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Friday, 16 May, 2008
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Talc/@ Jazz Cafe/October 19th
10/11/2006
TALC JAZZ CAFE, LONDON OCTOBER 19 TH Talc are performing ‘Modern Sleep Over,’ a track from their recent long player ‘Sit Down Think’ which has won the quirky outfit deserved acclaim from big players as diverse as Gilles Peterson, Todd Terje and Bill Brewster. I cast a glance over the crowd at London’s Jazz Café and it reveals an audience that is captivated by the performance of the 10-piece in front of them. Some people are laughing amongst each other and jokily swaying to the beat, the rest stand wide-eyed, with their mouths hanging open. It’s not that Talc are bad. No, they’re just weird (but wonderful). ‘Modern Sleep Over’ deals with the love between a woman and her computer and the assembled masses struggle to hold back hysterics when the vocalists deliver lines like “Love it when you touch my screen / You know what I mean, baby.” Indeed, all of the tracks that the band perform have in common a twisted story or theme and as they rattle through tunes on “cheese dreams” and riding bicycles whilst drunk, the onlookers continue to battle with their collective listen-or-dance dilemma. So the onus is very much on a comedy show as well as a live music gig. This is manifested not only in Talc’s droll lyricism but also in a number of witty quips, some rehearsed and many seemingly spontaneous, that take place in between and in the middle of the tracks they perform. I wipe a tear from my eye when a band member sends his thanks to the crowd using a vocoder (which features heavily throughout the show), warping his voice into a robotic squeal. With the humour a top priority, you might expect the quality of the musicianship to be less than adequate. Thankfully, this is not the case with Talc. Each member of the band contributes an accomplished performance and they lay bare their talents with tight harmonies and improvised endings, without so much as a note out of place. What is more, clad in suits with trainers and some sporting ninja-style face masks and others bowler hats, the boys look fun and the resulting energy they emit is infectious. Though the recorded material is perhaps less impressive, the live experience has both style and substance together will all of the ingredients for a jolly good show. Words: SARAH CHAPMAN
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John Peel Day/@Barden's Boudoir/October 12th
10/11/2006
JOHN PEEL DAY VATICAN DC,CHEAP HOTEL, THE VITAMINS,THE WOMBATS @ BARDEN’S BOUDOIR OCTOBER 12 TH The night starts off well at Barden’s. One of a variety of London venues hosting a John Peel Extravaganza in honour of the champion of new talent, tonight’s line-up consists of four bubbling-under acts. First up are Liverpudlians The Wombats, who deliver a heady mix of indie-rock and tuneful melodies and ensures a treat for the in-coming arrivals. This is quickly followed by some sexed up blues-rock from Kilburn quartet, The Vitamins. Singer Rebecca exudes a fierce presence of sultry nonchalance, which disappears as soon as the drumbeat starts. Dressed like a naughty riding instructor, with red trousers tucked into black platform boots, much foot stomping is had – and not just from the lady herself. Following on the theme of sex-and-rock-n’-roll is Cheap Hotel – who certainly live up to their name. Also hailing from London, this trio consists of two blondes on guitars while the drummer could easily pass as the older–brother figure, banging the skins in an overprotected manner. Yet this doesn’t stop the guys from inching forward, mesmerised by the intoxicating mix of classic rock and exaggerated guitar writhing from lead vocalist Anna. While it is highly impressive, it is a bit much at times, and as they step offstage, you can’t help but wonder if it’s the tunes we’ll be remembering or the erotic mix of “girls-on-guitars”. Running 45 mins behind, Vatican DC have a lot to prove as the headliners, not least as people have already started to disperse to the numerous dark corners of the Boudoir. It starts off pretty promising, with lead singer Steve stealing moves from Mick Jagger. There’s a touch of 80’s New Wave about them, and I can’t help but get the feeling that this has all been done before. It is not until their second single ‘Side to Side’ that things start to pick up, with its hints of electronic-punk giving a nod to the now defunct Clor. And by the time we get to the catchy “Trampoline”, I’m starting to get into them. Unfortunately, Vatican never quite hit the spot as proceedings end rather abruptly. The cause for confusion? A stand-in guitarist “who only knows six songs,” (apparently). Which is quite a shame for a band having supported the likes of Bloc Party and Prodigy. Suffice to say, it’s an anti-climactic end to what is supposed to be a celebration of new musical-upstarts. Quite what John Peel would’ve thought, well, that’s anyone’s guess… Words: TRACEY CHIN
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| john peel day |
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The World Festival/@The Hollywood Bowl/Los Angeles
10/11/2006
THE WORLD FESTIVAL 2OO6 @ THE HOLLYWOOD BOWL, LOS ANGELES Walking into the Hollywood Bowl for the first time is one of those things that you don’t ever forget. With people as far as you can see down to the colourfully lit stage it’s just as you’re thinking it can’t get much better that you see the Hollywood sign up close and personal in the background. By the time you remember that you’re allowed to bring your own alcohol to a gig, you’re just about ready to up sticks and move to L.A. And so it was on August 29th as the Bowl once more played host to the World Festival. As the venue started to slowly fill up it was the multi-talented Matthew Herbert and company who really kicked things off. For one careful not to hog the limelight whilst performing (despite appearing in a rather fetching dressing gown and slippers outfit), Herbert often let his singer fill the stage, with the mellow vocals rising through the amphitheatre to greet any foolhardy latecomers. As the set went on however, and the sun started to sink in the cloudless California sky, Herbert’s enthusiasm grew and he became an increasingly excited character behind the keyboard, putting his heart and soul into complimenting the four-four bassline, whilst always measuring out each note with dedicated precision. By this stage the music was in danger of reaching a tempo where rising out of one’s slumped seating position might have become a real possibility, but before the unthinkable became reality the mighty Zero 7 took to the stage and enveloped us with their warm chilled-out melodies. On what must surely be the highlight of their current tour, they were joined on stage by the always effervescent Sia, who in the week previously had found time to play a set of her favourite tunes at The Standard club (Los del Rios – ‘Macarena’!), and the slightly more reticent yet no less talented Jose Gonzales. Playing a carefully considered mix of the new and the old – including a hauntingly beautiful ‘Destiny’ as the sun set over the Hollywood hills – the UK downtempo kings had the 18,000 strong crowd held rapt from beginning to end, ultimately wrapping things up with their re-working of ‘Crosses’. A performance like that was always going to be tough to follow, and so it was after a well-timed interval that the multi-national Gotan Project took to the stage, complete with a stunning visual set-up. Introducing a more punchy dance element to proceedings, the Gotan Project soon had many a head nodding and before long, people dancing in their seats and aisle-ways. The highlight of the set came with the awesomely choreographed appearance of two rappers on a huge screen behind the stage - the video completely in sync with the music coming from the stage. By the time the concert came to a reluctant close it was clear that those present had witnessed something a bit special. If there’s a better way to spend a Sunday night then I’m yet to come across it. Words: Tom Wilkins
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Peaches/The KBC/Manchester Academy 2/September 12
10/11/2006
PEACHES/THE KBC/ HUMANZI @ MANCHESTER ACADEMY 2 SEPTEMBER 12 TH Tonight, The KBC are demonstrating an ability to cruise into the funky haven occupied by the likes of Radio 4 and The Rapture. Fat bass-led stomping and a weighty vocal range follows the accomplished percussion like a teenager with a crush. A groove riding opening slot is completed with grace and some welcomed, but not overbearing musical strut. A bolstering drum solo allows the menacing Irish gang, Humanzi to unleash their AC/DC and Primal Scream merging bolts of freewheeling, guitar-led rock jams. The topics of insomnia and politics obviously influence their mindset. Early on the bite of ‘6 Gun’ proves to be a fiery incendiary of caustic vocals and grinding guitars in a live setting. This soon shakes into focus the wandering attention of a crowd here to see a spectacle really, given the main act’s reputation. The heart of singer/guitarist Shaun Mulrooney, coupled with the focused vice-like bass grip applied by Gary Lonergan, endears the gnarly and likeable act to the numerically expanding crowd. ‘Fix The Cracks’ parades true R N’ R grit and rhythm to become the most infectious combination of proceedings. With the dark horse debut album, ‘Tremors’ and several successful mid-range support slots under their belt, it is now surely time for Humanzi to take centre stage. When they do; bring your own bottle because it will be a party of Charlotte Church proportions. With sound choreography that Torvill & Dean would have sold their tightest outfits for, the provocative poseur Peaches and her timewarp clad, full backing band enters the fray. The crowd is stirred up by the background boom of Petula Clark’s strolling classic ‘Down Town’, setting the excitement bubbling. Unfortunately, this is where the uplifting and well put together music has a break. The master of the single entendre lacks thrust early on and mono dimensional synths pollute ‘Hit It Hard’, from the raunchily rampaging recent album of ‘Impeach My Bush’. Tonight the song lacks any really power or belief in the performance. The set is in grave danger of merging into a shameful faux disco/punk farce. Peaches is close to joining Har Mar Superstar on the list to give to the local hypnotist to erase from the memory for ever. Just when you are seriously contemplating the surreptitious shuffle towards the exit, the drum beats step up and the synths are suddenly awoken, joining Peaches’ provocative vocals that pick up in passion and strength. ‘Two Guys’ epitomises this renewed vigour all-round, as the crowd who previously ignored pleas to liven up are suddenly switched on. A giant inflated penis is thrown around the venue and the most brazen number ‘Shake Yer Dix’, sets inhibitions free. Peaches is reluctantly dragged back to the stage for an encore that includes her very own rags to kinky underwear story. A moment is taken to rejoice in the fact that she now has a full band behind her. ‘IU She’ gives the encore a provocative pinch and ensures a continuation of the set resurrection. Like it or loathe it, there is no denying Peaches’ sheer enthusiasm and belief in what she does that carries her away from the cabaret category. Words: Dave Adair
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| peaches | the kbc |
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The Automatic/Alterkicks/Mumm-ra @ Manchester
10/11/2006
THE AUTOMATIC/ALTERKICKS/MUMM-RA @ MANCHESTER ACADEMY 1 OCTOBER 14 2006 Opening for the likes of The Departure and Leaves, has allowed the Liverpool based Alterkicks to mould their live sound to reflect The Doors appreciating tunefulness they display on record. Something that is especially prevalent for the first 10 minutes in the vocals of Martin Stilwell. The rhythm and carefree nature of the band is encapsulated in the mating of the sounds of Gomez and The Bluetones via ‘Everything I Taught You’, displaying a maturity that seeps through in the well contained singing style. Forthcoming single ‘On Holiday’, is a moment of spirited pop craftsmanship and ensures that a lasting impression is left and that a favourable reception is received. For a line-up that includes a four pronged guitar attack and a keyboardist, Bexhill On Sea’s Mumm-Ra manages to surprise by delivering quite a melodious feel, akin to an early Snow Patrol, with an element of The Rakes style post-mod spicing things up a little. However, it is not until the punk punch of ‘Zombie’ that you can appreciate the variety and force of the four guitars; otherwise there is an element of redundancy. The jangling single ‘Out of the Question’, stirs some enthusiasm and demonstrates strong cohesion, but from tonight’s set you just wonder if it is going to be enough to help them fit into an already bloated section of the music industry? The rhythmic and throaty vocal utilising Welshmen, The Automatic attempt to scatter the tag of one hit wannabes that is being branded upon them by doubters. They are helped in this plight by a noisy and appreciative, but a tad motion shy crowd, who appreciate the early use of the defiant rock-around of ‘Keep Your Eyes Peeled’. This promotes the keyboard element and instils some early energy to shake off any doubts the band and onlookers may have about their ability to pull off a gig of this magnitude. A grinding non-album track ‘Time = Money’, bears out a lack of real depth and creates a slight lull, something that will have doubters grinning like Cherie Blair. However, their cause to bring a halt to The Automatic soon looks as hopeful as Tony Blair’s, when the brazen chorus of ‘Team Drama’ epitomises the vibrancy and belief of lead singer, Rob. The moment many have been itching for arrives and ‘Monster’ sees the place erupt into an enthusiastic pit of energy and rhythm. It seems a smart move not to save this until the end and they use the energy this has created to pull off a bold, raw and punchy rendition of Kanye West’s ‘Gold Digger’. It is apparent that the key to The Automatic’s future lies in their ability to build upon the bemused, temporaising punk flirtation of ‘You Shout You Shout You Shout‘, as the weighty drum march and bounding guitars create an energy rush that carries through to the vocals. Previous set opener, ‘Recover’ reacts well to its reshuffle and provides the finale, ending matters in a pleasing crowd involving manner. ‘Monster’ has indubitably raised The Automatics profile to a lofty level, but there is just belief and depth in the hour long set to suggest that they can stay there. Words by DAVE ADAIR
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| the automatic |
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BeeStings @ Ginglik, Shepherds Bush, London
08/11/2006
Way out in deepest darkest Shepherds Bush, away from the hustle and bustle of the Empire or the numerous world famous venues in the great city known as London lies a converted public toilet, named for no apparently obvious reason Ginglik. It’s nice to see that this public convenience has retained its status as a public convenience of a different kind, although you can still relieve yourself inside so long as you pay the required entry fee or you are lucky enough to be on the guestlist. The stage could easily be described as miniscule, but then this is to be expected in such a small confined space. Not the greatest location for a band with more then two performers. Maybe the organisers should have thought of this before decided to use the venue but then teething problems are part of the business and the Bees performed 'Pressure (Running Away)', their debut single, for an audience of only 45+ people. The band certainly tried their best to impress and this was appreciated by small but enthusiastic crowd. Some elements went wrong like the visuals or the blinding light system of the venue and some programmed elements of the songs. But BeeStings showed they have the musical material to impress bigger audiences and create a solid fan base that could easily identify with their, almost cynical, sense of style. If anything is even remotely worth remembering from this gig it would be, for me, the amusingly theatrical performance combined with an outstandingly and technical precision, that BeeStings managed to achieve in this far from ideal venue. The band's attitude was duly acknowledged and appreciated by the crowd most noticeably during their rendition of 'Most' that I was later told is a potential new single - when the cosy but quiet atmosphere suddenly sparked into life in a rush that filled the room with approving nods and even a few cheers from the front. This wee spark was repeated at the finale when the band performed 'Gold Digger' a simple, yet effective straight up rock track. Perhaps this performance didn't unveil the potential of the song. BeeStings needed a bigger hive to produce the honey they undoubtedly can, let’s hope they can get out of the Ginglik ghettos and into the Empirical space just down the way. Text: Blair Cartwright
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Dresden Dolls @ The Roundhouse, London
03/11/2006
Cabaret is officially in. And spearheading the revivalist movement is the Dresden Dolls, who tonight bring their famous punk-cabaret show to Camden's legendary Roundhouse. Promising a show like no other, which includes theatrical acts from Future Cinema and a compare, U.S. comedienne Margaret Cho, as the in-between entertainment, the Dolls have encouraged attendees to get in on the act and come fully clad in all manner of fancy dress. For the average fan this means black-and-white striped tights, glitter and more black - so far, so typical. Cho herself adds her take on cabaret with a controversial feather-fan striptease where the feathers are dropped at the last minute to reveal her wearing nothing but nipple tassels and a fake cock. The excitement is flagrant by the time the Dolls come onstage. Living up to their promise, Amanda soon spits her way though the songs with a mad twinkle in her eye while Brian's contorted expressions and drumming frolics provide us with what can only be described as a 21 st century musical-comedy act. And if that wasn't enough, making songs sound as playful as their titles ('Coin-Operated Boy' and 'Lonesome Organist Rapes Page Turner' are two that immediately spring to mind) is no mean feat. Of course, if you think that staring at these two all night would become tedious, there are always the onstage dancers to cast your wandering eyes on, presenting us with interesting, visual interpretations of the songs. Add to that the now traditional curtain acrobatics and you cannot fail to be impressed. As I prepared to leave to the strains of 'Mein Herr' from the film 'Cabaret', and a haunting rendition of 'Mad World', I cannot help but feel that something is missing from the performance. The Roundhouse it may have been, but the venue’s vast space lacked the thrilling atmosphere of a traditional, bawdy theatre, crammed full of 19 th century-looking gents and harlots to boot, a la their previous date at the Astoria. So the Dolls may have captured the public’s imagination, but alas, it didn’t fully translate into the captivating evening that it deserved to be. Text: Tracey Chin
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| dresden dolls |
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Antony Elvin @ Teatro - Curious Generation, London
30/10/2006
Can you get any more deliciously eccentric than Antony Elvin? The man who is announced as "The People’s Toff" bounds up to the microphone, Shoo-Sha -ing a hello, sporting a fencing outfit and a set including such commonly addressed rock'n'roll topics as space spiders and "one’s inability to be gay"... Beat that if you can. Lord Elvin declares a duel. One of Curious Generation's organisers declared she was off to "find Jesus" - no doubt a reference to Elvin's white attire, shaggy hairdo and relaxed attitude toward shaving. Following up the depressive but charming indie-goth David Ryder Prangley, and thick-voiced Rosie Wilby, who couldn't sustain the crowd’s attention - even in white, Antony was a turn towards the colourful. Perhaps the broad range of rich, Scott Walker-esque vocal tricks in his recordings created a rod for his back as he had to work a little to keep his voice in line for the performance. He found ways around the high notes, apologising politely between songs for every one he had to lower or circumvent, and at one stage musing with perfect 50s BBC diction, "Perhaps if someone brought me a hot drink, I could finish my set without bleeding to death through my throat." The white kingfisher fought on. Duelling the throat demons (which seemed to bother him more than the audience), he simply found growls and low sighs to fill in for the high notes as he worked his way through a different kind of London, where lavish gentlemen ride around in carriages and place bets they can't back up. From camp to eccentric and back again, his songs admired Jacqueline Bisset, took the piss out of Parliament and declared him the Omega Man. Last of a kind. No argument there - probably the first of a kind, too. He opened the floor to requests. Never anything less than modest, he responded to the first song shouted out with compliance, and the introduction, "Oh that one. I don't mind it. It's OK." Such modesty is soon proved excessive when the Elvin hands hit the strings. His talent as a guitarist leaves most of the solo strummers playing the London circuit in the dust. But Antony's performance actually shines best as a strangely ramshackle operation. You get the idea that it's just what you tolerate in order to be in the company of someone so entirely different . Like an oddball aristocrat with the most interesting tea you’ve ever tasted - but he serves it to you out of an antelope's hoof. The evening ended on a note of comedy, much as it began. The jaunty Englishman flounced out his best echoes of Cole Porter, the 30s-sounding 'Cheese Song' where he notes, "I know you don't like cheese." Indeed we don't. And far from it too, Lord Elvin. Text: Heather DeLand
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| antony | elvin |
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Hey Negrita/@Borderline/August 10th
10/10/2006
HEY NEGRITA BORDERLINE AUGUST 1OTH Hey Negrita have been together for several years but their music has roots that are considerably older, taking in a whisky-soaked Southern mash of soulful blues and country that’s a world away from the current fashion-conscious indie scene. The Borderline, complete with saloon-style bare wood décor, should be their spiritual home and on a warm Thursday evening they certainly got the good ‘ol boys of Soho stomping along. The four piece at first appear to be a rather disjointed collection of obviously talented musicians known individually as The Reverend, Felix, Gus and Three Horse but once on stage the chemistry and light-hearted banter evade any stereo-typing that could be applied to a band named after a Rolling Stone’s song. Opening with ‘Nine to Five’, a barrage of up-tempo country rock lathered with juicy slabs of harmonica, they blast out a refreshing ode to doing absolutely nothing all day - a cheeky swipe at Dolly Parton’s song of the same name maybe. ‘Shipwrecked’ is followed by the more mellow ‘Coming Down’ and ‘One Mississippi’, a pair of songs that show a more sombre side to Hey Negrita but are by no means lesser tracks. Through the evening the mood gently swings from that of un-requited love and impending misery, a favourite subject for any serious country or blue band, to the sort of indie hoedown of ‘Devil In My Shows’ (dedicated to a ‘Lizzie’) that gets people tapping their boots and swigging beer with a grin on their faces. Ending their set with ‘Over the Hill’, taken from the band’s current album ‘We Are Catfish’, they receive a warm ovation and rightly so - their music is easy to enjoy and very hard to dislike. The paradox is that without the current crop of new indie bands sweeping the nation the qualities that make Hey Negrita such a unique proposition would not be as obvious or enjoyable. Their energy and eccentricities, such as Three Horse’s Man-From-Del-Monte look, make them a real joy to experience so if you’re slightly sick of bands that spend more time on applying their music to the latest NME-induced trends, then Hey Negrita may just be the antidote you’re looking for. Words: Ben H. Murray
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| hey negrita |
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