1 to 10 ranking: 8 (great)
Gig in three words: electronica, catchy, dancefloor.
Ticket Pricing: £ 10
I almost didn’t go to this gig and writing this review now I recalled this sudden realization. It is strange indeed how your first gut reaction isn’t the one you should pay much attention to, as was the case with Metronomy. Hearing couple of their older songs I had them written off my schedule, only to make a 180 degrees turn after hearing bits off English Riviera.
Lets make this review a fairly quick one - on the first front goes support: an above average cut but nothing special. They are called Films, they fit the electronica side of things, their songs are good but are hardly going to blow your mind away. But perhaps they just need time. Next.
Ghostpoet is someone we should linger one. This Coventry-based artist couldn’t have picked a better alias. His record is ethereal while his performance gains unexpected kicks from the presence of guitars and audience. ‘I’m too tired to jump off the stage’ he says, luring people closer to the stage. His performance of Finished I Ain’t, Survive It and Cash and Carry me Home definitely prove that he can reinvent his songs on stage and inject them with a different atmosphere, perhaps one more fitting a live environment than the lazy odyssey of the record. With surprisingly punchy execution, he doesn’t let go of audience-artist connection; his ‘fact about York - you can legally shot a Scotsman with a crossbow if it isn’t Sunday’ makes for a nice interjection. Catch him live and don’t forget to get his album! Brilliant.
Now on to Metronomy - allow me to be straightforward. Go and see them, right now, just before the size of arenas will forever separate the act from the audience; it’s as simple as that. With their quirkiness embodied in their immaculate looks topped with push lights and a joke “’is York a town or a city?’ Ok I know it’s a diss“ Metronomy mingles electronica, pop, indie and eclectic charm. The gig essentially turns the Duchess into a dance floor with people swaying to the undeniably catchy rhythms. The kitschy gimmick with lights and synchronized moves all add to the strange appeal and before you notice you are lost for the almost one and half hour that the band plays. This is not to say that all the songs are equally enjoyable - there’s a very clear distinction between the songs off their debut (a couple played if I recall correctly, fairly unremarkable) which sound alright, songs off the Nights Out which sound very good including amongst others Holiday, A Thing for Me and Heartbreaker as well as Radio Ladio saved for encore and the sheer brilliance of their latest offerings - the insistency of The Bay, the darkness of She Wants, the trippy catchiness of Look, the disjointed Love Underlined and sweet, sweet Corinne all etch themselves in collective consciousness and hips. It’s the latest record that dominates the evening but the truth is that most of the time the act is too strong for you to mind any of this. The Duchess was full that night and I could clearly hear why. Metronomy might well be the band that will saves the uniqueness of British pop.
Very Highly Recommended.
Sunday, 29 May 2011
Wednesday, 4 May 2011
Her Name is Calla + Where’s Hollywood - The Duchess, York (17th of April 2011)
1 to 10 ranking: 8 (great)
Gig in three words: forceful, atmospheric, postrock.
Ticket pricing: £ 5
Systematically, systematically, my friends - Her Name is Calla was playing at the Duchess supported by Where’s Hollywood. It was the third gig I went to that week, the other two being The Crookes which were very enjoyable and Jeniferever which were less so. I was a little worried about the venue considering the music that HNiC plays - Duchess is a great venue in terms of artists invited but I recalled Scanners experiencing minor sound problems and I wasn't too sure how a band that gets labelled as 'pastoral postrock' would thrive in there - for some reason in mind a church seemed a fitting, imaginary stage for such a band. I gladly admit that all of these worries were unjustified. Duchess upped the ante by providing seating which considering the nature of the music played was more than appropriate and the accustics were perfect this time. Duchess, I applaud your preparation! Moving on to the main attraction however.
Where’s Hollywood - what can I say. Their set was tight and they proved a good support band. The tunes of the quartet weren’t yet brilliant and at times the heavy element - an all out sonic outburst so characteristic of post rock - had them veering into dangerous waters. However, there were times when their undeniable skill and jazz influences resulted in something very inspiring; take the closer, which teetered and enveloped the audience and also saw the band overcome the post-rock’s cardinal sin, preferring a play with time signatures and melody above sheer force. Should they follow that route, it should be to great results. As of now, I recommend them and hope to discuss them in future in greater detail.
Her Name is Calla - now, I wasn’t sure what to expect so I suspected the worst. Pastoral apocalyptic post-rock? Nylon and New England that I’ve heard before were promising but would the band make it above the regular post-rock outfit? By the end of what I learned later was Moss Giant, I knew the answer. Now, I couldn’t really give you a full setlist and even if I could, it wouldn’t quite express how the show worked. There were no weak moments, save for one (I will get to that soon). But there were clear winners - the meandering and, yes, epic “Condor and River“, the sharp and unusually short “Maw” or visceral “Motherfucker! It's Alive and Bleeding” could hardly be bettered. The overarching sound was brooding, but it was intense, almost vicious brooding and rendered the postrock umbrella term unsuitable - should we establish a term post-apocalypse pastoral or would Ockham protest? It was the sound of atmosphere coming to life, becoming palpable - a testament to well honed set. All the members felt utterly irreplaceable but two deserve a special mention - Tom Morris on the guitar, whose vocals that night resembled at times Matthew Bellamy’s yet always remained very much his and Thom Corah as the unforgettable scream on "Condor and River" and mastermind behind the trombone and electronics. Yet everything played a part, not a lead - from the massive drums through bass to the I-pod intoning at the beginning of the set, it felt naturally orchestrated. They managed incredibly well, especially if one realizes that they were missing the crucial violinist Sophie Green. Furthermore, the band, though tired, was visibly enthusiastic and Tom connected with the audience - a detail which however rises the gig from the position of ’just seeing a band’ to the status of ‘experience’. This was their last show after a very eventful tour (which supposedly had them play ’under stairs’ a day before) and they were ready to amaze you.
So what were my misgivings then? Three things of various importance - first, I wish the set was longer which would assert the band’s dominance - for that I shall withhold a point. Another important point - they were missing a member. Now, I might be unfair but I do suspect their sound would be even fuller had their violist good - next time I hope to see all of them happy and untroubled and play the songs as they imagined them to be. Finally, I must admit I didn’t like the very ending of the "New England" - a full, sustained assault on ears, though justified considering it was the last song of the tour, was stretched too far and became rather unpleasant. So yes, the final mark is eight, a gig that was essentially great. The band is planning a new recording at the end of the summer so there should be a good excuse for an Autumn tour. If given a possibility, I will definitely see Her Name is Calla again. And again. And, perhaps, so should you.
EDIT: I initially gave this gig 7.5 but decided that my criteria in this case were too harsh and that there were too many memorable passages after which one just wished to stand up and clap. All this testifies to the gig's greatness.
Gig in three words: forceful, atmospheric, postrock.
Ticket pricing: £ 5
Systematically, systematically, my friends - Her Name is Calla was playing at the Duchess supported by Where’s Hollywood. It was the third gig I went to that week, the other two being The Crookes which were very enjoyable and Jeniferever which were less so. I was a little worried about the venue considering the music that HNiC plays - Duchess is a great venue in terms of artists invited but I recalled Scanners experiencing minor sound problems and I wasn't too sure how a band that gets labelled as 'pastoral postrock' would thrive in there - for some reason in mind a church seemed a fitting, imaginary stage for such a band. I gladly admit that all of these worries were unjustified. Duchess upped the ante by providing seating which considering the nature of the music played was more than appropriate and the accustics were perfect this time. Duchess, I applaud your preparation! Moving on to the main attraction however.
Where’s Hollywood - what can I say. Their set was tight and they proved a good support band. The tunes of the quartet weren’t yet brilliant and at times the heavy element - an all out sonic outburst so characteristic of post rock - had them veering into dangerous waters. However, there were times when their undeniable skill and jazz influences resulted in something very inspiring; take the closer, which teetered and enveloped the audience and also saw the band overcome the post-rock’s cardinal sin, preferring a play with time signatures and melody above sheer force. Should they follow that route, it should be to great results. As of now, I recommend them and hope to discuss them in future in greater detail.
Her Name is Calla - now, I wasn’t sure what to expect so I suspected the worst. Pastoral apocalyptic post-rock? Nylon and New England that I’ve heard before were promising but would the band make it above the regular post-rock outfit? By the end of what I learned later was Moss Giant, I knew the answer. Now, I couldn’t really give you a full setlist and even if I could, it wouldn’t quite express how the show worked. There were no weak moments, save for one (I will get to that soon). But there were clear winners - the meandering and, yes, epic “Condor and River“, the sharp and unusually short “Maw” or visceral “Motherfucker! It's Alive and Bleeding” could hardly be bettered. The overarching sound was brooding, but it was intense, almost vicious brooding and rendered the postrock umbrella term unsuitable - should we establish a term post-apocalypse pastoral or would Ockham protest? It was the sound of atmosphere coming to life, becoming palpable - a testament to well honed set. All the members felt utterly irreplaceable but two deserve a special mention - Tom Morris on the guitar, whose vocals that night resembled at times Matthew Bellamy’s yet always remained very much his and Thom Corah as the unforgettable scream on "Condor and River" and mastermind behind the trombone and electronics. Yet everything played a part, not a lead - from the massive drums through bass to the I-pod intoning at the beginning of the set, it felt naturally orchestrated. They managed incredibly well, especially if one realizes that they were missing the crucial violinist Sophie Green. Furthermore, the band, though tired, was visibly enthusiastic and Tom connected with the audience - a detail which however rises the gig from the position of ’just seeing a band’ to the status of ‘experience’. This was their last show after a very eventful tour (which supposedly had them play ’under stairs’ a day before) and they were ready to amaze you.
So what were my misgivings then? Three things of various importance - first, I wish the set was longer which would assert the band’s dominance - for that I shall withhold a point. Another important point - they were missing a member. Now, I might be unfair but I do suspect their sound would be even fuller had their violist good - next time I hope to see all of them happy and untroubled and play the songs as they imagined them to be. Finally, I must admit I didn’t like the very ending of the "New England" - a full, sustained assault on ears, though justified considering it was the last song of the tour, was stretched too far and became rather unpleasant. So yes, the final mark is eight, a gig that was essentially great. The band is planning a new recording at the end of the summer so there should be a good excuse for an Autumn tour. If given a possibility, I will definitely see Her Name is Calla again. And again. And, perhaps, so should you.
EDIT: I initially gave this gig 7.5 but decided that my criteria in this case were too harsh and that there were too many memorable passages after which one just wished to stand up and clap. All this testifies to the gig's greatness.
Thursday, 28 April 2011
SHE WANTS (2010) by METRONOMY
1 to 10 ranking: 7 (very good)
Songlist:
1. She Wants - original (4:57)
2. She Wants - radio edit (3:52)
Sum: 8:49
Record priced at:
3 GBP Single (CD bought off the band)
0.69 GBP Single (download; contains just the original)
This one is fairly straightforward: this is the Metronomy’s first single off their new album the English Riviera. The record sees them move from the electronic to more pop area but that’s not the main concern of the review. You might be asking what Metronomy is, or more concretely, who stands behind it. This Brighton-born, London-based brainchild of Joseph Mount in its current incarnation comprises of Oscar Cash (mostly keyboards although also happens to play other instruments from time to time), Anna Prior, the lovely lady back on the drums, my personal favourite Gbenga Adelekan who is the walking coolness on the bass and, of course, vocalist and frontman Joseph Mount on keyboards and guitar.
The record, as I mentioned earlier, is simple. It contains two versions of the same song, one that appears on the record and second trimmed to suit radio sensibilities and since the differences are fairly minor, I will just review the original. She Wants, for that’s our song, might not be the most revolutionary song ever but as far as pop singles go, it is very catchy, clever and slightly, if only slightly, sinister. The opening bassline may seem a little funky at first but rather than go further down this territory, Metronomy backlines the bass and pushes vocals forward, alongside a low, gloomy keyboard line and soft drumming. Then the bassline, accompanied now uplifting keyboards and spasmodic guitar chord, establishes a chorus and the listener gets hooked. The punchy, hypnotic lyrics which have Mount state "I call the shots / ’till you wake up / count every second / on every clock" and later "the hour’s come / the hours go" are strangely relatable. At the same time, there’s a recognizable menace in the lines "and girl if you’re dreaming deep tonight / I will lie with you by reading light" as the addressee shifts from the third to the second person, further reinforced by the final repetitions of ’the hour’s come’ to the almost unvaried sound of keyboard. Comparisons often prove deceiving but this does sound a bit like ’The Cure’ meets ’Junior Boys’. What really matters however is the fact that this is a tight, controlled piece of infectious pop electronica which, if given a chance, will worm its way into your mind and playlist.
EDIT: I decided after another ten listens that the keyboard line towards the end is a tad too long and slightly detrimental to the undeniable catchiness of the song. Therefore I lower the rating from 7.5 to strong 7. Still, it is a buy from me.
Songlist:
1. She Wants - original (4:57)
2. She Wants - radio edit (3:52)
Sum: 8:49
Record priced at:
3 GBP Single (CD bought off the band)
0.69 GBP Single (download; contains just the original)
This one is fairly straightforward: this is the Metronomy’s first single off their new album the English Riviera. The record sees them move from the electronic to more pop area but that’s not the main concern of the review. You might be asking what Metronomy is, or more concretely, who stands behind it. This Brighton-born, London-based brainchild of Joseph Mount in its current incarnation comprises of Oscar Cash (mostly keyboards although also happens to play other instruments from time to time), Anna Prior, the lovely lady back on the drums, my personal favourite Gbenga Adelekan who is the walking coolness on the bass and, of course, vocalist and frontman Joseph Mount on keyboards and guitar.
The record, as I mentioned earlier, is simple. It contains two versions of the same song, one that appears on the record and second trimmed to suit radio sensibilities and since the differences are fairly minor, I will just review the original. She Wants, for that’s our song, might not be the most revolutionary song ever but as far as pop singles go, it is very catchy, clever and slightly, if only slightly, sinister. The opening bassline may seem a little funky at first but rather than go further down this territory, Metronomy backlines the bass and pushes vocals forward, alongside a low, gloomy keyboard line and soft drumming. Then the bassline, accompanied now uplifting keyboards and spasmodic guitar chord, establishes a chorus and the listener gets hooked. The punchy, hypnotic lyrics which have Mount state "I call the shots / ’till you wake up / count every second / on every clock" and later "the hour’s come / the hours go" are strangely relatable. At the same time, there’s a recognizable menace in the lines "and girl if you’re dreaming deep tonight / I will lie with you by reading light" as the addressee shifts from the third to the second person, further reinforced by the final repetitions of ’the hour’s come’ to the almost unvaried sound of keyboard. Comparisons often prove deceiving but this does sound a bit like ’The Cure’ meets ’Junior Boys’. What really matters however is the fact that this is a tight, controlled piece of infectious pop electronica which, if given a chance, will worm its way into your mind and playlist.
EDIT: I decided after another ten listens that the keyboard line towards the end is a tad too long and slightly detrimental to the undeniable catchiness of the song. Therefore I lower the rating from 7.5 to strong 7. Still, it is a buy from me.
Sunday, 24 April 2011
MAW (2011) by HER NAME IS CALLA
1 to 10 ranking: 7
Songlist:
Side A
1. Maw (3:28)
2. The beat that my heart skipped (3:37)
Side B
3. Dreamland (11:46)
Sum: 18:51
Record priced at:
12 EUR Vinyl
3.21 GBP download
* This is the format that record reviews will take. Now, having this rather unsavoury introduction behind us, let us look at the record itself.
Maw is a vinyl single by the band and it shares the tendency of other Her name is Calla records in that it’s much lengthier than what we would usually expect from records of this format. It contains only three tracks but clocks at 18:51, most of that time being contributed to B-side Dreamland. It is the band’s newest offering although guys plan on doing another EP some time before October.
A Track by Track review:
1. Maw - the record kicks off with Maw and surprise, surprise: it initially doesn’t sound much like HNiC at all. My first thought was Soundgarden circa Superuknown to the extent that even vocals slightly resemble those of Cornell albeit without the same degree of emotional engagement (that was usually manifested through screams). Otherwise however everything fits Soundgarden - the tune of discordant guitars and percussion could have been lifted from an unknown lighter piece on Superuknown. It is not that Morris and the rest are ripping Soundgarden off - not at all, it just uncanny and unexpected resemblance. However, about halfway through the song as Tom finishes singing ‘there was nothing I could do’ the whole takes a dramatic turn - we hear rather ominous chuckle followed by horns (or is tube) which prefigures things to come. Fingers fault the loom the singer picks up after that sudden disruption only to finish later with there was nothing you can do after which the band explodes into the orchestrated chaos several seconds before the end. And so ends a hard-rock radio-friendly single from Her name is Calla. Is it good? Better than that. (7/10)
2. The beat that my heart skipped - the other A-side begins with a one-two-three and never really strays far from that point. For a change Tom Morris drops the hard-rock sensibilities and sings about treasures on the ocean and not being able to remember. Around the 2nd minute mark his voice is joined by another one that presumably belongs to Sophie Green. With soft percussion in the background and violins upfront, gently strummed guitars carry this song on. It is slightly sad, but more melancholic than maudlin and it doesn’t really go anywhere, save for the ending when the voices interrupt the laidback atmosphere. It is nice and inoffensive but not much else and thus the rating (6/10)
3. Dreamland - this is the record. Forget 'Maw,' forget 'The beat', this is the main chunk and the sort of offering you expect from the band. It might not be as monumental as the Condor and River (off Quiet Lamb) but it surely and easily dominates the other two tracks. The song opens softly with almost female sounding vocals (again, as opposed to usual Morris timbre) and soft, folk sound not unlike ’The Beat’. But from 2:20 a wall of noise starts building up from dissonance and voices, finally descending around 3rd into quiet interspersed with fog horn (or fog horn sounding effect). This effect slowly builds up before vocals re-enter around 4:30 in a dreamy, trance-like cries. There’s a wall of noise just before the sixth minute which marks yet another change into a noise droning as the guitars emerge. Half-way through the 7th minute of Dreamland HNiC enters a Thom Yorkesque mode (Exit music, anyone). Morris is backed up by others and violins and the vocals are faded into background occasionally. A repeated finger picking adds to the wistfulness of lyrics and the song just lingers on, with violins and without them, ending with quiet minor tones. So what’s the verdict here? This is no rocker by any means - it’s a musical journey and a very accomplished one (although perhaps the noise around the 6th minute might be a bit too much). If that’s the dreamland according to HNiC then it’s a pleasant place. (7/10)
So what’s the final verdict? A decent seven, I think. Dreamland, with its subtle variations and evocative tunes is easily the best of the three and essentially makes the record. Maw is a tight, catchy single which shows the band’s willingness to move beyond its usual melodic grounds while ‘The Beat (…)’ is an above-average filler. Either way, this is a more-than-worthy addition to the band’s great catalogue and another reason to look forward to their upcoming EP. If you are a big fan, consider the vinyl. In other cases, download is reasonably priced. This is a very good record of a band that is great at what it does.
Songlist:
Side A
1. Maw (3:28)
2. The beat that my heart skipped (3:37)
Side B
3. Dreamland (11:46)
Sum: 18:51
Record priced at:
12 EUR Vinyl
3.21 GBP download
* This is the format that record reviews will take. Now, having this rather unsavoury introduction behind us, let us look at the record itself.
Maw is a vinyl single by the band and it shares the tendency of other Her name is Calla records in that it’s much lengthier than what we would usually expect from records of this format. It contains only three tracks but clocks at 18:51, most of that time being contributed to B-side Dreamland. It is the band’s newest offering although guys plan on doing another EP some time before October.
A Track by Track review:
1. Maw - the record kicks off with Maw and surprise, surprise: it initially doesn’t sound much like HNiC at all. My first thought was Soundgarden circa Superuknown to the extent that even vocals slightly resemble those of Cornell albeit without the same degree of emotional engagement (that was usually manifested through screams). Otherwise however everything fits Soundgarden - the tune of discordant guitars and percussion could have been lifted from an unknown lighter piece on Superuknown. It is not that Morris and the rest are ripping Soundgarden off - not at all, it just uncanny and unexpected resemblance. However, about halfway through the song as Tom finishes singing ‘there was nothing I could do’ the whole takes a dramatic turn - we hear rather ominous chuckle followed by horns (or is tube) which prefigures things to come. Fingers fault the loom the singer picks up after that sudden disruption only to finish later with there was nothing you can do after which the band explodes into the orchestrated chaos several seconds before the end. And so ends a hard-rock radio-friendly single from Her name is Calla. Is it good? Better than that. (7/10)
2. The beat that my heart skipped - the other A-side begins with a one-two-three and never really strays far from that point. For a change Tom Morris drops the hard-rock sensibilities and sings about treasures on the ocean and not being able to remember. Around the 2nd minute mark his voice is joined by another one that presumably belongs to Sophie Green. With soft percussion in the background and violins upfront, gently strummed guitars carry this song on. It is slightly sad, but more melancholic than maudlin and it doesn’t really go anywhere, save for the ending when the voices interrupt the laidback atmosphere. It is nice and inoffensive but not much else and thus the rating (6/10)
3. Dreamland - this is the record. Forget 'Maw,' forget 'The beat', this is the main chunk and the sort of offering you expect from the band. It might not be as monumental as the Condor and River (off Quiet Lamb) but it surely and easily dominates the other two tracks. The song opens softly with almost female sounding vocals (again, as opposed to usual Morris timbre) and soft, folk sound not unlike ’The Beat’. But from 2:20 a wall of noise starts building up from dissonance and voices, finally descending around 3rd into quiet interspersed with fog horn (or fog horn sounding effect). This effect slowly builds up before vocals re-enter around 4:30 in a dreamy, trance-like cries. There’s a wall of noise just before the sixth minute which marks yet another change into a noise droning as the guitars emerge. Half-way through the 7th minute of Dreamland HNiC enters a Thom Yorkesque mode (Exit music, anyone). Morris is backed up by others and violins and the vocals are faded into background occasionally. A repeated finger picking adds to the wistfulness of lyrics and the song just lingers on, with violins and without them, ending with quiet minor tones. So what’s the verdict here? This is no rocker by any means - it’s a musical journey and a very accomplished one (although perhaps the noise around the 6th minute might be a bit too much). If that’s the dreamland according to HNiC then it’s a pleasant place. (7/10)
So what’s the final verdict? A decent seven, I think. Dreamland, with its subtle variations and evocative tunes is easily the best of the three and essentially makes the record. Maw is a tight, catchy single which shows the band’s willingness to move beyond its usual melodic grounds while ‘The Beat (…)’ is an above-average filler. Either way, this is a more-than-worthy addition to the band’s great catalogue and another reason to look forward to their upcoming EP. If you are a big fan, consider the vinyl. In other cases, download is reasonably priced. This is a very good record of a band that is great at what it does.
Saturday, 16 April 2011
Jeniferever (+ The Tiny Eyes + Panic Procedure) – Fibbers, York (15th of April, 2011)
1 to 10 ranking: 5,5 (average to good)
The gig in three words: epic, repetitive, loud.
Ticket pricing: £ 7
The gig in three words: epic, repetitive, loud.
Ticket pricing: £ 7
Lets face it: I didn’t really like this gig. Jeniferever felt like a Pelican rehash, only better in terms of technique while the support bands – oh, what went wrong? Go back to the start.
It’s a lovely Friday evening and the first band Panic Procedure mounts the stage and as soon as the slightly larger-than-you-would-expect blonde singer opens her mouth. And then – a voice like any other. As the guitarists try to introduce progressive rock melodies and ensnare the audience’s attention, the vocals squander their hopes. They are bland, unvarying and not at all powerful. Combined with a seeming lack of vitality on the vocalist’s side, this part is hardly entertaining. And we leave it there.
Next are the The Tiny Eyes and after the pretty bad Panic Procedure, a little bit of punk rock is much appreciated. They name The Clash, Dylan, and the Libertine as their influences – so be it. While vocals are still far from impressive, they no longer butcher songs but actually aid them. So I can distinguish Blue Crush and Such a Shame as highlights. An hour later or so we move to the main attraction and possible saviours of the night, Jeniferever.
There are tendencies to compare Swedish Jeniferever to Mew or, gasp, Sigur Ros. Bin those comparisons. Live Jeniferever is a shoegazing Pelican (plus vocals), and it is Pelican from its City of Echoes times. This is not a good sign; I’ve seen Pelican live back then and I didn’t really enjoy it that much simply because melodies got lost in the sound assault. And while Jeniferever started off well, they soon slipped into the epic sameness (or epic boredom, if you are not into this kind of music). Undeniably, there was a pleasant post-rock current, the crushing yet entrancing sound of guitars supported by the drums and given an ambient touch by keyboards and occasionally audible vocals. But the songs, despite instrumental variation, sounded too similar. When the vocalist announced towards the end of the set that this is the last one called ‘Hearths’ I reflected that it could have been anything – for seven minutes out of nine that the track lasts we wouldn’t know the difference. Any musical sensibilities one might have would be stamped into submission by the riffs and drums and any changed could only be sought in the gentle keyboards underlining the mayhem. But it wasn’t the last song – the band came back for a one song encore to play Spring Tides (notable was the sparseness of the applause). Though it wasn’t a melodic revolution, I appreciate encores that go past the curfew hour. Thus, when the band’s undeniable skills and the fact that they do seem to enjoy themselves live is accounted for, the final mark for that night must be 5.5. Now, if it wasn’t for the supporting bands and buried vocals, it would be a strong 6. I can’t give them a 5 the same way I doubt they will ever get an 8 from me. Jeniferever isn’t your average indie post-rock and I don’t say that because Silesia is their third offering. They clearly have what it takes to be a good post-rock outfit or dream-pop or whatever mix they envisage. Conversely, I don’t think they’ve got it to take on either Sigur Ros or God is an Astronaut or GS!BE. I can see how they can be very good. I can’t see them becoming great.
Thursday, 14 April 2011
The Crookes (+ Young Believers + The Matadors) – Fibbers, York (12th of April, 2011)
1 to 10 ranking: 7 (very good)
The gig in three words: banjos, indie, 1960spop.
Ticket pricing: £ 5
The gig in three words: banjos, indie, 1960spop.
Ticket pricing: £ 5
You’ve already looked at the rating and so did I and there’s a struggle within me to lower it down but I won’t. I can tell you that The Crookes are a fine band but this gig reveals yet another truth – the importance of getting the support band right.
The Crookes is a quartet of Sheffield-immigrants from all over the UK who can there for a uni and left it with literature degrees and a band. Now they are on the tour in support of their first album “Chasing after ghosts” (which I will review soon enough, don’t you worry). They are hip, sophisticated, talented and very enthusiastic but that doesn’t tell you much about their music. So how about this – fall back in your chair and imagine the time machine has been invented and you send an indie enthusiast of 1950s and 1960s music (think the Four Seasons rather than the Beatles) back in time. Clone that enthusiast fourfold, add fancy haircuts, brilliant lyrics and a sense of fashion and you get the Crookes. To prove the point, here’s ‘Yes, yes we’re Magicians’ off their first EP, played live. It is only fitting that this great tune closed the Tuesday night
Back to the beginnings, that is the support bands. And despite what said on the poster there were two of them, the Matadors and Young Believers. The Matadors sounded to me like a student crossover of Oasis with the Police even though their MySpace mentions the Smiths, the Clash and the Beatles as influences (standard fare, save for John Cooper Clark). Their songs were a mixed bag; for example I wasn’t impressed by ‘Dancing Shadows’ but the couple of songs in the middle of their set (ah, elusive names and unavailable recordings) sounded like potential singles for the abovementioned crossover. This is to say they were a bit too long but catchy and clever enough. The most notable was the fact that both me and my friend thought this were the Young Believers, a misconception that was furthered by the quality of the next act, the proper Young Believers. For a support band with such a short career so far they were fantastic. Yes, there were a couple of times they had to start a song over again as banjo couldn’t be heard properly but that didn’t seem as much their fault as the sound booth’s. But once tuned, the songs themselves - the melodies and lyrics and instruments - all worked really well. The closest current comparison I would make is probably Mumford and Sons but better. They were actually so good that we were about to buy the record and go, convinced those were The Crookes and a little surprised at the absence of any familiar songs. Well, almost convinced since I felt oddly discomforted by the lack of the Crookes’s characteristic vocals and 1960s catchiness.
That sensation was soon confirmed when the instruments were replaced by new ones and four fashionably dressed young men entered the stage accompanied by a literary recording. And then they started playing and I must admit that I wasn’t at all impressed by their first song, bearing still in mind the previous band’s talents. However, the Crookes had a lot working in their favour – clever lyrics, infectiously energetic attitude and a great frontman who successfully connected with the audience meant that by the time they’ve reached the ‘Laundry Murder 1922’ they were in full power . This momentum was upheld by the final tracks – the album single ‘Bloodshot days’, fantastic ‘Backstreet lovers’ and the aforementioned ‘Yes, yes we’re magicians’ and then the gig finished.
So let me put it straight – the gig, not merely the Crookes, but the whole gig gets a 7 – a low 7 but a seven nevertheless. It seems agreed upon that the band draws from all over the place and the names ‘The Smiths’, ‘Housemartins’ and ‘The Libertines’ will sicken you to death if you read the album reviews . Yet the band feels fresh amongst the other indie outfits due to adventurous synthesis of those influences. Asked about the overall inspiration behind the lyrics, Daniel Hopewell, the band’s guitarist and lyricist after deliberation said ‘paradoxes’. An intelligent outfit like this is bound to know the Eliot quote on poetic maturity.
Sunday, 10 April 2011
Jon Gomm - Black Swan, York (7th of August 2010)
1 to 10 ranking: 7
The gig in three words: intimate, immaculate, virtuoso.
Ticket pricing: £ 5
This is the first gig I went to in York and I will not keep suspense any longer: it was very good indeed. Jon Gomm is a Blackpool-born Leeds-based guitar virtuoso but really he’s more than that: he’s a singer, a guitarist and a drummer, mostly all that at the very same time. The question you are probably dying to ask is: how?
Well, this clip of him performing doesn’t quite express the unique experience when you see him play live before you but it does showcase his tremendous abilities. His guitar skills go in hand with song writing - he makes sure that he squeezes the maximum from the whole of his guitar. For example on the exotic Waterfall, he invokes the droplets of water by pick tapping not only the strings but also the guitar body. Due to his deal with the Lucifer or, less likely, a well-placed amplifier and a reverb, the back of his hand can invoke not only a waterfall but also a drum or a percussion. On yet another track, Temporary, he detunes and retunes his instrument while simultaneously playing it, contributing to the song’s individuality and highlighting the temporality conveyed by his lyrics.
Jon is finishing the night. This is the last one he says much to everyone‘s disappointment and starts playing. And he plays and plays, and what starts off as a complex-yet-for-his-standards-simple song soon turns out to be a wonderful medley, crossing Cream’s Sunshine of My Love with Zeppelin’s Cashmere and perpetuating through so many other tunes that one loses track and just observes with increasing wonder. That sense of wonder is not caused by the technical gimmicks though but rather by Jon’s proficiency and audible love of music.
Don’t expect Mr Gomm to show up in the O2 arena next doors. A nice medieval pub is much more likely and don’t be deceived - this disregard for big venues is dictated by his taste, not by his musicianship. You can check his upcoming dates here and meanwhile whet your appetite by listening to his songs spread all over the internet.
Highly Recommended.
The gig in three words: intimate, immaculate, virtuoso.
Ticket pricing: £ 5
This is the first gig I went to in York and I will not keep suspense any longer: it was very good indeed. Jon Gomm is a Blackpool-born Leeds-based guitar virtuoso but really he’s more than that: he’s a singer, a guitarist and a drummer, mostly all that at the very same time. The question you are probably dying to ask is: how?
Well, this clip of him performing doesn’t quite express the unique experience when you see him play live before you but it does showcase his tremendous abilities. His guitar skills go in hand with song writing - he makes sure that he squeezes the maximum from the whole of his guitar. For example on the exotic Waterfall, he invokes the droplets of water by pick tapping not only the strings but also the guitar body. Due to his deal with the Lucifer or, less likely, a well-placed amplifier and a reverb, the back of his hand can invoke not only a waterfall but also a drum or a percussion. On yet another track, Temporary, he detunes and retunes his instrument while simultaneously playing it, contributing to the song’s individuality and highlighting the temporality conveyed by his lyrics.
Jon is finishing the night. This is the last one he says much to everyone‘s disappointment and starts playing. And he plays and plays, and what starts off as a complex-yet-for-his-standards-simple song soon turns out to be a wonderful medley, crossing Cream’s Sunshine of My Love with Zeppelin’s Cashmere and perpetuating through so many other tunes that one loses track and just observes with increasing wonder. That sense of wonder is not caused by the technical gimmicks though but rather by Jon’s proficiency and audible love of music.
Don’t expect Mr Gomm to show up in the O2 arena next doors. A nice medieval pub is much more likely and don’t be deceived - this disregard for big venues is dictated by his taste, not by his musicianship. You can check his upcoming dates here and meanwhile whet your appetite by listening to his songs spread all over the internet.
Highly Recommended.
Cutlery clean, menu served
You love indie ? You like rock? Metal? Punk? Pop perhaps?
That’s good because I don’t.
Boll-locks.
Apologies, it is said the opening sentence is the most difficult one. I needed a shocker just like electricians do from time to time.
This blog will deal with two disparate concepts - music and cuisine. I say it will be more like music (70%), restaurants (25%) and abstract preservatives taking up the remaining 5%. Don’t make me promise anything though.
Following on from the idea that while genre identification is useful but shouldn’t overshadow the substance which is music itself, I will try and give my account of the gigs I happen to attend and records I get my hands on. The opinions will be biased, preposterous and insistent on pretentiousness mixed with ignorance - in other terms they will be very much mine and somewhat incompetent. But I love&hate what I’m doing and I hope that once introduced to it you will share this feeling. (a creepy passage achieved)
I will discuss restaurant reviews later. The scheme of things for music section is simple, consisting of a ten degree scale (these don't go to eleven), signifying accordingly:
10 - divine gig/record - awarded only after a consultation with another person, an upgrade from a 9.5 rating. This gig or record is an ultimate must, cannot be conceivably bettered and will remain a staple for decades to come. If it is a record, order a truckful. If it is a gig, abduct the artist.
9 - excellent gig/record = essentially a perfection, it must be heard by any genre enthusiasts and should be heeded everyone else since it’s a delight for your ears. Records like this rejuvenate you, gigs like this prove that magic is real.
8 - great gig/record = a major release or tour. This is the type that signals spring and makes cherry flowers blossom blush.
7 - a very good gig/record = a very important addition to the musical world, it must be heard by the genre aficionados.
6 - good gig/record = a positive increment in the artist’s career.
5 - average gig/record = a usual fare. Neither good, nor bad. Acceptable, decent, ok, simply average.
4 - below average gig/record = slipping but not slippery. An artist might be promising yet disappoints; the record understates its power. Not worth your money unless a fan.
3 - bad gig/record = something went wrong and the artist is trying to find out what. Not worth your money unless desperate.
2 - very bad gig/record = something went wrong and the artist doesn’t give a toss. Neither should you.
1 - awful gig/record = you are standing in the proverbial hell only that it is too much of a verb for a proverb. Nothing went wrong because nothing was right in the first place. Not worth of existence.
0 - abysmal gig/record = awarded only after a consolation from another person, likely a psychiatrist. A new form of acoustic weapon, this is the ultimate dread of any listener. It has no redeeming qualities and anyone who thought otherwise has perished since. You can recognize such a record by the trail of teeth gnashed to powder and children dying in the street. A gig like this will be banned by UN once they find someone strong enough to survive it.
Please note that all gigs and records with a rating 5 and above are worth paying for. A gig or a record with ranking 7 and above should appeal even to non-fans. Therefore don’t be deterred by an artist getting only a ’6’ - that’s an above-average rating for which they have worked hard. Due to the fact that most of the time I select what I’m going to see in accordance to my taste, the very low ratings are unlikely to occur (although I certainly would hesitate to award them if an artist seriously disappoints). Likewise, the top ratings might prove difficult to get simply because the bar is raised really high. It is worth mentioning that some reviews might include a half a point. If that’s the case, the rationale behind it will be explained in the review. Usually it relates to the idea of acquired taste but there might be other reasons as well (don’t we all love surprises).
Overall however, heed reviews. Read first, rate later.
(yes, I know everyone will skip to the ratings anyway)
That’s good because I don’t.
Boll-locks.
Apologies, it is said the opening sentence is the most difficult one. I needed a shocker just like electricians do from time to time.
This blog will deal with two disparate concepts - music and cuisine. I say it will be more like music (70%), restaurants (25%) and abstract preservatives taking up the remaining 5%. Don’t make me promise anything though.
Following on from the idea that while genre identification is useful but shouldn’t overshadow the substance which is music itself, I will try and give my account of the gigs I happen to attend and records I get my hands on. The opinions will be biased, preposterous and insistent on pretentiousness mixed with ignorance - in other terms they will be very much mine and somewhat incompetent. But I love&hate what I’m doing and I hope that once introduced to it you will share this feeling. (a creepy passage achieved)
I will discuss restaurant reviews later. The scheme of things for music section is simple, consisting of a ten degree scale (these don't go to eleven), signifying accordingly:
10 - divine gig/record - awarded only after a consultation with another person, an upgrade from a 9.5 rating. This gig or record is an ultimate must, cannot be conceivably bettered and will remain a staple for decades to come. If it is a record, order a truckful. If it is a gig, abduct the artist.
9 - excellent gig/record = essentially a perfection, it must be heard by any genre enthusiasts and should be heeded everyone else since it’s a delight for your ears. Records like this rejuvenate you, gigs like this prove that magic is real.
8 - great gig/record = a major release or tour. This is the type that signals spring and makes cherry flowers blossom blush.
7 - a very good gig/record = a very important addition to the musical world, it must be heard by the genre aficionados.
6 - good gig/record = a positive increment in the artist’s career.
5 - average gig/record = a usual fare. Neither good, nor bad. Acceptable, decent, ok, simply average.
4 - below average gig/record = slipping but not slippery. An artist might be promising yet disappoints; the record understates its power. Not worth your money unless a fan.
3 - bad gig/record = something went wrong and the artist is trying to find out what. Not worth your money unless desperate.
2 - very bad gig/record = something went wrong and the artist doesn’t give a toss. Neither should you.
1 - awful gig/record = you are standing in the proverbial hell only that it is too much of a verb for a proverb. Nothing went wrong because nothing was right in the first place. Not worth of existence.
0 - abysmal gig/record = awarded only after a consolation from another person, likely a psychiatrist. A new form of acoustic weapon, this is the ultimate dread of any listener. It has no redeeming qualities and anyone who thought otherwise has perished since. You can recognize such a record by the trail of teeth gnashed to powder and children dying in the street. A gig like this will be banned by UN once they find someone strong enough to survive it.
Please note that all gigs and records with a rating 5 and above are worth paying for. A gig or a record with ranking 7 and above should appeal even to non-fans. Therefore don’t be deterred by an artist getting only a ’6’ - that’s an above-average rating for which they have worked hard. Due to the fact that most of the time I select what I’m going to see in accordance to my taste, the very low ratings are unlikely to occur (although I certainly would hesitate to award them if an artist seriously disappoints). Likewise, the top ratings might prove difficult to get simply because the bar is raised really high. It is worth mentioning that some reviews might include a half a point. If that’s the case, the rationale behind it will be explained in the review. Usually it relates to the idea of acquired taste but there might be other reasons as well (don’t we all love surprises).
Overall however, heed reviews. Read first, rate later.
(yes, I know everyone will skip to the ratings anyway)
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