So this was the last night of my first year at uni. Was I spending it with my fellow students? Ha, no, JOY ZIPPER were playing!
I bought American Whip on a whim a few years ago and it gradually sunk into my system as the delight that it is, but unfortunately I haven't picked up anything else. It sometimes happens. I chose the Barfly gig because I guessed that it would be a little bigger and more like a 'normal' venue after a few cramped gigs previous, and it fitted the assumption well enough. I caught one song by the first of the nights bands- luckily I might add. They seemed to fit into that Cherry Ghost, Athlete, etc. group which seemed odd for a Joy Zipper support. The next band also might have raised an eyebrow or two- Yeti, featuring ex-Libertine John Hassel. They play music indebted to 60's bands like The Kinks and The Zombies, and were actually pretty nice. They're never gonna shake the foundations of rock but they do a decent line in bluesy pop songs. Not bad for someone who used to hang out with Pete Doherty, hohoho....
Joy Zipper were pretty fun and shambolic, but lovably shambolic, like two friends having a laugh. Tabitha Tinsdale looked more spunkier and streetwise than the average indie girl, and Vincent Cafiso was reminiscent of Vincent Gallo, but with all the charm and humour that Gallo allegedly lacks. Their set was full of hushed, breezy pop songs peppered with rawer guitar sections courtesy of Cafiso. Tinsdale's vocals sounded like Kim Deal's, which is apt considering she later cited the Breeder's leader as a hero of hers. The connection was amplified by a cover of Pixies 'Wave of mutilation', which was well received by the crowd, which was followed later by Guided By Voices 'The Goldheart Mountaintop Queen Directory', which Cafiso said was one of his 'favourites'. A band of GOOD TASTE. It was pretty funny to see the couple up on stage debating which songs to play, demanding shout outs from the audience (who shrieked titles out obligingly) in a ramshackle, spontaneous manner. Often Tinsdale or the audience would suggest a song, and Cafiso would cry "Oh nooo!" like his parents were forcefeeding him brocolli. It was a humorous sight to behold. So Joy Zipper- in no way a slick, ultra tight act- and nor would would I want them to be.
Saturday 31 May 2008
Animal Collective / Atlas Sound, London Koko, May 22nd 2008
First an admission; my main intention for this gig was too see Bradford Cox AKA Atlas Sound- Animal Collective were just going to be a bonus for me. Plus, one of the main reasons I wanted to see Atlas Sound was because of the Deerhunter connection. I was desperate to see the band live and this was the next best thing. However, I still enjoy AS's record, so I was still looking forward to seeing the material replicated live. I'm stating this because of how I came away from the gig- I was blown away by Animal Collective.
I'd been to Koko once before to see EITS, and although I admired the numerous towering tiers of the venue the gig was marred by the fact that the stage was so low that I couldn't actually see the band for the most part. Luckily this time I managed a closer spot to the stage and enjoyed a decent view. Cox entered the stage looking like a character from a Harmony Korine movie. Endearingly shy and self deprecating, I felt for him all alone on the stage with only guitar and laptop for company. Although I've appreciated his record (especially songs like 'Recent bedroom' and 'Ativin'), often I found the tracks washing over me a little. Live I think the songs made more impact, enveloping the audience in warm layers of guitars and electronics. It was a pleasing set, and I'm looking forward to Deerhunter's show with Liars with high expectations.
Now, onto Animal Collective. The band have always been one that I have liked to an extent but never really fully appreciated. On record, the vocal harmonies, tribal beats and jangly guitars seem appealing but I always feel there's something elusive about them, possibly because it's such restless music. Live however, the restlessness of the music seems to strengthen their performance. I'd heard that the line up is pretty flexible on tour, so we were lucky that Noah Lennox (Panda Bear) was with them and playing one of his own songs.I don't really know what is usually expected of an Animal Collective, but on Thursday night they were utterly, utterly brilliant. Avey Tare on vocals was swinging about the stage like a mischievous, yodelling, monkey rapper his gloriously harmonius voice being manipulated to new heights by the echo and reverb effects. The electronics on show were astonishing- one part of the show sounded like a huge starfighter fight from Stars Wars, a million bleeps and beats drowining out the room. The band were incredibly loud- in earlier posts I have noted APTBS as supposedly being raucous- but AC were really, really, [i]really[/i] loud. Noise eminated from the stage and ricoched around your body, like a giant raspberry being blown in the venue. The tribal beats underlying their sound were booming and the crowd (towards the front, anyway) were dancing and moshing wildly. I haven't felt such an urge to dance at a gig for a long while. They just sweep you up in this massive wave of melody and rhythm. A brilliant, brilliant performance, definitely one of the best I've ever seen, and certainly the best so far this year.
I'd been to Koko once before to see EITS, and although I admired the numerous towering tiers of the venue the gig was marred by the fact that the stage was so low that I couldn't actually see the band for the most part. Luckily this time I managed a closer spot to the stage and enjoyed a decent view. Cox entered the stage looking like a character from a Harmony Korine movie. Endearingly shy and self deprecating, I felt for him all alone on the stage with only guitar and laptop for company. Although I've appreciated his record (especially songs like 'Recent bedroom' and 'Ativin'), often I found the tracks washing over me a little. Live I think the songs made more impact, enveloping the audience in warm layers of guitars and electronics. It was a pleasing set, and I'm looking forward to Deerhunter's show with Liars with high expectations.
Now, onto Animal Collective. The band have always been one that I have liked to an extent but never really fully appreciated. On record, the vocal harmonies, tribal beats and jangly guitars seem appealing but I always feel there's something elusive about them, possibly because it's such restless music. Live however, the restlessness of the music seems to strengthen their performance. I'd heard that the line up is pretty flexible on tour, so we were lucky that Noah Lennox (Panda Bear) was with them and playing one of his own songs.I don't really know what is usually expected of an Animal Collective, but on Thursday night they were utterly, utterly brilliant. Avey Tare on vocals was swinging about the stage like a mischievous, yodelling, monkey rapper his gloriously harmonius voice being manipulated to new heights by the echo and reverb effects. The electronics on show were astonishing- one part of the show sounded like a huge starfighter fight from Stars Wars, a million bleeps and beats drowining out the room. The band were incredibly loud- in earlier posts I have noted APTBS as supposedly being raucous- but AC were really, really, [i]really[/i] loud. Noise eminated from the stage and ricoched around your body, like a giant raspberry being blown in the venue. The tribal beats underlying their sound were booming and the crowd (towards the front, anyway) were dancing and moshing wildly. I haven't felt such an urge to dance at a gig for a long while. They just sweep you up in this massive wave of melody and rhythm. A brilliant, brilliant performance, definitely one of the best I've ever seen, and certainly the best so far this year.
Friday 16 May 2008
A Place To bury Strangers at Sonic Cathedral, May 12th 2008
I was mulling over actually posting a review of the gig as I wasn't really affected by the event, but then again it is a record and even the smallest things can contribute to the collective whole.
The Social is a smallish bar/club type place, a little cramped I must say, and for me, possibly not the best place to see a band. The first band was called something like 'The P Party', and although my initial thoughts of the garage rock duo were favourable, I slowly realised that they I had been daydreaming about something else for half the set, and I was actually bored by them. Bordering on the fuzzy, hazy rock of Mazzy Star and co., the duo's vocals were strangely high pitched and at odds with the music. So yeah, pretty forgettable. After an awfully long wait, The Tambourines managed to lever themselves on stage and begin getting to grips with their instruments. Reminiscent of Brian Jonestown Massacre, they were slick and professional, very welcome after the disappointing opener. They had a few technical difficulties which hampered the set, culminating in the singer/guitarist throwing his instrument down and giving it a good kick- rock and/or roll.
Another long wait which pissed me off. Really, what the hell is taking so long? These are relatively small bands, this is a small gig, it's not U2 at the Colosseum. On came the three men from New York and on came the blasts of deafening noise. I'd heard rumour they were "the loudest band in New York". Well, they were loud but they weren't THAT loud. Their self titled debut has been played a lot recently by this blogger so I was hopeful of a good show. And it was pretty decent. Their energy on stage was great, especially the singer/guitarist, shredding his arms off. The rhythm section was pretty tight to compliment the walls of noise and members of the crowd were bobbing their heads approvingly. The only downside really was the loss of the melodies in the songs. I've seen Asobi Seksu twice now and both times came away a tad unsatisfied. On record, they have the sweetest, poppiest songs imaginable but live they were virtually drowned out by the great swarthes of noise. I guess it depends on what you want out of a gig when you go and see a shoegaze/drone/noise band, but for me I want there to be a balance. APTBS weren't quite this bad at getting this balance right, but a few times the vocals and changes in the songs were lost. GET IT RIGHT.
The Social is a smallish bar/club type place, a little cramped I must say, and for me, possibly not the best place to see a band. The first band was called something like 'The P Party', and although my initial thoughts of the garage rock duo were favourable, I slowly realised that they I had been daydreaming about something else for half the set, and I was actually bored by them. Bordering on the fuzzy, hazy rock of Mazzy Star and co., the duo's vocals were strangely high pitched and at odds with the music. So yeah, pretty forgettable. After an awfully long wait, The Tambourines managed to lever themselves on stage and begin getting to grips with their instruments. Reminiscent of Brian Jonestown Massacre, they were slick and professional, very welcome after the disappointing opener. They had a few technical difficulties which hampered the set, culminating in the singer/guitarist throwing his instrument down and giving it a good kick- rock and/or roll.
Another long wait which pissed me off. Really, what the hell is taking so long? These are relatively small bands, this is a small gig, it's not U2 at the Colosseum. On came the three men from New York and on came the blasts of deafening noise. I'd heard rumour they were "the loudest band in New York". Well, they were loud but they weren't THAT loud. Their self titled debut has been played a lot recently by this blogger so I was hopeful of a good show. And it was pretty decent. Their energy on stage was great, especially the singer/guitarist, shredding his arms off. The rhythm section was pretty tight to compliment the walls of noise and members of the crowd were bobbing their heads approvingly. The only downside really was the loss of the melodies in the songs. I've seen Asobi Seksu twice now and both times came away a tad unsatisfied. On record, they have the sweetest, poppiest songs imaginable but live they were virtually drowned out by the great swarthes of noise. I guess it depends on what you want out of a gig when you go and see a shoegaze/drone/noise band, but for me I want there to be a balance. APTBS weren't quite this bad at getting this balance right, but a few times the vocals and changes in the songs were lost. GET IT RIGHT.
Thursday 1 May 2008
The Hairdresser's Husband
This is a movie made in France in 1990 by the veteran director Patrice Leconte. I had been searching for it for a little while after reading good things about it in a book- there are many classics I have yet to see but the mention of this particular film interested me. Jean Rochefort plays the older man who never lets go of his childhood wish of marrying a hairdresser, and Anna Galiena plays the hairdresser who makes his wish finally come true. The roles are beautifully played by the two leads; Rochefort is endearingly hangdog, his eyes betraying both sadness and curiosity, while Galiena is radiant and understanding, a character to fall in love with.
The film is about a lot of things; the wonderment of youth, the idea that your youthful aspirations can persist a lifetime, the parts that make relationships endure and the way that life recycles. Like Girl on the Bridge builds itself round the profession of knife throwing, The Hairdresser's Husband is built around hairdressing. The film is especially sensual, evoking the strange sensation of fingers through your hair, the smell of the salon scents and for a young boy, the curious sights of an older woman. Much of the film is shot in a warm, bright glow, and there is a rich, evocative score by Michael Nyman that contributes to the film's dreaminess. The hazy flashbacks of childhood meld seemlessly into the film, giving new insight into Rochefort's character.
I thought it was a lovely film, free spirited, illuminating the bright moments in life and sometimes the darker moments, and greatly enjoyable.
The film is about a lot of things; the wonderment of youth, the idea that your youthful aspirations can persist a lifetime, the parts that make relationships endure and the way that life recycles. Like Girl on the Bridge builds itself round the profession of knife throwing, The Hairdresser's Husband is built around hairdressing. The film is especially sensual, evoking the strange sensation of fingers through your hair, the smell of the salon scents and for a young boy, the curious sights of an older woman. Much of the film is shot in a warm, bright glow, and there is a rich, evocative score by Michael Nyman that contributes to the film's dreaminess. The hazy flashbacks of childhood meld seemlessly into the film, giving new insight into Rochefort's character.
I thought it was a lovely film, free spirited, illuminating the bright moments in life and sometimes the darker moments, and greatly enjoyable.
Monday 28 April 2008
M83 at the Cargo, April 28th
So I finally find my way into the Shoreditch venue and immediately feel the intimidatingly hipster air of the place. I buy myself a drink, scuttle off to the corner of the room and pretend to be interested in the gig leaflets on the side. Luckily, I realise the support band, Kontakte, are about to begin so I hurriedly make my way in to see the band getting ready. I'm greeted by glorious, cacophonous, deafening noise. NOISE. The London band meld shoegaze and post rock effortlessly, their slow ebb of feedback rising and rising, then galloping on into a wall of lush noise, backed by fuzzy JAMC-style beats. Perhaps a reasonable comparison could be made with A Place To Bury Strangers, but with Kontakte there is obviously the post rock influence. Anyway, it was a great set that left me smiling in awe and I'll definitely be following them up.
London audiences are often accused of being hard work and disinterested, but tonight for M83 there was an extraordinary enthusiasm rippling through the crowd. Gonzalez and co.'s entrance on stage was welcomed with mass whooping and hollering, and by the end of the set the crowd were demanding a second encore, the majority staying for several minutes in vain. It reaffirms your love for live music when you see such enthusiasm for the performer. To begin with I felt a little unimpressed with the two guitarists on stage (Gonzalez and someone unknown to me); they seemed a little too pleased with themselves, like snotty teenagers. The drummer was on good form, giving more muscle to what is essentially electronica, and on keyboard there was a lovely spectacle wearing chanteuse, purring out sweet sounds with Gonzalez. On one occasion the drums unfortunately overpowered the keyboards, rendering the melody of the song void, but for the most part they were an important part of the energy of the performance. As the show went on the two guitarists seemed less like snotty teenagers and more like rock guitarists- their slashing guitars producing waves of gorgeous fuzz. Particular standouts were Don't save us from the flames and recent singles like Graveyard Girl and Kim and Jessie. The newer stuff sounded especially great in the live arena. A really enjoyable gig altogether.
London audiences are often accused of being hard work and disinterested, but tonight for M83 there was an extraordinary enthusiasm rippling through the crowd. Gonzalez and co.'s entrance on stage was welcomed with mass whooping and hollering, and by the end of the set the crowd were demanding a second encore, the majority staying for several minutes in vain. It reaffirms your love for live music when you see such enthusiasm for the performer. To begin with I felt a little unimpressed with the two guitarists on stage (Gonzalez and someone unknown to me); they seemed a little too pleased with themselves, like snotty teenagers. The drummer was on good form, giving more muscle to what is essentially electronica, and on keyboard there was a lovely spectacle wearing chanteuse, purring out sweet sounds with Gonzalez. On one occasion the drums unfortunately overpowered the keyboards, rendering the melody of the song void, but for the most part they were an important part of the energy of the performance. As the show went on the two guitarists seemed less like snotty teenagers and more like rock guitarists- their slashing guitars producing waves of gorgeous fuzz. Particular standouts were Don't save us from the flames and recent singles like Graveyard Girl and Kim and Jessie. The newer stuff sounded especially great in the live arena. A really enjoyable gig altogether.
Saturday 26 April 2008
Ash-1977
Ash are often derided as some kind of sickly pop rock group, the kind you sneer at while you stick on your Venezualan post funk slowcore from the the 1970's on your record player. But I love Ash. I'll listen to any record they'll put out. And I'll more than likely enjoy it.
'1977' is the peak of Ash's existence, when they broke through to the mainstream as teenagers and were well recieved by the public and the critics. It is one of my favourite albums (top three), and takes a special place in my heart. If there was ever a book of great hooks and guitar riffs then the Rolling Stones would be given a chapter and Ash would be given a few pages at the least. It is Ash's fuzziest, most exuberant, catchiest album full of great grungy pop songs that may surprise people who have only heard later work from the band. Tim Wheeler's voice has been criticised for being flat, but to me it sounds like the defining voice of youth, that imperfect, longing voice that is none more apt than on 1977. Lose Control is a fantastic start to the album; a screeching, noisy roar speeding into a super fast, punchy, punky tune. Goldfinger is propelled by some great drumming from McMurray and Girl from mars has Wheeler's breathless voice reminisce over his elusive lost love. Kung Fu is a riotous, noisy track featuring excerpts from Kung fu movies and lyrics about Jackie Chan. Oh Yeah, perhaps the most famous song from the album, and also my favourite, features an extremely catchy hook and strings combining with guitar to great effect. For me, it evokes images of an isolated house in the countryside, down a country lane, where a white house stands silently in the moonlight. The curtains billow, and youthful lovers become entwined in the dark night. It really is brilliant. Those are just some of the standouts for me, but really the whole album is fantastic, not one bad song. It feels kinda weird having to justify my love for Ash, when there's an album like '1977' in their discography.
'1977' is the peak of Ash's existence, when they broke through to the mainstream as teenagers and were well recieved by the public and the critics. It is one of my favourite albums (top three), and takes a special place in my heart. If there was ever a book of great hooks and guitar riffs then the Rolling Stones would be given a chapter and Ash would be given a few pages at the least. It is Ash's fuzziest, most exuberant, catchiest album full of great grungy pop songs that may surprise people who have only heard later work from the band. Tim Wheeler's voice has been criticised for being flat, but to me it sounds like the defining voice of youth, that imperfect, longing voice that is none more apt than on 1977. Lose Control is a fantastic start to the album; a screeching, noisy roar speeding into a super fast, punchy, punky tune. Goldfinger is propelled by some great drumming from McMurray and Girl from mars has Wheeler's breathless voice reminisce over his elusive lost love. Kung Fu is a riotous, noisy track featuring excerpts from Kung fu movies and lyrics about Jackie Chan. Oh Yeah, perhaps the most famous song from the album, and also my favourite, features an extremely catchy hook and strings combining with guitar to great effect. For me, it evokes images of an isolated house in the countryside, down a country lane, where a white house stands silently in the moonlight. The curtains billow, and youthful lovers become entwined in the dark night. It really is brilliant. Those are just some of the standouts for me, but really the whole album is fantastic, not one bad song. It feels kinda weird having to justify my love for Ash, when there's an album like '1977' in their discography.
Sunday 20 April 2008
Red House Painters
How come I hadn't found you earlier?
I think I had pre-judged Red House Painters before I'd listened to them. Not really a fan of earnest acoustic singer/songwriter types, I had them pegged down as one of 'them'. How wrong. How very, very wrong. Listening to Down Colourful Hill, for the first time, I realised I'd come across an album I'd cherish. To me, it sounded like a mix of Low, Nirvana and Jeff Buckley. It was soulful, heartfelt music pieced together by Mark Kozelek's gorgeous voice and the lush, doleful guitar reminiscent of Low. Some have cited the band and Kozelek as being miserabilists, but the same accusations have been levelled at Interpol and Radiohead, so I'm not complaining. Their self titled debut is equally good, featuring the same debt to 'slow core' as DCH. The rest of the band's work errs more on the acoustic side, and to my ears less interesting, however there are some great songs to be found on albums like Ocean Beach and Old Ramon.I am just starting to get into Kozelek's current band Sun Kil Moon- this interest is buoyed by the promise of another 'Carry me to Ohio'.
I think I had pre-judged Red House Painters before I'd listened to them. Not really a fan of earnest acoustic singer/songwriter types, I had them pegged down as one of 'them'. How wrong. How very, very wrong. Listening to Down Colourful Hill, for the first time, I realised I'd come across an album I'd cherish. To me, it sounded like a mix of Low, Nirvana and Jeff Buckley. It was soulful, heartfelt music pieced together by Mark Kozelek's gorgeous voice and the lush, doleful guitar reminiscent of Low. Some have cited the band and Kozelek as being miserabilists, but the same accusations have been levelled at Interpol and Radiohead, so I'm not complaining. Their self titled debut is equally good, featuring the same debt to 'slow core' as DCH. The rest of the band's work errs more on the acoustic side, and to my ears less interesting, however there are some great songs to be found on albums like Ocean Beach and Old Ramon.I am just starting to get into Kozelek's current band Sun Kil Moon- this interest is buoyed by the promise of another 'Carry me to Ohio'.
Zabriskie Point
A foray into the Barbican Centre in London today was rewarded with a screening of Michelangelo Antonioni's rarely seen 'Zabriskie Point'. Before I delve into the film, I'd like to mention the Barbican- what an odd place. It seems like a place I would have been to before, I recognised the name n'all- but it was such a surprise to look upon this insular space, centred around a large lake-ish thing complete with stylish water features and fountains. The Barbican hosts flats, schools, a church (!) and of course the arts centre it self. What is perhaps most surprising is that it's almost a ghost town.
Anyway onto Zabriskie. I've been studying Antonioni recently so was relatively up to speed with his work. L' Avventura I found quite tedious and repetitive, Blow Up was stylish and worthwhile for showing 60's London and The Passenger was the strongest of the three for me, with an excellent performance from Jack Nicholson, an engaging premise of stolen identities and good use of location and camera shots. Antonioni is well known for drawing attention to the camera to remind the audience of it's presence, and his dissection of the modern life. Although seemingly mundane on the surface, looking closer at his films shows revealing aspects of the characters personality and feelings through subtle nuances. This is perhaps why I need a second viewing of L'Avventura.
Zabriskie Point seems distinctly odd compared to L'Avventura. Whereas the earlier film seems measured, limited in it's focus on the miscommunication of bourgois couples and muted in colour and tone, Zabriskie is a hippyish, highly experimental film that I enjoyed a lot. Starting off with an almost documentary style debate in an American uni, the film rails against capitalism and the authorities of that period. It is a film of it's time most certainly. Following two lovers as they encounter police brutality, riots and then continue onto a trek across the desert, Zabriskie features much more 'action' than a film like L'Avventura. The film features some startling sequences such as a plane soaring over the desert landscape, an orgy on rocky slopes and the explosion of a hilltop base repeated over and over to great effect. Antonioni uses music to propel the film along, with the Rolling Stones, Pink Floyd and John Fahey contributing to the soundtrack. Even if you don't understand or agree with the politics and ideologies on show then the spectacle is certainly enough.
Anyway onto Zabriskie. I've been studying Antonioni recently so was relatively up to speed with his work. L' Avventura I found quite tedious and repetitive, Blow Up was stylish and worthwhile for showing 60's London and The Passenger was the strongest of the three for me, with an excellent performance from Jack Nicholson, an engaging premise of stolen identities and good use of location and camera shots. Antonioni is well known for drawing attention to the camera to remind the audience of it's presence, and his dissection of the modern life. Although seemingly mundane on the surface, looking closer at his films shows revealing aspects of the characters personality and feelings through subtle nuances. This is perhaps why I need a second viewing of L'Avventura.
Zabriskie Point seems distinctly odd compared to L'Avventura. Whereas the earlier film seems measured, limited in it's focus on the miscommunication of bourgois couples and muted in colour and tone, Zabriskie is a hippyish, highly experimental film that I enjoyed a lot. Starting off with an almost documentary style debate in an American uni, the film rails against capitalism and the authorities of that period. It is a film of it's time most certainly. Following two lovers as they encounter police brutality, riots and then continue onto a trek across the desert, Zabriskie features much more 'action' than a film like L'Avventura. The film features some startling sequences such as a plane soaring over the desert landscape, an orgy on rocky slopes and the explosion of a hilltop base repeated over and over to great effect. Antonioni uses music to propel the film along, with the Rolling Stones, Pink Floyd and John Fahey contributing to the soundtrack. Even if you don't understand or agree with the politics and ideologies on show then the spectacle is certainly enough.
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