and hooks like The Ramones on steroids… the lead guitarist is understated, focused, while on the other side of the stage, Dan is going ballistic, stomping and thrashing every ounce from his guitar like a man possessed. Sonically, they create contrast, too, with crisp, twangy tones cut through the huge, distorted roar blasting from Dan’s amp. They’re practically faultless, and the set ends in a ragged howl of feedback.

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JUKU

When the opening act is this strong, it’s a guaranteed good night either way: the rest of the acts are going to have to be bloody good to top them, in which case you’ve got a run of belters, or if they don’t match up, you can go home early knowing you’ve seen the best band of the night by getting down early. Tonight proves to be a bit of both.

New England trio Perennial – comprising guitar, synth, and drums, with dual vocals, are here on their first UK tour in support their third album, Art History, released over here by York-based label Safe Suburban Home Records. Sporting matching striped tops, they look vaguely nerdy, and unless you’ve heard or seen them before, nothing can quite prepare you for their wild stage act. Chelsea (keyboards, vocals) windmills and bounces all over, hyper as hell, and Chad Jewett, who’s a big fella, is a blur of movement, jumping and lurching and hurling himself and his guitar around, almost toppling his cabs just a couple of songs in. They positively crackle with energy, and are clearly absolutely loving every second of what is a remarkably well-conceived and structured set. They play US punk rock – or ‘modernist punk’ as they call it – with wit, and a keen sense of humour, delivering entertainment amped to the max. They clearly had a fair few fans in, and there was some exuberant dancing down the front. Definitely one of those bands that, if you get the chance, you should see.

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Perennial

Moose Knuckle showcase a solid sound, and some swagger, but the bar has been set incredibly high. They don’t have nearly as much energy as either of the two previous acts (although more every than Perennial would probably cause a power cut across the entire city), and they’re simply not quite loud enough or otherwise sonically powerful to get away with such a static performance. On another night, or had the bill been reversed, they’d have been decent enough, but they’re very much a meat and two veg rendition of punk, with most of the songs’ lyrics involving the repetition of a single line about forty times. And they’re not exactly inspired lines, either: ‘I need my dope, dope, dope, dope, dope,’ and ‘Dead! Beat! Daddy!’ is about the level of lyrical quality, the level of the lyrical quality, the level of the lyrical quality, the level of the lyrical quality.

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Moose Knuckle

Starting the set by calling everyone forward, only for them to all have to step back again to make way for the videographer prowling back and forth the full width of the stage a t least twice every song kinda backfired a bit, too.

Ultimately, there was nothing really ban about their set, it just lacked inspiration and energy in contrast to the previous acts.

The format of the night worked well, though: three bands, half an hour each, fifteen-minute interludes, 10:20 finish. Bish, bash, bosh. Perfect for midweek, and y’know, two outta three ain’t bad.

Heartsink / Bug Facer / Wench! – The Fulford Arms, York, 21st November 2024

Posted: 22 November 2024 in Live, Reviews
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Christopher Nosnibor

Hull has produced some impressive bands – especially at the noisier end of the spectrum –in recent years, with Cannibal Animal, Bedsit, and Ketamine Kow being particular standouts, but not to forget BDRMM, Chambers, or Low Hummer. It’s always a treat when they send a contingent to York. Warren Records have established some sort of exchange programme with The Fulford Arms, offering some quality lineups for little or no money – as is the case tonight, thanks to the support of a well-deserved arts grant for the label. Turnouts tend to be decent, too, with an unusual ratio of travelling fans from that spot just north of the Humber.

Having raved about Bug Facer’s releases, there was no way I was going to pass upon the opportunity to see them live, and there’s a growing buzz around Wench! too.

It’s immediately apparent that the buzz is more than justified. Wow. Fuck me. Wench! are phenomenal. An all-female power-trio with the emphasis on power, they play proper punk, and play loud and hard, and they’re as tight as they are fierce. It’s drummer Kit Blight who covers the majority of the vocals, and the vocals re strong, all while blasting beats at a hundred miles an hour. Bassist Hebe Gabel, a headbanging blur of spikes and studs is a dominant physical presence on stage, and steps in with some super-heavy wah-wah loaded lead breaks which owe more to stoner rock than punk. The interplay between the three is magnificent: each brings a different style of musicianship and performance to the stage, and they are one hundred percent complimentary. This may only be their second gig outside of Hull, but shows like this are almost certain to get them bookings – and fans – racking up fast.

When you read about how grassroots venues are vital for feeding the upward chain, and you realise you’re watching a band with the potential to join the ranks of Dream Wife and Amyl And The Sniffers a few years hence, the narrative takes on a powerful resonance.

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Wench!

Bug Facer’s studio work is a blinding cacophony. Live, they’re something else, a brain-melting, eardrum-punishing, feedback-shredding squall of filthy chaos. The vocals are shared between the drummer and bassist – who is also, it turns out, guitarist, to add to the confusion.

They look like they sound, and sound like they look: the bassist is a burly guy with tattoos and a Meshuggah T-shirt; the bassist looks like he’s travelled in time from 1974, sporting an orange Adidas T-Shirt, flared cords and long hair with a home-cut fringe; meanwhile, the drummer wears comfort-fit faded jeans and a comedic cast T-shirt. You never saw such a bunch of misfits, and it translates directly into the music – perhaps more accurately described as a blast of sonic mayhem.

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Bug Facer

Driving rhythms underpin a wild tempest of discord and noise. They boast the crunchiest ribcage-rattling bass and a wall of guitar noise that sounds like war. The vocals are an array of shouts and grunts and monotone spoken word mumblings and psychotic screams. More than once, the bassist and guitarist swap instruments.

They don’t say much. “Is this in tune? It’s close enough” is representative of both the bantz and the approach to performing. It’s not punk, it’s not post-punk, it’s not sludge, or stoner, or anything really; but it contains elements of all of the aforementioned, and they play like they want you to hate them and getting the biggest kick out of being as sonically challenging as they can muster. Ragged, raw, and absolutely wild, it’s one hell of a set.

Credit to Heartsink for being on this bill and willing to follow Bug Facer, with whom they’ve shared a stage previously. It’s certainly a brave move – or an example of insanity.

The last time I – knowingly – saw them was when I caught the tail-end of a set at The Key Club in Leeds in 2018. Six years is certainly time enough to evolve. But punk-pop doesn’t really evolve, and exists in a state of arrested development, just as it always did, when, on breaking in the early 00s, middle-aged men would sing songs about being in school and having crushes on their classmates, or their teachers, or their classmates’ mums.

“Is anyone a fan of the US Office?” In this question, we get a measure of both the quality of the chat, and the inspiration behind their songs. I’m not entirely convinced it counts as evolution.

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Heartsink

Credit where it’s due: they are undeniably solid, energetic, the songs are catchy, and they’re clearly enjoying themselves. People down the front are enjoying them, too. They’re co-ordinated with matching rainbow guitar straps… and trainers, and beards. They do bring some big riffy breakdowns in places, and the melodies are keen. But… but…ultimately, it’s generic and bland. And pop-punk. There’s clearly an eternal market for this, and fair play, especially as, what they’ve ultimately achieved is to get people out and dancing to original (‘original’) songs at a grassroots venue on the coldest November night in a decade. When venues around the country are disappearing by the week, and the ones we have are hosting tribute acts five nights a week, having the option to view three solid quality bands – two of whom are absolutely out there, albeit in very different ways – for no quids is something to shout about.

The Royal Ritual / Neon Fields / Material Goods – The Fulford Arms, York, 24th July 2024

Posted: 27 July 2024 in Live, Reviews
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Christopher Nosnibor

Being restricted to live shows within walking distance of one’s house really does change one’s perspective and selections. As much as it also significantly limits my options, I’m fortunate to have no fewer than three venues within this range, and spotting that The Royal Ritual – a band I’ve long been aware of but have never witnessed live – were playing at one of them provided more than enough of a poke to get out.

It’s not exactly heaving. That is to say, come 8:15, it’s still pretty quiet, even for a Wednesday night. But then, I noticed that York was conspicuously quiet all day today: driving almost empty roads to a near-dead Tesco was as welcome as it was strange earlier in the day. The first week of the school summer holidays, and it seems everyone has buggered off – apart from the tourists clogging the town centre, which was far from quiet in the afternoon. But tourists tend not to seek out relatively unknown alternative bands playing a mile or two out of town. They should. Live music is as integral to a city’s nightlife as its pubs and bars and so on. I once ditched a conference dinner in favour of a gig when visiting Stirling, having clocked that maybeshewill were playing, and in the process, discovered And So I Watch You from Afar, who absolutely blew me away, plus I got to explore a new venue. It was a memorable event, and one which has stuck with me. It’s unlikely the alternative would have had quite the same impact – and while I’ll never know, as someone who’s uncomfortable dining with strangers and making small talk, I’m as comfortable with my choice now as then.

Comfortable isn’t really my default, and caving crawled out of my bunker, this is an evening I’m quite content to hide in a dark corner with a pint and observe.

Material Goods are a last-minute replacement for Dramalove. It’s a solid, blank name which suits the duo’s style, which comprises some heavy, complex synth work paired with live percussion – and quite outstanding live percussion at that. The processed vocals are a bit muffled, but overall, the sound is dark and dense and the drums really cut through it with energy and force. Essentially, their palette is 90s alt rock, a bit NIN but with a vague dash of nu metal, and a bit Filter, too. Multitasking and a vast amount of gear affords the singer limited scope for movement on stage, but the sound has a really good, strong energy, despite the songs being pretty downtempo and downbeat.

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Material Goods

With Material Goods overrunning and Neon Fields also possessing an immense amount of flash-looking tech which needed setting up, we’re fifteen minutes behind time when they take to the stage. Sonically, they’re astonishing. Playing a hundred-and-twenty-five-capacity pub venue, they sound like half a million quid’s worth of gear in an arena. And the songs match it. They sound like they look: black clad, tattoo bands, neatly-trimmed beards, big, soaring emotional outpourings… And completely lacking in soul. Christ, this guy’s level of emotional trauma is enough to raise the blood pressure to induce a heart attack. Wracked with anguish and all of the pain of the lovelorn, the love-torn… And yet it’s all articulated so blandly, everything is so slick, and so one-level. The theatre soon wears thin, and I start to forget I’m listening to it while I’m listening to it. It doesn’t help that there’s a group of four people bang in front of me gabbing on and pricking around, pulling faces, play-fighting, the guys trying to impress the birds by demonstrating their strength by lifting one another up… they get shushed by a fan but even the absence of their distraction doesn’t really improve the experience. There’s some earnest, meaningful falsetto, and the penultimate song had some cliché tribal drumming, and they wrapped up their bombastic set ten minutes after the headliner was due on.

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Neon Fields

The Royal Ritual are also a duo who have an extremely ‘produced’ sound. But their approach to production owes more to the methods of Trent Reznor as pioneered in the early 90s on Broken and The Downward Spiral, balancing gritty live guitars with synths and fucked-up distortion and harnessing their tempestuousness in a way that creates a balanced yet abrasive sound. David Lawrie plays live electronic drum pads in addition to the sequenced beats, adding dynamics and live energy to proceedings, and flitting between the drum pads, synths, and mic stand, he’s incredibly busy throughout the set. But something about Lawrie’s delivery highlights everything that was absent on Neon Fields, and just carries so much more weight: the whole package brings a rush of adrenaline propelled by that emotional heft and solid force.

Objectively, the feel is very Stabbing Westward, and goes hard NIN at times in its combination of guitar, synths, and sequenced and live electronic drums. The Royal Ritual are strong on dynamics and atmosphere, and Lawrie is an intense and compelling performer.

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The Royal Ritual

He does break out of the moody persona to thank other bands and plug merch, but what do you do? In the current climate, bands sadly need to plug the stall. The fact that David steps out of broody tortured soul for two minutes of affable chap may seem hard to reconcile, but then, this perhaps speaks more of the human condition than remaining ‘in character’; people are complex and conflicted, multifaceted and inconsistent. And this is what truly lies as the heart of tonight’s performance by The Royal Ritual. Digging deep into the complexities of the psyche, there’s something about the duo’s performance that gouges into the flesh and demands contemplation.

Glitchers / Eville / The Strand / Averno – The Fulford Arms, York, 20th May 2024

Posted: 22 May 2024 in Live, Reviews
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Christopher Nosnibor

Just the other night I was talking with someone about how sad it is that so many venues only manage to keep afloat by packing their bookings out with tribute acts. I do appreciate and understand the popularity of tribute acts: people like to hear songs they know while having a drink and a dance, and more often than not, the original artist is either no more, or only plays stadiums every six years with tickets costing over a hundred quid. But the proliferation of tributes, especially to acts still touring, feels so, so wrong: sure, the quality of musicianship required to be a tribute is high, but these are acts who make more off the work of an established act than original artists – and how do the original artists reach an audience when they’re struggling to push their way into view? And as for the acts who are defunct or deceased? Get over it. You missed them – or were lucky and saw them – move on, go and discover some contemporary acts. So, the public gets what the public wants, but for fuck’s sake, if only the public would open its eyes and ears and broaden its horizons beyond all that sale nostalgia shit. There are SO many outstanding artists around right now in every field, every genre – artists who would likely get their own tribute acts in tent, twenty years time, if people even knew that they existed.

Glitchers are a band who really will go to the furthest extreme to make people aware that they exist. While I’ve slated a few busking bands in the past – and rightly so, because the likes of King No-One and the all-time apex of shitness, Glass Caves are the kind of ‘band’ who busk because no-one in their right mind would book them, at least until they’ve built a ‘following’ by their street gigs. Glitchers are a very different proposition. It’s all about intent, about purpose. Glitchers’ busks are an act of protest as much as they’re vehicles of promotion, and they tell us tonight that no number of viral videos of police moving in to suit down their street performances boost their sales. So, to many, police shutdown efforts are amusing evidence of heavy-handed law enforcement (or something to celebrate if you’re a right-wing tosser), but the music gets overlooked. It’s a shame, because right now, we need voices of dissent to be heard while the government tramples and silences the already downtrodden who dare to speak out. And Glitchers don’t just speak out but scream rabidly about issues.

They’ve got a nice – and diverse – bill of bands supporting them tonight, starting with a couple of local bands before current touring support Eville, who are no strangers to the pages of Aural Aggravation, the initial reason I clocked this event and decided I should get down. After all, it’s not every day a band hauls its way up from Brighton to play a support slot at a £5 entry gig in York on a Monday night.

Averno look young even for a university band, but you have to admire their commitment, prioritising playing tonight over revision. I’ve always maintained that the social education and opportunities university provides are worth as much as the degree, and while they’re a bit rough in places, with some fairy ramshackle guitar work throughout, they showcase some decent original songs and a grungy punk energy. ‘Need’ is slow and lugubrious and after a hesitant start builds into a heavy, sludgy beast of a tune, and ‘Make Room’ is a bona fide banger. Unexpectedly, things got more indie and poppy as the set went on, but while delving into more personal territory, their confidence seemed to grow and they were good to watch.

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Averno

The Strand are another uni band, but honed and with a strong style and identity. Their sound is rooted in original 70s punk but with a modern spin and an arty edge, a bit Wire, a bit Adverts, a bit Iggy Pop – although their song about being bored isn’t an Iggy cover. It is, however, a top tune. Front man Evan Greaves bounces around on the spot a lot as they crank out three and four-chord stomps, and I find myself unexpectedly moved by their cover of Nirvana’s ‘Aneurysm’, even though they mangled the start rather – it so happens to be a favourite song of mine and they really give it some. It’s also quite heartening to witness bands playing the songs I was into when I was their age. It’s also impressive to witness their stand-in drummer – an immensely hard-hitter, she powers through the set with finesse, and everything just gels in this confident performance.

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The Strand

Talking of confidence, Eville simply ooze it. It’s clear from the second they take the stage that they’re going to perform like they’re headlining an O2 arena, whether they’re playing to 25 people of 2,500. They’ve got the tunes and the chops for the latter, that’s for sure.

Recent single ‘Monster’ lands as the second track and is the perfect showcase of their sound, blending monumentally weighty riffage, melody, and cross-genre details, with drum ‘b’ bass drums reminiscent of Pitch Shifter paired with a hefty chug of guitar and five-string bass in unison.

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Eville

Ditching the guitar after a few songs, Eva stalks and prowls the stage, and she’s got real presence, strong, assertive. And fuck me, they actually did it: they called for a moshpit and got the entire room going nuts. Blasting is with ‘Leech’, they sustain the intensity, with one fan crashing over the monitors and onto the stage not once but twice. They close with ‘Messy’, and it’s fair to say that they’ve delivered a set that’s all killer here, and there can be no doubt that they’ve won some new fans tonight.

Glitchers bring manic energy and a ton of gaffer tape. And knee pads. Even the knee pads have tape on. This is a band who simply cannot be contained. They don’t just play songs: they’re a full-on spectacle. Few bands go this all-out, and even fewer manage to pull it off: Arrows of Love and Baby Godzilla are the only names which make it to my extremely short list of bands this deranged, this wild, this intense in bringing unbridled mania to songs which explode in howls of feedback. I say songs, but they’re perhaps more accurately described as screaming sonic whirlwinds, industrial-strength punk with a dash of Butthole Surfers mania. This guy is all over the stage and everywhere all at once.

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Glitchers

They blitz their cover of ‘Helter Skelter’, and follow it with new single ‘Grow Up’, a song about toxic masculinity. It would be easy to poke fun at their being ‘right on’, but they’re on point and on topic every time, and they’re on the right side. Their anti-capitalist stance extends to their costs-only ticket pricing policy, and it’s obvious that they mean it, man. They also come across as being decent human beings. They’re a rare breed, it seems. And they’re simply a great band and wholly unforgettable live.

First and foremost, you go to see bands play life to be entertained. Tonight brought entertainment to the MAX. And all for a fiver. Grassroots forever! But also, don’t be surprised to see any of these guys in bigger venues in time.

Vaquelin / Bedsit / Tom Sheldon / Candid Faces –The Fulford Arms, 2nd March 2024

Posted: 3 March 2024 in Live, Reviews
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Christopher Nosnibor

I’ve said it before, and I’ll say it again, and again, and again: grassroots is where it’s at. You need proof? Tonight is exemplary, with four acts for six quid. That’s less than the price of a pint at an arena gig where you’re a quarter of a mile from the stage and might as well watch it on TV, and probably are looking at the screens more than the stage. People are complaining all over the Internet about insane ticket prices and how they’re unaffordable, and yet, at the same time, these massive shows are selling out, so people are clearly stumping up for them in their tens of thousands. Something is very wrong. The acts selling out these arena and stadium shows are, more often than not, heritage acts, or otherwise the current hot thing. But these are in finite supply. What, or who is next? Who’s in the pipeline? You think The Last Dinner Party will be headlining London’s 20,000 capacity O2 Arena, the 21,000 Manchester Arena or Leeds’ First Direct Arena (Capacity 13,781) anytime soon, or in ten, fifteen, twenty yeas time?

I saw Deep Purple supported by Blue Oyster Cult at Leeds First Direct a bit back, and it was one of the most soulless experiences imaginable, and that’s before we get to the embarrassment of the ageing headliners puffing and wheezing their way through a set that dragged out an hour’s worth of songs past an hour and a half with solos to pad things out. I sat, seeing the bands creaking around like ants on a stage bigger than a five-a-side pitch and mostly watched the LCD screens. It was so sterile, so lacking in buzz. It reminded me why I enjoy small gigs so much.

I’ve arrived a few minutes into the first band’s set, and find myself walking into the room and landing four rows from the front, but still with a decent view, and instantly, I know I’m there, and I’m right in it. A few songs later, I get a nudge and a mate I didn’t know was coming, and who I’ve not seen in a while, and he’s handing me a pint. During the night I get to speak to a few people I’ve never met in person having only had virtual contact via Facebook in the past.

This simply doesn’t happen at huge gigs, where you turn up with mates, get separated between the bar and the bogs and you can’t see the bands for phone screens and can’t hear them for people talking. That doesn’t happen so much when you hear bands at proper volume.

Leading tonight’s Hull invasion are Candid Faces, a tight and energetic female-fronted five-piece with a penchant for angular punk/post punk and occasionally leaning into indie, sort of Bizarro-era Wedding present comes to mind. They’re four guys in jeans and t-shirts (and a vest) plus a gothy front woman, and she’s nonchalant while they’re bouncing around like peas on a drum, the calm in the eye of a sonic storm. ‘Telephonophibia’, the title track from their EP, is a bit Bondie, and they draw the set to a close with a brooding slow-burner that has epic simply oozing from every bar. They’re a class act and tight as anything.

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Candid Faces

Tom Sheldon brings another vest to the state. The set’s a mish-mash of funk and rock and grunge and….I’m fumbling as I’m making notes, and land on something kinda like Lenny Kravits meets Soundgarden. You can make of that what you will. He’s got a good voice, and may be a solo artist in name, but this is a power trio and I’m reminded of Milk in parts near the start, but the set swiftly depends into pretty mediocre 70s blues rock and torch-waving tedium. When they kick it up a notch, they sound like Rival Sons. Again, make of that that you will.

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Tom Sheldon

Bedsit are the reason I’m here. Having given some solid thumbs-ups to their releases and missed their last appearance here in York, I was keen to witness the force of their live show. Bloody hell. Arriving in a monster wall of feedback, Bedsit are straight into frenetic hardcore territory. A minute in, the bassist is in the audience, beer is being slopped, and he’s a one-man mosh pit. ‘Click Track’ is melodic, before, immediately after, ‘Eloquent’ goes In Utero Nirvana. Single cut ‘F.I.D.O.’ is a standout in a set of standouts. They make a serious racket, but it’s not without some thought, and what’s more, they showcase a remarkable stylistic range, while at the same time remaining coherent throughout the set. I wonder if the mic’d-up floor snare will take off as a thing. With just seven minutes left, they elect to close with the seven-minute slow-building shoegaze of ‘Happy’. Baritone vocal and crawling indie starts early Pulp and winds up full-on paint-stripping My Bloody Valentine wall of noise. You have to wonder how long these guys will be playing support slots, or venues of this size. I’m reminded of the fact that in recent years, I’ve seen Benefits and – another Hull act – BDRMM – play in this very venue, since when both acts have exploded. And again, I’m reminded that this is precisely why we need these venues, these gigs. I have so many friends recall the time they saw bands like Franz Ferdinand, Editors, playing 150-capacity venues less than a year before they broke.

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Bedsit

Vaquelin aren’t an instant hit in the image stakes: the guitarist’s Def Lep T? Hmm. There’s no questioning their musical competence, or songwriting ability, or their ability to whip up some movement in the audience. But… They feel a bit middling, a point accentuated by their following Bedsit. Or perhaps that’s the problem in its entirety. They acknowledge feeling nervous following such a killer act, and their concerns are justified. There’s some dark grit to the vocal and the guitars are hefty, and there is a lot to like. The set featured some clear highlights, with some atmosphere and proper dynamics and bold choruses, with detailed guitar work underpinned by a solid rhythm section, dominated by a thick bass tone. The nerdy-looking Def Lep fan guitarist can play and posture, legs akimbo, and presents as an unlikely rock start in the making. They got better as set progressed, and the moshpit grew in parallel. On any other night, they’d have been the band of the night, but after Bedsit, there are very few acts who would have really wowed.

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Vaquelin

The calibre of acts treading the boards tonight was outstanding, even if one was very much not to my taste. The artists people pay £60 to see are not superior – just better known.

I leave feeling empowered, enthused, enlivened, and with my ears ringing, buzzing at having seen bands playing their hardest, right in my face. This… this is everything.

In These Walls / Keep This Up / Negatives – The Fulford Arms, York, 11th February 2024

Posted: 12 February 2024 in Live, Reviews
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Christopher Nosnibor

Not so long ago, I could be selective about the gigs I attended, wading through guest list offers and free to pick – and would likely attend at least one a week in a reviewing capacity. But, my change in personal circumstances means that getting out tends to be based on a fairly short-notice scan of ‘what’s on’ and Facebook events, meaning I’m far more likely to take punts on something that will get me out when the opportunity presents itself. This does mean that while I’m less likely to witness live music overall, I’m certainly more likely to see bands I wouldn’t have considered previously, and this is a positive thing.

A Sunday night in the middle of February – what have you got to offer, eh? I’m naturally gutted that The Last Dinner Party sold out The Brudenell well ahead of time, and while I really do rate Rob Newman, I’m not sure I’m up for laughs, and besides, I’m feeling the need for bands, so take a punt on three metal acts for a fiver ten minutes’ walk from my house.

One thing about going to see bands with no expectations is that you’re unlikely to be disappointed, and tonight’s offering was very much undersold with the ticket price, because despite the place far from being rammed, despite the lighting being average, the sound and the quality of the performances was such that it was very, very easy to forget that we’re in a small venue with a stage a foot high showcasing bands no-one’s heard of. But this again returns us to the topic of grassroots venues. All three acts on tonight’s bill are of a quality that could see them playing much bigger venues, landing festival slots, and performing to thousands, rather than dozens. Maybe in a year or two they will be, but without venues like this to hit on their first tour, how is it ever going to happen?

Waiting for the first act, I might take pause to extoll the virtues of solo gig attendance. I do appreciate that this is a very personal thing – but isn’t the appreciation of music a very personal thing? It’s not just that we listen to and immerse ourselves jn music in an individual space, more often than not, but also, how we respond is personal, in the way songs touch us emotionally in ways that are completely unique and ultimately – and unashamedly – solipsistic. However much a band may capture the zeitgeist, the way you react to it, the way you feel it – comes from a unique inner space. Music creates a space for s to lose ourselves in a way that few other mediums do. And so to be here, alone, with a pint – and a decent one at that – in near-darkness, in anticipation of the first act, not having to expend energy or headspace on anyone else is, to my mind, pure bliss. This half-hour of tranquillity is of such value that the bands could be crap and it wouldn’t bother me – being here is enough in itself.

But the bands are far from crap.

Negatives forewarn us that their singer us out in the car park. Practically dying, by the way they tell it. But they soldier on, heroically. Sequenced synths bolster the monster instrumental opener, with slabs of guitar, churning bass, and some subtly-executed but nevertheless detailed technical work on the lead guitar. The burly bassist’s in-ear monitors fall out, repeatedly, until he eventually gets fed up of tripping over them and stuffs them in his pocket. Bassists do tend to be understated or exuberant, and he’s in the latter category, lumbering and flailing all over, wringing the grooves out like he’s working the booming noise with his bare hands. They’re a proper full-throttle metal juggernaut, and considering they’re accustomed to having a front man, are visually and verbally engaging.

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Negatives

The last couple of songs are covers: for the first, a cover of Limp Bizkit’s ‘Break Stuff’ with the singer from Keep This Up, and a Slipknot cover with a couple of guts from In These Walls, collaborations which have evolved on this short tour, which they’ve clearly enjoyed and formed new bonds on. So many bands would have bailed under the circumstances, but with true Geordie grit, they blasted forward and did a killer job.

Keep This Up from Peterborough maintain the quality. Their thing is ferocious melodic post-hardcore, with two guitars, drums, and no bass. What? They don’t sound like they’re missing a bass, though. Anything they may be lacking instrumentally, they more than compensate with massive energy, and the singer pours every last ounce of what he’s got into every line, leaving him wilting and panting for air between songs. It’s hardly surprising: I’m knackered just watching him leap and lunge all over, and he’s probably done the equivalent of about 10K by the end of their half-hour set. Toward the end of the set, they drop a Nu-Metal lift of ‘Hollaback Girl’. Who knew we needed that, eh? But the biggest shock of the set was that the new guitarist is only playing his fourth gig, not only with the band, but ever. You’d never know: he brings a huge presence to the stage and some snarky, sarcastic bounce to the between-song banter. They feel like a really tight and cohesive unit, and don’t set a foot wrong through the entirety of a monster set.

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Keep This Up

In These Walls spent almost as long setting up and then soundchecking their massive drum kit as they did playing their set. Despite their being from York, I was unaware of their existence, and establishing any biographical details about them hasn’t proven easy. They weren’t supposed to be headlining, but swapped after Negatives found themselves a man down, meaning they’ve also had to expand their set to fill the slow. And yet for all this, they prove to be worthy headliners, and worth the wait with the pre-set faffing. They bring an immense, brutal sound with five-string bass and ball-busting power chords… and melodic, prog-tinged choruses. Huh? There’s an epic, expansive quality to their music that certainly goes far beyond Nu-Metal, exploring the further reaches of post-metal with aplomb. There’s a lot of detail, but not so technical as to be wanking. They pack a lot of action into half an hour, with an engaging, immersive, and dynamic performance.

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In These Walls

The takeaway here is that there wasn’t a weak band on the bill, and the vibe was simply joyful and enriching. All three bands absolutely played their knackers off. and were clearly having a ball just being out on tour and bringing their noise to people, who in turn, were loving every minute. And I will say it again: this is the heart-swelling joy of small gigs. All three bands proved to be every inch of the quality of bands you might see at 500+ capacity venues, even the O2 arenas for £20, the only difference being that they aren’t well-known. But they deserve to be. At an O2, you’ll be lucky to get within ten metres of the stage: here, you’re within ten metres of the stage even when you’re at the bar at the back: at the front you can see the whites of their eyes, see the sweat running, observe the fretwork. THIS is live music. And THIS is life.

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