With the echo of synth stabs and a pungent mix of overwrought Sparks and Freddie Mercury still hanging in the air the Anglo-Argentinian duo of Sebastian Muravchix and Ali Renault, aka Heartbreak, leave the stage having set a decidedly retro mood romping through classics in waiting like 'Regret', 'We're Back' and 'Living Just For Fun'. Aided and abetted by the Road to Rimini DJs the whole place is in fine Italo fettle. I've said numerous times of late that the rediscovery of tunes and dancing this year has been a revelation and my needs are suitably sated even before Little Boots arrives to blow any final cobwebs away.
This said former Dead Disco diva Victoria Hesketh has transformed out of sight and with Little Boots - akin to watching Kylie fronting Orbital at times - there's a whole new reason to be excited. There's the full on trance/Ring My Bell tilt of 'Magical', the pop genius of 'Mathematics' and you'll have heard 'Meddle' in the ether as it's undoubtedly been played in every club every five minutes over the last couple of months. And rightly so. There are acres of cooler than cool songs, a vulnerable Piaf demeanour, the Tenori-On (look it up), a witty stage banter, whipping out the Keytar for a full on 'Brian May rock moment' and goddamnit a fucking exceptional cover of Freddie Mercury/Giorgio Moroder almost lost dance classic 'Love Kills'.
There's so much to love with Little Boots including an affectionate camp which takes you over and transports you a time when Howard Jones was synth king and singing into a hairbrush with dreams of appearing on Top of The Pops wasn't as shameful as it appears in retrospect. Come on surely that's not just me?
www.littlebootsmusic.co.uk
www.mekongdelta.co.uk
Monday, 24 November 2008
Saturday, 15 November 2008
Murcof - The Versailles Sessions
The Versailles Sessions shouldn’t be considered as a follow up to Murcof’s Cosmos album of 2007. In fact this music isn’t really an album at all as it’s a collection of aural compositions commissioned for a site specific artwork on display at the Jardin du Roi.
All of the music is played and/or sampled on original 17th Century instruments and filtered through the Murcof brain to generate expansive, looming passages of intense and occasionally regal sounding noise this is a pretty big leap from what where minimalistic beginnings but Fernando Corona seems to have a firm grasp on the powerful sounds at his fingertips.
As with all most music classified experimental The Versailles Sessions requires a certain listening shift – there are no pretty songs in here anywhere, nothing remotely approaching a tune in the classic sense – but of course that’s not the point. The powerful, evocative noises and interplay of instrumentation feels more like music for film, amped up and monolithic. Anyone who enjoyed Jonny Greenwood’s score for There Will Be Blood, for instance, will hear good things in this Murcof offering but let’s be honest that is a niche crowd.
My preference would have been release this on DVD where the music and visuals of the installation compliment each other but as this isn’t the case you have to become enveloped in the wash of sounds, in the interplay of the bangs and clatter and the hugely evocative choral passages – and give yourself over to imagination.
www.murcof.com/
www.mekongdelta.co.uk
All of the music is played and/or sampled on original 17th Century instruments and filtered through the Murcof brain to generate expansive, looming passages of intense and occasionally regal sounding noise this is a pretty big leap from what where minimalistic beginnings but Fernando Corona seems to have a firm grasp on the powerful sounds at his fingertips.
As with all most music classified experimental The Versailles Sessions requires a certain listening shift – there are no pretty songs in here anywhere, nothing remotely approaching a tune in the classic sense – but of course that’s not the point. The powerful, evocative noises and interplay of instrumentation feels more like music for film, amped up and monolithic. Anyone who enjoyed Jonny Greenwood’s score for There Will Be Blood, for instance, will hear good things in this Murcof offering but let’s be honest that is a niche crowd.
My preference would have been release this on DVD where the music and visuals of the installation compliment each other but as this isn’t the case you have to become enveloped in the wash of sounds, in the interplay of the bangs and clatter and the hugely evocative choral passages – and give yourself over to imagination.
www.murcof.com/
www.mekongdelta.co.uk
Monday, 10 November 2008
Kyte - Two Sparks, Two Stars EP
I’m an unashamed lover of Kyte’s cinematic style and otherworldly music. The seemingly simple way they build songs from a few glockenspiel notes and piano chords into a quiet roar of Nordic sounding majesty is utterly spellbinding. They really do evoke a twilight fairytale world of mystery populated by curious sounds and emotions which seems perfectly at home as winter draws in.
The orchestrated sound of Two Sparks, Two Stars sees a progression from the band’s more precise eponymous mini album earlier in the year which was much more about the cyclical building of tracks upon tracks and for all the album's beauty, and it is a thing of aching beauty, this EP shows the band with more dimensions, more experimental yet retaining their ability to write superbly lush songs like opener Eyes Lose Their Fire.
Not that it’s all their own work. The cover of Peter Gabriel’s Solsbury Hill will probably sneak up on a fair few people as it’s so perfectly molded into the Kyte oevre that it takes a little time to actually realize it’s not their own tune, a rare thing to achieve well and rarer still with a familiar song.
Of the EP’s four tracks it the final installment Light Outside Here which tugs on the seasonal heart strings most of all. Not for any specific Christmassy references though simply down to it's texture and ambience. Kyte make you want to curl up in front of a warm fire and dream impossible dreams.
www.myspace.com/kyteband
www.mekongdelta.co.uk
The orchestrated sound of Two Sparks, Two Stars sees a progression from the band’s more precise eponymous mini album earlier in the year which was much more about the cyclical building of tracks upon tracks and for all the album's beauty, and it is a thing of aching beauty, this EP shows the band with more dimensions, more experimental yet retaining their ability to write superbly lush songs like opener Eyes Lose Their Fire.
Not that it’s all their own work. The cover of Peter Gabriel’s Solsbury Hill will probably sneak up on a fair few people as it’s so perfectly molded into the Kyte oevre that it takes a little time to actually realize it’s not their own tune, a rare thing to achieve well and rarer still with a familiar song.
Of the EP’s four tracks it the final installment Light Outside Here which tugs on the seasonal heart strings most of all. Not for any specific Christmassy references though simply down to it's texture and ambience. Kyte make you want to curl up in front of a warm fire and dream impossible dreams.
www.myspace.com/kyteband
www.mekongdelta.co.uk
The Kills - Live: 8th Nov 2008
Go on then, name some cool male/female duos!
Those without anything approaching a long term memory might opt for Anonymous and Old Cow from The Ting Tings. As if. Or Alice and Ethan from Crystal Castles. Okay I’ll give you that because those two kick ass! Or maybe, now cast your minds back fickle bastards, Jack ‘Bond-theme-strangler’ White and his sister/wife Meg. They had the blues man. Seriously though there are umpteen others you could sift through. It’s subjective after all. But I bet it’d take a while for most to come up with VV and Hotel from The Kills. Well shame on you.
What is heartening to see is that there are a lot of people who do see this duo, Alison Mosshart and Jamie Hince if you prefer their birth names, for the rockingest man-woman blitzkrieg they actually are. The venue is uncomfortably full, health and safety could bust the place at any second. It adds to the intoxicating atmosphere as The Kills roar into action as the dying embers of Obama’s presidential speech die in the PA. This is all about change.
Kind of shoehorned in maybe but as they hurtle through songs from all three Kills eras – or albums if you prefer – there’s a definite change to see. The squall, white noise of earlier tunes gives way to genuine ‘hits’ on new album Midnight Boom - U.R.A. Fever, Cheap and Cheerful and Alphabet pony to name only three - are greeted more feverously. You do sense though that the sleaze and filth with which the older songs are flung around on stage also hits the spot with those in attendance. Good. The Kills rock the fucking bollocks off any limp-wristed chancers I can think of and deserve their time in the spotlight. They’ve got the attitude, the tunes and the dark glasses to cope with the glare.
www.thekills.tv/
www.mekongdelta.co.uk
Those without anything approaching a long term memory might opt for Anonymous and Old Cow from The Ting Tings. As if. Or Alice and Ethan from Crystal Castles. Okay I’ll give you that because those two kick ass! Or maybe, now cast your minds back fickle bastards, Jack ‘Bond-theme-strangler’ White and his sister/wife Meg. They had the blues man. Seriously though there are umpteen others you could sift through. It’s subjective after all. But I bet it’d take a while for most to come up with VV and Hotel from The Kills. Well shame on you.
What is heartening to see is that there are a lot of people who do see this duo, Alison Mosshart and Jamie Hince if you prefer their birth names, for the rockingest man-woman blitzkrieg they actually are. The venue is uncomfortably full, health and safety could bust the place at any second. It adds to the intoxicating atmosphere as The Kills roar into action as the dying embers of Obama’s presidential speech die in the PA. This is all about change.
Kind of shoehorned in maybe but as they hurtle through songs from all three Kills eras – or albums if you prefer – there’s a definite change to see. The squall, white noise of earlier tunes gives way to genuine ‘hits’ on new album Midnight Boom - U.R.A. Fever, Cheap and Cheerful and Alphabet pony to name only three - are greeted more feverously. You do sense though that the sleaze and filth with which the older songs are flung around on stage also hits the spot with those in attendance. Good. The Kills rock the fucking bollocks off any limp-wristed chancers I can think of and deserve their time in the spotlight. They’ve got the attitude, the tunes and the dark glasses to cope with the glare.
www.thekills.tv/
www.mekongdelta.co.uk
Friday, 26 September 2008
Ipso Facto - Live: 26th Sept 2008
No-Wave. Nu-No Wave. There's a low rumble and a sedate pace. Cool seduction hangs palpably on the air. Four shadowy apparitions wearing precision bobs thump out their slow repetitive rhythms. The noise comes like the elongated stretch of an icy glacier as it carves its infinitesimally slow progress through a Scandanavian fjord. Not so much played as released. Beyond the craning necks is where this in-action is at. Through dim lights and dry ice resides the source of this oblique reverb and lulling hypnotic riffs. The wellspring of sweet sardonic vocals and parping, ghostly keys is here. Siren like. Calling. It's intriguing. Intoxicating. Unsettling sometimes. This is Ipso Facto.
As an all female quartet in tune with their 'look' as much as their music it'd be easy to be distracted by the visuals but there's much more than mere style and mannequin moves. The bizzaro fairground atmospherics of "Smoke and Mirrors" is disorientating and seductive whereas the studied shimmer and Souxsie Sioux delivery of "Ears and Eyes" displays perfectly the foursome's knack of creating something fresh from the foundations of decades gone by. Think Marianne Faithfull, Nico era Velvets and the gothfather (and mother) roles of The Cure and The Banshees, but only as jumping off points. Sound like a humourless exercise in studied retro indulgence? Not a bit of it.
As the pace quickens and the crowd relax more Ipso Facto deliver a deliberately non-standard set of material the highlight of which is "Introducing", as infectious and vibrant a two minutes as you could hope for whilst maintaining the appearance of austerity. Soundtracking the darker, more melancholic corners of any dancefloor they urge you to "Roll up!" Making eager promises which thrill and disturb simultaneously like they're proprietors of some Victorian sideshow carnival and they very well might be, they're certainly the only show in town worth anything right now and you can't help but peer inside.
www.mekongdelta.co.uk
As an all female quartet in tune with their 'look' as much as their music it'd be easy to be distracted by the visuals but there's much more than mere style and mannequin moves. The bizzaro fairground atmospherics of "Smoke and Mirrors" is disorientating and seductive whereas the studied shimmer and Souxsie Sioux delivery of "Ears and Eyes" displays perfectly the foursome's knack of creating something fresh from the foundations of decades gone by. Think Marianne Faithfull, Nico era Velvets and the gothfather (and mother) roles of The Cure and The Banshees, but only as jumping off points. Sound like a humourless exercise in studied retro indulgence? Not a bit of it.
As the pace quickens and the crowd relax more Ipso Facto deliver a deliberately non-standard set of material the highlight of which is "Introducing", as infectious and vibrant a two minutes as you could hope for whilst maintaining the appearance of austerity. Soundtracking the darker, more melancholic corners of any dancefloor they urge you to "Roll up!" Making eager promises which thrill and disturb simultaneously like they're proprietors of some Victorian sideshow carnival and they very well might be, they're certainly the only show in town worth anything right now and you can't help but peer inside.
www.mekongdelta.co.uk
Monday, 15 September 2008
A Silent Film - The City That Sleeps
Beginning gently with the bouncing intro to “Sleeping Pills” Oxford’s A Silent Film set the tone for a confident, melodic debut album. The fact that the songs feature prominent piano and slip into minor keys from time to time will conjure up all manner of Coldplay and Keane comparisons but that’s hardly fair as they set about laying their own foundations.
Aside from the driving despair of “Thirteen Times the Strength” the stronger songs appear in the latter half of the album particularly with the triumvirate of “You Will Leave a Mark” with its dark, redemptive narrative of self-acceptance; the trilling, soaring gorgeousness of “Highest Regard” and the slow, articulate ebb of “Ghosts in the Water”.
There’s so much more at play here as the band search the human condition with a deftly inquisitive feel which is both filmic and literary. There’s enough drama and intrigue throughout to give the histrionic Muse a run for their money.
Perhaps in attaining this uplifting sound they find themselves too often at quite an emotional depth and it’d be something to throw caution to the wind and lift the mood occasionally but as a demonstration of lush, assured and aspirational songwriting this is a fantastic opening salvo.
www.myspace.com/asilentfilm
www.mekongdelta.co.uk
Aside from the driving despair of “Thirteen Times the Strength” the stronger songs appear in the latter half of the album particularly with the triumvirate of “You Will Leave a Mark” with its dark, redemptive narrative of self-acceptance; the trilling, soaring gorgeousness of “Highest Regard” and the slow, articulate ebb of “Ghosts in the Water”.
There’s so much more at play here as the band search the human condition with a deftly inquisitive feel which is both filmic and literary. There’s enough drama and intrigue throughout to give the histrionic Muse a run for their money.
Perhaps in attaining this uplifting sound they find themselves too often at quite an emotional depth and it’d be something to throw caution to the wind and lift the mood occasionally but as a demonstration of lush, assured and aspirational songwriting this is a fantastic opening salvo.
www.myspace.com/asilentfilm
www.mekongdelta.co.uk
Sunday, 14 September 2008
Fucked Up - The Chemistry of Common Life
Kicking off with the beautiful flute flourishes of “Son the Father” you’d be forgiven for wondering what the hell was going on here but as the band joins in we’re in familiar Fucked Up territory with rampant drums and vigorously swirling guitar patterns. Only a minute in and the hectoring, screaming, (anti) religiosity and, lets face it, the band's damn funny/sceptical take on the mysteries of birth, death and life begins - "It's hard enough being born in the first place: who'd want to be born again?" Brilliant.
"Golden Seal" takes on a mystical, searching tone as if divining the deepest secrets of the far flung universe. There are prog-rock leanings and it’s more than whimsy despite the determined beats throughout. There are continual twists and asides and images brought to mind - think Minor Threat soundtracking Hair for instance, bizarre but "Royal Swan" is that bastard lovechild!
It’s like Fucked Up are jamming with the Mahavishnu Orchestra or NEU! at times and it's fantastic. Soaring and ambitious and idiosyncratic. There's a definite feel of Buddhist mysticism about some of the songs whilst still they remain determined to question belief itself.
Guests include Katie Stelmanis and Vivian Girls who lend touches of subtlety, otherworldliness and balls out rock as required but as ever it's the hulking presence of Pink Eyes who growls, prowls and lunges throughout to thrilling effect. Fucked Up are making music like no hardcore band has before. Epic stuff.
www.matadorrecords.com/fucked_up/
www.mekongdelta.co.uk
"Golden Seal" takes on a mystical, searching tone as if divining the deepest secrets of the far flung universe. There are prog-rock leanings and it’s more than whimsy despite the determined beats throughout. There are continual twists and asides and images brought to mind - think Minor Threat soundtracking Hair for instance, bizarre but "Royal Swan" is that bastard lovechild!
It’s like Fucked Up are jamming with the Mahavishnu Orchestra or NEU! at times and it's fantastic. Soaring and ambitious and idiosyncratic. There's a definite feel of Buddhist mysticism about some of the songs whilst still they remain determined to question belief itself.
Guests include Katie Stelmanis and Vivian Girls who lend touches of subtlety, otherworldliness and balls out rock as required but as ever it's the hulking presence of Pink Eyes who growls, prowls and lunges throughout to thrilling effect. Fucked Up are making music like no hardcore band has before. Epic stuff.
www.matadorrecords.com/fucked_up/
www.mekongdelta.co.uk
Friday, 12 September 2008
Lights.Action, A Silent Film - Live: 10th Sept 2008
There are numerous similarities between all four bands playing tonight - most obviously in their 'searching' sound which longs to project itself from a vast stadium stage. Intelligent rock with hooks - so to speak.. But aside from these similarities there are also very obvious performance differences.
It's a shame that openers think:Fire are playing their swansong shows prior to disbanding as they mix passionate rock, melodic riffs and urgent, driving rhythms with sufficient assurance and cockiness to avoid rock clichés and invoke genuine warmth from the crowd. think:Fire’s confidence only goes to highlight Fall Short! Conform!’s limitations though. Their uneasy mix of strong post-rock tunes with poorly executed vocals and little stage presence fails to ignite and regrettably it comes as a slight relief when singer Graham Mason leaves the stage during the final song and allows the music some breathing space.
Oxford's A Silent Film appear to be the most anticipated band in the lineup and with compelling lead singer Robert Stevenson (hints of Chris Martin not withstanding) and their piano led anthems they don’t disappoint. Great pop songs like "You Will Leave a Mark" and "Highest Regard" also bring to mind the keening melodies of Scandinavian pop maestros Mew and even Aha in their prime - particularly the interplay with Lewis Jones' chiming guitar. Drawing from imminent album 'The City That Sleeps' the songs are sumptuously crafted and thrillingly delivered. Even the danceable bewilderment of covering Underworld's "Born Slippy" fits without jarring, no mean feat!
In part tonight’s gig draws comparisons between the bands respective frontmen and Lights.Action singer Patrick Currier effortlessly kicks himself to the top of the pile with great charisma and powerful vocals. This isn't a one man show however as the band also preview their debut album. "Signals to Radar", "Moscow" and "Hide And Seek" demonstrate Light.Action's knack for building epic tunes alongside brittle melody whilst remaining Pop at heart.
www.mekongdelta.co.uk
It's a shame that openers think:Fire are playing their swansong shows prior to disbanding as they mix passionate rock, melodic riffs and urgent, driving rhythms with sufficient assurance and cockiness to avoid rock clichés and invoke genuine warmth from the crowd. think:Fire’s confidence only goes to highlight Fall Short! Conform!’s limitations though. Their uneasy mix of strong post-rock tunes with poorly executed vocals and little stage presence fails to ignite and regrettably it comes as a slight relief when singer Graham Mason leaves the stage during the final song and allows the music some breathing space.
Oxford's A Silent Film appear to be the most anticipated band in the lineup and with compelling lead singer Robert Stevenson (hints of Chris Martin not withstanding) and their piano led anthems they don’t disappoint. Great pop songs like "You Will Leave a Mark" and "Highest Regard" also bring to mind the keening melodies of Scandinavian pop maestros Mew and even Aha in their prime - particularly the interplay with Lewis Jones' chiming guitar. Drawing from imminent album 'The City That Sleeps' the songs are sumptuously crafted and thrillingly delivered. Even the danceable bewilderment of covering Underworld's "Born Slippy" fits without jarring, no mean feat!
In part tonight’s gig draws comparisons between the bands respective frontmen and Lights.Action singer Patrick Currier effortlessly kicks himself to the top of the pile with great charisma and powerful vocals. This isn't a one man show however as the band also preview their debut album. "Signals to Radar", "Moscow" and "Hide And Seek" demonstrate Light.Action's knack for building epic tunes alongside brittle melody whilst remaining Pop at heart.
www.mekongdelta.co.uk
Wednesday, 30 July 2008
Martha Wainwright - Live: 27th July 2008
It must be hard being Martha.
Firstly there’s brother Rufus taking an enormous amount of praise for his career to date and of course her parents Loudon Wainwright III and Kate McGarrigle are music royalty to their fans too. Then you have Ms Wainwright and her brilliantly received debut album. Quite rightly standing outside on it’s own very accessible merit. But there a times when you wonder about the depth of her material and where she fit’s into the dynasty and beyond.
In the ‘zone’ and delivering a song like ‘Bloody Mother Fucking Asshole’ from her debut for instance, she’s a wonderous mix of fragility and revenge. Equally thrilling with sublime covers from Pink Floyd’s ‘See Emily Play and ‘Stormy Weather’ originally from Rufus’ camptastic Judy Garland concert sees the set book-ended brilliantly but the interim is a hotchpotch of new material from her ‘I Know You’re Married But I’ve Got Feelings Too’ album and to be perfectly frank it’s not very good.
The sparser moments like ‘Far Away’, just her and acoustic guitar, work best but the songs aided by the fuller band are very hit and miss. There’s a slickness with the band that doesn’t seem to marry with the singer/songwriter moments and at times this feels like a lack of conviction and passion – it’s a simple fact that on stage alone Martha’s so much more vulnerable and mesmerising and as a result the songs seem more heartfelt.
She still seems at times to be finding her way, discovering her own voice – not an easy task with all the Wainwright history – the moments where she does catch fire are brilliant you just wish there were more of them.
www.marthawainwright.com
www.mekongdelta.co.uk
Firstly there’s brother Rufus taking an enormous amount of praise for his career to date and of course her parents Loudon Wainwright III and Kate McGarrigle are music royalty to their fans too. Then you have Ms Wainwright and her brilliantly received debut album. Quite rightly standing outside on it’s own very accessible merit. But there a times when you wonder about the depth of her material and where she fit’s into the dynasty and beyond.
In the ‘zone’ and delivering a song like ‘Bloody Mother Fucking Asshole’ from her debut for instance, she’s a wonderous mix of fragility and revenge. Equally thrilling with sublime covers from Pink Floyd’s ‘See Emily Play and ‘Stormy Weather’ originally from Rufus’ camptastic Judy Garland concert sees the set book-ended brilliantly but the interim is a hotchpotch of new material from her ‘I Know You’re Married But I’ve Got Feelings Too’ album and to be perfectly frank it’s not very good.
The sparser moments like ‘Far Away’, just her and acoustic guitar, work best but the songs aided by the fuller band are very hit and miss. There’s a slickness with the band that doesn’t seem to marry with the singer/songwriter moments and at times this feels like a lack of conviction and passion – it’s a simple fact that on stage alone Martha’s so much more vulnerable and mesmerising and as a result the songs seem more heartfelt.
She still seems at times to be finding her way, discovering her own voice – not an easy task with all the Wainwright history – the moments where she does catch fire are brilliant you just wish there were more of them.
www.marthawainwright.com
www.mekongdelta.co.uk
Tuesday, 15 July 2008
Kyte, Sona Di, Mariposa - Live: 14th Jul 2010
Having seen Mariposa a fair few times I know how inspirational and challenging they can be to ‘get in to’. A cold venue with only a dozen other souls for company only adds to the challenge and tonight for all the intense layering and rhythmic building of their set by the time Holly and Matt are done, their crescendo ringing off the walls, I’m still not quite there. Mariposa’s music I’ve found relies heavily on context, and personal mood where I’m concerned and tonight that bit of chemistry just wasn’t apparent. I blame myself.
Sona Di are a trio who you feel are still defining their own sound. They produce a set tonight which is very familiar to anyone aware of the post-rock bands like Explosions in the Sky or Mogwai for instance and whilst they’re rough and raw and undisciplined – in a good way – they don’t simply ape these bands. Tonight I get the impression they’re trying to break into something different and attempt something new. I’m not sure what that might be and I doubt they’re too sure either right now but the potential is there all the same.
So tonight’s headliners are Kyte a five piece from Leicestershire who have already moved out to a wider consciousness despite very humble and gentle demeanours. The bulk of their set covers their recent self-titled mini album. Time doesn’t appear to be on their side as they seem to rip through the material whereas on CD the songs are given space to breathe a bit more. “Sunlight”, “Secular Ventures” and “Boundaries” are the standouts musically. The sparse crowd whoops and hollers enthusiastically and the band seem genuinely shy in receiving the applause but there’s some great material to come in future so that's definitely something they'll have to get used to.
www.myspace.com/kyteband
www.mekongdelta.co.uk
Sona Di are a trio who you feel are still defining their own sound. They produce a set tonight which is very familiar to anyone aware of the post-rock bands like Explosions in the Sky or Mogwai for instance and whilst they’re rough and raw and undisciplined – in a good way – they don’t simply ape these bands. Tonight I get the impression they’re trying to break into something different and attempt something new. I’m not sure what that might be and I doubt they’re too sure either right now but the potential is there all the same.
So tonight’s headliners are Kyte a five piece from Leicestershire who have already moved out to a wider consciousness despite very humble and gentle demeanours. The bulk of their set covers their recent self-titled mini album. Time doesn’t appear to be on their side as they seem to rip through the material whereas on CD the songs are given space to breathe a bit more. “Sunlight”, “Secular Ventures” and “Boundaries” are the standouts musically. The sparse crowd whoops and hollers enthusiastically and the band seem genuinely shy in receiving the applause but there’s some great material to come in future so that's definitely something they'll have to get used to.
www.myspace.com/kyteband
www.mekongdelta.co.uk
Monday, 21 April 2008
Low - Live: 18th Apr 2008
The reverence paid to Low is something few people might understand, certainly anyone not inside The Sage tonight to witness this rarest of shows might query the worship at least. Low, the trio of Alan Sparhawk, Mimi Taylor and Steve Garrington are so unassuming on stage and beguiling whilst creating such minimal music, so sparse it's paradoxically weightier in expectation.
The 'quietest band' ever tag has followed, even plagued, them throughout their career and as a direct response to this, to losing long time former bassist Zak Sally and perhaps commentating more overtly on the 'noise' of modern life with all it's horrors and doubts their recent albums, 2005's 'The Great Destroyer' and 2007's 'Drums and Guns' saw the amps turned up and buzzing, sampled undercurrents flowing throughout.
It's from Drums and Guns that the backbone of tonight's set is compiled. 'Dragonfly', 'Murderer' and 'Sandinista' stand out as the pitch perfect vocals spar with the visceral music. But it's certainly not the doom and gloomfest any unfamiliar listener might expect, Sparhawk in particular is on jocular form dealing with the occasional request for a 'hit' shouted from a darkened corner. It must be difficult to be held in such high esteem where fans have such a breadth of favourites that you can only cull from the set.
Still there are many songs cherry picked from the many other great albums spanning Low's 15 year career which are included. Seminal album 'Things We Lost In The Fire' gets a good airing, 'Sunflower', 'In Metal' and the ultra minimal 'Laser Beam' are sublime and when 'Dinosaur Act' Kicks in there's a warm glow around the gathered crowd. Other gems include a lengthy version of 'Pissing' full of foreboding and dread and the simply beautiful 'Lion/Lamb' and whereas I could happily sit through a few more hours at least I have to concede to being sated enough and after one encore the sermon is over.
www.chairkickers.com
www.mekongdelta.co.uk
The 'quietest band' ever tag has followed, even plagued, them throughout their career and as a direct response to this, to losing long time former bassist Zak Sally and perhaps commentating more overtly on the 'noise' of modern life with all it's horrors and doubts their recent albums, 2005's 'The Great Destroyer' and 2007's 'Drums and Guns' saw the amps turned up and buzzing, sampled undercurrents flowing throughout.
It's from Drums and Guns that the backbone of tonight's set is compiled. 'Dragonfly', 'Murderer' and 'Sandinista' stand out as the pitch perfect vocals spar with the visceral music. But it's certainly not the doom and gloomfest any unfamiliar listener might expect, Sparhawk in particular is on jocular form dealing with the occasional request for a 'hit' shouted from a darkened corner. It must be difficult to be held in such high esteem where fans have such a breadth of favourites that you can only cull from the set.
Still there are many songs cherry picked from the many other great albums spanning Low's 15 year career which are included. Seminal album 'Things We Lost In The Fire' gets a good airing, 'Sunflower', 'In Metal' and the ultra minimal 'Laser Beam' are sublime and when 'Dinosaur Act' Kicks in there's a warm glow around the gathered crowd. Other gems include a lengthy version of 'Pissing' full of foreboding and dread and the simply beautiful 'Lion/Lamb' and whereas I could happily sit through a few more hours at least I have to concede to being sated enough and after one encore the sermon is over.
www.chairkickers.com
www.mekongdelta.co.uk
Friday, 18 April 2008
Blood Red Shoes - Live: 16th Apr 2008
A succinct appraisal of the two support acts tonight from two gig attending friends - 1984 (Gallic three piece with one tune) Friend 1, "France Ferdinand"; Them Amazing Babies (from Newcastle with no tunes) Friend 2 - mishearing singer "Did he say,'Them Disabled Babies'?". Quite possibly...
So to Blood Red Shoes who keep us waiting an interminable amount of time for no real reason it seems. Fears that they've gone for a few jars around town and had the soft southern shite kicked out of their pretty heads are eventually dispelled though and although they tentatively take to the stage like a pair of frightened rabbits Laura-Mary and Steven soon find their stride. Opening with 'It's Getting Boring By The Sea' one of the catchiest moments from debut album 'Box Full of Secrets' the pace doesn't really relent for the full set bar a few gasps for breathe from the energetic duo. 'You Bring Me Down' and 'I Wish I was Someone Better' keep the tempo high.
Watching Blood Red Shoes is a bit like watching tennis in that your eyes are always darting back and forth as they thrash on the guitar and drums respectively and duel with the vocals. The album's fantastic and live they make even more sense as they manage to make an impossibly loud (metal!?) sound at times. It's a a genuine pleasure they they seem bemused whilst humbly smiling when the crowd claps and sings along. They've got a modesty which will probably be lose it's soft edge over time but right now it's translated into an enthusiasm for simply playing their album to the people who've bought it.
Returning to the stage for an encore they play off the setlist and take requests from the floor. To be totally honest they pair look knackered and it's with a relief I suspect that they finish up and promise to come back sooner than the 18 months since their last visit. Good, can't wait.
www.bloodredshoes.co.uk
www.mekongdelta.co.uk
So to Blood Red Shoes who keep us waiting an interminable amount of time for no real reason it seems. Fears that they've gone for a few jars around town and had the soft southern shite kicked out of their pretty heads are eventually dispelled though and although they tentatively take to the stage like a pair of frightened rabbits Laura-Mary and Steven soon find their stride. Opening with 'It's Getting Boring By The Sea' one of the catchiest moments from debut album 'Box Full of Secrets' the pace doesn't really relent for the full set bar a few gasps for breathe from the energetic duo. 'You Bring Me Down' and 'I Wish I was Someone Better' keep the tempo high.
Watching Blood Red Shoes is a bit like watching tennis in that your eyes are always darting back and forth as they thrash on the guitar and drums respectively and duel with the vocals. The album's fantastic and live they make even more sense as they manage to make an impossibly loud (metal!?) sound at times. It's a a genuine pleasure they they seem bemused whilst humbly smiling when the crowd claps and sings along. They've got a modesty which will probably be lose it's soft edge over time but right now it's translated into an enthusiasm for simply playing their album to the people who've bought it.
Returning to the stage for an encore they play off the setlist and take requests from the floor. To be totally honest they pair look knackered and it's with a relief I suspect that they finish up and promise to come back sooner than the 18 months since their last visit. Good, can't wait.
www.bloodredshoes.co.uk
www.mekongdelta.co.uk
Monday, 24 March 2008
The Rifles, The Maybes - Live: 20th Mar 2008
Opening up for any headliner is an unenviable task at the best of times, the early start, the uninterested crowd and when you're a fledgling band on the road with The Rifles, as vibrant onstage as the fans are off, its a task which definitely sorts the men from the boys. Sadly The Maybes are far to timid to shine one their own merit.
They make it through a handful of pretty standard rock 'tunes' before embarking on a completely leftfield danceable number (a la The Music) that the previous twenty minutes seems even more redundant. It doesn't give me any pleasure to describe them as a schizophrenic band with zero personality worth caring about unfortunately.
The Rifles on the other hand have attitude, desire and and tunes dripping from their every pore and the wherewithal to put it all together on stage. Airing their debut album and a few new songs it's the more familiar numbers which shine of course. 'She's Got Standards', 'Peace & Quiet' and 'One Night Stand' are all particularly sublime as Academy 2 does it's very best to burst at the seams with a vigorously up-for-it crowd - it seems slight to choose a few songs from the set tonight as they are pretty much faultless throughout. There's plenty of interplay with the crowd - indeed the band seem surprised at the devoted reception they're getting - but they're damn entertaining so there's no mystery.
There's some pretty raucous dancing too, the kind which sees the first dozen rows pressed hard against the barriers and gasping for air. It's not often that a gig leaves you this breathless (literally) it really feels like there are bigger things on the verge of happening for The Rifles and seeing them get an overwhelmingly positive response is just the start.
www.myspace.com/therifles
www.mekongdelta.co.uk
They make it through a handful of pretty standard rock 'tunes' before embarking on a completely leftfield danceable number (a la The Music) that the previous twenty minutes seems even more redundant. It doesn't give me any pleasure to describe them as a schizophrenic band with zero personality worth caring about unfortunately.
The Rifles on the other hand have attitude, desire and and tunes dripping from their every pore and the wherewithal to put it all together on stage. Airing their debut album and a few new songs it's the more familiar numbers which shine of course. 'She's Got Standards', 'Peace & Quiet' and 'One Night Stand' are all particularly sublime as Academy 2 does it's very best to burst at the seams with a vigorously up-for-it crowd - it seems slight to choose a few songs from the set tonight as they are pretty much faultless throughout. There's plenty of interplay with the crowd - indeed the band seem surprised at the devoted reception they're getting - but they're damn entertaining so there's no mystery.
There's some pretty raucous dancing too, the kind which sees the first dozen rows pressed hard against the barriers and gasping for air. It's not often that a gig leaves you this breathless (literally) it really feels like there are bigger things on the verge of happening for The Rifles and seeing them get an overwhelmingly positive response is just the start.
www.myspace.com/therifles
www.mekongdelta.co.uk
Thursday, 21 February 2008
Glasvegas - Live: 18th Feb 2008
So the mood is intense and anticipatory on both sides, crowd and band. The fact that 'Daddy's Gone' has been played ad infinitum on the radio has drawn out the hordes it seems. The curious. It's a strange atmosphere to say the least.
Taking to the stage accompanied by the low rumble of their intro music Glasvegas don't look overawed, of course they're probably getting used to this, and they fire up their guitars welding their noise to that emitted by the PA.
This isn't quite what I was expecting. I thought more bluff pop rock was on the cards. Instead this has an air of threat and contempt. It's a cloud of building squall and dimly lit stage. Maybe I'm wrong, I think, perhaps Glasvegas are meeting the acclaim and attention head on with a hardened front. Or maybe we're being sold a pup by The Man and this is the true Glasvegas, who knows?
It's almost funny to witness the crowd in small puzzled pockets waking up gradually to the tone of the set. The tunes are there of course - the ‘hits’, the aforementioned “Daddy's Gone” “It’s My Own Cheating Heart" most noticeable - and they do stand out like glowing hot coals amidst the embers of the rest of the set which isn’t quite so instant. There’s more than a passing reason to images The Clash hanging out along the M8 rather than Westway – not only in the look, but with the self deprecating, sneering vocal and the social commentary of the the lyrics. Maybe I’m reaching?
It matters not one iota in the end though. We've seen them play and if a clutch of bodies leave perhaps slightly confused as to their true personality it's more than most bands manage. Not a gushing recommendation but an honest to God attempt at saying they had its moments.
www.glasvegas.net
www.mekongdelta.co.uk
Taking to the stage accompanied by the low rumble of their intro music Glasvegas don't look overawed, of course they're probably getting used to this, and they fire up their guitars welding their noise to that emitted by the PA.
This isn't quite what I was expecting. I thought more bluff pop rock was on the cards. Instead this has an air of threat and contempt. It's a cloud of building squall and dimly lit stage. Maybe I'm wrong, I think, perhaps Glasvegas are meeting the acclaim and attention head on with a hardened front. Or maybe we're being sold a pup by The Man and this is the true Glasvegas, who knows?
It's almost funny to witness the crowd in small puzzled pockets waking up gradually to the tone of the set. The tunes are there of course - the ‘hits’, the aforementioned “Daddy's Gone” “It’s My Own Cheating Heart" most noticeable - and they do stand out like glowing hot coals amidst the embers of the rest of the set which isn’t quite so instant. There’s more than a passing reason to images The Clash hanging out along the M8 rather than Westway – not only in the look, but with the self deprecating, sneering vocal and the social commentary of the the lyrics. Maybe I’m reaching?
It matters not one iota in the end though. We've seen them play and if a clutch of bodies leave perhaps slightly confused as to their true personality it's more than most bands manage. Not a gushing recommendation but an honest to God attempt at saying they had its moments.
www.glasvegas.net
www.mekongdelta.co.uk
Friday, 15 February 2008
Blood Red Shoes - Box of Secrets
I’ve been keen on hearing more from Blood Red Shoes for a long time. They’ve been building up to this point, their debut album release. But then there’s that knot in the stomach when the album comes through. The question comes up, rears it’s bloody head…what if it’s not that good?
I’ll tell you now it is that good. But it might not be that apparent on initial listening. Possibly down to the very fact that the album’s been a long time coming and a slew of singles and Myspace songs and labels down the line BRS have fixed a series of delicious pop songs in my head. So I’m approaching it from that angle – I want sardonic, brassy pop, feed me the catchy songs.
The album’s really canny though and drip feeds the new tunes amongst the familiar ones sparingly. Two or three listens and the newer songs like “Try Harder” and “ Say Something Say Anything” which grab you by through on first listen become every bit as catchy and as those better known numbers “ADHD” and “It’s Getting Boring By The Sea” but retain their vibrancy. One slight gripe, and it’s a purely personal subjective thing, I prefer the songs where Laura Mary takes the leads vocals over Steve’s mainly down to her laconic, apparently dismissive delivery. Cleverly knowing and sharp as a tack.
All told Blood Red Shoes are a pair heading squarely and rapidly into the ‘mainstream’ and as one who’s followed their progress with a keen ear and an accompanying whistle “Box of Secrets” is the ideal record to take them there.
http://www.myspace.com/bloodredshoes
www.mekongdelta.co.uk
Paramore - Live: 14th Feb 2008
Due to a problem with missed flights or some such rockstar crisis tonight’s gig has rather neatly been postponed by a couple of days and finds a new home on Valentine’s Day. Fittingly the serendipity of this is not lost on Hayley Williams the lead nymphet with Paramore.
We’re continually reminded that we’ve chosen to join the band on this romantic occasion as she coyly flirts with the mass of lusting teenage hormones in the room, for which they are eternally grateful. You're welcome.
Musically the gig’s a bit of a rollercoaster. There’s a lack of any obvious flow and a few technical hitches threaten to overwhelm the set as the crew get an ample amount of onstage time themselves fixing mic leads etc. But thankfully these issues are treated with good humour by the band and they take it all in their stride.
There’s a comical effect before me stood at the back of the venue as I am – hey there are some young bodies in here tonight and being crushed in amongst that throng would be really inappropriate believe me – anyhow, the effect is, Hayley runs stage left and the crowd veers left with her, she runs stage right and they flock like starlings after the object of their desire. That the first ten rows are predominantly teenage males of an ‘emo’ persuasion should not be that surprising.
Having stormed through ‘Riot!’ and the highlights of first album ‘All We Know Is Falling’ the band exit and the crowd patiently awaits their return to play the hit and duly obliging Paramore come back to bluster through current single ‘Misery Business’. Back of the net. Grandstand finish!
I’m sure that without Ms Williams - sassy Avril Lavigne meets ‘Hard Candy’ Ellen Page - Paramore wouldn’t be quite the draw they are but they are all out fun and the addition of songs chock full of pop-rock hooks they can’t possibly fail.
www.paramore.net
www.mekongdelta.co.uk
We’re continually reminded that we’ve chosen to join the band on this romantic occasion as she coyly flirts with the mass of lusting teenage hormones in the room, for which they are eternally grateful. You're welcome.
Musically the gig’s a bit of a rollercoaster. There’s a lack of any obvious flow and a few technical hitches threaten to overwhelm the set as the crew get an ample amount of onstage time themselves fixing mic leads etc. But thankfully these issues are treated with good humour by the band and they take it all in their stride.
There’s a comical effect before me stood at the back of the venue as I am – hey there are some young bodies in here tonight and being crushed in amongst that throng would be really inappropriate believe me – anyhow, the effect is, Hayley runs stage left and the crowd veers left with her, she runs stage right and they flock like starlings after the object of their desire. That the first ten rows are predominantly teenage males of an ‘emo’ persuasion should not be that surprising.
Having stormed through ‘Riot!’ and the highlights of first album ‘All We Know Is Falling’ the band exit and the crowd patiently awaits their return to play the hit and duly obliging Paramore come back to bluster through current single ‘Misery Business’. Back of the net. Grandstand finish!
I’m sure that without Ms Williams - sassy Avril Lavigne meets ‘Hard Candy’ Ellen Page - Paramore wouldn’t be quite the draw they are but they are all out fun and the addition of songs chock full of pop-rock hooks they can’t possibly fail.
www.paramore.net
www.mekongdelta.co.uk
Sunday, 27 January 2008
30 Seconds To Mars - Live: 24th Jan 2008
In a parallel universe I am Jared Leto. I’m stood stage front playing the part of the skinny, alienated outsider. Bellowing into the face of indifference or authority or whatever else one should rail against as a confused and impressionable teen. I’m the rock god in black leather with kids hanging on my every word and move.
Ripping up the status quo and disquieting the audience with a series of carefully constructed epic rock tunes is pretty much what tonight’s all about and it’s difficult not to be aware, in the midst of this, that this is Jared ‘Hollywood actor’ Leto’s band. The phrasing and the precision with which their set is executed gives you the impression of being rehearsed into oblivion and with that there’s inevitably a questioning of how genuine the bands purported ‘love’ for the crowd can be. Aren’t they simply acting at being rockstars? Singing from a script worthy of any movie?
But there’s a point during tonight’s gig where the bombast and the art of ‘show’ is not the first thing that hit’s you. When the opening bars of ‘From Yesterday’ chime out it’s a surprisingly affecting experience. Suddenly I am Jared Leto. Rock Star. Keeping up a frenetic pace throughout as they give us the majority of their two albums to date. As cheesy and naïve as it possibly sounds coming from a thirty five year old who should know better the rest of the set take on a different context. The stronger songs still shine live as on album, ‘A Beautiful Lie’ and ‘The Kill’ in particular mix melody and brutal energy wonderfully.
It’s just a bloody great performance where instead of focusing on my own cynical idea of their artifice there’s an open acknowledgement that at their heart the band, all four members, are fucking great entertainers.
www.30secondstomars.com
www.mekongdelta.co.uk
Ripping up the status quo and disquieting the audience with a series of carefully constructed epic rock tunes is pretty much what tonight’s all about and it’s difficult not to be aware, in the midst of this, that this is Jared ‘Hollywood actor’ Leto’s band. The phrasing and the precision with which their set is executed gives you the impression of being rehearsed into oblivion and with that there’s inevitably a questioning of how genuine the bands purported ‘love’ for the crowd can be. Aren’t they simply acting at being rockstars? Singing from a script worthy of any movie?
But there’s a point during tonight’s gig where the bombast and the art of ‘show’ is not the first thing that hit’s you. When the opening bars of ‘From Yesterday’ chime out it’s a surprisingly affecting experience. Suddenly I am Jared Leto. Rock Star. Keeping up a frenetic pace throughout as they give us the majority of their two albums to date. As cheesy and naïve as it possibly sounds coming from a thirty five year old who should know better the rest of the set take on a different context. The stronger songs still shine live as on album, ‘A Beautiful Lie’ and ‘The Kill’ in particular mix melody and brutal energy wonderfully.
It’s just a bloody great performance where instead of focusing on my own cynical idea of their artifice there’s an open acknowledgement that at their heart the band, all four members, are fucking great entertainers.
www.30secondstomars.com
www.mekongdelta.co.uk
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