Gecko, the Leano, Perkie: 12 Bar, London
Posted by jamie on Mar 13, 2012
Gecko, the Leano, Perkie
12 Bar, London
12th March 2012
Jamie
During soundcheck, the Leano summed this show up nicely. 12 Bar, essentially a tangle of dimly lit tunnels and chimney stacks that, by happy coincidence, also sells alcohol and puts on some of the best small venue shows you’ll see anywhere in the country, was packed by now, and, amidst the hubbub, we’re excited at seeing another slice of something like this show, from Gecko’s winter tour, which rocked all of our worlds just before Christmas.
“It’s nice to see so many people smiling”, Archie, from the Leano, says. “We like to play to smiley people, and the good thing about Gecko is, they tend to bring smiley people”.
Whether or not they’d seen the show before Christmas, this is a suitably warm room by now: warmed inside by that wonderful atmosphere you get when, just by liking the same music, all the strangers in your room are somehow your friends, 12 Bar is, indeed, packed, sardine-style, with smiley people. Good feelings abound.
Perkie begins the evening in her own typically unique fashion. It’s a brief, but wonderfully, impossibly beautiful set: whimsical, deeply moving acoustic protest folk played on a keyboard, a little bit, and for the most part based just around her voice, rich, and smooth like honey, that gently washes over the room in warm waves.
For the most part, we’re stock still, mesmerised by what’s going on, woken from our collective trance only when Perkie punctuates her stunning set by forgetting the odd line, or chatting amiably, apparently blissfully unaware that just seconds ago she has had us all in thrall: trapped in the nectar of her voice like that mosquito that started Jurassic Park, only much warmer.
Those odd moments, clearly genuine as they can only be completely unplanned, such is their spontaneous, self-deprecating charm, seem somehow to pile yet more personality in to her performance. It must be completely unique, and even Perkie seems to have no idea how she does it, but she achieves this time and time again, and it is sheer bliss to be a part of this. Only during Dance, Dance to we actually move our feet, dancing in pairs and feeling like we’re somehow in love with the whole room.
The Leano arrive after all of this. They’re more than gregarious at the best of times, the conversational equivalent of a puppy gleefully clambering for the knees of everybody it meets. In this room, they’re absolutely in their element: Hello is sort of passed off as a sort of warm-up, and Smile, fittingly is out next, Archie using Ben’s smile as an example and Ben finding the whole thing so hilarious that he can’t stop grinning, watermelon-style, and thus showing off exactly the grin Archie’s been on about.
From here on, the rest of the Leano’s performance includes everybody in this room: it’s a sort of acoustic, rap-meets-spoken-word freestyle that never actually stops. Utterly unique, irresistibly engaging, it’s impossible not to get involved, singing the choruses for them as they make up their own surreal songs as they go along, freestyling through hilarious, and, in turn, explicit and utterly random stories using bits of things their audience have made up during the song. It shouldn’t even be possible, really, and yet it feels utterly natural that they should be doing this, and making it look easy. We’re roaring with laughter. I forget what exactly we’re laughing about, but I don’t think that’s the point. Amongst all this, Love Deserves Our Faith, as ever, is a particular treat, thrown in to replace Bigger Than That because of the atmosphere in here and utterly fitting.
And so to Gecko. In this context, the perfect headline act, they’re pretty offbeat themselves, in that lovable, rascally way, and tonight they’re on top form even by their own standards, cheekily joshing with us as they breezily bounce through as many hits as they can.
Straight away, there are plenty of shuffling feet in here for Got Science, Got Maths, What You Gonna Do? and Best Friend. That’s about as much as you can move, really. In between dancefloor faves Falling Down and Too Much, they’ve either made a new audience-participation game for The Library, or they’re making that bit up as they go along. We’recrouched on the floorfor part of it, whispering to each other that this is a library. It’s not, of course. Perkie’s back, for I Got Time, and they cover Ms Jackson as well.
There’s room for a couple of new songs, too: Feeling My Way, is, I think, played live for the first time ever, as an addition, before Postage Stamps, described by Will as “the first song where I don’t play guitar..” and then, cheekily, “we’re trying to phase it out”. Ironic cheers all around.
Guanabana Juice and Gotta Wait ostensibly bring the night to a close. There’s a big wooden beam right across the exit of the stage, though, so Gecko don’t even leave, just crouching down again, before returning for Safest Bet and Pigeon. We’re all deliriously happy by now: swaying awkwardly, shoulder to shoulder with all of our new friends, and shouting along. Wonderful.
See all our pictures from this show here.
Like Bananatown on facebook here.
TNS: All-dayer 2012
Posted by jamie on Mar 6, 2012
TNS records all-dayer
Kraak Studio, Manchester
3rd March 2012
Rosie
First problem of the day struck very early on. Where the hell is the venue? After being asked by band members who were also lost and making jokes about dodgy back alleys we eventually found it. The jokes became some sort of reality, however at least there were signs the whole way to this bizarre venue. It was like no other…apparently it was formerly used to display art work, so I can sort of see why they changed it. An arrangement of random sofas around the place with some atmospheric (but purple) lighting was not what I’d usually expect at a punk gig!
First act of the day was Bootscraper performing a stripped down acoustic set as only 3 of 7 members were present. This certainly didn’t mean they were lacking in sound, with their line-up containing accordion, harmonica and what looked like a banjitar, it was certainly a feast of sounds, with contrasting vocals from the extremely gruff to the surprisingly soulful/mournful, complimenting the folk line up and twangy complex banjitar parts, placing them between a youthful Seasick Steve and the excitement of Gogol Bordello. They were rhythmically very tight, also a real bonus with such an array of instruments, especially when lacking a drummer!
It’s not long before Rising Strike burst on to the stage, declaring some kind of new syntax (what) and kick in to their form of extremely fast, hardcore ska with intense horn parts and screams a plenty, their sound is reminiscent of very early Capdown which I’m putting down to all the sax’s dotted rhythms as much as anything else. There’s a lot of anger in this band: they launch aggressively in to songs and often add an odd sense of confusion portrayed by the saxophone as its chromatic nature makes it sound like some kind of weird headache. This band is as mad as their sound, which appears from everywhere, like a whirlwind, destroying everything in its path.
Sounds of Swami are next to face what is a rather busy crowd for about 3pm. Originally I wasn’t taken in by their strong vocals, it seemed somewhat uninspiring, with the choruses really having to bring the songs together and a reliance on the bassist, because although I couldn’t hear him overly well I got the feeling he could carry them through. However, they progressed so much through the set. The Lions Share was a personal favourite as the bass lines did finally become apparent and the sound seemingly expanded all of a sudden, with harmonised vocals and chanty “hey”s, it felt more fuelled by emotion and definitely was a standout track from their set. The final track which I’m fairly sure they named In Retrospect also continued to redeem the earlier parts of their set as everything really did come together, so much so that the crowd felt the need to show their appreciation by creating a circle pit. No, I’m lying, apparently in Manchester they prefer human pyramids…If anyone could tell me why I’d be grateful: I’m quite intrigued as I saw about 5 throughout the day.
The Kirkz appear next, another very fast punk band, with some very bouncy guitar and bass parts and excitable vocalist really trying to involve the crowd. A semi circle of space in the crowd seems to form which he then strides around in, trying to round everyone up, ringmaster style. Their songs are particularly catchy, though I’m not entirely sure why - it could be the gang vocals as they definitely have a sing-a-long vibe to them. Either way, they are extremely engaging, the singer makes sure of that…I was just left wishing he’d actually sing a bit more because the few times that came through it was extremely enjoyable.
Sense of Urgency are driven by their horn parts, and that is by no means a bad thing. They’re the first band of the day to really get the crowd involved and have people fully singing along. Think early Less Than Jake or [spunge] if Less Than Jake had more angry, raspy vocals combined with more of Reel Big Fish’s horn parts. The Night We Exploded exposes some epic bass lines with driven horns and lovely harmonies. I can’t help but feel the vocals are somewhat out of place because the instrumental interludes are so tight and the sound is so well fused. However, I suppose that would just leave “another boring ska band”. The vocals add in an extra element that throws them further despite the fact it’s not the kindest on the ears.
Most dance-y act of the night goes to Black Star Dub Collective. So many people were in the room by this point that I could barely see the stage. With their blend of dub/ska and the featuring of melodica, keyboard and saxophone, you’d almost think the Skints had entered the room without you noticing. They had a variety of contrasting texture invading and creating a kind of chilled atmosphere with their raw vocals breaking it up somewhat. They really did get the crowds going, my only complaint being their songs were long and featured numerous interludes which often had nothing to define one from another. This aside, once their set was over there was a clear chorus of “that was amazing” from various crowd members so it seems they pleased!
I’m sorry to say that I think Hated Til Proven were the biggest disappointment of the day, whilst their songs are extremely punchy and driven, with their hardcore punk influences being very apparent, their breakdowns into more ska elements seemed to work better. Whilst they seem to be trying to do something different, it just didn’t really work as it just didn’t blend.
Faintest Idea bring what feels like the 20th wall of death of the evening with their raw vocals, brass focused ska punk. They‘re another band that seem to progress throughout their set as after a couple of songs in they suddenly achieve a massive sound with their harmonised horns (I really wish they’d tune properly next time though…), claiming a rougher sound using these instruments to really punctuate the overall sound.
Revenge of the Psychotronic Man are intense. Really intense. They display an older sound comparable with their incredibly speedy punk rock. This band is certainly not here to settle you, expressing a lot of rage throughout. I had a couple of favourite points in this set. One was the awkward moment when the vocalist states “I don’t know how to say this, but this one’s called Tramp Rape”. Suffice to say, the song contains plenty of chanting of “tramp rape” which seems to get the crowd all the more involved. The second highlight was the wheelbarrow of death for Felch Death Fuck Storm which shows just how much Manchester party it up as circle pits and human pyramids appear throughout this song.
Penultimate band of the night Beat the Red Light provide us with really loud punching horns, beating through the screams with amazing themes coming through from the bass and heavy guitar parts, contrasting to the staccato nature of the horns. It’s a complete mix up of metal, ska and punk. Their performance is extremely tight, timing is almost flawless, often a challenge with such a variety of instruments. Their songs are catchy due to the strength of the punchy rhythms that constantly push through from the brass. Pretty much everyone is dancing for their final few songs, and well, that can hardly be a bad thing.
We have to wait around a while whilst some rather novel raffle prizes are handed out…or at least they try to hand them out. People don’t seem too eager to claim them!
Stand Out Riot eventually jump straight into their album’s opener, Get Mutual, followed by Developing Detachment. I’ve seen them once before that I could remember, and even in those few months there seems to have been a dramatic change. They still have the most ridiculous amount of energy you could possibly wish to find in their ska punk party sounds which had the whole crowd dancing throughout. Developing Detachment has a really interesting build up as the instruments slowly join in, layering up until reaching their full sound which really does sound amazing tonight. I could actually hear the violin this time which is a bonus, adding another layer of texture to their sound, which fuses together brilliantly considering how much they manage to fit in. The singer’s vocals were also definitely on form tonight, another point of progression for this band.
Half way through vocalist suggests that “fucking hell, we’re eager” – they certainly are, and throughout the set I can’t help but fill with jealousy, I certainly can’t jump around and play viola at the same time, unlike these guys that seem to have no problem dancing around with their instruments. Law and Hors’douevres brings in a proper danceable Mexican vibe with their preppy horns and the party continues with swords fights on piggy backs emerging in the crowd. This has certainly been a surreal gig in many ways. Stand Out Riot have a specific sound with direction and focus like none of the others seen today. They really seem to know what they’re doing and one can only hope that they stick to it.
And so it’s over. By the end of the day of music, I’d be surprised if anyone here wasn’t shattered. It was a really energetic and long day, especially with all the human pyramids, walls of death and various other random things that Mancs like to incorporate in to their gigs. Two days later, I’m fairly sure I’m still not recovered from that shock to the system. Massive thanks to TNS: It’s rare that you can keep people entertained for a full 11 hours, but they certainly succeeded this time around.
Sonic Boom Six: Monto Water Rats
Posted by jamie on Mar 2, 2012
Sonic Boom Six
Monto Water Rats, Kings’ Cross, London
1st March, 2012
Jamie
A little while back, on our facebook, we shared this sharp little tumblr post, not just because I’m quoted, but primarily because, like everyone else, we’re on tenterhooks to see what Sonic Boom Six do next.
Manchester’s favourite genre terrorists have always been restlessly creative, courageously musically open-minded. It’s often little short of amazing that they come up with some of these ideas, let alone possess the ability and the sheer nerve required to go out and pull these things off.
And yet, time and again over the last ten years, they’ve been there, boldly going where none could have dreamed of going before. That the Ruff Guide, anticipated for so long, didn’t disappoint, was an achievement in itself, but to have raised the bar with every record released since is, quite frankly, ridiculous.
I know it is, because saying so has brought lots of retweets.
To aspire to raise the bar yet again is laudable. To achieve it, and take that in their stride would surely be something else.
Of course, to top 2009’s City of Thieves would take some doing*, and, while we wait with baited breath, that hype just keeps on building.
We’re waiting, in part, because the band are still choosing exactly who will release their next full length. As part of that process, they’ve played a number of showcases, usually in London, in the early part of 2012, to show some of the powers that be that they have the tunes and the support to be a worthwhile investment.
We in London have turned up in numbers time and again, and so, on Tuesday, this arrived on facebook:
Hey guys! Over the past few months we’ve leaned on you guys in London and the surrounding areas a good few times to come and support us while we’ve been working hard to get the new album out. Well, it’s time for us to give back! We’re going to be doing a full headline show at Kings Cross Monto Water Rats this Thursday for absolutely FREE!
The Monto is a brilliant small venue: an old-fashioned theatre tucked away a stone’s throw from King’s Cross. Outside, for central London, in rush hour, it’s peaceful, save the odd motorbike courier. Inside, the old place is already warm when we arrive (it always is, really), and bathed in a dim red light.
Support act Bogdana Chivas is just finishing off (sorry) and excitement is starting to peak.
After a lengthy soundcheck, Sonic Boom Six enter, as usual, one by one, and immediately explode in to life. Opener Virus confused one reviewer on their recent tour in to thinking it was an age-old fan favourite: in fact, it’s just one of many brand new fan favourites, but instantly the party’s started. City of Thieves’ The Road to Hell is Paved with Good Inventions and Bang, Bang, Bang, Bang! (the Midas remix) are out early in a setlist that’s otherwise heavy on the new material we’ve been so eager to see.
For the Kids of the Multiculture is received with a triumphant roar, and Laila when demands that “when this song kicks in, I want to see every motherfucker in here moving”, the response is inevitable: the roof comes off the tiny, sweaty place. At once the whole room leaps, in unison, in to the air: punching the chorus in to the air above us in rhythm. The Boom are Back.
Barney continues where that left off, introducing my favourite new track, The High Cost of Living: “this next song is very simple to dance to. When this beat drops..” the rest was unnecessary. Again. Pushed together like this, you couldn’t resist if you wanted to, but you can’t help yourself: such is the size of the beats and the basslines under the new material, and the quality of the songs and the performance, that it was always going to go off in here, let alone that the anticipation has been building for months, that the atmosphere is incredible.
With that inimitable, impish charm, Barney cheekily reminds us all:
“So, then, London town: thanks for coming out. It’s Thursday, it’s short notice.. but the fact that it’s free more than makes up for it, right..”
Giggles all around. Sonic Boom Six are loved here, and no mistake, but it’s genuinely touching that they’ve done this off their own backs as a thank you to us all.
You Will Survive, on its first ever outing, is excellent. We’ve heard it wasn’t quite there during soundcheck just minutes before doors, but, when it matters, Sonic Boom Six pull it out of the bag. Again.
A little medley of Dangers of Rock n’ roll, Lily Allen’s Friday Night and Wyclef’s It Doesn’t Matter is squeezed in between still more of those new songs: Gary Got a Gun and Keep on Believing are all excellent: Sonic Boom Six at their lyrically incisive, rabble rousing, genre-bending best. It takes me back, briefly, to that tumblr post.
Asher, its author, shared a little anecdote with me about catching up with James T Boom at this show in Milton Keynes.
Asked in April 2010 what he’d bring to the Boom’s sound clash, James used his the tips of the fingers on his right hand, palm down, to prod Asher’s ribs as he emphasised the last three words of his answer:
“I’m all about basslines that go right through you, and dubstep that fucks you up”.
This, of course, is the line-up, the setlist, and the record that will launch the post-Ben Childs era, and, while clearly staying true to the vicious mash punk rock, ska, jungle and hip-hop that’s brought them this far, SB6 have always been about to add those giant, gut shaking wob-wob-wobs.
Now that they’re finally here, they’ve given Sonic Boom Six that extra bit of spice, once again, to keep it all interesting and one step ahead of everything else. They’ve incorporated it in to their sound beautifully: Bang, Bang, Bang, Bang!, and Meanwhile, Back in the Real World sound meatier, more powerful than ever. Nick Horne could have played trombone on Meanwhile, instead that little line of melody is played on guitars and, just for a second, sounds a little bit – gasp! – classic rock. Just for a moment.
Sunny Side of the Street, gloriously, on the first day of Spring, and the first nice day here in ages, Flatline, and finally Piggy in the Middle bring the set to a triumphant climax. The excitement’s still building as the beat drops on that last song.
It’s not the last song: Strange Transformations and, wonderfully, Bigger than Punk Rock, are unleashed for a brief encore. It’s all any of us could have managed, and still, exhausted, we wouldn’t have gone home had we not been forcibly bundled first back in to the main bar and then back in to the road.
It’s been a long time coming, but, Sonic Boom Six are well and truly back, and, again, they’ve raised the bar: the anticipation has been all but unbearable, but, impossibly, it looks like they’re not just going to justify all of that, but that they’ve come back with something that surpasses all those expectations. Scarily, it feels like we’ll look back on nights like this, and, disbelievingly think of that new record: I didn’t think it’d be this good.
Happy Birthday, Neil. x
*Understatement. Not to combat any hyperbole, because I honestly believe SB6 are that good, that brave and that important. But reiterating it time and time again was getting a bit much for my poor mind.
Popes of Chillitown, the Snare, My Third Leg: IOE, London
Posted by jamie on Feb 26, 2012
Popes of Chillitown, the Snare, My Third Leg
IOE, London
24th February, 2012
Jamie
As Popes of Chillitown took tonight by the scruff of its neck, there was one brief moment where Austen Cruickshank paused for reflection, and informed us:
“You know, IOE, I wasn’t sure how this gig was going to go, but right now, I’m very fucking impressed”.
Impressed is the word, but, to put that remark in to context, this wasn’t exactly your ordinary gig. The University of London’s Institute of Education, or the IOE, is a postgraduate campus for student teachers, where many of the students are international.
It’s a pretty positive and welcoming place once you’ve navigated your way down to the Union (I’m pretty sure I came in the wrong way), but, tucked away in a corner between the bar and the patio, this show quickly outgrew its boundaries, meaning a few confused non-skankers had to pick their way through, often with big ring binders and other assorted classroom paraphernalia.
It’s not what any of us are used to, but, thanks to that positive and open-minded atmosphere, it just works. For a while I scribbled down notes next to a middle-aged Spanish man sleeping inside the Evening Standard, but by the end he was the only one not taking part, and had, at least, woken up.
We’d stumbled on the “You are here” sign in the street a few minutes too late, and got lost again inside the building: perhaps for the best, the bar seemed to be the only place that wasn’t signposted. It meant that we missed all but the very end of My Third Leg’s customarily high-speed, ratatat-tat ska-punk set. They seem to go down well, despite a few issues with the drums: “I had to re-write most of the drum lines”, Paul admitted afterwards, “during the songs”.
They’d certainly made a few friends, all the same, though, and had got the night off to a good start.
The Snare, on next, are a first-time-see for me. They’re a boisterously energetic, horn-powered, seven-piece two-tone band. Visually, as well as musically, they’re almost a caricature of what a ska band might be like as imagined by The Beano, or a Punch and Judy show, and I mean that in a very good way: theirs is a tried and tested brand of party-starting brass-heavy two-tone ska.
They waste no time getting started: from the word go, they’re straight in to their stride – bouncing up and down in time on stage, their singers taking every opportunity to step down in to the crowd where there’s more room to swing their legs around in a springy, gangly sort of skank: I’ve seen some moves in my time but sometimes these guys’ legs seem to have minds of their own.
It all goes down a storm: an initially nervous crowd quickly get the hang of it, start to shuffle, and soon there are smiles and sing-alongs all around.
In to all of this, then, step the Popes of Chillitown. It’s still new territory, of course, but, if anything, this just seems to spur them on: opener Blame Game is well received, and then, as that becomes the theme from Hawaii 5.0, the place goes absolutely nuts.
From here on, the floor just gets crazier, with all manner of moves coming out: the floor gets fuller and fuller, and, all of a sudden, you wouldn’t notice that the sliding doors out to the patio are open right behind the stage: it’s actually muggy in here – not baking hot, but the air is heavy with sweat. Matt’s lost his shirt and Austen is actually dripping a bit – his new white Popes t-shirt, the dog one, grey with that sweat and smeared with snakebite and not, as we had worried, his or someone’s blood.
As is usually the case with this lot, the night gets more surreal as it goes on, Austen and Matt eventually having a little argument as to whether or not we on the dancefloor should be leaving through those back doors to drag the smokers and shirkers in for a dance. In the end a few of them go, as the band move in to Tooting Ska Moon, and Austen’s actually behind the stage, as far as his mic cable will let him, ushering bewildered punters in while the band are actually playing.
Odd as it seems, though, it all just works: just like the night as a whole, it’s not something many of us would ever have imagined, but it goes down a treat. The band play Brave, and then Lazy Sunday and Dalking Man, and everyone, dragged in or not, is having a cheeky skank. Unless they’re actually dancing salsa, or breakdance, or some crazy foxtrot stuff that had a circle cleared around it at some point. This lot can dance, and, if they haven’t been to a punk show before, they just dance however they feel they want to. We’re all just doing our own thing down here, and it sort of just goes together. It’s surreal, and definitely totally unique, but it fits together perfectly.
Badman is last, before a mock encore (the band couldn’t actually leave the stage, but we all agreed we’d pretend) of the Outhere Brothers’ Boom Boom Boom.
I don’t know how they did it, but our international collection of teaching students found another level: gleefully racing through whatever moves they could find as the Popes cheekily dismantle the song, rebuilding it as they go along in to a high-speed ragga/punk riot that growls where it used to rap and runs around until it’s pushed just to breathe.
The response is rapturous. Everybody wants more, but the show is sadly finished. At IOE, the students vote as to whether each band is allowed back. This strange coming together will surely be cheered back on this evidence.
Sonic Boom Six: the Cluny, Newcastle
Posted by jamie on Feb 22, 2012
Sonic Boom Six, Hildamay, Rossi Noise
The Cluny, Newcastle
6th February 2012
Dave
This is my first review ever (but not the first gig I have been to) so be gentle with me as I try and guide you through my night with three cool bands.
On arrival at The Cluny Laila K (yes, THE Laila from Sonic Boom Six) met us in the car park and took us into the building as we were a bit early.
When I got into the room that housed a stage, bands equipment and the bar I was somewhat surprised at just how small it is. The place is tiny but still managed to pack in everything needed for the night. Anyone going there will be pleased to know Cider is about £2.80 a pint 
The first band, Rossi Noise, came on at about 8.30 and at first I was unsure if I liked them but somehow they just grew on me. I’d never heard them before and found the mix of electronic trickery coupled with the heavy beats and hip hop odd but enjoyable. Since seeing them I have listened to their stuff a bit more so they must have left a lasting impression. Only comment I feel I have to make is that the lead singer had an expression on his face that scared the crap outta me!
After a great show from Rossi Noise came Hildamay. I got the impression that they were the wrong band in the wrong venue. The place was too small for their big noise, not enough of an audience to give enough energy and it appeared that the band were near to tripping over each other through lack of space on the stage. Hildamay, whilst appearing very professional at what they do, just didn’t hit the spot for me. It didn’t help that they were sandwiched between Rossi Noise and Sonic Boom Six – two entirely different genres of music.
As anticipated, SB6 came on stage and blew the place away! As soon as they started playing the place came alive, they played favourites like ‘Kids of the Multi Culture’ and ‘Sunny Side of the Street’ with a cover of a Lilly Allen track, finally finishing off with ‘Piggy in the Middle’. The energy from the group as a whole was pretty amazing to watch. The last SB6 gig I had tickets for was cancelled amid much confusion and disappointment so for me, hearing Laila K telling us the band are actively trying to get more gigs in the North East was even more music to my ears – we don’t see them up this neck of the woods often enough!
One observation I feel is worth making is that it must be quite disappointing for the bands playing The Cluny as the place is so small it’s not possible to get a big audience, making it harder for the bands to get the ‘crowd’ involved - I would have liked to put that question to the bands but they probably wouldn’t want to pull the rug from under their feet.
New Found Glory: Camden Roundhouse
Posted by jamie on Feb 20, 2012
New Found Glory
Roundhouse, Camden
17th February, 2012
Jamie
Camden’s Roundhouse is a stunning venue. On this crystal clear North London evening, you can stand on the second floor, where the walls are full-length windows, and see all the way down Chalk Farm Road in to central London without spotting one cloud.
It’s a bit like one part of the blurred intro sequence to BBC1’s glossy detective drama Sherlock, at least until you look straight down on to the usual Friday carnage, tonight swelled by hordes of hyped-up pop-punkers squashed in to lines in between mesh fences. Larry from NASIN, of course, is doing the rounds.
Five guys have come dressed as hair-sprayed, LA metallers: you know, big, crimped blonde wigs, spray-on trousers, the whole Nick Horne look.
Inside, we’re up in an equally lofty little perch: it’s like Boris Pigeon for the night up here. In a round room, it’s sort of like everyone’s dead in front of Jordan Pundik, but we actually are right ahead of him, as New Found Glory enter, to a rapturous reception, and crunch straight in to the enormous opening riffs of All Down Hill From Here.
Of course it’s totally deserved, but every time I watch New Found Glory I’m amazed at the sheer adulation that they inspire: despite the fact that their melodic pop-punk has become spikier, more aggressive, a truer reflection of their hardcore roots: they’re just as sincere as they ever were, and, on top of those giant riffs, still bigger waves of almost reverent adulation roll back on to them.
It’s totally apt, then, when Chad announces:
“We are all losers, nerds, rejects in this crowd. We are one big family”
From here, the night seems to find another level: the atmosphere was already beyond incredible, but climbs another notch after that: Head on Collision, predictably is a fan favourite, and moves seamlessly, if somewhat surprisingly, in to the Ramones’ Blitzkreig Bop: their cover somehow manages to be both surprisingly faithful to the original, and at the same time quintessentially NFG: Jordan’s vocal, as ever, so typically his own, as nasal as Joey Ramone’s but in a completely different way, and the guitar parts played just fuzzily enough to make the song New Found Glory-sweet and still pack a killer punch.
Another speech, professing the band’s love for anyone who has (note: not bought*) their album Radiosurgery, introduces Anthem for the Unwanted.
It’s breathless stuff in here now: the band eagerly racing through a hit-packed set, and a word-perfect room greedily gobbling up every minute of it: Hold My Hand, Kiss Me and then Dressed 2 Kill, “for all the old-school New Found Glory fans”, become one in a giddy, ecstatic blur before Forget My Name, It’s Not Your Fault and Hit or Miss bring the set to a close. Up in the rafters, we’ve ridden through this on waves of warm emotion: I’m feeling fuzzy even before the band return for an all-too-brief encore: just Green Day’s Basket Case and My Friend’s Over You. Somehow, by now, the stage is full: Chad plays the last song with a blue-haired man on his shoulders. It’s somehow fitting: right now, just for a moment, we are, indeed, all one family. We leave exhausted, uplifted, back in to the freezing cold, cloudless night, still taking that unity with us, the inner warmth we’ve gained an extra protection against the late winter chill.
*They did seem to encourage illegal downloading. That’s not something we endorse, though.
Brand New: Manchester Academy
Posted by jamie on Feb 19, 2012
Brand New, the Xcerts, I am the Avalanche
Academy 1, Manchester
9th February, 2012
Rosie
Excitement could be felt from every angle in Manchester Academy tonight and anxiety but that’s probably due to the weather warnings suggesting heavy snow for that evening. I know I wouldn’t be happy if I got stranded in Manchester for the night.
The Xcerts appear launching straight in and it’s incredibly loud. First impression is the bassist is over excited and looks quite pained throughout the set. I felt like the band were constantly engaged in what they were doing however somehow failed to be engaging. Murray Macleod’s vocals are passionate as ever but with a slightly raw quality to them which is definitely a positive. They however weren’t overly clear in a lot of places which was quite frustrating.
I felt the bass lines were lacking, it lost clarity from the songs and as a result it felt like the drummer carried them through the set which was particularly evident on the penultimate song which was rather bland otherwise.
They warmed through the set though and finally won us over in the final song, pushed through by interesting effects even if the singer tried to push his vocals possibly a bit too far.
Next up – I Am The Avalanche. They seem like a lively bunch and the sound is full as full can be. Their coordinated backing vocals in opening track Holy Fuck consisting of several “woah”s and “hey”s are a nice touch. The lead vocals aren’t the most soulful but they seem to work, raw as they are. The audience seem enthused and the coordinated clapping begins. Not bad for the first song of the set!
Shock opening to The Gravedigger’s Argument, “this song is about killing my ex wife and burying her in my backyard” says vocalist Vinnie Caruana, but luckily adds “I didn’t actually do that”. Well it’s always nice to be reassured. It’s a fast, punchy number and their inclusion of second vocalist line makes it somewhat reminiscent of a heavy, fast Taking Back Sunday.
Amsterdam is introduced as a song about going to Amsterdam with friends, mushrooms and puking. Background to songs is always a nice addition. The lyrics are pretty disappointing when compared to the other songs but I guess this way they’re more memorable with “Amsterdam I miss you”. Brooklyn Dodgers is a very catchy song with more sing-along and chanting so once again the audience get to it and join in.
Now the part of tonight that everyone’s eagerly waiting for. There’s something about Brand New…I always feel that in theory they shouldn’t be this good but something about them makes their music infectious. The atmosphere is insane. Everyone is anxious and hyped for their appearance, especially after the 35 minute wait as they arrive late to the stage. A tonne of smoke is pumped on to the stage, creating an eerie ambience.
They opened unexpectedly with Welcome to Bangkok but the sound is immense, massive. Different noises just come from everywhere and blend in this incredible way that immerses everyone. They posted the set list from Nottingham a couple of days ago so it was a good surprise to see they’d altered it tonight.
The fact that they have two drummers for the first half of the set encourages a colossal effect, especially as the fling themselves in to Archers with that heavy drum opening. Until about midway through it barely feels like a gig. Everyone is mesmerised. It’s like stunned silence. It’s not until the chorus that everyone appears to realise where they are and start moving. It’s an odd reaction. The layered vocals are particularly striking here, it’s something Brand New do in a lot of songs – like Jesse just has so much to express to the world that he has express them over each other.
They kick in to Millstone which is an expression everyone’s post-teenage angst, a song of reflection, past mistakes. To be a fan of this band doesn’t require the usual love it does for any other band, it requires obsession and you can see that in the crowd tonight. It’s true that they may be classed as “emo” but Jesse’s vocals have something for everyone. No one can listen to their music and not find a song they identify with, whether it’s that of a broken heart, disappointed in others or disappointment in themselves, need to escape, a cry for help or the need to stop holding yourself back. It’s all in there.
Sowing Season (yeah) really takes over. The crowd seems to explode, particularly distinctive in the massive sing along for “I am not your friend I am just a man who knows how to feel. I am not your friend, I’m not your lover, I’m not your family.” Jesse’s shrieking “yeah”s are pained and as with each of these songs you feel his emotion and his passion, he hides nothing.
3 tracks off Daisy, probably their weirdest album, follow. There are also massive and angst ridden but for a moment it seems to become a ‘proper’ gig with less focus on such intense emotions are apparent with a lot of the other songs, however, it is nice to see the inclusion of Sink, which provides much comment of “oh my god, I know this one” from teenage girls surrounding…Groan.
Then we get that bass line. Yes, it’s time for Sic Transit Gloria. Another mass explosion for the chorus through which you can just tell everyone reverted back to age 16 again as people don’t fail to comment on throughout the evening. These songs are just perfect for teenage agony.
Okay I Believe You But My Tommy Gun Don’t follows and it gets the best crowd response ever. I don’t think there was a person in that room that didn’t sing every word. I could barely hear Brand New over it and it was awesome. It’s the point in a gig where it’s apparent that everyone in the room is all there for the same thing, they all love it that much and not much else matters anymore because everyone is just living for that specific moment. This may seem like a dragged out emotional description, but as I said, these fans are obsessive to the point this band could probably cock up completely and the fans wouldn’t care. Luckily they didn’t though! The lyrics of this song are particularly appropriate for this point as “I just want to believe in us” - well the fans certainly believe in Brand New and nothing, not even a certain awful track on Daisy will change that.
They note half way through that they’re only over here because they know we want to see them despite the fact that they have no new album that they can offer us. It’s certainly true. The excitement tonight is simply unreal.
Onwards we go, but back in time as we’re graced with 3 tracks from their first album. It’s good, really good and finally some real pits emerge. Seventy Times Seven is the real killer with all of its rage fuelled glory. They’re just bloody good punk/rock/emo/whatever songs and they’re executed as well as ever.
Jesse is a man of few words. It’s been said that he doesn’t like talking to fans so he speaks a surprisingly large amount tonight, even apologising for his apparel. Apparently he’s been wearing the same clothes for a few days….Well at least we can’t smell him from the crowd although I’m fairly sure the crowd is smelly enough as it is. He then gives the audience a choice between Play Crack the Sky or Soco Amaretto Lime. I think everyone’s yelling for both songs, but he continues with the theme of Your Favourite Weapon.
For the final part of the gig we’re launched in to a few more tracks from The Devil and God Are Raging Inside Of Me. Limousine is possibly the most depressing song they’ve ever written and that’s saying something. But as that guitar kicks in after almost a couple of minutes it becomes somewhat liberating; “yeah you were right about me, can I get myself out from underneath this guilt that will crush me”. It’s a song of admission and it just builds and builds until that climactic riff after 5 minutes, it’s an incredible release. And calm resumes. The audience seem frozen by the overwhelming power that this band radiate.
The whole performance is simply infectious and this continues through to the end with Degausser and You Won’t Know. Unfortunately I had to leave early to catch my train home but not until that guitar riff appears just over half way through You Won’t Know – it’s stunning. Their guitar parts are just so distinct and somewhat inspiring. Brand New are a band that always exude this kind of thrilling experience when you see them live and that doesn’t look set to change any time soon, and that itself is a wonderful thing.
Reel Big Fish: Liverpool Academy
Posted by jamie on Feb 6, 2012
Reel Big Fish, Orange, the JB Conspiracy
Academy, Liverpool
3rd February, 2012
Rosie
When I moved to Liverpool, the thoughts running through my mind were something like “fantastic! Now I won’t have to travel 60 miles to get to the nearest decent gig”. Of course on arriving, I realised that it’s a rare occurrence that bands actually stop off here on their tours. So I’m usually still stuck with the 35 mile trek to Manchester. Last night, however was a different story entirely with the arrival of Reel Big Fish and support acts Orange and the JB Conspiracy in Scouseland.
My evening didn’t exactly start off as planned: I arrived in the venue and headed to the bar for a nice pint of cider. £4.10! Not so nice. Especially in Liverpool where you know you can walk up the road to a certain club and get the same for a mere 90p!
Arriving half an hour before the JB Conspiracy were due to come on, we had time to chill for a while, which just made me realise how small the venue seems when no one is there…it’s a shame, because anyone who turned up late missed the “brass packed ska punk turbo jazz” as they have described themselves. The band jumped straight in to the thumping, dance worthy Pipe Down, the only really old track that they provide us with tonight. Somehow this was my first time seeing JB Conspiracy, they’re one of those bands that no matter how hard I’ve tried, every time they play anywhere I can’t make it, so I was especially excited tonight. They seem to have a good blend of “new” songs and favourites off debut album This Machine. Three of the four tracks from their new EP The Calm, Start Listening, Going Up In Smoke and Skeleton Key were also presented with great enthusiasm.
There were a few specific things that struck me about their performance: one was how much the vocals have progressed, finding their own style, more melodic and refined than those found on This Machine, which really comes through on their new EP too. The keys parts are also stunning, not the average tunes you’ll get from any other ska-punk band and they really add another level to their orchestrated mix up. Each song has its individual merits but all the distinctive elements of this band just blend together so successfully in a way one could never really imagine, presenting an array of musical textures which you won’t find in your average ska-punk band. The keyboardist’s ability to play keys at the same time as alto sax was another shocking highlight. I was amazed!
There was a pretty decent crowd response during Going Up in Smoke and they called for some audience participant later on. I think they really define themselves from other bands purely by being so soulful without losing their fun, horn driven elements that make their songs so danceable. They’re just so unbelievably tight and together throughout their set. So serious, but so fun.
They finish on Time Machine, which is just as great as the rest of the set. They’re just so consistently enthused and always together. You just can’t fault a performance that’s this tight. I think a lot of people arrived not knowing who the hell they were and will leave intrigued fans, awe inspired and excited to delve in and discover everything the band have to offer.
Second support act Orange certainly make an impression as they walk on stage to The Who’s Baba O’Riley with a collection of silly hats and very silly hair. I’m slightly confused as to whether the front man’s outfit was a joke or not, it was very reminiscent of a Gerard Way style hair/outfit combo, but I’ll let that slide for now.
I’ll admit straight out that they don’t seem to be the kind of band I’d usually enjoy. They seem like a slightly odd choice on the line up, out of place sandwiched between two hyper horn fuelled ska-punk bands, which probably didn’t aid my views on their performance. While there was nothing overly offensive about it, their vocals did not appeal, the deep raspiness of the front man seemed somewhat lazy at times, whilst their backing singer helped them sound like a cross between Green Day and New Found Glory, enough whine to keep it going but rather more tuneful than the other vocalist.
They tried really hard to grab the attention of the audience, and seemingly they did, they seemed to keep everyone fairly captivated however I personally felt there was too much reliance on the theatrical rather than the music.
When they cut out vocal lines for intros and interludes where the bass lines became more interesting, backing up the standard pop punk guitar riffs, their talents started to appear through the haze. They were together but there seemed to me to be a musical element missing which was evident right from opening track Elektron Gun. They progressed through the set as everything got a bit tighter however this was slightly ruined by an awkward rendition of the Beatles’ Help! that they closed with. It’s always a risky move when in Liverpool but I guess they pulled it off as it certainly livened up the end of their set.
It seemed like we were left hanging for a while for the appearance of the Fish, but this left me with time to meet some of the people about, such as the woman who told me that although she’s married, she’s definitely in love with the Fish and has been for 10 years now so didn’t even bring her husband with her. They certainly draw an attentive crowd.
Reel Big Fish are one of those bands that appear in the UK every year, so the chances are you’ve probably managed to catch them before and having seen them even once, you know exactly what to expect. The same can be said from most people who’ve listened to their live album “Our Live Album Is Better than Your Live Album” a good few times. This is by no means an insult. They clearly know what they’re doing and have done for years so they keep churning it out and every time it is a damn good show. When they’re in to their 20th year it almost suggests some kind of timelessness.
They launch right in to Everything Sucks and I Want Your Girlfriend to Be My Girlfriend Too, dating all the way back to 1995 and 1996 respectively. They seem to start off slightly slow but that doesn’t last for long. Tonight there’s definitely a focus on their older 90s tracks, only a few songs from We’re Not Happy ’til You’re Not Happy and Monkeys for Nothin’ and the Chimps for Free sneak in. It wouldn’t be a Reel Big Fish show without some hyped up ska cover versions, this time Brown Eyed Girl was chosen, and proved to be a real crowd pleaser: there’s not a person in sight not dancing, a good thing too after Aaron stated “you better all know this song and if you don’t, we don’t care”. They consistently expose this air of not caring about anything or anyone, reflecting how they are entirely self assured in their performances. They don’t need to prove themselves to anyone.
Highlights were definitely the inclusion of 241 which is always a good dance along horn fuelled (what isn’t when it comes to Reel Big Fish?) affair, the many versions of Suburban Rhythm including the country one allowing everyone to swing around their partners Cotton Eye Joe style. Where Have You Been? adds a contrasting tone to the set with its emotional lyrics and more sombre character moving in to the bass interlude. With the brass playing in unison, the sound grows to huge proportions, almost bursting our ear drums before throwing us in to Beer. Half way through Aaron decides to play his guitar part behind his head rather impressively, as usual. They disappear briefly and return for the obvious two song encore of Sellout and Take On Me.
The whole of their set seems like a massive party, as always…aided by Aaron Barratt’s Hawaiian shirts, as always. Everyone’s out of breath by the end of the show from dancing so much and I barely have a voice left. With Reel Big Fish, you always know what you’re going to get but you also know that it’s going to be a good time because their enthusiasm is so contagious. It seems in recent years they may have had to rely on support bands to help pull in the people that have seen them over and over to make it worth it, but that just means the night is all the more enjoyable. It was a kind of gig you can’t help but leaving on a high note: Reel Big Fish just ooze that kind of positive energy.
New Town Kings: Purple Turtle
Posted by jamie on Jan 30, 2012
New Town Kings, Anti Vigilante
Tyrannosaurus Alan, Upbeat Allstars
Purple Turtle, Camden
28th January, 2012
Jamie
A four-band bill of this quality, in central London on a Saturday night, needs scarce little introduction. All the same, it was amusing to see the show’s facebook page suggest that we “expect involuntary dancing from metallers who’ve come in by mistake”.
You do get a few at the Purple Turtle, of course, and the tunes in this place tonight are unrelentingly infectious, so there are decent odds on a flippant comment on facebook coming true for the first time ever.
As Upbeat Allstars get the party started, a few of us early punters are eyeing the last of the open spaces and itching to get our moves on. The sun’s still going down, and their infectious melodies quickly win over the last vestiges of self-consciousness: legs and then arms start to move to in time with the upstrokes in their vintage ska-punk sound.
There’s no horns, but, make no mistake, Upbeat Allstars are defiantly old-school ska-punk: Nick bangs seven shades out of his snare drums to the point where I actually winced for them, and there’s plenty of super-skankable upstrokes. It all comes together to make for some great, no-nonsense peppy little party tunes and they go down well.
Sure enough, it’s not long in to their short set before a few awkward long-haired metallers start to shuffle about their little space like scarecrows doing martial arts in slow motion. Mission accomplished, and with three bands still to go.
Medway’s Tyrannosaurus Alan, up next, are at their boisterous, surreal best. They’re almost bursting out of the small stage, over the front and at both sides, as they shift sheepishly between the ratatat-tat of their dirty, grime-core rap/punk/ska sounds and some brilliantly surreal stories about using a screwdriver to fail to fix a van’s cigarette lighter, getting splinters in your thumb, and “pubecising”, which, basically means going through puberty at speed. Or your voice breaking on stage. Poor Ollie only said it once, about Ben’s voice breaking, but the hilarity carries on for ages.If you’ve not seen Tyrannosaurus Alan play live yet, you really must: it’s almost always like this, funny, aggressive, and booty-shaking in equal measure. They put plenty of effort in, and they get it back from an appreciative room.
Anti Vigilante are in equally fine form: a flurry of shorts and muscly, sinewy little legs from start to finish, they’re forever buzzing around the little stage. They’re bang up for this, and their raw, uncompromising approach to skacore, and the speed at which they play it, mean they’re immediately a big hit in this room. There are a few stray moshers in, and they gleefully start circle pit after circle pit, each one sabotaged by rogue skankers sneaking in, or, at one point, someone just running through the middle. All of this, like the band’s set, is chaotic, but performed with fervour and huge smiles.
The chaos comes to an abrupt end, though, when the New Town Kings file on to perform. They’re here to get people dancing, but there’s a knowingly mischievous way to Chris’s teacher-style lectures on the subject, almost like he’s half telling us off, but at the same time enjoying it and finds the whole thing just a tiny bit silly.
By now the place is absolutely rammed, and everybody’s on the dancefloor. The New Town Kings glide through the gears like a well-oiled party machine, rolling out hit after hit with practised ease, while, in front of them, a packed floor try to move our feet in time, which is fine, and then our arms, which are for ever banging in to everyone else’s arms, and then, eventually, all the hips and bums down here are grinding in time.
It’s got hot down here, and their rich, smooth, soulful take on two-tone, uniquely movable at the best of times, is especially sexy this evening. A quick look around shows a few pairs who definitely didn’t arrive together and are now getting personal with each other, and there are surely a few more. All of a sudden, there’s a lot of love in here and a more than a few people eager to get it on.
Dynamite and then News Stand get them off to a bang, and, by the time they’re playing La La World, everybody’s joyously shouting, singing and swaying along. They wrap up with Take Hold of Me, my favourite, and Stay on Your Feet, and then encore the brilliant Fire in the Hole.
We’re breathless, by the end of it. I’ve managed to swap hats with someone, but dotted around, there are other sorts of swapping going on. Even ignoring all of that, it has become one of those shows where everyone loves each other: the atmosphere’s incredible: dog tired, deliriously happy, and everyone rushing around just to say nice things to each other. Wonderful.
Chapter Eleven + Ian Britt: the Good Ship
Posted by jamie on Jan 25, 2012
Chapter Eleven, Ian Britt
The Good Ship, Kilburn
21st January, 2012
Jamie
For the record, the Good Ship, on Kilburn High Road, is actually on the opposite side of the road from Sainsbury’s (you know who you are). Here they have nice, clean wooden floors, a good little stage and are positive and open-minded about all sorts of performing arts and live entertainment.
Oh, and they’ve got banana flavoured beer, so Saturday night’s already a banger, and while I’m being ID’d for that, Ian Britt strums the opening lines to Run Lola Run. Watching Ian is, as always, a delightfully surreal experience such is the contrast between his songs: delicately soulful acoustic reggae songs based around the lilting, soothing melodies in voice, and the uncompromisingly deadpan delivery of the dry wit in his links.
After Run Lola Run and Back Home, for example, Ian explains that his next song was written to impress a girl who was “mad as a Mexican dancing bean.. when you get below that [pretty] exterior, she was a bit of a numpty”. It’s the next bit, though, that I won’t repeat that’s the real shocker. That those words can come out of the same mouth as that voice still takes some understanding at times.
His poor sister, nearby, looks very embarrassed.
Ian’s in chipper form, breezily treating us to a quick tour around some of his best known work. Chapter Eleven’s Asher Baker, watching, awestruck, next to me, whispers that King of the World is “a bit amazing”. It is, really: gently candid emotionally and soothingly melodic, it’s an absolute treat.
After Wishing Well, Ian cheekily asks us to guess which Michael Jackson song he’s going to play. “Yup: Earth Song”. It is, of course, his delicious cover of The Way You Make Me Feel.
There’s just time for one more family moment: Ian’s Mum has come as well, and admits to a distaste for his song Crazy Jane, making for an easier decision, and leaving Dedicate as his last tune. Again, a stunning little set.
Tonight, Asher ends his set with the words “I’ve been Chapter Eleven”. And he has: Buttery Biscuit Bassist Sweep is promoting Slowyear tonight, so Asher’s riding solo.
Undeterred, he whistles through a short, sharp set on an acoustic guitar: it’s peppier than I’ve seen him play before, quicker and with more rhythm. It really suits his songs. This Ship, of course, is excellent, and all the better, angrier, for its new tempo.
The set as a whole is strikingly personal, that emotional immediacy lending real meaning and leaving each song incredibly vivid: served up rhythmically and with vigour, it’s a winning combination.
Canoes, again, and the final track Home pare particularly earnest, heartfelt. The softness in Asher’s voice gently illuminating the melodies of the rhythm guitar parts that, tonight, are carrying the tune as well.
It works out perfectly. An excellent show.
Photos to follow.
