Gazing at the stage I appear to be looking directly into Vessels studio set up. They’ve got everything up to the kitchen sink, plugged in, amped up, locked in and eager to go. The density of the quintet’s songs would appear to warrant such a diversity of instruments and personnel.
My only previous exposure to Vessels comes in the form of their single Yuki, a sublime, shimmering evocation of melancholy so the intensity and outright ferocity in tonight’s set comes as a slight surprise. Still underpinned by glorious melody but with brutal beats and lacerating guitars songs like‘ An Idle Brain and The Devil’s Workshop’ and‘The Beast’ threaten to overpower, skirt the edges with their intent to spill into chaos, but there’s far more to Vessels than winding noise into an extreme apex or trilling complex figure on the fretboad, kind of like a far less shouty Liars chilling out more.
I suppose there may be a cause to label Vessels with the‘math-rock’ tag somewhere along the line but whilst this can apply one minute the managed to wriggle free and become something else, something unique which is no small feat. Fans of the usual (mostly) instrumental-rock suspects will undoubtedly love Vessels with a passion and for anyone seeking something fresh in a genre often easily aped will be blown away.
www.myspace.com/vesselsband
www.mekongdelta.co.uk
Saturday, 11 April 2009
Wednesday, 11 March 2009
Wildbirds & Peacedrums - The Snake
As Andreas Werlin’s pagan drum beats rain down relentlessly and the deep vocals of Mariam Wallentin ululate in primitive, tribal sympathy the listener is transported beyond musical genres, not merely jazz influenced, or avant/experimental either, yet this still feels like it’s coming from as spiritual or earthy a place as previous material.
Hearing ‘The Snake’ flattens things out a bit, makes the world appear a simpler place, the intuitive interplay at the heart of Wildbirds & Peacedrums follow up to their debut album ‘Heartcore’ deconstructs the ecstatic energy of their first release and adds additional percussive melody into the mix - piano, marimba and xylophone all get a look in this time around.
There’s much more going on this time around, aurally speaking, even occasional concessions to structure that lead a song like ‘My Heart’ into the realms of folk-pop, but fear not there are still more than enough primal eruptions and rhythmic virtuosity to keep the duo bedded firmly in the ‘specialist’ category for the time being. Still, as niche as it may be perceived ‘The Snake’ resonates with unerring heart and soul and burns with a bewitching vitality from it’s core.
www.myspace.com/wildbirdsandpeacedrums
www.mekongdelta.co.uk
Hearing ‘The Snake’ flattens things out a bit, makes the world appear a simpler place, the intuitive interplay at the heart of Wildbirds & Peacedrums follow up to their debut album ‘Heartcore’ deconstructs the ecstatic energy of their first release and adds additional percussive melody into the mix - piano, marimba and xylophone all get a look in this time around.
There’s much more going on this time around, aurally speaking, even occasional concessions to structure that lead a song like ‘My Heart’ into the realms of folk-pop, but fear not there are still more than enough primal eruptions and rhythmic virtuosity to keep the duo bedded firmly in the ‘specialist’ category for the time being. Still, as niche as it may be perceived ‘The Snake’ resonates with unerring heart and soul and burns with a bewitching vitality from it’s core.
www.myspace.com/wildbirdsandpeacedrums
www.mekongdelta.co.uk
Thursday, 26 February 2009
Papercuts - You Can Have What You Want
Swirling with a DNA comprised of opiated Francois Hardy French pop mixed with Cocteau Twins and This Mortal Coil, ‘You Can Have What You Want’ is a swoon-some offering from Jason Quever – the ubiquitous androgynous vocal and multi-instrumentalist who is Papercuts – along with a few guest musicians.
There’s a warm analogue feel to the slightly anachronistic sounding songs which could well have been lifted from any Cocteau directed or Alain Delon starring arthouse movie. Indeed Jet Plane’s languid brushed beats and dense carousel sound conjures up the very image of Marianne Faithful in her motorcycle leathers, ubiquitous cigarette curling white smoke to the heavens.
There’s a definite and deliberate 60’s feel all round and it’s not clear whether this is an attempt to re-create or evoke the period, not that it particularly matters as there’s obviously a deep fascination and love at work here which strives to duplicate it meticulously. As an exercise in nostalgia it can’t be faulted but you do feel there was more to wring out of these songs and perhaps that’s why it feels slightly lacking at times, like the soul is ousted at the expense of creating an authentic sounding record.
www.mekongdelta.co.uk
There’s a warm analogue feel to the slightly anachronistic sounding songs which could well have been lifted from any Cocteau directed or Alain Delon starring arthouse movie. Indeed Jet Plane’s languid brushed beats and dense carousel sound conjures up the very image of Marianne Faithful in her motorcycle leathers, ubiquitous cigarette curling white smoke to the heavens.
There’s a definite and deliberate 60’s feel all round and it’s not clear whether this is an attempt to re-create or evoke the period, not that it particularly matters as there’s obviously a deep fascination and love at work here which strives to duplicate it meticulously. As an exercise in nostalgia it can’t be faulted but you do feel there was more to wring out of these songs and perhaps that’s why it feels slightly lacking at times, like the soul is ousted at the expense of creating an authentic sounding record.
www.mekongdelta.co.uk
Saturday, 14 February 2009
Lights.Action - Welcome to the New Cold World
Kicking of with the stately ‘Moscow’ a quick scan of some of the song titles ‘I Woke Up In the Civil War’, ‘Signals To Radar’, ‘The Bottom of The Sea’ and the album title for that matter, you may well spot a thematic conceit and you’d be partially right. This debut from London’s Lights Action is about conflict but mostly as metaphor for interpersonal spats, hollow victory and exhausted defeat.
Easily able to summon up an epic chorus with ‘Travellin’ Man’ or produce a subtler moment of reflection in ‘I Woke Up In the Civil War’, the band lead you through a bewildering array of lyrical tales.
‘Signals To Radar’ is an undoubted single with its soaring expression of love destined forever to miss its mark. Mention must go to singer Patrick Currier’s extraordinary voice which is gargantuan rock one minute, whispered confessional the next and always pitched with a melodic lilt. But this isn’t a one man show, the music which drives these songs is as visceral and tender as any vocal and every song is densely packed.
Did I say densely packed? Understatement. Everything but the kitchen sink is in the mix – but it never sounds like overkill - an Antony Hegarty-style vocal from ‘Black Feathers’, R.E.M. melody and insouciance ‘Until The Day I Die’, the irregular percussive stutters of Bloc Party throughout. Each fresh listen throws up a new favourite song and shows a band in complete control.
www.myspace.com/lightsactionband
www.mekongdelta.co.uk
Easily able to summon up an epic chorus with ‘Travellin’ Man’ or produce a subtler moment of reflection in ‘I Woke Up In the Civil War’, the band lead you through a bewildering array of lyrical tales.
‘Signals To Radar’ is an undoubted single with its soaring expression of love destined forever to miss its mark. Mention must go to singer Patrick Currier’s extraordinary voice which is gargantuan rock one minute, whispered confessional the next and always pitched with a melodic lilt. But this isn’t a one man show, the music which drives these songs is as visceral and tender as any vocal and every song is densely packed.
Did I say densely packed? Understatement. Everything but the kitchen sink is in the mix – but it never sounds like overkill - an Antony Hegarty-style vocal from ‘Black Feathers’, R.E.M. melody and insouciance ‘Until The Day I Die’, the irregular percussive stutters of Bloc Party throughout. Each fresh listen throws up a new favourite song and shows a band in complete control.
www.myspace.com/lightsactionband
www.mekongdelta.co.uk
Thursday, 12 February 2009
The Decemberists - The Hazards of Love
Long, long ago in a galaxy far, far away I fell in love with The Decemberists.
The charm and wit of their anachronistic tales are as compelling a lesson in historical entertainment as any film. Their songs drip with villainy, buxom wenches and fevered deception but speak just as much about modern guilt and confusion.
Five full albums into a career which seems to have scandalously passed the majority by until 2006’s ‘The Crane Wife’ comes this 17 song suite ‘The Hazards of Love’, by far their most accomplished release. Too easily and too long dismissed as Arcade Fire knock offs, The Decemberists have a sustained body of work which is arguably better than their Canadian contemporaries.
Here, bursting with rockier moments and following familiar lyrical territory without sounding formulaic, the band present the story of Margaret, ravaged by her lover – a shape shifting animal – through various character arcs and songwriter/vocalist Colin Meloy’s narrative, counterpointed by guest contributions from Becky Stark (Lavender Diamond), Shara Worden (My Brightest Diamond) and Jim James (My Morning Jacket).
When it’s usually easy to isolate a track or two from most albums ‘The Hazards of Love’ defies convention, demanding you listen from start to finish and be amply rewarded for doing so. That said, ‘The Wanting Comes in Waves/Repaid’ – a brilliant melding of folk and blistering metal - is a standout piece as is the piquant pop and foppery of ‘The Rakes Song’.
A perfect album. So where do they go from here?
www.decemberists.com
www.mekongdelta.co.uk
The charm and wit of their anachronistic tales are as compelling a lesson in historical entertainment as any film. Their songs drip with villainy, buxom wenches and fevered deception but speak just as much about modern guilt and confusion.
Five full albums into a career which seems to have scandalously passed the majority by until 2006’s ‘The Crane Wife’ comes this 17 song suite ‘The Hazards of Love’, by far their most accomplished release. Too easily and too long dismissed as Arcade Fire knock offs, The Decemberists have a sustained body of work which is arguably better than their Canadian contemporaries.
Here, bursting with rockier moments and following familiar lyrical territory without sounding formulaic, the band present the story of Margaret, ravaged by her lover – a shape shifting animal – through various character arcs and songwriter/vocalist Colin Meloy’s narrative, counterpointed by guest contributions from Becky Stark (Lavender Diamond), Shara Worden (My Brightest Diamond) and Jim James (My Morning Jacket).
When it’s usually easy to isolate a track or two from most albums ‘The Hazards of Love’ defies convention, demanding you listen from start to finish and be amply rewarded for doing so. That said, ‘The Wanting Comes in Waves/Repaid’ – a brilliant melding of folk and blistering metal - is a standout piece as is the piquant pop and foppery of ‘The Rakes Song’.
A perfect album. So where do they go from here?
www.decemberists.com
www.mekongdelta.co.uk
Monday, 24 November 2008
Little Boots, Heartbreak - Live: 22nd Nov 2008
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
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
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
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