Sunday 22 December 2013

Top 10 Local Talents You Need To See In 2014

So a rare departure from the usual gig review for this post just to mention some superb local acts that we Bristolians should be checking out in 2014

In no particular order then.....

1. Gaz Brookfield

Fresh from the release of his third and best album yet 'In The Company Of Thieves', the Bristol via Swindon folk/rock singer/songwriter regularly clocks up a mighty 200+ gigs a year including no fewer than 3 appearances at this year's Glastonbury Festival.  With his superb tales of life on the road as a 'DIY' musician and unrelenting ability to unite and convert audiences, 2014 could be the year we see the grounded singer take the UK by storm.


www.gazbrookfield.com

Best Track:
'Diet Of Banality'


2. Lonely Tourist

Paul Tierney aka The Lonely Tourist is a Glaswegian singer/songwriter residing in Bristol and a regular on the city circuit.  With the imminent release of his third solo album, it promises to be another great year for the self-effacing guitarist who is capable of combining catchy choruses and stunning lyrics that continue to win him new friends.


http://lonelytourist.bandcamp.com/

Best Track:
'Ballad Of Paul Tierney'


3. Coasts

Mixing tropical pop with some killer indie/rock anthems is Bath/Bristol quartet Coasts.  2013 saw Chris Caines' group release a couple of impressive EP's and the completion of their first UK tour culminating in a triumphant gig at The Louisiana.  With tunes already being featured on TV, a growing fanbase and an ear for a rousing killer hook; these guys are destined for mainstream attention.


www.coastsband.com

Best Track:
'Oceans'


4. Oxygen Thief

Barry Dolan is the multi-talented guitarist/singer metal influenced Oxygen Thief.  Having spent the most part of 2013 producing some mind-blowing performances individually he was recently signed to Xtra Mile after taking to the road and studio with a full band behind him for latest album; 'Accidents Do Not Happen, They Are Caused'. In a live arena he has the energy, power and ability to push any guitar you put into his hands to its absolute limit; a must see.


http://www.oxygenthiefmusic.com/

Best Track:
'Terry Nutkins Salute'


5. Flamenco Thief

One time Postie from Bath, Craig Sutton aka Flamenco Thief has just finished a monster tour of Europe with his trusty Boss rc300 loop pedal and is back out on the road again in 2014.  Layering flamenco rhythms, percussive knuckle-rapping and some crazy finger-picking worthy of mention alongside Rodrigo y Gabriela, he has been mesmerising Bristol and Bath venues for some time now.  Check him out live, you seriously won't believe what he can do.


http://theflamencothief.com/

Best Track:
'Mad Cow Stomp'



6. Poor Old Dogs

Bristol's favourite folk band Poor Old Dogs always make for a great night with their hilarious tales of immoral estate agents, flasher milkmen and nuisance neighbours.  Expect frantic hoe-downs, furious mandolin and a whole load of fun in any live setting.  Their second EP 'Milkman' was a highlight in what was a great year for the fantastic cider-swilling quintet.


http://poorolddogs.co.uk/

Best Track:
'Milkman'



7. Chris Webb

Chris is another of Bristol's best young acoustic acts who is returning to his role as curator for the Bank Tavern's fantastic Wednesday night slots.  With an unusual strumming/picking technique, soulful vocals and some top folk fuelled tunes about everyday life, Chris continues to charm audiences around the city and more recently mainland Europe.



https://soundcloud.com/chriswebbbristol

Best Track:
'Lost Boy'


8. Magnus Puto

Magnus Puto are breathing fresh life into ska music in the UK and after a string of well-received EP's will surely continue to gain admirers.  From Bristol, the quintet are heading back on the road to follow up on last year's BBC Introducing slot at Glastonbury and supporting the likes of Plan B, Fat Boy Slim, The Beat and Reel Big Fish amongst others. Mixing hip-hop, indie, reggae and ska, they're able to get any crowd jumping.


http://www.themagnusputo.com/

Best Track:
'Make Your Mind Up'



9. Sam Eason / Descendants Of Gentleman

Likeable Bath based singer/songwriter Sam Eason is a regular on the Bristol support circuit and with new band Descendants Of Gentleman up and running it promises to be an exciting year for fans of the bearded ginger maestro.  Sam has two fantastic EP's as a solo artist mixing folk and pop with a great knack for producing some infectious choruses and heartfelt odes to love and life.


http://www.sameason.co.uk/

Best Track:
'Turn On Your Heels'


10. Yes Rebels

Bobby Anderson and his Bristol based band are an incendiary rock outfit well known across the city for their powerful delivery of scuzzy pop-punk/grunge.  After the superb 'Mixtapes' EP and a string of energetic festival appearances the enigmatic Anderson knows how to work a crowd.  Influenced by Queens Of The Stone Age and with a heritage in soul music (son of soul legend Carleen Anderson), expect these guys to play a blinder wherever they turn up.


https://www.facebook.com/yesrebels

Best Track:
'Out Of The Gun'


There's so many more across Bristol that deserve a mention but if your new years resolution (like mine last year) is to get out and see more bands then get your tickets sorted for these top talents ASAP!

Kindly published by Bristol24-7.com:
http://www.bristol247.com/2013/12/31/top-10-bristol-musiciansbands-to-watch-in-2014-2013/


Monday 16 December 2013

Peace - Anson Rooms, Thursday 12th December

Questions in my mind ahead of this one that I'm struggling to answer; for a band with so much exposure/whipped up hype (mostly from career makers and breakers NME) how come they can't sell out the Anson Rooms on a Thursday night?  Are we all wearing rose-tinted specs?  Are they actually any good? Is Bristol still apathetic to indie? It's a head scratcher alright after this incendiary 50 minute performance proves to those who were there that the Worcester quartet are one of the few shining lights in British rock.


Throwing together elements of psychedelia, baggy and Brit-pop; the group nominated for countless ‘Sound of 2013’ polls arrive in Bristol on what must surely be their last tour of recorded live debut album ‘In Love’.  Whilst they’re often compared to other trendy hipster types Foals, Maccabbees and Vampire Weekend the group is actually fronted by a chap with a decent level of rock’n’roll charisma.  Oft bizarrely-dressed Harry Koisser cuts a Jagger-esque figure on-stage adorned in a hatched two-tone shirt last seen wall-papering a yuppie flat in 1987.  It’s been a far from peaceful year for the group The Guardian has hailed as the ‘future of indie’ with a whole heap of festival slots, an opening slot on the NME Awards Tour and perhaps some disproportionate gushing from the long-standing magazine.  


After opener ‘Waste Of Paint’ throws it’s shifty indie-disco Happy Monday’s weight around, its fair to suggest we’re not hearing anything new but of course we’re in 2013 not 1989 and there’s a whole new generation of indie kids yearning for their own Hacienda experience.  ‘Follow Baby’ invokes some crowd-surfing whilst other Koisser brother Samuel (bass) lays down a grungy groove to be layered over by a cacophony of wonky guitar brought into line by a smooth falsetto harmony.  Organised chaos during the funky breaks on ‘Drain’ which sees some wild bubbling tropical guitar licks alongside some impressively stretching yet tight vocals.  “If you’re not happy wearing denim, you’re a devil in disguise” is the call on ‘Float On Forever’ – a definite anthem that sounds like Gaz Coombes has replaced Damon Albarn in Blur circa ‘The Great Escape.’  


The equally catchy ‘Lovesick’ ought to be a monster hit with a chorus that would have cleaned up in ’95 as would ‘Toxic’ which despite yet more of Doug Castle’s aggro wonky guitar can’t hide it’s pop sensibilities.  There’s little time for banter as the band rattle off nearly all of the debut and a couple of EP tracks including a delightfully ear-splitting and visually blinding ‘1998’.  No cute choruses here, just an adrenalin packed wall of sound, breathless and devastating (think ‘Blow Out’ from Radiohead’s ‘Pablo Honey’).  They leave to a deservedly loud ovation in what was short, sweet and just superb from start to finish.  Will the NME turn on them as they often do post-debut album?  Maybe.  Or maybe these are the first strides towards the top from a band happy to describe themselves as creating ‘music to grind, roll and smoke / music to fuck you in the heart.’

Kindly published by www.bristol24-7.com
http://www.bristol247.com/2013/12/18/review-peace-at-anson-rooms-bristol-40666/

Setlist:

1. Waste Of Paint
2. Follow Baby
3. Higher Than The Sun
4. Drain
5. Float On Forever
6. Lovesick
7. Money
8. Toxic
9. Wraith
10. 1998
11. California Daze
12. Bloodshake

Best track: Click on link below
Peace - 'Lovesick'

Buy album here:

Tuesday 10 December 2013

The Moulettes - Thekla, Friday 6th December

Blood-curdling bassoon, bouncing double bass, scintillating strings and vocal harmonies to die for; welcome to the fairytale alt-folk universe inhabited by Glastonbury formed sextet The Moulettes. 


In a galaxy far far away from the mainstream watery folk bandwagon that the dark lord Barlow has recently hitched a ride upon there is a band creating ethereal, exhilarating and carefully mastered folk/rock opuses via a vast assembly of instruments that sonically stretch the boundaries between folk, rock and (curiously) prog.  Headed up by the beautiful English rose vocals, cello and guitar of Hannah Miller, the band bring their quirky and inventive sounds to a fervent Thekla crowd of students, Radio 2 folk purists and curious newbies.  The ‘Farewell To The Bear’ tour comes after a heavy gigging schedule in support of last year’s second album ‘The Bears Revenge’ which delighted with its Balkan gypsy rhythms (from Miller’s time tutoring music in Bosnia) and addictive yet unusual tempo changes. 


The hurtling staccato punk of opener ‘Horses For Hearses’ is followed by the upbeat serenity of ‘Sing Unto Me’ which has a Fairport Convention feel but with a sophisticated texture, fire-cracking drums and some stunning three part harmonies.  There’s some confident banter between songs as Miller and Ruth Skipper (Bassoon, Vocals and Autoharp) playfully tease each other, both adorned in spectacular milk maid / Bavarian Dirndl costumes.  Skipper’s bassoon is a potent weapon throughout the set and particularly on ‘Unlock The Doors’ as funky orchestral folk is interrupted by images of twilight adventures in the forest with hobbits being chased by trolls across the shire.  It’s an instrument that many of tonight’s crowd may not have considered as a substitute for a big guitar solo but it works a treat bringing regular grins and whoops.  Furthermore, Jim Mortimore’s double bass is so striking that it negates the need for overly intrusive percussion; that said, there’s some very handy breaks from drummer Ollie Austin and together they provide the perfect foil for the group’s daring experimentations. 


Mid-way through the set and the celestial ‘Songbird’ has a timeless charm that sees the Miller/Skipper vocal dream team alongside Anisa Arslanagic on sumptuous violin for a track that warms like mulled cider.  ‘Devil Of Mine’ is tonight’s highlight and sounds like Kate Bush in a rock band with a hip-hop style vocal, not least on rock’s most unlikely winning lyric; “He moved towards us his cravat was exquisite.”  Throw in some violent cello and it’s a pretty good summation of the eccentricity and off-beat magic of the band, it certainly has the audience gripped.  Penultimate murder-ballad ‘Bloodshed In The Woodshed’ is an enthralling ride with lyrics that Morrissey would be proud of and shows that it’s worth remembering that above all the bewitching, complex musicianship; these guys can rock.  At times breathtaking, at times potty, from the outbreaks of Irish jigs to 1920’s swing jazz, it’s never a dull moment and certainly anything but pretentious.  Forthcoming album with working title ‘Constellations’ has contributions from prog legend and ‘God of Hellfire’ Arthur Brown amongst others.  And after tonight’s superb performance its hard to not look forward with anticipation to what on earth that will sound like.  

Kindly published by Bristol24-7: http://www.bristol247.com/2013/12/10/review-moulettes-thekla-bristol-81428/

Best track: Click on link below
Moulettes - 'Unlock The Doors'

Setlist TBC

Buy albums here:

Tuesday 26 November 2013

Valerie June - Thekla, Monday 25th November

Tennessee Time at the Thekla and a taste of the deep south as superstar-in-waiting Valerie June delights with her self-proclaimed ‘moonshine roots music.’

It’s been a big year for the Memphis bred multi-talented singer with the release of her first album as a signed artist (the superb ‘Pushin’ Against A Stone’), rave reviews from a support slot on Jake Bugg’s UK tour and an attention-grabbing performance on Jools Holland’s show.  There was a real buzz and sense of anticipation for tonight’s show as the venue sold out quickly with all the good ship’s occupants feverishly sharing how they discovered her intoxicating blend of blues, gospel, soul, folk and bluegrass.  And it’s really hard not to love the self-effacing charismatic American especially when you consider her struggle as a DIY artist self-releasing albums personally sold from the boot of her car and busking at blues festivals across the Mississippi Delta.


From her giddy entrance with leather brown handbag on her arm to the giggling fit of laughter at the close ridiculing herself for talking too much it’s clear we’re in the presence of a grounded seasoned performer and not the diva that her immensely powerful voice might suggest.  Early track ‘The Hour’ impresses with it’s Motown soul and lilting double bass as Valerie puts that voice through a vigorous workout of hums, Tina Turner-esque grunts and razor-sharp but sweet melodies.  Shedding her borrowed mustard cardie she tells us of how she’s been too busy being a ‘hard workin’ woman’ to go shopping before unleashing a pacy version of crowd-pleaser ‘Workin’ Woman Blues.’  Nimbly finger-picking through the opening bars before that shrieking Dolly Parton/June Carter-like twang “I ain’t fit to be no mother, I ain’t fit to be no wife yet, I been workin’ like a man, y’all, I been workin’ all my life, y’all.”  There’s pockets of dancing in the crowd as its hard to resist the rapid funky beats, knockout vocals and brawling slide guitar.


Endearingly gabbing between songs she explains her influences (most notably Muddy Waters, Rosa Lee Hill, who she covers frenetically on Banjo later), the origin of aforementioned ‘moonshine roots music’ and her road to success.  With church-reared gospel ability it looks like she barely opens her mouth to sing at times and she totters around the stage, all beaming smiles flicking her dreadlocked nest of snakes away from the frets.  Her versatility proves the real winner tonight as she impressively turns her hand to a plethora of genres; ‘Can’t Be Told’ (Blues/Rock), ‘Somebody To Love’ (Folk), ‘Raindance’ (Bluegrass/Gospel) all with a timeless quality belying her years.



Returning to the stage for fan requested first encore ‘Twined and Twisted’ (which she says came to her in a dream) and an eerie but respectful silence gives the perfect platform to mesmerize in a Springsteen (Nebraska era) desert campfire tale.  The schizophrenic ‘Shotgun’ is a highlight as she sinisterly coos, ‘If I can’t have you nobody can’ before plucking a butter knife from her hair to shaves the strings wildly.  Good stuff.  She’s off home for her Grandma’s thanksgiving cooking, “I’m going now y’all” as she drops off the stage, marching through the crowd to sell her own merch.  As a lengthy line forms, you can’t help but feel we’ve seen something and someone with star quality tonight –we all lament that she won’t be back to the Thekla for sure as the bigger venues and a deserved limelight beckons.

Kindly published by Bristol24-7: http://www.bristol247.com/2013/11/27/review-valerie-june-54467/

Best track: Click on link below
Valerie June - 'Workin' Woman Blues

Setlist TBA

Buy albums here:

Wednesday 13 November 2013

The Editors - 02 Academy, Monday 11th November

Tonight Matthew I'm going to be......Expressive frontman Tom Smith isn't far from bursting his slight frame tonight as his gloom-fuelled quintet takes the packed 02 crowd through the good, the bad and the god-awful of 80's post-punk.  Always an easy target for criticism The Editors have made it through their first ten years and 4 albums with a strong fanbase where many have fallen away.  Their debut album (and arguably still their best) went platinum and earned them a Mercury prize shortlisting as the brummie band became a regular festival favourite in the Noughties.  They’re back in Bristol tonight in a bid to repair some of the damage done by Flood produced third album/synth-electro mish-mash; ‘In This Light And On This Evening’ and recent slight improvement fourth; ‘The Weight Of Your Love.’


Starting with new track ‘Sugar’ and Russell Leetch’s pulsing bass appears to borrow heavily from Bjork track ‘Army Of Me’.  Smith writhes and squirms about the stage, enchanting the crowd as he howls “it breaks my heart to love you” with the facial expressions of a man having a cardiac arrest.  There’s billows of smoke and a crackling light show, it’s an appropriate backdrop for their maudlin melodies and Smith’s blood-curdling Ian Curtis baritone to really let rip. Dropping in the anthemic ‘Smokers Outside The Hospital Doors’ so early could be a mistake but tell that to the delighted owners of pointy fingers and waving limbs across the sweaty pit.  


‘Two Hearted Spider’ has an intriguing title but that’s where the intrigue ends as they slip into watery Simple Minds territory and the crowd begin to chatter.  Thankfully though it’s one of only a few tonight that bore rather than bewilder and it’s obvious that most punters are here for the first two albums.  ‘Munich’ sounds as joyously violent as ever and is the night’s obvious highlight and ‘Racing Rats’ with its pumping chorus and grandiose piano is a real moment of class.  Sadly though the feeling that this could be one of the great gigs is short-lived as Smith tries to force the lengthy drab Coldplay-esque ‘Honesty’ and Leetch leads an uncomfortable clap-along.  


First encore ‘Bricks And Mortar’ is an unmitigated disaster with some irking, rancid trance bleeping and Smith pounding the piano in a Thom Yorke stupor as the audience shrugs.  Only a couple of new tracks hit the spot tonight (‘Sugar’, ‘A Ton Of Love’) in what is a tale of two eras for the band.  Smith certainly gives it his all throughout and you can’t fault the desire to diversify their sound but you can’t help but feel that they’re struggling for consistency.  Mounting the piano on ‘Nothing’ can’t save the tune from anonymity but they do at least leave on a high to a dancey ‘Papillion’ with its dark Depeche Mode disco and bleak-as-ever lyrics.  In all they can be pleased with what is a performance full of energy and passion; no band can consider themselves entirely original but at times, in a live arena, The Editors can draw upon the qualities of the past to look like world-beaters.

Setlist:
  1. Sugar 
  2. Someone Says 
  3. Smokers Outside the Hospital Doors 
  4. Bones 
  5. Eat Raw Meat = Blood Drool 
  6. Two Hearted Spider 
  7. You Don't Know Love 
  8. All Sparks 
  9. Formaldehyde 
  10. A Ton of Love 
  11. An End Has a Start 
  12. Bullets 
  13. In This Light and on This Evening 
  14. Munich 
  15. The Racing Rats 
  16. Honesty 
  17. Bricks and Mortar 
  18. Nothing 
  19. Papillon 

Best Track: click on link below
Editors - 'Munich'

Buy albums here:

Tuesday 5 November 2013

Coasts - Louisiana, Wednesday 30th October

Bristol in promising new guitar band shocker!  And these guys mean business; they’ve brought their own palm tree.  Together for just two years the 5-piece purveyors of ‘trop-pop’ have already chalked up an impressive 30,000 I-Tunes downloads and 300,000 You Tube views of debut single ‘Oceans’ with support from Radio One.  Coasts head up a trio of talented indie-rock sets at the Louie (alongside Dive In and Goan Dogs) and after two 20+ date UK tours this year and some enthusiastic reviews, the band are starting to make some real waves.


A sun-drenched fusion of Foals, Two Door Cinema Club and Vampire Weekend they get the crowd bouncing from the start with chunky electro-rock opener ‘Wallow.’  Frontman Chris Caines, with a floppy youthful Albarn mop and baggy white t-shirt, perhaps isn’t the most imposing figure but he nails the tricky chorus and looks full of confidence in such an intimate venue.  Their indie-pop sound relies perhaps too heavily on those tropical dancehall rhythms at times; wonky keyboard effects and a weak chorus make ‘Your Soul’ sound a little Maroon 5 but it’s one of few tonight that underwhelm.  ‘Stone’ begins with Clock Opera keyboard precision and some nice fills from classy drummer Ben Street, now back to full health having broken his neck over the summer.  Although the vocals threaten to whine, the guitars are cranked up and their California slacker sound scorches. 


Imminent new single ‘Stay’ is actually the first song that the band wrote together and is a real stand-out with a Duran Duran 80’s feel that climbs up towards a monstrous chorus and Caines in familiar falsetto.  With ‘hit’ written all over it you can’t help but feel that this could be the last time we see them at such a tight venue.  Fair play to Coasts, with indie still languishing as a tired genre in need of a shot in the arm or a violent shake, their bouncy rock-pop certainly breathes fresh life tonight into the vox, guitar, bass, keys and drums formula.  



Final track ‘Oceans’ is power-pop masterstroke that opens with resonating customary calypso Caribbean guitar from Liam Willford who rarely threatens the lower half of the fret board and Street’s shimmering drums definitely shift the tune towards glory.  “We fell in love right by the ocean, made all our plans down on the sand” is the catchy mantra and there’s total crowd participation as the primarily student populated sweatpit vivaciously throws its shapes.  With a tidal surge of glowing reviews and performances as tight as this one, the future looks as bright and breezy as their punchy trop-pop anthems for Coasts; surely one of Bristol’s most promising indie hopes.

Kindly published by Venue.co.uk:

http://www.venue.co.uk/music-live-reviews-c/21310-coasts

Best Track: Click on link below
Coasts - 'Oceans'

Buy music here:

Monday 28 October 2013

Suede - O2 Academy, Thursday 24th October

Britpop architects Suede wow a capacity 02 Academy crowd and its clear as ever that in 45 year old frontman Brett Anderson they have one of popular music’s greatest ever performers.  It’s not difficult to see how the London quintet has retained their appeal despite a ten year hiatus.  This years comeback album ‘Bloodsports’ is amongst their best work and a return to the bombastic, grandiose anthems that soundtracked the last major domestic rock renaissance back in the mid-90’s.  Add to the mix the tightest of live reputations and an enigmatic lead singer oozing an intoxicating Bowie-esque cocktail of cool and sex appeal that would leave most bands green with envy and there’s no doubting, that even now, when Suede come to your town, you’re going to experience a real event.


And they’ve picked a cracker of a setlist satisfying die-hards and newbies mixing up rare b-sides, early album tracks and greatest hits amongst much of the latest release.  Anderson enters the stage behind his bandmates dressed in a skin-tight smart white shirt, energetic from the outset, hopping on and off a wooden box to address the baying audience.  The concern he shows towards a faulty electric fan on stage shows the intention to pour out every possible ounce of effort and passion into their opening date of the tour.  ‘Barriers’ is already a firm crowd favourite with the familiar sharp sneering vocals and euphoric guitar hooks meeting a light smattering of drums, Anderson with arms outstretched, back arched demanding engagement.  


Anderson hurtles about the stage with more energy than pretenders half his age; it’s obvious he’s really missed being on stage.  His largely unremarkable project with The Tears alongside maverick ex-guitarist Bernard Butler was short-lived and the chance to reconnect with his adoring fans has proven irresistible.  ‘Snowblind’ sounds like Hole with Richard Oakes’ squally guitars as Anderson maintains a pitch perfect delivery despite being engulfed by the crowd on one of many trips away from the stage.  When they come to play ‘Trash’ the whole floor is pogo-ing like it’s 1996 again, they just don’t make anthems like that anymore says the guy next to me; he has a point.  ‘Sabotage’ begins menacingly with a throbbing bassline before Oakes lets rip on an Edge style guitar riff and Anderson, on his knees and with arm aloft, makes it soar. 


Arms are waving in unison for sassy classic ‘The Drowners’ before underrated B-side ‘Killing Of A Flashboy.’  A change of pace next with a mesmerizing delivery of ‘The Two Of Us’ rich in alt-romantic Smiths; “Two silhouettes by the cash machine make a lovers dance.”  New single ‘For The Strangers’ is pure class; melodic chimes from Oakes’ Gibson and rasping effortless vocals from Anderson.  Showing no sign of fatigue they power through ‘So Young’ finishing on lyrical masterpiece/sarcastic ode to the shallow; ‘Beautiful Ones’ which invokes another enthusiastic singalong.  In a live arena they’ve never left anything in the tank and tonight is without doubt a triumphant return for a band with renewed focus and a fanbase who have clearly fallen back in love with them.

Kindly published by Venue:
http://www.venue.co.uk/music-live-reviews-s/21276-suede

Best track: Click on link below
Suede - 'Trash'

Setlist:
  1. Pantomime Horse 
  2. Barriers 
  3. Snowblind 
  4. It Starts and Ends With You 
  5. Filmstar 
  6. Trash 
  7. Animal Nitrate 
  8. Heroine 
  9. Sometimes I Feel I’ll Float Away 
  10. Sabotage 
  11. The Drowners 
  12. Killing of a Flashboy 
  13. The 2 of Us 
  14. The Big Time 
  15. For the Strangers 
  16. So Young 
  17. Metal Mickey 
  18. Beautiful Ones 
  19. New Generation 

Buy albums here:

Thursday 24 October 2013

My Vitriol - The Fleece, Tuesday 22nd October

The last time My Vitriol released a studio album mobile phones could do little more than call and text, Saddam still ruled in Iraq and England had just beaten Germany 5-1 in Munich.  After what looked like an inevitable drive towards mainstream glory with debut shoe-gaze indie-rock classic ‘Finelines’ the band burned out and exiled itself for what has felt like a musical eternity.  Fast-forward 12 years and the London quartet are beginning again as die-hard fans still clutch onto the debut, a patchy b-sides album and a solitary, false-dawn mid-hiatus of an EP in hope of new material and a fitting reward for their patience.


Sri Lankan born front-man Som Wardner has cause to sweat tonight.  Not only is he donning a tight leather jacket in a hot-house almost-full Fleece but it’s the first night of a long awaited tour in front of an audience that wants to be both seriously re-energised and if possible, some answers.  From the off a Perspex screen is rather curiously placed in front of drummer Ravi Kesaravam as Wardner sits unaccompanied at a keyboard for promising eerie new opener ‘London City Lights’.  When bespectacled Jarvis lookalike Seth Taylor (guitar) and Ringo Starr’s gothy basque-wearing grand-daughter Tatia (bass) join on stage for ‘War Of The Worlds’ we’re re-introduced to the searing wall of sound and creamy vocals that won them their loyal army more than a decade ago.  


‘Cemented Shoes’ is the first real ‘oldie’ and brings about some committed head throwing as the band overcome their early sound frustrations that left Wardner’s guitar almost redundant.  Volatile yet melodic pop is played out with a scorching metal aggression throughout as Taylor and Wardner’s guitars spiral against some frankly vicious drumming.  A handful of new tracks have some worrying hand-clap synth drum beats but Wardner’s sharp vocals pull them up well.  The beaming frontman comes over all Jeff Buckley on ‘Cast Aspersions’ –a mid-paced glimpse into the next phase of the band which appears to go down well.  More sound issues on the pulverizing ‘Moodswings’ as the audience duck for cover; although the Fleece is known for it’s monster metal gigs, there can’t be many performances as brutally earsplitting as tonight’s.  The spiky powerhouse ‘Losing Touch’ is an old favorite devastatingly dispatched before Wardner addresses the crowd “thanks for sticking with us over the years” –by which point most have forgiven them.


‘Always Your Way’ is an anthemic eruption that sirens and soars as the night’s highlight with some fearsome angular guitar from Taylor.  Finishing with Tongue Tied / C.O.R -another carefully assembled instrumental showcasing their glorious, cacophonous blend of distorted feedback and guitar chimes that threatens to bring the lighting rig down.  As they exit the audience is left with both the ringing of ears and a bittersweet reminder of what could have been.  Laziness, buckling under pressure or writer’s block, we’re none the wiser.  But seemingly rejuvenated live and with a new album imminent and the weight of expectation suitably dampened by the passing of time the conditions appear right for a fresh tilt for one of indie rock’s most powerful live acts.

Kindly published by Venue:
http://www.venue.co.uk/music-live-reviews-m/21265-my-vitriol

Best Track: Click link below
My Vitriol - 'Always Your Way'

Setlist To follow

Buy albums here:

Wednesday 9 October 2013

Cocos Lovers - The Canteen, Thursday 3rd of October

“Is it like this in Bristol every night?” is the bemused call from Will Greenham, lead singer and guitarist of septet family folk ensemble Cocos Lovers (pronounced Co-cos).  It’s a pretty sizable and high-spirited Thursday night crowd at the bohemian renaissance of the Canteen in Stokes Croft.  And as the well-lubricated blend of students, artists and other trendy types invade the front few rows displacing the languishing diners it’s impossible to resist dancing to the bands infectious African beats.  


Touring the UK in support of latest album ‘Gold Or Dust’ the eclectic group from Deal are causing a stir with their third release which delves into a vast pool of styles and influences from aforementioned African rhythms (think a more subtle Paul Simon’s ‘Graceland’), vintage coastal Kent folk and even a bit of deep south thrown in for good measure.  The band have supported Stealing Sheep and all-conquering folk Cinderellas Mumford & Sons after some honest hard graft busking/touring to perfect their sound on the nation’s high streets, farmyards, squats and communes.  Many of the tracks are lyrically melancholic and sincere with an over-arching tribal lilt held down with stunning vocal harmonies that soar and enchant; instrumentally there’s so much happening on-stage it’s a challenge to keep up.


Main single and standout ‘Emily’ is a classy but downbeat slice of trippy folk that starts with an eerie musical saw and a wandering acoustic guitar conjuring images of tree-whistling winds and high rolling hills.  Then there’s entry of the trademark punchy resonating bounce of David Hatton’s electric guitar that puts the audience into a hypnotic groove.  Quickly followed by sweet layers of virtuoso acid-jazz flute and some seamless five-part vocal harmonies; real quality bristling from every contribution on the cramped stage.  It’s the kind of multi-instrumental mash-up that has no right to work.  Skin drums, mandolins, banjos, guitars, flute, saws, trumpet employed with orchestral precision but with a loose dreamy feel that has everyone beaming.


Husband and wife Will and Natasha Greenham front the band, their voices harmonising seamlessly, the former sounding a little bit Belle and Sebastian and the latter giving a more coarse rootsy texture that quietens the chatter from tonight’s boisterous audience.  It’s tough at times to pick out every instrument with the limited sound mixing on offer and Phil Self’s mandolin is unfairly muted but it’s those Saharan desert rhythms that really dazzle; a really refreshing change from those still plundering from the Celtic alt-folk genre.  ‘Dea Matrona’ with sensual fiddle and folk-country vocals is tailor-made for a Sunday afternoon at Glastonbury’s Green Fields, one foot as ever in the World Music camp and a joyful attack on the senses.  You don’t have to be a connoisseur of folk to enjoy Cocos Lovers but if you like true honest musicianship with a danceable groove then this group is definitely for you.

Kindly published by Venue:
http://www.venue.co.uk/music-live-reviews-c/21188-cocos-lovers

Best Track: Click on link below
Cocos Lovers - 'Emily'

Buy albums here:

Monday 30 September 2013

Manic Street Preachers - Monday 23rd Sept, Colston Hall

“Overweight and out of date” sings 44 year old Manics frontman James Dean Bradfield on a rare performance of ‘Elvis Impersonator: Blackpool Pier’ as the Blackwood trio roll into town in support of 11th album ‘Rewind The Film.’  Whilst the band may be carrying a few extra pounds from the heady Britpop days, they still have an adoring army of fans and positive reviews of the new release (an assured address to middle-age) seem to be pointing towards yet another resurgence.


The spectre of enigmatic guitarist Richey Edwards still looms large over every performance as the band fondly recount anecdotes of early gigs and the wild escapades of their disappeared/departed (you decide) former fourth member.  As the bands newer material is culpable of sliding into the Radio 2 friendly territory that bassist Nicky Wire lambasts of other bands weekly in NME one wonders what Edwards would make of the ‘no electric guitars’ policy on the latest record.  Thankfully it won’t be long though for fans of the early edgier albums to ride it out as the anticipation of next years rumoured ‘punk’ album sates the appetite for a more energetic approach.


Tonight’s gig begins with some real class and a ferocious ‘Motorcycle Emptiness’ showcases Bradfield’s sumptuous guitar licks that surprises everyone as an opening choice.  The offbeat, moody ‘Ready For Drowning’ follows and couldn’t be more of an antithesis, Bradfield’s glorious vocals shine in what now feels like an underrated album track.  Wire, looks typically garish in red trousers on the right but he ought to be wearing a striped black and white t-shirt and balaclava for his shameless theft of the Neighbours theme tune on latest hit ‘Show Me The Wonder.’  With honking gorgonzola trumpet buffoonery and sickly MoR chorus isn’t the groups finest hour and the crowd are largely inanimate, pining for the next Bradfield guitar solo.  Fortunately the understated melancholy of ‘4 Lonely Roads’ redeems well as silky-voiced welsh starlet Cate Le Bon joins them onstage.  There’s no Richard Hawley for the new album’s title-track and the frontman struggles with the Sheffield crooners depth on a track where clumsy lyrics threaten to spoil.  


‘You Love Us’ is humorously dedicated to the Bierkeller who made the band pay £100 to perform in their formative days.  With a heavily drenched brown jacket, Bradfield holds the stage unaccompanied for a mezmerising solo of ‘The Everlasting’ which follows dull as dishwater newbies ‘This Sullen Welsh Heart’ and ‘(I Miss The) Tokyo Skyline.’  Powerful political assault on the middle classes ’30-Year War’ is the pick of the new tracks showing that Wire hasn’t lost any of his biting lefty wit.  Finishing with glorious punk (‘Motown Punk’) and the colossal Design For Life’ we’re reminded of the true qualities of a band fighting the tides of time but still with the power to unite embracing strangers and fully wrench the guts.  It’s a hit packed set and for the most part one of impressive variety, above all though it’s one that proves the undying appeal of a band that will surely go down as one of the most important of the last 20 years.

Kindly published by Venue:
http://www.venue.co.uk/music-live-reviews-m/21139-manic-street-preachers

Best Track: Click on link below
Manic Street Preachers - 'Motown Junk'

Setlist:

1. Motorcycle Emptiness 
2. Ready for Drowning 
3. Your Love Alone Is Not Enough 
4. Show Me the Wonder 
5. Anthem for a Lost Cause 
6. (It's Not War) Just the End of Love 
7. You Stole the Sun From My Heart 
8. 4 Lonely Roads (with Cate Le Bon)
9. Rewind the Film 
10. You Love Us 
11. If You Tolerate This Your Children Will Be Next 
12. This Sullen Welsh Heart 
13. (I Miss the) Tokyo Skyline 
14. The Everlasting 
15. Elvis Impersonator: Blackpool Pier 
16. Revol 
17. Tsunami 
18. Sleepflower (Snippet)
19. 30-Year War 
20. Kevin Carter 
21. Motown Junk 
22. A Design for Life 

Buy albums here:

Sunday 15 September 2013

Babyshambles - O2 Academy, Wednesday 11th September

Nobody divides public opinion quite like Pete Doherty.  Adoring Libertines fans have long since placed him on a stratospheric pedestal as a tortured genius, some sort of modern day prophet/poet, misunderstood and afflicted.  And to the non-believers he will always be a cautionary tale; a disgusting mess perhaps culpable for the tragic demise of national treasure Amy Winehouse.  Whichever camp you sit in there’s no denying that the unpredictable frontman is pure box office and from the early soundcheck adorned in just a towel and turban, the entertainment factor is never in doubt. 
 
 
It’s been a busy year for the eccentric ringmaster, still legally exiled from living in a London postcode Pete has enjoyed a bohemian renaissance with new room-mate Macauley Culkin in Paris where recent mischief has seen him banned from French trains for thieving uniforms.  After his underwhelming solo debut Babyshambles are back together for third album ‘Sequel To The Prequel’ –another new lineup and one feels, a final chance to reward their label’s patience.  With customary tardiness, Doherty takes to the stage in a sharp suit flanked by elder statesman guitarist Mick Whitnall and lively bassist Drew McConnell.  It’s a decent first half an hour which kicks off with Kinks influenced ‘Delivery’ followed by impressive new single ‘Nothing Comes To Nothing’ prompting some heavy showers of beer in the pit.

 
Doherty sheds his jacket to reveal an ill-fitting white shirt, in truth he looks awkward and anxious without a guitar, wafting his microphone around like a sozzled Ian Brown.  No longer the firebrand of ten years ago for sure but the mixed crowd of smashed hipsters and less animated voyeurs are at least treated to some reasonably tight work on new tracks ‘Farmer’s Daughter’ and lyrically amusing ‘Penguins.’  Then, a turning point.  Potty Pete puts down two pints to the crowd’s delight and accidentally switches his microphone off.  Further shrieking sound issues result in a stand being hurled into the crowd and the tottering singer swings the mic round repeatedly scraping the floor.  The band are now ragged throughout ‘Fuck Forever’, all eyes on the stricken frontman, his vocals reduced to incoherent mumbling.  Taking a trip on the stage he’s unceremoniously dragged to his feet and the group exit the stage. 



“Can anyone play drums?” –they’re back on minus drummer Jamie Morrison and Drew McConnell.  A reluctant roadie is drafted in and the remaining crew stand left of stage mouths aghast at what follows.  Playing the first thing that pops into his head and abandoning it almost as quickly Doherty covers in part, ‘Ask’ (Smiths), ‘Waterfall’ (Stone Roses) and ‘Cigarettes & Alcohol’ replacing the former for crack cocaine.  Stumbling around the stage he smashes the drumkit with the mic and grabs a trilby from the audience concluding that “If only you’d have given me the hat at the beginning everything would have turned out fine.”  More nonsense ensues before the venue cut the sound and Doherty collapses to be dragged off by hands and feet by the long-suffering crew.  Quoted as saying recently “I’ll need to cut my hand off to beat crack” it may well be too late for him to save his legacy, whether you consider tonight as horrific or triumphantly crazy, it’s one to remember.

Best track: Click on link below
Babyshambles - 'Albion'


Setlist: Coming Soon

Buy albums here:

Sunday 1 September 2013

Black Rebel Motorcycle Club - 02 Academy, Bristol, Tuesday 27th August

It’s been an eventful 3 years for San Francisco gloom-rock trio BRMC since they last brought their dry ice fuelled glorious scuzzy wall of sound to Bristol.  A band so loud that one of their gigs was cancelled due to fears that the floor would collapse has had to overcome the backstage death of sound engineer/father of bassist Robert Levon Been as well as a curious combination of commercial decline yet critical and creative rejuvenation.  Often typecast as difficult and painfully introverted the band has rebutted lucrative corporate endorsements and stone-walled interviewers throughout their 15 year career.  Live though they’re a committed and powerful force as they mix up a two hour set of fuzzy garage rock, black-hearted blues and beer-spraying apocalyptic punk.  The opening half hour is a breakneck rock assault which can’t possibly be maintained.  From the moody funk of ‘Hate The Taste’ through neon-acoustic piledriver ‘Beat The Devil’s Tattoo’ the crowd fervently jostle and a vociferous pit forms. 
 

Guitarist Pete Hayes, all sideburns and oily hair looks like a bad-ass biker on the right sharing vocal duties between lighting up.  Early track ‘Ain’t No Easy Way’ has him at his snarling best on a retro barnstormer that would sit well on a Young Guns soundtrack.  Alongside him Robert Levon Been with Morrissey coiffeur and black leather jacket strums a battered hollow bass giving the band their trademark aggressive bone-shakingly distorted boom sound; later track ‘Stop’ proving his best moment as the place goes berserk.  What follows though is a lengthy mid-set lull as ill-advised acoustic turns from Robert then Pete are drowned out by audience chatter.  ‘Lullaby’ seems to take an age to get going due to perfectionist loop pedal tinkering but they pull it off in what is the closest to a heartfelt ballad as BRMC offer.


‘Specter At The Feast,’ their seventh studio album was a largely cathartic project for Been and his father’s biggest hit whilst with The Call; ‘Let The Day Begin’ is a suitably raucous but poignant cover that is widely appreciated.  Also on new brooding ethereal anthem ‘Returning’ Been again pays tribute as the event still clearly weighs heavy on his mind “I will follow you till we all return, till we know our souls survived.”  Behind the noisy boys ex-Raveonettes and relatively newbie drummer Leah Shapiro keeps a steady beat impressing in particular on the ferocious ‘Rival’ with some military spattering and handy fills. 


Thunderous anthems ‘Whatever Happened To My Rock And Roll’ and ‘Spread Your Love’ incite some cheeky crowdsurfing much to the anger of heavy-handed security bulldogs who quickly bundle them out.  Ending with ‘Sell It’ we’re reminded of what the band does best.  It’s dark, dirty and bordering on evil in places as blood-curdling bass and wild early Verve guitar thrashing make it a moody enjoyable mess with Hayes screaming “Get it, I got it on the run, sell it.”  Its top stuff and a ballsy way to end for an overlooked rock band still going strong where their peers have long since burned out.

Kindly published by Venue:
http://www.venue.co.uk/music-live-reviews-b/21035-black-rebel-motorcycle-club

Best Track: Click On Link Below
BRMC - 'Stop'

Setlist:

1. Hate The Taste
2. Beat The Devil's Tattoo
3. Let The Day Begin
4. Rival
5. Ain't No Easy Way
6. Berlin
7. Screaming Gun
8. Returning
9. Conscience Killer
10. Shade Of Blue
11. Weight Of The World
12. Stop
13. Funny Games
14. The Line (Robert acoustic)
15. Some Kind Of Ghost (Peter acoustic)
16. Fire Walker
17. Lullaby
18. Whatever Happened To My Rock & Roll
19. Spread Your Love
20. Six Barrel Shotgun
21. Sell It


Albums available here: