Category: Live Reviews

Categories
Live Reviews

Face To Face – Live review

Kingston Peel
23.08.11

Wander over to the merch table tonight, and you’ll see copies of Face To Face’s excellent new album ‘Laugh Now, Laugh Later’ for sale; each bearing a sticker that reads: “For fans of Green Day, Rancid, The Offspring, NOFX, Blink 182 and Pennywise!”. Indeed, Face To Face would and should appeal to any fan of what is increasingly being dubbed ‘90s skate-punk’ (damn, we’re getting old), and even if they’ve never shifted tickets on quite the same levels as the aforementioned bands, they’ve put their name to enough quality tunes to pack out the Peel. Not bad, considering it’s their first proper UK jaunt in almost a decade.

The Arteries get things off to a fine start, ripping through the kind of raw but melodic set that befits one of the UK’s best new punk bands;  with vocalist Miles jumping down into the crowd to screeh his words into the faces of the early birds. Canadian quartet the Flatliners are a similarly abrasive bunch; taking the tired old ska-punk blueprint and re-routing it into darker territory via a heavy rock n’ roll edge. Worthy of a headline slot here in their own right, for sure.

But of course, the real treat is yet to come, and as Trever Keith’s crew rip into ‘You’ve Done Nothing’, the floor explodes into a pogoing, finger-pointing mass of folks who can hardly believe that Face To Face are playing their local. It’s tempting to wonder if they’d have gained a bigger UK following by touring here as often as, say, their former label-mates No Use For A Name and Lagwagon used to do; but then, Face To Face have always been about quality rather than quantity.

The shoulda-been-hits come thick and fast, and the sweat soon starts to drip down the walls of the Peel as the crowd clamber over each other to share backing vocal duties with Scott Shiflett (arguably one of the most underrated bassists in punk rock). New songs like ‘It’s Not All About You’ are replete with the band’s trademark melodies and smart lyrics, and by the time they sign off with ‘It’s Not Over’, it’s clear that Face To Face could teach some of their more popular peers a thing or two about maturing in fine style.

Alex Gosman

Categories
Live Reviews

St.Spirit live

Glasswerk night at The Old Queens Head
Islington, London
10th August 2011

st.spirit_liveIt’s not often you hear tracks by unsigned bands that are so good that you find yourself traveling on the way up to North London, two days after riots have dominated the news. The destruction and terror that emerged this week is only a mile or so from the Old Kings Head in Islington but it did not deter St.Spirit from pulling their show here tonight unlike others out there.

This brand new band from Richmond are made up of five 19 yr olds, who have all schooled together and spent time in a spare room of their parents houses to record what you hear on the web today. The harmonies that each individual member brings to this band form a blanket of lush melodies that compliment lead singer, Myles McCabe’s vocals. In fact, they do it so well that the time and effort behind the scenes for all of this to click so perfectly could only come from dedicated planning to rehearse for such a performance. Everyone has a microphone, drummer and keyboard player included and they are spot on with their delivery.

Musically, this band are playing their own style of heartfelt indie. Every song is awash with intricate musical parts that build beautifully and fade to piano and pre made samples, revealing the imnpressive production levels of this band. Their heroes of My Bloody Valentine may be sonicly more powerful live but the likes of The Maccabies and Coldplay may be more of a starting point in terms of where this band are sat between sound wise. Throw in the swirling, heavyness of Radiohead and you are somewhere close to the mark.

Tonight’s most memorable song is Build A Fire, mainly due to the band’s wonderfully crafted, animated video that is currently attracting attention out there. it was edited by one of the band’s Brothers for fun and conjures up the artistic and thoughtful nature of their music, which only adds to the intrigue of this bands aspirations.

It may be their 7th gig ever, but St.Spirit proved tonight that they could probably be one of those bands that could potentially be headlining the Garage just up the road from here sometime in 2012. If that happens, they may just be that band that cause a riot of their own. Look out for them.

Categories
Live Reviews

Crystal Stilts – Live

Madame Jojo’s, London
02.08.11

Since their acclaimed debut album Alight of Night, Crystal Stilts’ brand of doom inducing garage pop has certainly turned a lot of heads. Clearly influenced by the architects of melodic reverb, the Jesus and the Mary Chain and their seminal 1986 album Psychocandy, the Brooklyn based quintet are aiming to become the modern equivalent.

The band are currently on an European tour and their second date in the capital at Madame JoJo’s looks set to be one of their biggest gigs in the UK yet. There’s even a certain Steve Lamacq in the crowd too.

Kicking off the set is ‘Sycamore Tree’ which opens with a foggy Forsica organ. The track transcends into a gloom fest thanks to its pairing of subdued tambourines and a dark jangly riff. ‘Half A Moon’ is able to recapture 1950s rockabilly nostalgia at its frantic best. Lead singer Brad Hargett despondently spurts lyrics of “evening night we meet again, I’ll slay the sun if you take my hand”.

Similarly to the new album In Love with Oblivion their set paces by slowly but surely. It isn’t until last year’s single ‘Shake the Shackles’ that the crowd is in high spirits. JB Townsend’s rattles of guitar combined with Hargett’s Ian Curtis-esque cries provide an intimate setting for the small Soho club. The band’s 1980s post-punk influenced sound is evident in their next song ‘Flying Into The Sun’ which is a clear alternative to their reverb-heavy catalogue.

Nearing the end of their set the coincidental resemblance to glam rock classic ‘Get It On’ by T. Rex in ‘Through The Floor’ encourages the biggest reception of the evening. The New Yorkers’ uber cool vibe is maintained throughout but their return from the encore is somewhat of a damp squib. ‘Blood Barons’ and Love Is A Wave’s B-side ‘Sugarbaby’ are maybe a little too laid back for everyone’s liking.

With the NME conveyor belt of hype in rotation for the nineteenth coming of Oasis or the Strokes, there is little justice that one of America’s best indie exports of recent years remain relatively unknown after a performance like this.

Alex Penge.

Categories
Live Reviews

Mazes – Live

The Shacklewell Arms
15.06.11

The DIY indie rock scene of the 1990s has experienced a slight revival over the past year in the UK. Both Male Bonding and Yuck’s opening album efforts have generally been well received in the British music press as well as across the pond in the U.S. London-via-Manchester four-piece Mazes are hoping for the same as they mimic their British compadres with debut album A Thousand Heys. The Shacklewell Arms in Dalston is the band’s final UK show before they embark on a full U.S. tour with White Denim.

Despite early hiccups with the venue’s experimental red lighting (yes, I’m as puzzled as you are) during the band’s opening couple of songs, Mazes’ set finally ignites with the infectious ‘Most Days’. Evident homages to Stephen Malkmus are clear with Jack Cooper’s fun and playful yells of “I never wanna get out of my bed, no way” in ‘No Way’.

This combined with alternative rock riffs from Jarin Tabata in the mould of Dinosaur Jr., The Lemonheads and Fountains of Wayne add substance to their sound and ensure that the quartet’s songs are not just exhausted Pavement pastiches.The small crowd remain in high spirits after ‘Bowie Knives’ which challenges DIY indie rock stereotypes with its organised structure, as a result the song boasts emphatic Weezer-like melody.

Inevitably, the group move towards power pop territory in ‘Surf Tag / Maths Tag’ with Cooper providing flashbacks of The Beatles entrance to JFK airport in 1964. The final song of the evening ‘Summer Hits or J+J Don’t Like’ is a rousing ending to a set from a band that was only making cassette recordings of their material two years ago. The DIY revivalists’ nostalgic farewell is proof that they are certainly well suited for bigger and better things, especially in college rock circles across the States.

Alex Penge.

Categories
Live Reviews

ATP – I’ll Be Your Mirror – Live

23.07.11
Alexandra Palace

The job of curating ATP’s inaugural I’ll Be Your Mirror event has been allocated to Portishead, whose passionate interest in a diverse range of music has made them a tried and tested choice for curators. This year sees a predictably strong line-up, with the likes of Grinderman, Swans, Caribou and Liars playing on the Sunday, while Crossfire makes it down on the Saturday to see DOOM, PJ Harvey and a reformed Company Flow. Oh, and Portishead themselves, obviously.

After having told all those concerned that DOOM is a disappointing live act for the weeks leading up to ATP, it came as a huge surprise that the pot-bellied Masked Villain produced a sterling set to the crowd inside Alexandra Palace. Though his set offers no real back and forth with the audience nor does DOOM rely on any showing off, it was showcase of material across the spectrum of his releases, proving how diverse and thoroughly awesome a lot of his back catalogue is. From early MF Doom material such as Rhymes Like Dimes through Madvillain material [All Caps stood out] and onto his guest spot for Gorillaz and Benzi Box from the Dangerdoom record, his delivery was top notch and even though he failed to dive into the crowd as intimated, a lot of fun was had.

Following DOOM is PJ Harvey, whose exceptional new album Let England Shake is up there with the very best records released this year. With this in mind, our anticipation is high to see these songs performed live, and her set is drawn very heavily from the new material. Dressed all in black, she looks almost appropriately in mourning, singing songs about the horrors and devastating impacts of war to terrific effect.  Eight albums into her career, by now PJ Harvey is a consummate professional and her voice is pitch perfect throughout. Highlights include Last Living Rose and The Words That Maketh Murder, while old favorites C’mon Billy and Pocket Knife are welcome additions to fantastic performance.

Company Flow were the sole reason I (Abjekt) bought the ticket for ATP. Having grown up listening to them only to continually curse my luck for never having seen them live due to their split in the early part of the last decade, it was such an event not to be missed. Having left Sleekly to enjoy the rest of PJ Harvey’s set and ensure a spot front-and-centre for Co Flow, I was left stood waiting for a good 20 minutes thanks to a faulty mixer, but once that first bassline dropped, there was no looking back. El-P and Bigg Jus’ chemistry hadn’t been lost, smiles shining from them both as Mr Len cut the tracks behind them and with the crowd made up almost entirely of fanboys and girls, they powered through tracks like Bad Touch Example, Vital Nerve, 8 Steps To Perfection, End to End Burners and Lune TNS.

When a member of the Ally Pally staff informed them they were to finish their set immediately because Portishead had started in the next room, El turned to the crowd and asked who had come just for Company Flow. A deafening shout of affirmation was hurled back, prompting the New Yorker to tell his would-be set killer that “Fuck that, even though I want to see Portishead, I wanna kill it for these guys” and launched into Patriotism after lambasting the Murdochs [James financed Rawkus in the 90s] from behind a lecturn. There is to be no comeback, no reformation, this was it. And boy, what a set it was. As they say themselves “I must be entirely too fucking nice” – Too right!

Finally, after a long day, Portishead take the stage and the tiredness in the crowd is collectively relieved by the band’s presence. As well as being brilliant performers themselves, impressive visual displays adorn the stage making this an all consuming experiences for the eyes and ears. Singer Beth Gibbons does little else on stage other than sing, but that’s all that is required, and as she begins those famous songs from the Dummy era that are now so ingrained in our heads, it’s easy to become lost in her words. Newer songs from the band’s 2008 comeback record Third are similarly impressive but for different reasons, showcasing a colder, more fragile side to the band. The likes of The Rip and Machine Gun are particularly impressive; the latter with its thumping drum pattern fills the palace with an air of imminent dread.

What’s especially great about Portishead’s performance, and subsequently this year’s festival, is that their set incorporates all the other music throughout the day. The band’s great heritage within hip hop, noise, and kraut rock have all co-existed harmoniously on this line-up, and these genres now come together in Portishead’s music and somehow make perfect sense. It’s spellbinding stuff, and quite simply, the reason that we continue to return to ATP year on year.

Sleekly Lion & Abjekt

Categories
Live Reviews

ATP – Flaming Lips, Dinosaur Jr & Deerhoof

Alexandra Palace
01.07.11

ATP, or All Tomorrow Parties, have a habit in organising the odd good album show. Iggy & The Stooges’ Raw Power and Q: Are We Not Men? A: We Are Devo! by Devo stick out in regards to classic albums. Tonight however is the turn of recent gems by the Flaming Lips, Dinosaur Jr. and Deerhoof.

Opening proceedings are Deerhoof with their 2004 concept album Milk Man. Despite the quartet’s theatrics the San Franciscans are not fully embraced by the sparse Alexandra Palace crowd. It isn’t until Dinosaur Jr.’s indie rock anthem Freak Scene that the crowd finally awaken from their early evening daze. The opening track of the seminal 1988 album Bug is at its roaring best and attracts a humble cheer. The group’s unity and impeccable timing is apparent through They Always Come. J Mascis’ industrious whammy bar work certainly puts the reclusive Guitar Hero player to shame. This paired with Lou Barlow’s resonant bass guitar is evidence that their flaky relationship of the past is surely a distant memory. Oh and the drummer Murph’s not too bad either!

For the rest of the set Ally Pally is treated to Mascis’ acidic whirls of feedback. Onomatopoeic words would do no justice to the sheer volume of sounds the alternative rock veterans can still produce. With the stage emblazed in red light, the final track Don’t concludes the album with distorted screeches and Barlow’s screams of “why don’t you like me”? Ringing in your ears couldn’t be more satisfying!

In typical Flaming Lips fashion frontman Wayne Coyne opens The Soft Bulletin in his trademark crowd surfing friendly human hamster ball. Confetti, balloons, colourful naked women animations, a clip from The Teletubbies, you name it we’ve got it. This introduction’s as emphatic as you can get. Race To The Prize and A Spoonful Weighs A Ton are passionately echoed word by word around the iconic Victorian venue and the semicircular screen’s colourful visuals compliment The Spark That Bled the most.

Despite the charm of Waitin’ For A Superman the level of energy from the dramatic opening gradually diminishes. This is of no fault of the band but more of a criticism of the general format of the album show for this beautifully collaged album. The change in atmosphere undoubtedly has an effect on Coyne who becomes apprehensive before performing Feeling Yourself Disintegrate. He delivers this underrated track with immense feeling and passion. Following the calming instrumental track Sleeping On The Roof Oklahoma’s finest songsmiths return from the encore with the euphoric Do You Realize??. Rapturous, full of beauty, it’s a memorable ending for a memorable band.

Alex Penge.

Categories
Live Reviews

Eager Teeth – live

Eager Teeth
Purple Turtle
16th July, 2011

eager_teethAs yet little-known Brighton-based Rock outfit Eager Teeth are no doubt going to be the band name on the tip of everyone’s tongue in a matter of months. Playing to a sparse crowd at the Purple Turtle in support of Mojo Fury, the band don’t let this dampen their spirits, reeling off raw big guitar hooks against intricate picked-out patterns.

With a solid propulsion of drums and bass, what really stands out is the ridiculously tight vocal harmonies between frontman Will Blood and guitarist/vocalist Gary Yay. Blood has heaps of potential as a frontman though he needs to forge more of a connection with his audience (this will undoubtedly be easier when there is more of an audience to connect with). For now, he’s pinning himself to a stationary mic-stand. But hey, that’s ok as the band’s rip-roaring punk rock tinged with post-hardcore and something a bit more complex shines through.

Eager Teeth do tend to sound a bit Glassjaw-esque tonight. It’s that intense melody-driven vocal which also packs a somewhat violent punch that is reminiscent of Palumbo’s vocal stylings. There are also shades of Rival Schools in what ET do, as well as a bit more of a punk rock backbone which adds something more interesting to proceedings. These guys haven’t been playing together all that long but you can tell they’re ones to watch already. With some honing of their craft through relentless touring, ET will become a force to contend with and you can be sure that those who are lucky enough to catch them live in these early days are going to take note and remember their name.

Just watch this and see if you don’t get at least a teensy bit excited about this new British talent. We’re a lot excited.

Winegums

Categories
Live Reviews

Spank Rock – Live

The Nest
13.07.11

It was over five years ago that I first saw Spank Rock in London when they rocked the Barfly in Camden to a packed out, sweaty crowd. During that show, the stationary crowd dimmed what was a bright performance and it would have been a shame if that were the same in 2011 but thankfully the rammed Dalston venue contained an audience ready to dance their hearts out.

Spank Rock’s album Yoyoyoyoyo still sounds as bassy and upbeat as it ever did when they the energetic MC ran through tracks like Backyard Betty (undoubtedly the greatest song about an ass-shaking competition champ), Sweet Talk and Coke & Wet. They finished up with crowd favourite Bump with the talented Amanda Blank, who had been an able hype-girl throughout, getting her time to shine delivering lines about her unmentionables, much to the delight of the grinning attendees.

It wasn’t just a run-through of the old material however, as new tracks eased their way into the set and stood side-by-side with their classics. Even when they hit a different style with Energy, the delivery was so on point that not a single body was still. The drums clapped hard and the bass boomed out over the Nest ensuring a great time was had by all, even those of us who were fighting against the giant pillar in the middle of the room obscuring the view.

The new album, Everything is Boring and Everyone is a Fucking Liar, is due out this year and if tonight was anything to go by, it’s going to be a hell of a lot of fun.

Abjekt.

Categories
Live Reviews

Black Breath – live

The Borderline, London.
July 14th 2011

black_breathOne of Crossfire’s favourite records of 2010 was Black Breath’s undeniable, thrash and hardcore hybrid Heavy Breathing. Having signed to Southern Lord for the release (who can count the likes of Boris, Nails, Earth and Saint Vitus among their roster) the band received wide acclaim for the record, and return to the UK this month for its final hurrah before putting the finishing touches to their next album. Having missed the band at The Borderline last November when they clashed with Touche Amore across town, Black Breath return to the same venue eight months later off the back of a winning appearance at Sonisphere festival.

The band is on top form as they rip through the likes of ‘Black Sin (Spit on the Cross)’ and ‘Escape from Death’ at a frantic pace, so much so that the drummer carries a worried expression on his face as though the whole thing could collapse at any moment. In truth, though, there’s no danger of that, as the band’s rhythm section demonstrate near mechanical levels of control, laying the foundations for searing lines of tremolo picked lead guitar. Their sound is powerful like the best heavy metal bands, but it’s also their directness that stems from hardcore influences that makes them such an intense listen, even more so in a live context.

Two new songs are played from their forthcoming album (due in early 2012, supposedly) which are met with the same enthusiasm as old favourites ‘Eat the Witch’ and ‘I Am Beyond’. The strength of these new songs suggests the band is set to produce a worthy a follow up to ‘Heavy Breathing’, which in itself is a truly mouth watering prospect.

Sleekly Lion

Categories
Live Reviews

Social Distortion – live

London Shepherd’s Bush Empire,
7/7/11

social_distortionFor British Social Distortion fans, the band’s shows are like hot summers – we’re lucky if we get one every few years. Three UK dates (all in London) in the last decade is hardly an impressive track record, but it does lend tonight’s show a sense of occasion, with all manner of punks, greasers and rockabilly types lining the street and pubs outside the Empire. Young or old, they’re a devoted bunch; a fact underlined when Social D frontman Mike Ness invites a couple of kids onstage during the band’s encore. They’ve travelled from Glasgow and Manchester, and like the rest of us, they look pretty damn stoked to be here.

Crazy Arm sound huge for a bunch of skinny guys from Devon. Like the headliners, they’re blessed with the ability to craft songs that are anthemic without being overblown, and the likes of ‘Still To Keep’ and ‘Broken By The Wheel’ are infused with a frenetic folk-punk energy that betrays their rural roots. The applause gets louder with every song, and it’s well deserved, especially from such a partisan crowd.

Cynical folks among us may argue that what we witness tonight is really The Mike Ness Band, but with all due respect to past and present members, Ness has always been the driving force (and main songwriter) behind Social Distortion. It’s doubtful that the Empire will see a louder sing-along in 2011 than that which greets third song ‘Story Of My Life’, and rightly so; for these songs are indeed soundtracks to the frontman’s life of struggle, tragedy and eventual redemption. There’s no bullshit with these guys, and not much in the way of pointless banter; they just rock out with the energy and conviction of a band half their ages, with Ness and guitarist Jonny ‘2 Bags’ Wickersham frequently soloing away down the front into the faces of a sweat-drenched, sold out crowd.

Given the sheer number of classics in their canon, it’s debatable as to whether a perfect Social Distortion set-list could ever exist, but tonight they get pretty close. Renditions of ‘Dear Lover’ (from 1996’s underrated ‘White Light, White Heat, White Trash’) and ‘So Far Away’ are both very welcome surprises, as is the sound of the crowd singing the opening guitar line to ‘Don’t Drag Me Down’. Old standards like ‘Mommy’s Little Monster’ and ‘1945’ are still shot through with anti-authoritarian vigour, whilst at the other end of the timeline, a couple of female backing singers are brought on to add a soulful edge to ‘California (Hustle And Flow)’.

These old road-dogs have come a long way since their fury-fuelled 1980s heyday, but they’ve got no end of stories to tell, and a damn fine way of telling them. Here’s hoping for their swift return to these shores.

Alex Gosman