THE EDITORS/Fujiya & Miyagi/The Strange Death Of Liberal England
Philharmonic Hall, Liverpool, 29.03.10.
The nature of Liverpool's Philharmonic hall meant that for fans this gig was always going to be a little different. Much more accustomed to the conductor than the front-man, this all-seater venue made up in acoustic capacity what it lacked in audience participation.
As far as diversity of style is concerned, special guests The Strange Death Of Liberal England take some beating. Drawing on influences ranging from folk pop to indie-rock, they offer epic, drawn-out affairs. They're often delightfully nuanced as well, suggesting that repeated listens would not be wasted. With fresh ideas and haunting melodies, they fill the listener with intrigue and implore them to delve further.
By contrast, the forward-thinking Fujiya & Miyagi bombard the audience with highly rhythmic, almost hypnotic tunes. Having formed in 2000, the four-piece have taken time to find their feet, yet this may have been to their benefit. They deliver an astonishingly crisp, clean sound highly accomplished in its assault on the audience. 'Ankle Injuries' in particular seemed almost beguiling in its directness, only compounded by ending as it did with the relentless terrace-like chanting of the band's name.
With the audience eager and in their seats, The Editors duly entered the stage. With the third album's style having taken the band down a new path, they may well have been hoping to shake off any lazy comparisons with the likes of Interpol and Joy Division, always refuted by the group themselves. Whilst the distinctive dark sound of the first two albums gave the group a strong identity and two very coherent records, it may have prevented the songwriting from maturing fully. Not that the charts agree, as all three records have been resounding successes. It does seem though that the boys from Stafford have unshackled themselves somewhat since 'The End Has A Start'. Moreover, whilst retaining the brooding quality evident on the likes of 'All Sparks', the third album is equally accessible, infinitely more interesting and may well appeal to a different breed of music fan.
Indeed, Tom Smith himself appeared visibly more animated when performing new singles 'Papillon' and 'Eat Raw Meat= Blood Drool'. Making greater use of Chris Urbanowicz's synthesizer, comparisons to the likes of Portishead or Depeche Mode would now be more accurate. It all went down rather well too and despite the restrictions that rows of seats bring, the crowd were soon on their feet and and this was by no means a sedate affair. Despite being three albums down the line, on the evidence of tonight The Editors are no spent force. Although they are yet to produce a real masterpiece, if they can continue to apply themselves so ably to new creative horizons then they will only get better and better.
Pete Robinson.
Saturday, 3 April 2010
The Lambrettas + The Grand Old Dukes review
28th March, Moho Live, Manchester
The Lambrettas
The Grand Old Dukes
Stepping into Manchester's Moho Live to the sight of shaven heads, checked shirts and braces, it was apparent that nostalgia was high the agenda for many of the punters. Seemingly unaffected by line-up changes, The Lambrettas were far more than competent in their reproduction of choice cuts from their own back catalogue.
Crowd favourites such as Ford Cortina MkII, Da-a-a-ance and their version of Poison Ivy in particular made for a loyal following going home very happy. Having seemingly lost none of the energy that sparked their mod-revival success back in the '80s, the four-piece rocketed through the set with the sort of verve which denotes a lasting belief in the movement.
Whilst often over-looked as being too derivative and always, to an extent, living in the shadow of The Jam, the band reminded us that they have both the songs and the live shows to stand up to scrutiny. Even without songwriter Jez Bird, who sadly passed away in 2008, The Labrettas were able to recreate an atmosphere it was hard not to get caught up in. Originating in Brighton, their strongest suit is perhaps their ability to pen pop gems such as the aforementioned Ford Cortina which if anything transcend the genre. To a certain extent, their devotion to all things mod has held them back, pushing them on occasion towards cliché. Without ever having the pioneering zeal of some of their contemporaries, they are in danger of being remembered as nothing more than 'also-rans', which would be a shame.
As passionate and committed as the new look Lambrettas were, in all honesty it was support act The Grand Old Dukes who stole the show. Clearly playing to a Sunday night audience eagerly anticipating the headliners, the Manchester band wasted no time in garnering attention. Frontman Steve Noire immediately catches the eye with a narrative vocal-style reminiscent of Bad Seeds era Nick Cave.
With tracks such as the outstanding Let It Out, they have an awful lot to offer. From the blues-infused Blackspot to the highly contagious Running Out My Mind this is a band with ideas aplenty. Driven by the expansive grooves of guitarist Lez Paul Dennis and within the constraints of a half-hour set the group shifted through the gears effortlessly. Yet inspiration is hard to pinpoint.
Whilst the songcraft isn't so far removed from the mainstream as to make them inaccessible, this is a group who know what they're trying to do and indie by numbers it is not. With a nod to '60s west coast vocal harmonies and an inclination towards the cohesive powers of the trumpet and the harmonica, they're a difficult one to quantify.
Clearly not struggling to find their own identity they are musically assured in whichever direction they turn. Moreover, the sheer infectiousness of offerings such as Get Your Own Back provide a point of entry, demonstrating a delicate balance between minimalist structure and layered instrumentalism. There is also invention in abundance; showing dynamism without ever seeming indulgent. An exciting discovery.
Pete Robinson.
For more on The Lambrettas:
www.thelambrettas.co.uk
For more on The Grand Old Dukes:
http://www.facebook.com/pages/The-Ambush/94937910421#!/group.php?gid=52582856544&ref=ts
The Lambrettas
The Grand Old Dukes
Stepping into Manchester's Moho Live to the sight of shaven heads, checked shirts and braces, it was apparent that nostalgia was high the agenda for many of the punters. Seemingly unaffected by line-up changes, The Lambrettas were far more than competent in their reproduction of choice cuts from their own back catalogue.
Crowd favourites such as Ford Cortina MkII, Da-a-a-ance and their version of Poison Ivy in particular made for a loyal following going home very happy. Having seemingly lost none of the energy that sparked their mod-revival success back in the '80s, the four-piece rocketed through the set with the sort of verve which denotes a lasting belief in the movement.
Whilst often over-looked as being too derivative and always, to an extent, living in the shadow of The Jam, the band reminded us that they have both the songs and the live shows to stand up to scrutiny. Even without songwriter Jez Bird, who sadly passed away in 2008, The Labrettas were able to recreate an atmosphere it was hard not to get caught up in. Originating in Brighton, their strongest suit is perhaps their ability to pen pop gems such as the aforementioned Ford Cortina which if anything transcend the genre. To a certain extent, their devotion to all things mod has held them back, pushing them on occasion towards cliché. Without ever having the pioneering zeal of some of their contemporaries, they are in danger of being remembered as nothing more than 'also-rans', which would be a shame.
As passionate and committed as the new look Lambrettas were, in all honesty it was support act The Grand Old Dukes who stole the show. Clearly playing to a Sunday night audience eagerly anticipating the headliners, the Manchester band wasted no time in garnering attention. Frontman Steve Noire immediately catches the eye with a narrative vocal-style reminiscent of Bad Seeds era Nick Cave.
With tracks such as the outstanding Let It Out, they have an awful lot to offer. From the blues-infused Blackspot to the highly contagious Running Out My Mind this is a band with ideas aplenty. Driven by the expansive grooves of guitarist Lez Paul Dennis and within the constraints of a half-hour set the group shifted through the gears effortlessly. Yet inspiration is hard to pinpoint.
Whilst the songcraft isn't so far removed from the mainstream as to make them inaccessible, this is a group who know what they're trying to do and indie by numbers it is not. With a nod to '60s west coast vocal harmonies and an inclination towards the cohesive powers of the trumpet and the harmonica, they're a difficult one to quantify.
Clearly not struggling to find their own identity they are musically assured in whichever direction they turn. Moreover, the sheer infectiousness of offerings such as Get Your Own Back provide a point of entry, demonstrating a delicate balance between minimalist structure and layered instrumentalism. There is also invention in abundance; showing dynamism without ever seeming indulgent. An exciting discovery.
Pete Robinson.
For more on The Lambrettas:
www.thelambrettas.co.uk
For more on The Grand Old Dukes:
http://www.facebook.com/pages/The-Ambush/94937910421#!/group.php?gid=52582856544&ref=ts
Friday, 2 April 2010
New Young Pony Club review
New Young Pony Club, live at Korova, Liverpool, Friday 26th March.
When a pop group's rise to stardom is heavily enhanced by the use of one of their songs in a TV commercial, it can be a mixed blessing. As one such band, New Young Pony Club will be hoping the release of their second album, The Optimist, can shake off any 'one hit wonder' tags and help the foursome build on their earlier success.
Following the release of Ice Cream back in 2005 (and subsequent re-releases), NYPC found themselves in popular demand. With an album in the charts, extensive was touring to follow. Returning with a second album the band have made an effort to reinvent themselves by adding an extra dimension to their punk-infused dance pop. Now with the experience to match the on-stage flamboyance of lead-singer Tahita Bulmer, the new album is something of a darker affair.
Entering the stage with the crowd in good spirits (after being thoroughly woken up by special guests Teeth) the band opened with new single Chaos. Still upbeat but slightly edgier than anything from the first offering, there seemed to be a conscious decision to showcase a new sound. Whilst there is undoubtedly a freshness to the new stuff, the energy associated with the group remains and this is my no means a sea change. The decision to bring an element of the noire, however slight, into what is essentially a dance pop act is always a risk and NYPC are, in reality, at their best when they stick to what they know.
With a set-list comprising of a fairly even mix of new material and favourites from 2007's Fantastic Playroom, the band sounded sharp and moved seamlessly through the show. All it should be said, well received by a buoyant crowd. It was through 'Hiding On The Staircase' though, that the band shone. No coincidence then that it was during this song and 'Ice Cream' when Bulmer was able to show off that contagious exuberance of hers, and NYPC could really sparkle. Seeing a band trying to develop beyond the tunes that made them successful is something that should indeed be lauded. However, the truth is that although this group knows how to push the feel good and rouse a crowd, the new songs will not perhaps allow them to shift gears in the way they may have hoped. They have achieved some rare moments of pop magic in the past but these days may unfortunately now be behind them.
When a pop group's rise to stardom is heavily enhanced by the use of one of their songs in a TV commercial, it can be a mixed blessing. As one such band, New Young Pony Club will be hoping the release of their second album, The Optimist, can shake off any 'one hit wonder' tags and help the foursome build on their earlier success.
Following the release of Ice Cream back in 2005 (and subsequent re-releases), NYPC found themselves in popular demand. With an album in the charts, extensive was touring to follow. Returning with a second album the band have made an effort to reinvent themselves by adding an extra dimension to their punk-infused dance pop. Now with the experience to match the on-stage flamboyance of lead-singer Tahita Bulmer, the new album is something of a darker affair.
Entering the stage with the crowd in good spirits (after being thoroughly woken up by special guests Teeth) the band opened with new single Chaos. Still upbeat but slightly edgier than anything from the first offering, there seemed to be a conscious decision to showcase a new sound. Whilst there is undoubtedly a freshness to the new stuff, the energy associated with the group remains and this is my no means a sea change. The decision to bring an element of the noire, however slight, into what is essentially a dance pop act is always a risk and NYPC are, in reality, at their best when they stick to what they know.
With a set-list comprising of a fairly even mix of new material and favourites from 2007's Fantastic Playroom, the band sounded sharp and moved seamlessly through the show. All it should be said, well received by a buoyant crowd. It was through 'Hiding On The Staircase' though, that the band shone. No coincidence then that it was during this song and 'Ice Cream' when Bulmer was able to show off that contagious exuberance of hers, and NYPC could really sparkle. Seeing a band trying to develop beyond the tunes that made them successful is something that should indeed be lauded. However, the truth is that although this group knows how to push the feel good and rouse a crowd, the new songs will not perhaps allow them to shift gears in the way they may have hoped. They have achieved some rare moments of pop magic in the past but these days may unfortunately now be behind them.
Wednesday, 31 March 2010
New Young Pony Club (interview for Glasswerk)
Following the release of their second album 'The Optimist', New Young Pony Club are back on the road and touring the UK. Pete Robinson caught up with singer Tahita Bulmer and guitarist Andy Spence in Korova, Liverpool.
Hi guys, to kicks things off, it'd be nice to find out who influenced the music. What did you listen to growing up?
Tahita: I was really into the usual indie stuff, Blur and The Verve.
Andy: I listened to a lot of Prince when I was young.
Yeah, it's hard to argue with a bit of Prince. Ok, you've been reported as saying your mission statement is to 'get people to dance'. Does this conflict at all with the darker, more introspective sound of the new album?
Tahita: Well, we still want to get people dancing and we still do but we also want to get people thinking. Thinking and dancing.
Andy: Yeah, we haven't changed in that we haven't taken anything out, we've just kind of added an expansion pack, [laughes] a goth expansion pack.
Tahita: I don't like bands that don't entertain the crowd, I think it's a band's duty to entertain and that's how I see us as a live band.
When do you feel most in your element as a band, during the recording process or performing live?
Andy: For me it's always the writing because it's where it all started.
Tahita: But it's also our duty to entertain, to give something back to the fans.
Your song 'Ice Cream' put you in the limelight, any worries it will become your 'Creep' or has it acted as a springboard?
Andy: 'Ice Cream' is a great track and its helped us so much.
Tahita: And I think if people listen to the album wanting more of the same then it's their loss.
Andy: It says a lot about the state of the music industry in general at the moment, there's just so much music out there, which is a good thing, but it also means people will just listen to one song and move on. 'Ice Cream' got us recognition but there's a lot more to the (first) album.
You've been described as 'Synth Pop', 'New Wave' and 'New Rave' in the past. How would describe yourselves musically right now?
Andy: Art Pop maybe [laughs], we've actually been described as the best Art Pop band in the world.
In terms of image and the energy of your live shows, you've often been compared to the likes of CSS amongst others, is this a fair comparison?
Andy: I think it's a lazy comparison to be honest, the media always want to make comparisons but we're our own band.
Tahita: They're a band with a lot of energy like us but apart from that I can't see where that comes from.
So how are you finding being back on tour?
Tahita: Last night was great, (Academy, Newcastle) it was brilliant to see the same familiar faces again this time around. We've got a real loyal bunch of fans that we see at all the shows so it's good to see them getting into the new stuff.
And finally, the new album seems to be a bit a departure from the first (Fantastic Playroom) in terms of style, is this 'NYPC mark II'?
Andy: Yeah, I think it is in a way and the second album definitely is more introspective lyrically.
Tahita: And seeing the same fans that came to see us touring the first album and seeing them taking so well to the new songs is fantastic.
Andy: I think that almost validates the record for us.
Excellent, well thanks for that guys. Good luck with The Optimist and enjoy the gig!
Sunday, 21 March 2010
The Smiths Indeed (review for Glasswerks)
To some, it seems almost perplexing, the sight of a group of talented musicians choosing to ply their trade as a tribute act. Surely they'd rather have a shot at making their own music for all the potential fame and adoration that comes with it. Whatever your view of the copycat acts, you certainly can't fault this Liverpool-based tribute for lacking ambition. In Morrissey, lead singer Jurgen Wendelen has taken on the task of mimicking one the most charismatic, enigmatic, not to mention idiosyncratic front men to ever grace these shores. Whilst guitarist Mckelvie has the unenviable task of reproducing the innovative, pioneering sound of alt guitar hero Johnny Marr.
Playing a set-list in honour of the 25th anniversary of much celebrated pro-animal rights album Meat Is Murder, the band opened accordingly with 'The Headmaster Ritual'. From here they worked their way through the album in its entirety, resisting the temptation to fall back on the more crowd-pleasing indie floor-fillers such as 'How Soon Is Now?' or 'This Charming Man'. Indeed, it was only in the second half of the set, having stayed true to their homage by weaving their way through the album that they cut loose on the singles collection. By this point though, the band had already demonstrated their worth beyond simple notions of nostalgia and novelty. Through staying true to the real thing in both sound and looks the group are able to establish real credibility, essential when mimicking a group held so dear by so many.
Although the performance was by no means flawless and Wendelen did, on occasion, fall short in his bid to replicate the vocal dexterity of the Smiths frontman, the band's performance was well received by the crowd who had no problem filling the O2 Academy. Moreover, for all the authenticity achieved in reconstructing Meat Is Murder, it was during the epoch-defining 'Panic' that the group really shone. It is surely a must for any tribute act to enable the crowd to forget they are not in the presence of the genuine article and just for a moment, it was Morrissey on the stage, rhythmically swinging the noose above his head and crooning anti-pop sentiment. Memories were invoked for those fans who were there with The Smiths during their all-too-brief peak and for those who weren't, the legend was certainly kept alive. The Smiths Indeed? On this night, indeed they were.
Playing a set-list in honour of the 25th anniversary of much celebrated pro-animal rights album Meat Is Murder, the band opened accordingly with 'The Headmaster Ritual'. From here they worked their way through the album in its entirety, resisting the temptation to fall back on the more crowd-pleasing indie floor-fillers such as 'How Soon Is Now?' or 'This Charming Man'. Indeed, it was only in the second half of the set, having stayed true to their homage by weaving their way through the album that they cut loose on the singles collection. By this point though, the band had already demonstrated their worth beyond simple notions of nostalgia and novelty. Through staying true to the real thing in both sound and looks the group are able to establish real credibility, essential when mimicking a group held so dear by so many.
Although the performance was by no means flawless and Wendelen did, on occasion, fall short in his bid to replicate the vocal dexterity of the Smiths frontman, the band's performance was well received by the crowd who had no problem filling the O2 Academy. Moreover, for all the authenticity achieved in reconstructing Meat Is Murder, it was during the epoch-defining 'Panic' that the group really shone. It is surely a must for any tribute act to enable the crowd to forget they are not in the presence of the genuine article and just for a moment, it was Morrissey on the stage, rhythmically swinging the noose above his head and crooning anti-pop sentiment. Memories were invoked for those fans who were there with The Smiths during their all-too-brief peak and for those who weren't, the legend was certainly kept alive. The Smiths Indeed? On this night, indeed they were.
Monday, 1 March 2010
A Day In The Life Of Conrad Barnabus #1
I woke up. There I was, in bed. Again. Morning after morning this had been happening to me just lately. Judging from the amount of sleep I discovered in the corners of my eyes, I guessed the time to be around 8.15am. I looked at the clock, it was 11.54am. Such a lack of synchronization with the world around me was disturbing. Not only that, it was indicative of how my days have been unfolding lately. I'm out of touch. I got up and walked to the bathroom, half-naked and scratching my head, with the distinct feeling that walking to the bathroom at this given time, on this given Sunday morning had become passé. The originality had gone walkabout. My routine seems to lack routine.
I went for a walk. Through the city and down towards the water's edge, giving myself a good airing, I don't want to get stale after all. As I went I watched the seagulls; despite being deeply unpopular amongst us semi-civilised apes, these noisy white aviators have always seemed to me to convey an astonishing degree of confidence. The sort of confidence steeped in arrogance i'd previously only ever noticed in the most unattractive of humans, yet somehow the birds carried it so much better. I think they know something that we don't. Anyway, I walked through the streets, and passed some time noticing the little things. I wanted to memorise the city, to see if I could permanently etch the details, all of them, into my mind, maybe so as to revisit them at will at a later date. The walls, the windows, the significance of the direction of the roads, occasionally even the odd odd person all taken into account. I gazed at the water for an extended moment and then went home. It was time for a think.
...so I spent the rest of the afternoon wondering: if my cat wrote an autobiography, what exactly would he call it? These are the kind of questions which need answers. Surely this isn't very normal, ya know, to think such things. I must find out, I must find out if this is normal. Someone must know. They SAY there's no such thing as normal but there must be someone somewhere who knows. There's got to be SOMEONE. Well there we go, I now believe in the existence of a 'Human Normal Barometer'. The old HNB for short, he definitely needed an abbreviation, good choice my fellow general publics. What happened today? It's Sunday 4.56pm and these are my thoughts. These. Maybe i've had too much tea. Maybe I haven't had enough tea. I do want another cup. But then, on the other side of the mirror, now that i've deduced that i've had either too much tea or not enough tea, I should really stick rather than twist. I'll let the last pot do its caffeine dance and see where it gets me. Except, do I need to maintain my caffeine levels though if this is to be a fair experiment? I don't even have test tubes or a Bunsen burner, I wonder If Tesco sells them. No, no, i'll have one of those tins of mixed fruit instead, I think they have cherries in them, and a cherry can really turn a day around, I'm sure I read that somewhere.
It was an afternoon in the winter of 2009 by the way.
I went for a walk. Through the city and down towards the water's edge, giving myself a good airing, I don't want to get stale after all. As I went I watched the seagulls; despite being deeply unpopular amongst us semi-civilised apes, these noisy white aviators have always seemed to me to convey an astonishing degree of confidence. The sort of confidence steeped in arrogance i'd previously only ever noticed in the most unattractive of humans, yet somehow the birds carried it so much better. I think they know something that we don't. Anyway, I walked through the streets, and passed some time noticing the little things. I wanted to memorise the city, to see if I could permanently etch the details, all of them, into my mind, maybe so as to revisit them at will at a later date. The walls, the windows, the significance of the direction of the roads, occasionally even the odd odd person all taken into account. I gazed at the water for an extended moment and then went home. It was time for a think.
...so I spent the rest of the afternoon wondering: if my cat wrote an autobiography, what exactly would he call it? These are the kind of questions which need answers. Surely this isn't very normal, ya know, to think such things. I must find out, I must find out if this is normal. Someone must know. They SAY there's no such thing as normal but there must be someone somewhere who knows. There's got to be SOMEONE. Well there we go, I now believe in the existence of a 'Human Normal Barometer'. The old HNB for short, he definitely needed an abbreviation, good choice my fellow general publics. What happened today? It's Sunday 4.56pm and these are my thoughts. These. Maybe i've had too much tea. Maybe I haven't had enough tea. I do want another cup. But then, on the other side of the mirror, now that i've deduced that i've had either too much tea or not enough tea, I should really stick rather than twist. I'll let the last pot do its caffeine dance and see where it gets me. Except, do I need to maintain my caffeine levels though if this is to be a fair experiment? I don't even have test tubes or a Bunsen burner, I wonder If Tesco sells them. No, no, i'll have one of those tins of mixed fruit instead, I think they have cherries in them, and a cherry can really turn a day around, I'm sure I read that somewhere.
It was an afternoon in the winter of 2009 by the way.
Thursday, 11 February 2010
Sunday, 7 February 2010
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