Young People: The Luminaire 13/2/06

Young People make stark and serious music. The basic elements of this live set are velvety vocals reminiscent of the most heart breaking lounge singer you have never seen. This is at odds with the staccato rhythms employed by the group played across piano, guitar and primitive beats supplied via drums (both double-teamed and hand played). At certain points the band recall a more dissonant Shannon Wright and in the confines of the red tinted Luminaire things threaten to get a little bit 'Twin Peaks'' Red Room. However no backwards talking dwarf appears and instead a hushed and reverential crowd is blessed with a very measured and diverse performance, each band member leaving songs hugely open so every subtle shift in dynamics can be felt. One by one the group dissipates leaving the two core members to play an old song from their first self-titled record. When I first heard this album a few years ago it sounded so full of character and unlike anything else. Tonight it is easily outshone by the group's new material, illustrating just how good Young People are threatening to become. While many female singers seem happy to pass off laziness as soulfulness in consideration of fleshing out their song ideas, tonight's show demands attention simply because of the possibilities opened up by the current live band and sound that the founding duo have been edging towards since their debut. Their new album promises to be one of the best records of the year judging from tonight's show.

-- Posted by racton on Thursday, February 23 2006

Blonde Redhead/Jóhann Jóhannsson: The Scala 27/11/05

This is the final night of 4AD's 25th anniversary shows which have been playing out across London all week. Opening proceedings is recent signing Jóhann Jóhannsson. The set is formed mostly of austere drones and pulses with an accompanying string quartet. While some interesting textures are explored through out the set, matched in places with rudimentary computer speech samples, the longer tracks with the building strings feel dragged out and things swiftly lose focus. The set is at its most interesting when things are kept simple, allowing the audience to discern more clearly the electronic work by Jóhannsson himself. Rather than adding anything substantial, the strings overcrowd the sound and the PA seems to buckle under the sheer weight of the longer tracks and descend into a mass if slightly distorted melodies at certain points. That said Jóhannsson's set does have it's moments of extreme subtlety and poignancy, these are not aided by an oddly intrusive light show seemingly fit for a late 80's all night rave, but it is a fair indicator that he is an interesting and talented composer who, given the right circumstances, could turn in a very impressive performance.

As Blonde Redhead set up, the stage is cleared for the screening of a 'work in progress', it concerns new 4AD recruit and legendary crooner Scott Walker. This 10 minute taster is unintentionally hilarious with Johnny Marr and Radiohead fawning over the idiosyncratic and notoriously reclusive cult heavyweight. Superlatives are hurled out and tension builds for Walker's on screen arrival. He finally appears to show his studio methodology of building a big box over a microphone and dropping bricks on it like it, further hilarity ensues as he appears to be directing a man punching a bag of meat and describing the rhythm with which these punches should be delivered. The crowd grows restless as they see split screen euphoria of various musicians enraptured by some of Walker's older tracks. Unsurprisingly Blonde Redhead finally emerge to a victorious applause.

Undoubtedly the last few years have seen unprecedented development by the band. While they could never really be accused of stagnating during their tenure on Touch and Go, last year's 'Misery is a Butterfly (their first for 4AD) marked a genuine departure from their previous work establishing a far more lush and more rounded sound that smoothed the edges of their often dissonant previous work. Shows around that time were a mixture of old and new material, with newer songs being stripped down due to the constraints of live performance as a three piece, despite an increased reliance on keyboards from singer Kazu and triggers from drummer Simone Pace. Tonight though sees an increased thickening of their sound. Things do not get the set off to a great start, things seem murky and distant and just as the band walks on it seems like the smoke machine has broken engulfing the front four rows in a thick fog which makes the band barely visible. On opener 'Falling Man' Amedeo's guitar sounds huge. While there is an undeniable power to the band's sound, melodies are lost under a wall of echo and distortion. Likewise the vocals and drums are caked in reverb making for a very different performance of this song from a year ago.

That said there are certain benefits from this kind of expanded sound. 'In Particular' is now a huge rolling monster of a song, the odd floor tom hit pounding straight into the heart of the audience. Overall though it is an oddly muted affair, with the band displaying an air of indifference and the crowd falling eerily silent between songs. In general it appears that there has been a trade up between rhythmic intricacy for the wash of noise the band now wield. This in some ways feels like an attempt to more fully realise the tracks from 'Misery is Butterfly' in a live setting, which makes up the majority of the set. However songs like 'Melody' from that album still feel a little flat in comparison to their more subtle recorded counterparts.

Notably there is no 'Futurism vs. Passéism' tonight, always a set highlight with it carefully woven arpeggio guitar that threatens to implode as the track progresses. However there are some surprises as Kazu ditches guitar and keyboard for a stunning version of 'I Am There While You Choke Me', for a long time it felt like the image of Kazu screeching into her microphone defined this band and 10 years on from that songs release it has lost none of it's potency. Other highlights include a storming version 'Melody of Certain Three', which shows the band has lost none of capacity for tightly wound angular rock songs. 'Equus' has also installed itself as a firm live favourite as well, strangely channelling a rolling Serge Gainsborgh-esque mood through the band's more abrasive history. The bad emerge for an encore of Water from 'Fake Can Be Just as Good' which contains the bite absent from much of tonight's set.

Sadly tonight has been full of obscurity, many of the band's nuances are lost under reverb and distortion and a lot of cheap smoke effects. It seems they are attempting to push the boundaries of what they can achieve as a three piece with mixed results. That said Blonde Redhead have never really stood still for anybody and still have the capacity to enrapture and infuriate in equal measure, although it still stands that the band off-peak still towers above most at the top of the game. It is perhaps having witnessed them as one of the finest live acts I have seen, that anything less is a little under whelming.

-- Posted by racton on Wednesday, November 30 2005

The Constantines: Camden Barfly 13/11/05

'We won't be undersold!'

It is Sunday. It is Sunday night at the end of a busy weekend. It is Sunday night at the end of a busy weekend and I am chanting the above line over and over again whilst punching the air in the dark heart of Camden. Why am I doing this? The Consantines are on stage at the Barfly and are tearing through 'Working Full-time' an incendiary track from their latest record, 'Tournament of the Heart'. It is Sunday and I am joining The Constantines in telling 'the man' how it is, my last act of inept defiance before the crushing inevitability of the oncoming Monday morning.

On paper this shouldn't work and as the group wander on stage I get the fear of having dragged three people who have never heard the band to something that sounds just a little distasteful when reconsidering my pitch; 'anthemic and earnest blue collar rock songs filtered through punk and indie, with a gravelly voice!' Worst case scenario you could by looking at a US equivalent of Gomez, but mercifully my fears are quickly dispelled. The Constantines previous visit to these shores was a slightly muted affair, but one that showed flashes of genius with the group showcasing the anthemic sound of their second record, 'Shine A Light' across tiny venues throughout London. Tonight, emerging to a jubilant wash of keyboards and feedback of new album opener 'Draw us Lines', the group raise their fists to the sky, at once a celebration of their sheer arrival and imploring the crowd to do the same, a mission statement for the odd and infectious sense of unity that the group strive for over the next hour.

In direct contrast to the earnest subject matter and emotional delivery there is the prevalent sense of fun in the band. This saves the set from collapsing under its own weight several times and I get to thinking that those serious qualities in a band shouldn't necessarily mean it would anyway. But with the current climate of indie music The Constantines stick out like a sore thumb, making me think that history will smile favourably on the band. They are neither coy or playful for the sake of it and it seems that they are truly wearing their hearts on their sleeves, subject matter split evenly between dishevelled love songs and anthems with a serious social conscience and agenda. What is surprising this time around is just how easily their passionate delivery of their newer material converts into a crowd pleasing spectacle rather than flagrant over-emoting.

Of note is the groups bassist, his impeccable moustache perhaps most overt sign for fun loving hi-jinks as he works his way through the set baiting and screaming at the crowd/band. raising his bass to the skies like he is conducting the very spirit of rock & roll, pressing his body against the speaker stack in a slightly alarming, but ultimately funny revelry. In fact every member of the band contorts around the stage shaking the sounds from the instruments as if their lives depended on it. A fervour that is increasingly matched by the crowd as songs from the bands debut are greeted like old classics. In particular 'Hyacinth Blues' gets a great response, it's slow snaking introduction building superb tension. Another standout is 'Hotline Operator' it's careful use of reverb adding a percussive element to the already taut guitars which have become the group's trademark.

So sadly the combined power of five Canadians playing exemplary rock music did not prevent the on set of another working week. But for at least an hour it seemed like they could and that they cared that we don't get to have as much fun seeing every night of their tour as they will have playing it. I have tried raising both hands and pens to the sky at work today, but the solidarity that such an action illicted at their show is sadly absent in the cold light of day...

http://www.constantines.ca/

-- Posted by racton on Monday, November 14 2005

Bellini - Small Stones (Temporary Residence, 2005)

Bellini, was a 'supergroup' formed by Uzeda guitarist Agostino Tilotta and Damon Che, legendary drummer for Don Caballero. The band later added Tilotta's wife and Uzeda band mate Giovanna Cacciola on vocals. Infamously Che abandoned the group mid tour in Athens Georgia, taking the group's tour van and hightailing it all the way back to Pittsburgh, taking his frenetic signature style with him. Within a few days he was replaced by Girls Against Boys drummer Alex Fleisig, who rode out the rest of their US tour and subsequently joined the group full time.

'Room Number Five', which opens this second record, starts with a sparse muted bass drum, it's restraint immediately exorcises the ghost of Che from the group. That unmistakable Steve Albini production is there, the kind of drum sound which feels like you've placed your face on the floor right next to the kit.

Tilotta came up with pretty much one of my guitar riffs in recent years on the last Bellini album and this record really explores the ground work laid by that album. While I loved Che's work on this band's debut, Speaking Canaries and Don Caballero, the addition of Fleisig really works well on this record. 'F*ck the Mobile Phone' sees the group lock into a cyclical groove which massively benefits from a bit of rhythmical simplicity and is as abrasive as anything Uzeda ever recorded. 'Buffalo Song' is also incredible - its shards of feedback give way to a spidery riff matching urgent percussion before launching into an atonal diminishing breakdown, which only builds in extremity with each repetition.

Tilotta is increasingly becoming the most dynamic of guitar players. His ability to tease great melodies out of his still distorted guitar is impressive, and he inflects the songs with subtle harmonics and dissonant noise almost subliminally, adding careful texture to each song. It is difficult for me to not over do it with praise for the guitar work on this album, as a guitar player it achieves most things I could ever want to accomplish. There is an impressive sense of melody and it's use in repetition. There is also a smart balancing act between a reliance of conventional playing and the guitar as something to add texture through various non-traditional techniques. This is not to say that we are talking something revolutionary here, I am simply saying that there is real accomplishment that is not simply about technical ability - each guitar part has weight and feeling from someone that has massively focused their style and become an incredible leading force in the band.

'Agatha' is a successor the riff I loved so much on the group's debut. A succinct snare roll matching the disjointed guitar which opens the song, giving way to a monster bass riff which dips in and out of the song before drawing it and the album to its raucous finale. 'Snowing Sun' showed that both Tillota and Cacciola still had a lot of mileage in working together after the dissolution of Uzeda. Clocking in at just over half an hour, this album builds on that initial promise and is more focused effort without compromising any of the ideas previously set out by the band. This set of songs are so inventive and tight I haven't even mentioned Cacciola's eternally wonderful vocals.

http://www.snowingsun.com/

-- Posted by racton on Tuesday, September 20 2005

The Amazing Pilots: Camden Underworld 19/09/2005

Despite frequent accusations to the contrary I am not a music snob. I do not have anything against a catchy melody - hell, this year has seen the return of Teenage Fanclub to the stack of records that sit by my stereo. There is however a danger in presenting yourself as one of these unadorned pop/rock bands. You have to have the goods in the song writing department. The Amazing Pilots do not appear to have this at the moment. Not only is every song so forgettable, that I cannot quote you a title or lyric, each one was wheeled out with the increased embarrassment traditionally reserved for an elderly family member who is likely to piss themselves at any moment. The sheer mundanity of this bands set is further confounded by their use of a backing track, this limits the band no end and strips already undynamic songs of any meat whatsoever. Things go from bad to worse when the vocals stop and the effects pedals come into play. I see the guitarists indulging in fancy foot work, but I hear no difference at all. Are they miming their guitar parts, or is every pedal switched to it's lowest setting to not upset the balance of mediocrity the band have honed over the 25 minutes they have been on stage? A cheaper review would make a link between Amazing Pilot's lackadaisical music, the above metaphor of a urine coated old person and the fact that the band hail from Eastbourne, but I am not that cheap, not yet.

http://www.theamazingpilots.com/

-- Posted by racton on Monday, September 19 2005

Pit er Pat: Brixton Windmill 08/09/05

New Thrill Jockey signings Pit er Pat are over for their first UK tour. Apparently they began life as a backing band for a singer/songwriter who left early on prompting a change in name and I am guessing a radical shift in approach. This leaves the trio of drums, keyboards and bass, all of whom share out vocal duties.

On record the band's songs can occasionally seem a little too similar, but tonight seeing the three of them interacting, the subtleties of their sound can be observed. They layer a mix of fuzzy keyboard riffs and subtle delayed effects on the bass, that do scream out for attention draw attention, but add to the overall richness of the band's sound. This sums up their careful balance of rhythmic complexity with smooth and accessible melodies. It seems that the newer songs tonight are also benefiting from more interesting structures and a greater disparity in overall tone which is matched on their tour EP '3rd Message'.

With the release of their debut album 'Shakey' earlier this year, the band received a lot of Blonde Redhead comparisons. For me Blonde Redhead are defined by angular guitars and precision drumming all locked together by Kazu's piercing vocals. At a push Pit er Pat are maybe perhaps reminiscent of last years 'Misery is a Butterfly' with its warm washes of keyboards and increased reliance on effects outside of the groups traditional 3 piece set up. That said, Pit er Pat crucially differ in approach, playing a mix of intelligently written rock with a frenetic jazz inflection. Tonight's show is frequently lifted by excellent drumming in the tradition of Brendan Canty, all sharp fills and percussive taps. However, when required there is a weight behind their songs. They all look amused and happy to roll out a song from their latest EP, which is perhaps the most straight ahead rock song of the evening, all three members harmonising surprisingly well. 'Scared Sorry' also stands out propelled buy a great bass riff and frenetic drum pattern, which gives way to a chorus of pounded keyboard chords and a crash of cymbals.

Watching the band I realise that I have no idea where a guitar would fit in their sound anymore. The keyboards cuts so well through the bass and everything works in synchronicity it feels like there is no longer anything absent.

http://www.piterpat.com

-- Posted by racton on Friday, September 9 2005

Limn

Better late than never, but here's a short review of a Limn show from May this year...


Limn, headlining Sunday night’s ‘Light Programme’ at The Lion, Stoke Newington, are transforming themselves. It is getting harder to easily define their sound, as terms like ‘rhythmic’ and ‘angular’ (a useless term anyway) are made redundant by an explosive energy, which underpins their new material.

They have disregarded a rigid formula of instrumental music, in favour of a looser, freer and wholly more passionate live performance. The energy flows through the bands, visibly thriving in the heated, claustrophobic atmosphere, the crowd gathering in close, the bands’ reserved manner being replaced by vibrant, natural movement.

At times, they reminded me of End Hits by Fugazi, the moments when you feel yourself needing to dance along, join in and become part of the performance. Notably, Limn have begun to shed any previous lazy and unfair labels of the band as London’s Chicago influenced, percussion orientated instrumental indie band, and are becoming a fresh, exciting, and at times stunning entity all of their own.

The next test, with the release of a new single and growing interest, will be translating an intimate performance to some of London, and the UK’s, larger venues, and to a wider audience. I can’t see them having any problems whatsoever.

-- Posted by Justin on Friday, August 19 2005

Battles @ Barden's Boudoir

Good God it is hot! the kind of heat where you wish to god you hadn't worn jeans as suddenly they hug every inch of your leg and the sweat pours down your back. This prompts the sucking back of beer like it is water - desperate for any kind of refreshment. This is perhaps the tallest show in history. Whether the stage is low or I shrunk due to the heat I am not sure. I am struggling to peer round people fervently marking their territory to get a view of this band whose word of mouth buzz is currently riding high given their handful of ep's and support slots in this country. Battles take to the stage and it is clear that the sweatbox that Barden's has become is only going to get worse in the next hour. The four band members are lost amongst the myriad of keyboards, guitars, laptops and one big damn cymbal that just into the air almost touching the low roof of the venue.

As soon as they launch into their first song the sound is huge - Barden's have beefed up the set-up with what looks like an additional PA and the percussive guitars snake their way round fractured beats and chiming keyboard melodies. Battles are one of those bands that give the sense that they are producing this music effortlessly - the communication on stage suggests an improvised nature to their performance. I remain unsure exactly how much of the set is laid out before them. Structurally things are kept loose with melodies weaving in and out as ex-Don Caballero guitarist Ian Williams and Tyondai Braxton jump from guitar to keyboards, but the actual playing is water tight.

'B+T' is greeted with rapturous applause as the chiming 'Tubular Bells'-esque opening gives way to a huge pounding hip hop influenced rhythm. John Stainer's presence on stage is over whelming his size matching the height of the aforementioned cymbal. He sits front and centre head nestled among the toms as he guides the band into an explosive shift that sees the front few rows leaning back to take in the sheer spectacle. They wind up the set with 'Dance' from the impressive B EP. The frantic mix of live drums and electronics give this a particular song a more upbeat feel than the rest of the set, which sees the venue shuffling around trying to get a handle on the tracks rhythmic complexity. An encore features third guitarist Dave Konopka mounting the drum kit during with mic in hand as the cymbal becomes the focus of an extended noise work out and the group stumble of stage leaving behind several pints of sweat and grinning faces of a crowd.

http://www.bttls.com/

-- Posted by racton on Friday, July 29 2005

Jana Hunter @ 12 Bar Club/'JH'

This is Jana Hunter's first visit to these shores and she is making her London debut in the intimate confines of the 12 Bar Club, accompanied by a battered Airline guitar, which she shares with tour mate Viking Moses. She arrives on stage bemoaning a bad cold that is preventing her from hearing out of one ear and suggests a slight case of nerves.

Her opening song 'Farm CA', may be familiar to those that checked out Devendra Banhart's 'Golden Apples of the Sun' compilation last year. This track also opens the 10 track CDR demo, which Hunter has on sale. On record the vocals are deliberately tinny, the sparse vocal line drenched in reverb over gently strummed acoustic guitar and a mournful violin. The song is a great opener in the 12 Bar, immediately silencing the majority of the audience who stand in hushed reverie.

In comparison to her live performance, said demo is more varied than anticipated. Many tracks eschew the guitar/vocal set up that is dictated at the 12 Bar show. The omnipresent static hiss adds to the mystique of these recordings, they have timelessness that comes from something that cannot be dated by production techniques or specific style.

'The New Sane Scramble' is a stand out from this set; a deep resonating guitar line anchors the track with a repeating motif. The song is made gloomily atmospheric through the addition of treated vocals. Further variation is displayed particularly on 'Box Captive' punctuated by heavily reverbed drums and vocals and the surreal assertion to, 'put the bunny back in the box' (a plea familiar to Cats Against the Bomb fans across the country).

For some reason 'All the Best Wishes' makes me think of The Ronnettes with its distorted, yet soulful vocal. This seems strange given the comparative sparseness of this song when held up against the Spector’s ‘Wall of Sound’. Towards its finale the recording's quality degrades and Hunter's voice is progressively lost under the distortion that it is generating, Her voice only occasionally rises above this noise. It is an unnerving production quirk, but one that serves up an unexpected dynamism on record. I guess this misguided comparison returns to the idea of these recordings sounding somehow dated, but it also it says something about the cohesion of the various sounds on the track, an integral element of Spector’s production.

Some subtle and smart choices in instrumentation set this above the self-effacing status of demos and this disc retains a strong character of it's own and an intriguing companion piece to her live performance. Both live show and CD remain quietly idiosyncratic without seeming too forced and allow the quality of Hunter's songs ring out.

Jana Hunter is currently on tour in Europe and will be releasing a split EP with Devendra Banhart later this year.
http://janahunter.tk/

-- Posted by racton on Sunday, July 24 2005

'I Never Wanted You' - The Headphones

What the hell? Has everybody decided that guitars are out for this season? Maybe the abrasive riff and crooned vocal just don't make the ladies (and emo boys) go weak at the knees anymore. First Ben Gibbard went all Pet Shop Boys with The Postal Service, then Conor Oberst decided that not everyone had already heard Her Space Holiday so he could get away with making a record that sounded exactly like them. Now David Bazan, of Pedro the Lion fame, is trying his hand at all things electronic with his new project The Headphones. 'I Never Wanted You' is a song on the group's debut for Suicide Squeeze Records. It kicks off with a growling fuzzy synth line over a sparse fractured drum machine. Whereas other singers' forays into this territory have been marred by an overcompensating of layers ('wow, pro tools!') This song benefits from focusing on said fuzzy motif, Bazan's equally gnarled delivery and little else. There is something massively seedy about this song. Imagine John Carpenter scoring 'Sideways', all cool retro keyboard sounds which, rather than accompanying Kurt Russell’s action packed antics, play over scenes of massive self-loathing. The simplicity of the instrumentation is an excellent counterpoint to a startlingly frank and downright nasty lyric. The lack of emotion here is akin to the robot HAL telling you that those heady days testing at NASA together never meant a thing before he jettisons you into space. However, the song is delivered with such lack of committal, that the all pervading sombre mood starts to suggest that the lyrics are deceptively simple and that this is really the awkward response of the jilted party, attempting a rather empty retaliation by falsely claiming to either himself and/or his ex that the whole thing was meaningless. The closing refrain of 'baby, I was faking the whole time' is unnerving in it's sedate delivery there is no climax, no swirl of keyboards, just the simple facts.

-- Posted by racton on Sunday, July 24 2005

Ex Models @ The Buffalo Bar

The Ex Models are playing their first new material in the 2 years since they released their second album 'Zoo Psychology'. That record represented a fairly sizable leap for the group. The album exhibited a harder edge and a wider propensity for noise when held up against their debut which ploughed a distinctly US strand of post punk, reminiscent of a condensed and more malicious Devo. They were widely attributed as being one of the torch bearers in the fledgling New York scene that went supernova a few years ago with Yeah Yeah Yeahs and Liars.

The now duo set up the stage with two guitars an a floor tom and crash cymbal centre stage. Kicking off with an abrasive backing track the duo whirl around the stage, faces contorting as something indecipherable is yelped. Immediately this looks like a band kicking against something. Since they've been away angular guitars have become the stuff of credible chart success. 'Zoo Psychology' dropped sizeable chunks of dissonance into the mix, this appears to have become the entire basis of the band's sound now. The primal, rhythmic tracks would seem arbitrary were it not for the fact that when there are breaks in the aural assault it is so tight you can almost feel the walls of the Buffalo Bar contorting as the punishing beats and guitar start up again. Over the course of the last two records the vocals of the duo have become abstracted to a mix of hollers and yelps masked under reverb. Tonight I genuinely do not understand a word that is said. The embracing of primitive (anti)structure in their playing is matched by a mixture of indecipherable vocals. This is not too disconnected from the last record, but it is enough of a leap to render lyrical examination impossible tonight.

Ending their set is a storming version of 'Pink Noise' from Zoo Psychology. Which fits seamlessly into amongst the new material confirming the early proclamation that they are now 'different, but kinda the same'. Wiry jagged riffs fill the venue, I don't mean in the Bloc Party sense of how that word is over used to the point of being meaningless. This is the sound of laceration. The strings sound like they are drawing blood, pulled tort with the group really capitalising of the visceral elements of their music which has only been hinted at on previous records. When the music does hit something approaching a groove, melody is replaced by distorted chunks of prepared noise and guitar. While I missed some of the conventional elements of the band it seems that so many others are now snapping at their heels. They leave behind two records that can be held way above most of their cotemporaries and hope that this new direction will prove just as fruitful.

-- Posted by racton on Monday, May 16 2005