I am always infeasibly pleased to have comments on any of the postings so imagine my childlike joy to have TWO for the Deep Sht post -truly I must have alighted upon something wondrous. The first of course was from the ever-watchful IDS but the second from a person unknown to me - huzzah!
Well apparently the enigmatic 文章 said 灰心是動搖的開端，動搖是失敗的近鄰。- of course I was overwhelmed by the insight fullness of this but had to useGoogle translator to check. App arently 'Article' feels that "Discouraged is to destabilize the beginning of a failure of the neighbors shaken." - how true, how wise...
I would much rather believe that I have inadvertently communed with someone of like interests in a far-off land than say, perhaps, a potentially dodgy young lady web site that thelink might point to.
Unashamedly here because of the track title, first heard of this London based one-piece (although there are clearly three of them on the vid) on a KEXP podcast by DJ Rachel Ratner. The video certainly isn't of the highest quality and the tracks of course sound better on Myspace. Hector and No No Mr Greenspan can be downloaded from RCRDLBL
Unable to rock up to the gig as planned due to a diary clash (OK it was my fault - I didn't put in the diary) and finding myself in London seeing other ageing alumni of the Ecole Superieure de Commerce in Reims to celebrate the 50th ( yes count them ) of Bernice Sweeney, the role of gig correspondent falls to IDS.... ladieeees and gentlemeehhn...
** Dearest reader, please be aware that this review has been written by a rank amateur wordsmith… please do not be too judgmental.
In the unfortunate absence of Mr. & Mrs. RHC, myself (IDS) and Mrs. IDS took the bold step of attending the Nick Drake tribute “Way to Blue” at the Warwick Art Centre sans escort. The venue itself was a triumph of ample leg spaced seating and beautifully balanced acoustics. A fab start to an evening which promised plenty!
It is important that you understand, at this stage, that I have been “like a bottle of pop” for weeks at the mere prospect of this gig… being a massive Scott Matthews “groupie” (as RHC so delicately puts it), the promise of the combination of fine tunes coupled with the occasional appearance of Mr. Matthews was a treat not to be missed.
We took our seats; not exactly front, but nicely central and waited with anticipation…
First up, Robyn Hitchcock performing Parasite – personally, and contrary to other, more/better “informed” opinion (The Independent), we felt he set a level for the evening that in ordinary circumstances would have been easy to surpass. However, the now almost iconic Green Gartside failed, and even Scott Matthews although providing a much needed breath of fresh air, seemed somehow removed at times.
Thankfully, Kirsty Almeida, Lisa Hanningham and Krystle Warren provided moments of inspiration; each delivering an individual, beautiful homage to the late and great Mr. Drake.
During the interval Scott Matthews was gracious enough to sign my program “Big love Scott Matthews X”, arrrr *sigh*.
Round two, also seemed to pass me by – Vashti Bunyan provided moments of painful amusement performing a rendition of a Molly Drake tune, but probably not as exciting to find that Crossroad Motel’s Nicola Freeman aka. Gabrielle Drake was seated three rows away from us!
Having said all this the “band” driven by Kate St John and including the incredible Danny Thompson on Bass were completely outstanding and at times mesmerizing.
A much deserved final word must go to the “ *?!*ing woman” seated behind us – if you must tap your feet/kick chairs, please make sure that you are listening to the same music as everyone else, and, surely every mention of Nick Drake’s name can not merit a “Whoop”.
A couple of new chaps to me and a favourite putting out some new material.
The Mantles are a San Francisco bay bunch, proudly proclaiming their (or maybe their parents) record collection influences. They clearly fit alongside The Girls with this charmingly, and welcome retro, Yardbirds sort of stuff. It makes me feel like its 1969 all over again . the track Don;t Lie can be streamed or downloaded from Siltbreeze
These Monstersare a different kettle of fish. Leeds based they are an intriguing mix of
of early Gong saxophone, twangs of Hawkwind and something strangely orchestral in a post-rocky portentous sort of way. Reportedly a great live band - out playing with Mono, iLiketrains etc - they have this self made schlock gothic video to accompany a track from their album that is due for release at the start of March
first hearing the frankly monumental and magnificent Condor and River in all its 16 minute or whatever glory. They produce grand, cinematic and sometimes a bit gothic (here we go again) sounds. Having recently expanded into a six piece, the sound feels even more crafted, uncompromising and from the heart. They have a new three track EP, Long Grass, released prior to their debut album, that can be downloaded or purchased in one of its artistic formats from Denovali who are also streaming the frankly wonderful three tracks
Well it seems there is some benefit to end of year listings other than just proclaiming your favourites and perhaps trying to look cool with a few left of field artistes. They have nudged me to check a few otherwise unkown or un-listened to bands:
AA Bondy has had numerous plaudits for When the Devil's Loose and I can see why. Laid-back, articulate and beautifully constructed, it may take some time to sink in but given a little time it will. The BBC review sums it up for me and tracks are of course streamed via Myspace .
The Rural Alberta Advantage sound as much a statement
as a band. The album, Hometowns, is full of nostalgia and emotion, serious songs played seriously. Pitchfork of course have an excellent review and Myspace streams
Doveman is the slightly fey band title for Thomas Bartlett keyboard player with a slew of quality musicians including The National, Antony and the Johnsons, The Swell season amongst them. The fragile and quiet songs with multiple guest appearances are affecting and although I can see how some find his vocals odd they sound good to me on this his third album, The Conformist. Again Pitchfork reviews and Myspace streams
Finally something for later in the year - Broken Bells is a project between Danger Mouse and James mercer, guitarist and vocalist of The Shins. There is a load of dubious web hype knocking around but from the one track out there at present, The High Road, it sounds like it may well be a good set of work. The Broken Bells have a web site and the single streams from Myspace
Is it unbearably tragic to do a Best of... listing? Tough, everyone seems to be doing it. I skimmed the NPR list and found much I agreed with and thought this possibly not a good thing, after all should I be aligned with such cross-Atlantic preferences? But then I looked at the Drowned In Sound version which was even more unsatisfactory, trying so hard as it seemed to be oh so out there and hip... Anyhoo for the record and for what its worth here is my top 10 of 2009 - but even as I write I can't be sure - oh to be decisive
No 1 - AndrewBird - Noble Beast
Possibly my most frequently played album of the year, quite mesmeric and beguiling. Andrew Bird Myspace
No 2 - Lonely Dear - Dear John
A mate of Mr Bird, this album too was on heavy rotation, an almost symphonic flavour to it at times. Lonely Dear Myspace
No 3 - Grizzly Bear - Vekatimest
This one took way to long to get under my skin, but it has and a very fine set of work it is too. Grizzly Bear Myspace
No 4 - Dark Soul of the Night
Crying shame this hasn't officially seen the light of day, so many good things here even for someone who doesn't normally like the Various Artist thing
Sorry the Youtube is vid free - but my absolute fav from the album
No 5 - Scott Matthews - Elsewhere
A great talent, superb musician and a great live performer. This second album was a grower. Scott Matthew Myspace
The Youtube vid is frankly a bit duff, but a great track
No 6 - Idlewild - Post Electric Blues
Just about my favourite band (this side of the water) come back with an album that is a real return to form - bless 'em. Idlewild Myspace
Oh for goodness sake - no Youtube of tracks from this album... come on
No 7 - Silversun Pickups - Swoon
Winner of the coolest album cover of the year... and the music ain't half bad either. Silversun Pickups Myspace
No 8 - Wheat - White Ink Black Ink
Brilliant - back on form and a whole album of good stuff. Wheat Myspace
No 9 - There Will Be Fireworks
From the slew of Scots bands these stand out for me, a great self release, would be good to see them live... hint, hint... There Will be Fireworks Myspace
I was a bit of Forward Russia fan, not least because of their extraordinary live performances, and when they announced a hiatus/break I was somewhat resigned to the fact that this was band-speak for an amicable split.
Well no news on FR stuff but more recently their guitarist Whiskas has resurfaced under the Honour Before Glory moniker. A few acoustic sets in Germany, apparently a Leeds date in the new year, and a couple of tracks available for download. Steve Lamacq a long standing FR fan has blogged about HBG recently.
All well worth a listen and strangely new but familiar stuff it is...
A little bit of heaven sandwiched between two slices of misery. Perhaps unwittingly going to a gig in central Brum on a Friday night with a Christmas fair in full swing, a CBSO concert at Symphony Hall and the Paramore at the NIA wasn't such a piece of great timing. Almost an hour to park meant no time to eat anything save a hideous Mucky D's for me, the Lad and his better half, fresh from her first term at Cardiff; and the IDS was having problems getting into fair Birmingham town, so we were all late in for the start
The (relatively) newly refurbished Town Hall is a grand affair, comfy seats and all, but not perhaps the acoustically most forgiving venue with sounds ricocheting around the room despite the off perspex baffles hanging from the ceiling
James Summerfield was on first for a short but charming set not dissimilar from the one he played at the SM gig in Wolverhampton earlier this year. Mr Summerfield is a fine fellow, with some lovely tunes. Understandably grateful to SM for his continued support he should none the less learn to be a little less self deprecating and be a bit more comfortable with his own obvious talent. Still his apparently relaxed manner and gentle banter was a perfect opener.
Jo Hamilton drifted on accompanied by her bassist and keyboard/percussionist, towering over the mic in her over-long black trousered outfit. Having admitted to a horrendous cold that was all to evident when she spoke, you couldn't help but feel that she was courageous to come on at all. Her illness was invisible from her performance, an extraordinary voice and two fine colleagues. Perhaps the music was too melancholic for the occasion, but I was alone from we four to fine something quite beguiling and beautiful in the set, maybe in a more intimate space, perhaps on my own late at night.... the skills and musicianship is clearly there in spades, worthy of trying again it seems to me.
Mr Matthews on finally and opened with a couple of solo pieces and then one accompanied by Dan the dapper chappie with the hat. Then the remainder of the band came on, Sam the drummer and a now forgotten (sorry) bass player. A mix of stuff from the latest and first albums, everyone was in fine fettle, easy ways and expert playing. Mr M 'fessed to be being very nervous but I saw none of it.
There is something even more endearing about his music in a live context, his voice more abstract, a fluency to his playing all no doubt developed by a few years of live gigging now. I have quite forgotten the set order and it matters not, he could have played all night as far as I am concerned, by turns vaguely psychedelic folky rock-out and delicate, personal acoustic.
His ability to tune his guitar for the next song, despite a busy back stage helper, hasn't improved since we last saw him. But this helps with the between song banter and the curiously matey but nervous bonhomie.
A fine and moving hour and forty minutes set finished all too soon and we were off back into the Brummy Friday night, a few words with Mr Summerfield and then back to the car and to sit for 45 minutes to exit courtesy of the outpouring of the Paramore- ites from the NIA. There you have it, the sandwich - but worth every bit of the gruelling mess than can be Birmingham for Mr M's music. He really should be better and more widely appreciated, as the IDS said, with all the homogenised and sanitised 'talent' in the likes of X Factor clogging our ears, who in their right mind wouldn't prefer some genuine original talent like Scott Matthews?
The incomparable Elusive video below and other stuff on Youtube
It’s been three years since Riot on an Empty Street but at last here we have the third offering from Norwegian lo-fi heroes KoC. Sitting here on a perfectly horrid Sunday afternoon with the gales blowing and the rain a-lashing there seems no better music to listen to.
It’s a collection of unfailingly delicate and sensitive pieces, just two voices one steel string and one nylon string guitar and the very occasional snatch of viola or stand up double bass. The voices interweaving in a seamless way, the playing deft and accurate, nothing flashy or over-stated, the whole building a luscious sound-scape that lulls and cocoons, soothing away the horrors of the world outside.
The three years since the last offering haven’t seen them tack a hugely different tack stylistically or musically. These songs were apparently all written whilst out touring the world, written in concert halls and other on-the-road places, and they have attempted to capture that sort of reverby sound. Ok not music to rock out to, nor best suited for every situation, but given the right time and place, unbeatable.
As is our way, the Lad and I turn up at the venue for opening time, conscious that this odd little venue has few spots that give a good view of the low-built stage. We needn’t have worried as for some forty minutes or so we were two of no more than a dozen inside the dubious confines of the Cooler. I must admit for some time I wondered if I had got the wrong date.
Finally spotting a schedule stuck to the wall we learned that there would be no support band tonight (surely there must be countless bands in Bristol keen for a live slot... promoters get your fingers out). Instead there was a DJ type who played a selection of non-offensive but reasonably nondescript tracks for the best part of two hours... ho hum.
Leading up to appearance time there was a steady but slender stream of punters to hear the rather excellent WWPJ – in the end perhaps amounting to, let’s be generous, 100 souls... where was everyone, I can’t be so ahead of the curve as all that, or maybe others aren’t as taken with this collection of young Scots lads as I?
WWPJ tumble down the stairs, through the ’crowd’ and onto the stage at a shade past nine thirty and proceed to blast out a very muscular set that amounts to the whole of their These Four Walls album. It must be hard to give it your all to such a meagre collection of people, but to my mind they did a more than passable attempt – despite being rather hung-over from the previous night in Amsterdam.
Apparently they are weary of playing Quiet Little Voices (see Drowned in Sound interview) but this didn’t show. Hard to pull out favourites but I must admit to being taken by Conductor and Ships with Holes. With just the one album to their name and with it all dispatched, after some words of thanks they exited the stage and back up the stairs at 10.25, leaving us also to make a sharp exit back home.
A slightly odd gig then – WWPJ we fine and enjoyable and you can’t help but think they would be better still with a larger crowd, one that had been warmed up by another band, and then a slightly expanded WWPJ cannon of tracks to hear. Don’t stop now chaps, there is much more to come you can’t help but feel, oh and do come back to Bristol. In the meantime babz54321 has posted a whole series of vids from their show at the Borderline just prior to the Bristol show...
Well going to a gig on your own is not the best was to see an act but then again sometimes there is no alternative. This time the lad blew me out and went to Muse instead ... but here I was at the Union Chapel in Highbury, possibly one the best venues to see anyone not a straight rock band.
Tonight was the magnificent Andrew Bird, who produced one of the best, if not the best album of the year, Noble Beast. Support was from Moriarty who were new to me but they put on a great, professional and polished set. Their vocalist has a strong, pure voice ideally suited to the collection of Americana-blues songs. Their harmonica player was outstanding - not always an instrument that I love but when played this well, capable of great things and real emotion. A set all too soon over but with a genuinely warm reception from the crowd.
As the crew cleared the stage it became obvious that Mr Bird would not have the accompanying band that played with him earlier I'm the year in Bristol. And true enough he popped onto the stage as alone as I was, only infinitely more talented.
What you lose in terms of drive and energy from a backing band you make up with, especially in a relatively intimate and acoustically sensitive venue as this, in crystal clarity and an opportunity to see and hear everything that is played.
He is a genuinely virtuoso player - his violin playing is legion, his whistling strong and clear, his guitar playing is up there with the best of them, he has a great and distinctive voice and he can do it all together with the aid of his quick moving stockinged feet around the myriad loop pedals. It is impressive enough that he can manage to do all this but the fact that the result is so brilliant, almost symphonic on ocassions, is nothing short of genius.
The set was made up of some songs unknown to me, some by his own admission a mashup of his own songs (like the mash of Sweetbreads and Dark Matter), some welcome new songs like Lucitania, and of course some old favourites like Natural Disaster that was sublime.
The crowd was strangely subdued, perhaps the influence of the venue, perhaps in some sort of hushed awe, I can't believe that having sold out two night it was indifference.
Of course having to catch the last train West meant that I had to leave well before the end, but better three quarters of the gig than none.
A remarkable man producing innovative, quality music with depth and resonance, how fortunate to have seen him twice in a year that has had him touring almost continually. I wouldn't be surprised if he heads off for some peace quiet and R&R for a while.
Two gigs in two days is something of an unusual occurrence, all the more so when the two gigs in question are as different as Idlewild and Stornoway, their linkages being only the accidental Scottish name and the affection for things folky.
Stornoway have built a strong following through their live sets and have picked up plaudits in the national as well as the music press. They also seem to have a bit of a reputation for playing in slightly unusual venues and this, first non-classical, show at the grand and impressive Sheldonian must be the most unusual. Billed as a home-coming gig for the band, the thousand seats were sold out (although ‘seats’ can only be an approximate term for the wooden benches up high). The further unusual component was the use of the Oxford Millennium orchestra to act both as support and accompaniment to the band.
Writing this as I do overhead Greenland en route to Denver, it all seems strangely surreal now; the determinedly Oxford crowd, the august surroundings, the young band on the cusp of bigger success all nerves and anxious in front of a wildly supportive home crowd.
The Oxford Millennium Orchestra seemed to made up of the local college students, playing well together. Mendelssohn’s Fingles Cave was a welcome reminder of music from my childhood and Vaughan Williams selection of English folk inspired tunes was an appropriate prelude to the folk-laden melodies to come.
With no recording contact at present, or at least no label (although and album is promised) the music of Stornoway has had to circle around Myspace and other online sites like iTunes etc, one of which provides chargeable download of four tracks. (and which I can no longer find...) and means that my knowledge of their output is pretty limited. But no worry it is the sort of music that is immediate and accessible without being trite and predictable; strong melodies, intelligent lyrics and accomplished playing.
He band, or at least Brian Briggs as their front-man, were perhaps understandably nervous faced with this their largest crowd to date, a heart ‘beating like a jungle drum’ seemed a fair summing up. Indeed the first one or two songs had a hesitancy to them, but his voice was strong and true with a character all of its own. Each song was welcomed as a triumph by the crowd.
However it was whether orchestra joined in that the set really came to life. Adding orchestral arrangements can be a hit and miss affair, but here it was a resounding hit, adding depth and texture but no maudlin sentimentality, all credit to the two band members who wrote the score. Zorbing and Unfaithful were excellent in this form but it was On the Rocks that was the stand out accomplishment – a triumph indeed.
Having exhausted their catalogue there was no encore, just an exhortation for the crowd to give a unified scream as a last way to unsettle the staff at the Sheldonian and a final appearance by Mr Briggs to say this had been the best night of his life. That it may have been but you cannot help but feelthat there will be other and greater highs for this band which, if it can ‘let go’ a bit more and a bit earlier, must be on the threshold of wider, greater and deserved success.
The mp3s provided are soley for preview purposes only. Do please go to the links shown and buy the track or album if you like what you hear, its their music not mine! Should by chance you be the artist of a file shown here and would like it removed, please just contact me and I will do so.
New music can be found at very turn but every now and then a new band or artist presents themselves and become one of those who resonate deeply and claim a special place in my own personal soundtrack - a few get mentions here, many do not.
AA Bondy has had numerous plaudits for When the Devil's Loose and I can see why. Laid-back, articulate and beautifully constructed, it may take some time to sink in but given a little time it will. The 
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