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Our 51st issue is a double issue spanning December 2014 and January 2015. As this magazine sits astride the two years, we open with Craig G Pennington's editorial titled The Curious Case Of Independence, which calls for a representative body for our creative sector. ED BLACK features on the front cover, and the issue also features: CAVALRY COUSIN JAC LIVERPOOL MUSIC WEEK 2014 review MELLOWTONE @ 10 THE MUSIC CONSORTIUM ALPHABET AEROBICS (FACT Type Motion) www.bidolito.co.uk/content/issue-52
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Issue 51Dec 2014 / Jan 2015
Ed BlackCavalry
Cousin JacLiverpool Music
Week ReviewBold Street
Coffee Pullout
Ed B
lack
by
Mik
e B
rits
FREE
Issue 51Dec 2014 / Jan 2015
Ed BlackCavalry
Cousin JacLiverpool Music
Week ReviewBold Street
Coffee Pullout
Ed B
lack
by
Mik
e B
rits
MON 24 NOV 7pm £15 adv KATIE ARMIGERTUES 25 NOV 7pm £8 adv THE CROOKESWEDS 26 NOV 7pm £8 adv COASTS THURS 27 NOV 8.30pm OPEN MICHOSTED BY IAN MCNABB
FRI 28 NOV 7pm £12 adv3 DAFTMONKEYSFRI 28 NOV 11pm 18+RAWKUSLIVERPOOL’S BIGGEST ALTERNATIVE, POP-PUNK & HARDCORE PARTY
SAT 29 NOV 10pm 18+CIRCUSFT. TEN WALLS (LIVE), YOUSEF, MATTHIAS TANZMANN, PATRICK TOPPING, ACID MONDAYS
THURS 4 DEC 7.30pm £10 advJANET DEVLINTHURS 4 DEC 8.30pm OPEN MICHOSTED BY IAN MCNABB
FRI 5 DEC 11pm 18+RAWKUSLIVERPOOL’S BIGGEST ALTERNATIVE, POP-PUNK & HARDCORE PARTY
SAT 6 DEC 7pm £7 advANDREW METCALFE & THE WESTERN HILLSSAT 6 DEC 7pm £12 advIAN PROWSE & AMSTERDAMSAT 6 DEC 11pm 18+CHIBUKU FT. SIGMA (+ JUSTYCE), SHADOW CHILD, KRY WOLD, DIMENSION
THURS 11 DEC 7pm £7 advBY THE RIVERSTHURS 11 DEC 8.30pm OPEN MICHOSTED BY IAN MCNABB
FRI 12 DEC 6.30pm £7 advCHRISTMAS AT THE ARTS CLUBFRI 12 DEC 11pm 18+RAWKUSLIVERPOOL’S BIGGEST ALTERNATIVE, POP-PUNK & HARDCORE PARTY
SAT 13 DEC 7pm £15 advSPACE “CHRISTMAS ROCKS”
SAT 13 DEC 7pm £5 advTHE JACKOBINS THURS 18 DEC 8.30pm OPEN MICHOSTED BY IAN MCNABB
FRI 19 DEC 11pm 18+RAWKUSLIVERPOOL’S BIGGEST ALTERNATIVE, POP-PUNK & HARDCORE PARTY
FRI 26 DEC 10pm 18+CIRCUS -BOXING NIGHT FT. YOUSEF B2B NIC FANCIULLI, GEORGE FITZGERALD, SCUBA, DARIUS SYROSSIAN, PREMIESKU (LIVIO, ROBY & GEORGE G), LEWIS BOARDMAN, DAVID GLASS & SCOTT LEWIS
WEDS 31 DEC 10pm 18+CHIBUKU NYE FT. JULIO BASHMORE, ROUTE 94, B.TRAITS, JESSE ROSE, MORE TBA
THURS 01 JAN 2015 10pm 18+CIRCUS NYD PARTY FT. KERRI CHANDLER, YOUSEF, RICHY AHMED, COYU, DETROIT SWINDLE, LEWIS BOARDMAN, SCOTT LEWIS, EGG LONDON PRESENTS WILLERS BROS / KYLE EVENS
EVERY TUESDAY FROM TUES 06 JAN 2015 8pmPAINTNITE DRINK CREATIVELY, GRAB A DRINK, GRAB A BRUSH, AND LET THE FUN BEGIN!
EVERY THURSDAY FROM THURS 08 JAN 2015 8.30pmOPEN MICHOSTED BY IAN MCNABB
EVERY FRIDAY FROM FRI 09 JAN 2015 11pm 18+RAWKUSLIVERPOOL’S BIGGEST ALTERNATIVE, POP-PUNK & HARDCORE PARTY
FRI 16 JAN 2015 7pm £18 advAARON CARTERFRI 6 FEB 2015 6.30pm £20 advMAGNUMTUES 10 FEB 2015 7pm £12.50 advTHE STAVESWEDS 11 FEB 2015 7pm £7 advALEXANDERMON 16 FEB 2015 7pm £12 advKING CHARLESMON 16 FEB 2015 7pm £12.50 advSLOW CLUBWEDS 18 FEB 2015 7pm £7 advORLA GARTLANDSAT 21 FEB 2015 12pm £15 advLASHOUT FESTFRI 13 MAR 2015 7pm £14 advDUKE SPECIALFRI 13 MAR 2015 7pm £6 advSAT 14 MAR 2015 7pm £6 advLIVERPOOL ROCKS! - SEMI FINALSTHURS 19 MAR 2015 7pm £16.50 advTHE SELECTERSAT 25APR 2015 7pm £6 advLIVERPOOL ROCKS! - THE FINAL
90 SEEL STREET, LIVERPOOL, L1 4BH
MON 24 NOV 7pm £15 advMON 24 NOV 7pm £15 advMON 24 NOVKATIE ARMIGERTUES 25 NOV 7pm £8 advTUES 25 NOV 7pm £8 advTUES 25 NOVTHE CROOKESWEDS 26 NOV 7pm £8 advWEDS 26 NOV 7pm £8 advWEDS 26 NOVCOASTS THURS 27 NOV 8.30pmTHURS 27 NOV 8.30pmTHURS 27 NOVOPEN MICHOSTED BY IAN MCNABB
FRI 28 NOV 7pm £12 advFRI 28 NOV 7pm £12 advFRI 28 NOV3 DAFTMONKEYSFRI 28 NOV 11pm 18+FRI 28 NOV 11pm 18+FRI 28 NOVRAWKUSLIVERPOOL’S BIGGEST ALTERNATIVE, POP-PUNK & HARDCORE PARTY
SAT 29 NOV 10pm 18+SAT 29 NOV 10pm 18+SAT 29 NOVCIRCUSFT. TEN WALLS (LIVE), YOUSEF, MATTHIAS TANZMANN, PATRICK TOPPING, ACID MONDAYS
THURS 4 DEC 7.30pm £10 advTHURS 4 DEC 7.30pm £10 advTHURS 4 DECJANET DEVLINTHURS 4 DEC 8.30pmTHURS 4 DEC 8.30pmTHURS 4 DECOPEN MICHOSTED BY IAN MCNABB
FRI 5 DEC 11pm 18+FRI 5 DEC 11pm 18+FRI 5 DECRAWKUSLIVERPOOL’S BIGGEST ALTERNATIVE, POP-PUNK & HARDCORE PARTY
SAT 6 DEC 7pm £7 advSAT 6 DEC 7pm £7 advSAT 6 DECANDREW METCALFE & THE WESTERN HILLSSAT 6 DEC 7pm £12 advSAT 6 DEC 7pm £12 advSAT 6 DECIAN PROWSE & AMSTERDAMSAT 6 DEC 11pm 18+SAT 6 DEC 11pm 18+SAT 6 DECCHIBUKU FT. SIGMA (+ JUSTYCE), SHADOW CHILD, KRY WOLD, DIMENSION
THURS 11 DEC 7pm £7 advTHURS 11 DEC 7pm £7 advTHURS 11 DECBY THE RIVERSTHURS 11 DEC 8.30pmTHURS 11 DEC 8.30pmTHURS 11 DECOPEN MICHOSTED BY IAN MCNABB
FRI 12 DEC 6.30pm £7 advFRI 12 DEC 6.30pm £7 advFRI 12 DECCHRISTMAS AT THE ARTS CLUBFRI 12 DEC 11pm 18+FRI 12 DEC 11pm 18+FRI 12 DECRAWKUSLIVERPOOL’S BIGGEST ALTERNATIVE, POP-PUNK & HARDCORE PARTY
SAT 13 DEC 7pm £15 advSAT 13 DEC 7pm £15 advSAT 13 DECSPACE “CHRISTMAS ROCKS”
SAT 13 DEC 7pm £5 advSAT 13 DEC 7pm £5 advSAT 13 DECTHE JACKOBINS THURS 18 DEC 8.30pmTHURS 18 DEC 8.30pmTHURS 18 DECOPEN MICHOSTED BY IAN MCNABB
FRI 19 DEC 11pm 18+FRI 19 DEC 11pm 18+FRI 19 DECRAWKUSLIVERPOOL’S BIGGEST ALTERNATIVE, POP-PUNK & HARDCORE PARTY
FRI 26 DEC 10pm 18+FRI 26 DEC 10pm 18+FRI 26 DECCIRCUS -BOXING NIGHT FT. YOUSEF B2B NIC FANCIULLI, GEORGE FITZGERALD, SCUBA, DARIUS SYROSSIAN, PREMIESKU (LIVIO, ROBY & GEORGE G), LEWIS BOARDMAN, DAVID GLASS & SCOTT LEWIS
WEDS 31 DEC 10pm 18+WEDS 31 DEC 10pm 18+WEDS 31 DECCHIBUKU NYE FT. JULIO BASHMORE, ROUTE 94, B.TRAITS, JESSE ROSE, MORE TBA
THURS 01 JAN 2015 10pm 18+CIRCUS NYD PARTY FT. KERRI CHANDLER, YOUSEF, RICHY AHMED, COYU, DETROIT SWINDLE, LEWIS BOARDMAN, SCOTT LEWIS, EGG LONDON PRESENTS WILLERS BROS / KYLE EVENS
EVERY TUESDAY FROM TUES 06 JAN 2015 8pmPAINTNITE DRINK CREATIVELY, GRAB A DRINK, GRAB A BRUSH, AND LET THE FUN BEGIN!
EVERY THURSDAY FROM THURS 08 JAN 2015 8.30pmOPEN MICHOSTED BY IAN MCNABB
EVERY FRIDAY FROM FRI 09 JAN 2015 11pm 18+RAWKUS
11pm 18+RAWKUS
11pm 18+
LIVERPOOL’S BIGGEST ALTERNATIVE, POP-PUNK & HARDCORE PARTY
FRI 16 JAN 2015 7pm £18 advAARON CARTERFRI 6 FEB 2015 6.30pm £20 advMAGNUMTUES 10 FEB 2015 7pm £12.50 advTHE STAVESWEDS 11 FEB 2015 7pm £7 advALEXANDERMON 16 FEB 2015 7pm £12 advKING CHARLESMON 16 FEB 2015 7pm £12.50 advSLOW CLUBWEDS 18 FEB 2015 7pm £7 advORLA GARTLANDSAT 21 FEB 2015 12pm £15 advLASHOUT FESTFRI 13 MAR 2015 7pm £14 advDUKE SPECIALFRI 13 MAR 2015 7pm £6 advSAT 14 MAR 2015 7pm £6 advLIVERPOOL ROCKS! - SEMI FINALSTHURS 19 MAR 2015 7pm £16.50 advTHURS 19 MAR 2015 7pm £16.50 advTHURS 19 MAR 2015THE SELECTERSAT 25APR 2015 7pm £6 advLIVERPOOL ROCKS! - THE FINAL
90 SEEL STREET, LIVERPOOL, L1 4BH
Featuring over 200 outstanding examples of writing combined with moving image
13 November 2014 —08 February 2015
FREE Entry
fact.co.uk#typemotion
In collaboration with Supported by
Bido Lito! Dec 2014 / Jan 20154
bidolito.co.uk
Bido Lito!Issue Fifty One / Dec 2014 / Jan 2014bidolito.co.uk
Static Gallery
23 Roscoe Lane
Liverpool
L1 9JD
Editor
Christopher Torpey -
Editor-In-Chief / Publisher
Craig G Pennington -
Reviews Editor
Sam Turner - [email protected]
Designer
Luke Avery - [email protected]
Proofreading
Debra Williams -
Intern
Emma Brady
Words
Christopher Torpey, Craig G
Pennington, Joshua Potts, A.W. Wilde,
Jack Graysmark, Maurice Stewart,
Dave Tate, Richard Lewis, Alastair
Dunn, Paddy Clarke, Spike Beecham,
Emma Brady, Sam Turner, Paddy
Hughes, Christopher Carr, Rob Syme,
Naters P, Glyn Akroyd, Chris Hughes.
Photography, Illustration and
Layout
Luke Avery, Mike Brits, Robin
Clewley, Gaz Jones, Keith Ainsworth,
Michelle Roberts, Nata Moraru,
Stuart Moulding, Glyn Akroyd, Dan
Medhurst.
Adverts
To advertise please contact
Distributed By Middle Distance
Print, distribution and events support
across Merseyside and the North
West.
middledistance.org
The views expressed in Bido Lito! are those of the respective contributors and do not necessarily reflect the opinions of the magazine, its staff or the publishers. All rights reserved.
If nothing else, the recent furore around the proposed
development that would, if passed, have resigned The
Kazimier and Nation to dust should serve as a stone cold,
sobering wake-up call to us all: as a creative community, we
need to collectively represent our interests.
We all know that the idea of culling The Kazimier and Nation
to make way for another mono-development of ‘luxury’
magnolia boxes is profoundly ludicrous, and we can bemoan
the lack of understanding and foresight from some within
the corridors of power for even considering such proposals.
We can point to Liverpool’s questionable track record when
it comes to understanding, valuing and protecting its
cultural assets, and the inherent irony of tourism based on
those blundered cultural assets seemingly rising from the
ashes to take its place as our city’s golden goose. We can
enthuse about The Kazimier and the community around
it, a creative, collaborative sphere which has been central
to Liverpool’s recent cultural renaissance. We can point
out the quite frankly laughable timing of a proposal that
would lead to the closure of Cream’s home, Nation, falling
shortly after the superclub’s founder, James Barton, was
recognised by Billboard Magazine in the US as “the most
influential person in the world for electronic dance music”.
Plainly, the idea of English Heritage placing a plaque
outside Nation and the building being listed seems more
fitting than forcing its closure. We can make all these
assertions and arguments passionately, enthusiastically
and eloquently until we are blue in the face but, until we
find a way to have these sentiments understood on a city
level, and until we are a part of the ongoing process of
consulting, strategising and decision-making, we will merely
be preaching to the converted, resigned to the margins.
Kaz-Nation-gate is the latest in a run of conflicts over recent
years between the powers that be and our grassroots creative
community: the noise abatement notices affecting hubs
such as Static, the whole ham-fisted drama around busking
licences, the removal of business rate relief. Imagine if the
grassroots creative community had been involved in policy
discussion before these episodes erupted. Would we have
ended up with the same flash points, the same decisions, the
same outcry?
Councils are – by their very nature – large, bureaucratic,
sluggish organisations. They have fixed and formulaic
processes and procedures by which decisions are taken. But
they are there to represent a cross-section of opinion and
interest from across the city. They need a way of consulting
and engaging with our grassroots creative sector in a way
that tessellates with their system. We need to be organised
and structured so that we’re not only involved in the
debate, but that we can lead the debate. We can then have
the interests and concerns of our community represented,
forming and moulding policy along with the city’s other core
stakeholders.
Bemoaning ‘the man’ is, to be honest, tiresome and boring.
What is more interesting, to me anyway, is coming up with
a solution, taking it to him. And taking it to him in a form he
understands – us as a community serving it white-hot on a
plate that’s just impossible to ignore. It’s vital to be part of
that city process as an active participant, protecting what
needs to be protected and what makes this city the place
we love, but, more importantly, instigating positive, forward-
thinking change.
I suppose there is an inherent challenge to this within the
very notion of us all being independent; we all value the notion
of individualism, striding out, taking chances across our own
shoulders. To be blunt, fragmented grassroots communities such
as ours are made up of people who face enough challenges in
maintaining the day-to-day existence of their own endeavours,
without necessarily having the time or headspace to worry
about the cohesive whole. But it comes back to the point I made
in last month’s magazine: where do we sit as a community on
this competitive-collaborative matrix? If we are to have any
meaningful voice, if we are to play a part driving progressive
dialogue about our city, if we are to be understood and valued
as a sector, then we need collective representation.
THE CURIOUS CASE OF INDEPENDENCECraig G Pennington
Bido Lito! Dec 2014 / Jan 20154
bidolito.co.ukbidolito.co.ukbidolito
Bido Lito!Issue Fifty One / Dec 2014 / Jan 2014bidolito.co.uk
Static Gallery
23 Roscoe Lane
Liverpool
L1 9JD
Editor
Christopher Torpey -
Editor-In-Chief / Publisher
Craig G Pennington -
Reviews Editor
Sam Turner - [email protected]
Designer
Luke Avery - [email protected]
Proofreading
Debra Williams -
Intern
Emma Brady
Words
Christopher Torpey, Craig G
Pennington, Joshua Potts, A.W. Wilde,
Jack Graysmark, Maurice Stewart,
Dave Tate, Richard Lewis, Alastair
Dunn, Paddy Clarke, Spike Beecham,
Emma Brady, Sam Turner, Paddy
Hughes, Christopher Carr, Rob Syme,
Naters P, Glyn Akroyd, Chris Hughes.
Photography, Illustration and
Layout
Luke Avery, Mike Brits, Robin
Clewley, Gaz Jones, Keith Ainsworth,
Michelle Roberts, Nata Moraru,
Stuart Moulding, Glyn Akroyd, Dan
Medhurst.
Adverts
To advertise please contact
Distributed By Middle Distance
Print, distribution and events support
across Merseyside and the North
West.
middledistance.org
The views expressed in Bido Lito! are those The views expressed in Bido Lito! are those Tof the respective contributors and do not necessarily reflect the opinions of the magazine, its staff or the publishers. All rights reserved.
If nothing else, the recent furore around the proposed
development that would, if passed, have resigned The
Kazimier and Nation to dust should serve as a stone cold,
sobering wake-up call to us all: as a creative community, we
need to collectively represent our interests.
We all know that the idea of culling The Kazimier and Nation
to make way for another mono-development of ‘luxury’
magnolia boxes is profoundly ludicrous, and we can bemoan
the lack of understanding and foresight from some within
the corridors of power for even considering such proposals.
We can point to Liverpool’s questionable track record when
it comes to understanding, valuing and protecting its
cultural assets, and the inherent irony of tourism based on
those blundered cultural assets seemingly rising from the
ashes to take its place as our city’s golden goose. We can
enthuse about The Kazimier and the community around
it, a creative, collaborative sphere which has been central
to Liverpool’s recent cultural renaissance. We can point
out the quite frankly laughable timing of a proposal that
would lead to the closure of Cream’s home, Nation, falling
shortly after the superclub’s founder, James Barton, was
recognised by Billboard Magazine in the US as “the most
influential person in the world for electronic dance music”.
Plainly, the idea of English Heritage placing a plaque
outside Nation and the building being listed seems more
fitting than forcing its closure. We can make all these
assertions and arguments passionately, enthusiastically
and eloquently until we are blue in the face but, until we
find a way to have these sentiments understood on a city
level, and until we are a part of the ongoing process of
THE CURIOUS CASE OF INDEPENDENCECraig G Pennington
Bido Lito! Dec 2014 / Jan 2015 5
bidolito.co.uk
If nothing else, the recent furore around the proposed
development that would, if passed, have resigned The
Kazimier and Nation to dust should serve as a stone cold,
sobering wake-up call to us all: as a creative community, we
need to collectively represent our interests.
We all know that the idea of culling The Kazimier and Nation
to make way for another mono-development of ‘luxury’
magnolia boxes is profoundly ludicrous, and we can bemoan
the lack of understanding and foresight from some within
the corridors of power for even considering such proposals.
We can point to Liverpool’s questionable track record when
it comes to understanding, valuing and protecting its
cultural assets, and the inherent irony of tourism based on
those blundered cultural assets seemingly rising from the
ashes to take its place as our city’s golden goose. We can
enthuse about The Kazimier and the community around
it, a creative, collaborative sphere which has been central
to Liverpool’s recent cultural renaissance. We can point
out the quite frankly laughable timing of a proposal that
would lead to the closure of Cream’s home, Nation, falling
shortly after the superclub’s founder, James Barton, was
recognised by Billboard Magazine in the US as “the most
influential person in the world for electronic dance music”.
Plainly, the idea of English Heritage placing a plaque
outside Nation and the building being listed seems more
fitting than forcing its closure. We can make all these
assertions and arguments passionately, enthusiastically
and eloquently until we are blue in the face but, until we
find a way to have these sentiments understood on a city
level, and until we are a part of the ongoing process of
consulting, strategising and decision-making, we will merely
be preaching to the converted, resigned to the margins.
Kaz-Nation-gate is the latest in a run of conflicts over recent
years between the powers that be and our grassroots creative
community: the noise abatement notices affecting hubs
such as Static, the whole ham-fisted drama around busking
licences, the removal of business rate relief. Imagine if the
grassroots creative community had been involved in policy
discussion before these episodes erupted. Would we have
ended up with the same flash points, the same decisions, the
same outcry?
Councils are – by their very nature – large, bureaucratic,
sluggish organisations. They have fixed and formulaic
processes and procedures by which decisions are taken. But
they are there to represent a cross-section of opinion and
interest from across the city. They need a way of consulting
and engaging with our grassroots creative sector in a way
that tessellates with their system. We need to be organised
and structured so that we’re not only involved in the
debate, but that we can lead the debate. We can then have
the interests and concerns of our community represented,
forming and moulding policy along with the city’s other core
stakeholders.
Bemoaning ‘the man’ is, to be honest, tiresome and boring.
What is more interesting, to me anyway, is coming up with
a solution, taking it to him. And taking it to him in a form he
understands – us as a community serving it white-hot on a
plate that’s just impossible to ignore. It’s vital to be part of
that city process as an active participant, protecting what
needs to be protected and what makes this city the place
we love, but, more importantly, instigating positive, forward-
thinking change.
I suppose there is an inherent challenge to this within the
very notion of us all being independent; we all value the notion
of individualism, striding out, taking chances across our own
shoulders. To be blunt, fragmented grassroots communities such
as ours are made up of people who face enough challenges in
maintaining the day-to-day existence of their own endeavours,
without necessarily having the time or headspace to worry
about the cohesive whole. But it comes back to the point I made
in last month’s magazine: where do we sit as a community on
this competitive-collaborative matrix? If we are to have any
meaningful voice, if we are to play a part driving progressive
dialogue about our city, if we are to be understood and valued
as a sector, then we need collective representation.
THE CURIOUS CASE OF INDEPENDENCECraig G Pennington
Wolstenholme Square by Robin Clewley / @robinscamera
Bido Lito! Dec 2014 / Jan 2015 5
bidolito.co.ukbidolito.co.ukbidolito
consulting, strategising and decision-making, we will merely
be preaching to the converted, resigned to the margins.
Kaz-Nation-gate is the latest in a run of conflicts over recent
years between the powers that be and our grassroots creative
community: the noise abatement notices affecting hubs
such as Static, the whole ham-fisted drama around busking
licences, the removal of business rate relief. Imagine if the
grassroots creative community had been involved in policy
discussion before these episodes erupted. Would we have
ended up with the same flash points, the same decisions, the
same outcry?
Councils are – by their very nature – large, bureaucratic,
sluggish organisations. They have fixed and formulaic
processes and procedures by which decisions are taken. But
they are there to represent a cross-section of opinion and
interest from across the city. They need a way of consulting
and engaging with our grassroots creative sector in a way
that tessellates with their system. We need to be organised
and structured so that we’re not only involved in the
debate, but that we can lead the debate. We can then have lead the debate. We can then have lead
the interests and concerns of our community represented,
forming and moulding policy along with the city’s other core
stakeholders.
Bemoaning ‘the man’ is, to be honest, tiresome and boring.
What is more interesting, to me anyway, is coming up with
a solution, taking it to him. And taking it to him in a form he
understands – us as a community serving it white-hot on a
plate that’s just impossible to ignore. It’s vital to be part of
that city process as an active participant, protecting what
needs to be protected and what makes this city the place
we love, but, more importantly, instigating positive, forward-
thinking change.
I suppose there is an inherent challenge to this within the
very notion of us all being independent; we all value the notion
of individualism, striding out, taking chances across our own
shoulders. To be blunt, fragmented grassroots communities such
as ours are made up of people who face enough challenges in
maintaining the day-to-day existence of their own endeavours,
without necessarily having the time or headspace to worry
about the cohesive whole. But it comes back to the point I made
in last month’s magazine: where do we sit as a community on
this competitive-collaborative matrix? If we are to have any
meaningful voice, if we are to play a part driving progressive
dialogue about our city, if we are to be understood and valued
as a sector, then we need collective representation.
THE CURIOUS CASE OF INDEPENDENCE
Wolstenholme Square by Robin Clewley / @robinscamera
Bido Lito! Dec 2014 / Jan 20156
bidolito.co.uk
Words: Joshua Potts / @joshpjpotts
Photography: Mike Brits / mikebrits.com
Loneliness is a funny thing. It can sit in the grandest or
smallest of rooms, ignore your friends, stride up to the furthest
corner of your heart and nestle there without giving you so
much as a compliment. Even when we’re on top form, quaffing
beer and anecdotes, the threat of silence lingers like hands
on a black clock. What awaits the loner? An empty bed, a walk
through that street only you have familiarised? Apologies for
this preamble: I’m managing to make songwriter and all-round
nimble musician ED BLACK sound like Morrissey with a migraine.
He’s not like this at all. He just knows that isolation is torture,
and he’s managed to find an ointment for it.
I’m speaking to him via Skype on an unremarkable November
afternoon. It’s our fourth interview; our first was eight months
ago, when he was eagerly explaining the pitfalls of being a
solo singer. There are the Jake Buggs and Ben Howards of the
world, who happen to play acoustic guitars and thus act as the
vanguard of ‘authenticity’ in pop music. People expect other
young men with quixotic haircuts to give them more of the same:
stability, recognisable packages, whatever you want to call it.
In our first conversation, Black was adamant that his ambitions
were greater than this, and I could tell he meant it. He’d just
left Ninetails, a band constantly humming across Liverpool’s
fascination with the avant-garde. “They weren’t too keen on
gigging,” was one of the reasons Ed gave for doing so. The group
signed a management contract, but Ed has made his decision
to go it alone – it was the right thing to do, from a musical
perspective. He wanted to keep playing live, keep learning from
a raft of mentors, to visualise the off-kilter leanings of his own,
very personal, emotional exhibit.
Won’t Go Back and Mistakes are the glorious fruits of his
labours over the period since our first chat, which he is revealing
in the form of a double A-side single in December. And ‘labour’
is as apt a word as any to describe the brief spurts of writing
and recording that went into them. When these demos landed
in my Dropbox in mid-July, they hinted at panoramas through
infant eyes: gorgeously melodic, subtle and somewhat jarring
due to their fluid wavering between old-school instrumentation
and electronics. Synthesis and silence struck me then, and
now, as the tracks pull delicately at the edges of their structure,
lapping backwards and forwards to catch beats in the riptide. “I
see an ornament,” he says during our Skype call in the midst of
summer, when I ask him to come up with an image summarising
the mood of the EP. He links me to the cover of an old Coldplay
record: a stone or a shell in someone’s hand, swamped in velvet
light. “Definitely an ornament in blue,” he affirms. “Please don’t
think I’m into Coldplay by any means, but these colours would
work.” Listening to the final version of the tracks, where Ed’s
tender vocals seem to be balancing above a descent into the
internal, accepting the bliss of one’s own solitary headspace, my
mind’s eye can’t help but agree with him about the blue part.
Though occasionally an exercise in frustration, spending the
better part of a year on such scant material has enabled Ed
to realise, to the fullest extent, how good these songs could
be. Post-Ninetails, Black got an offer from Ady Suleiman (close
friend and prospective alt-RnB artist) to be his right-hand man
in London. He de-camped and got swiftly embroiled in new
commitments and the pleasures of the capital. For our final
Skype call in November, Ed is speaking from Suleiman’s shed.
Time away from the north has only cemented his opinion of the
music industry but “You have to move down here [London],”
Ed tells me. “I know it’s typical to say that. For the stage Ady’s
at, you have to have a connection to this city.” Living with that
reality didn’t stop him from spending long nights in with Logic,
Bido Lito! Dec 2014 / Jan 20156
bidolito.co.ukbidolito.co.ukbidolito
Words: Joshua Potts / @joshpjpotts
Photography: Mike Brits / mikebrits.com
Loneliness is a funny thing. It can sit in the grandest or
smallest of rooms, ignore your friends, stride up to the furthest
corner of your heart and nestle there without giving you so
much as a compliment. Even when we’re on top form, quaffing
beer and anecdotes, the threat of silence lingers like hands
on a black clock. What awaits the loner? An empty bed, a walk
through that street only you have familiarised? Apologies for
this preamble: I’m managing to make songwriter and all-round
nimble musician ED BLACK sound like Morrissey with a migraine.
He’s not like this at all. He just knows that isolation is torture,
and he’s managed to find an ointment for it.
I’m speaking to him via Skype on an unremarkable November
afternoon. It’s our fourth interview; our first was eight months
ago, when he was eagerly explaining the pitfalls of being a
solo singer. There are the Jake Buggs and Ben Howards of the
world, who happen to play acoustic guitars and thus act as the
vanguard of ‘authenticity’ in pop music. People expect other
young men with quixotic haircuts to give them more of the same:
stability, recognisable packages, whatever you want to call it.
In our first conversation, Black was adamant that his ambitions
were greater than this, and I could tell he meant it. He’d just
left Ninetails, a band constantly humming across Liverpool’s
fascination with the avant-garde. “They weren’t too keen on
gigging,” was one of the reasons Ed gave for doing so. The group
signed a management contract, but Ed has made his decision
to go it alone – it was the right thing to do, from a musical
perspective. He wanted to keep playing live, keep learning from
a raft of mentors, to visualise the off-kilter leanings of his own,
very personal, emotional exhibit.
Won’t Go Back and Won’t Go Back and Won’t Go Back Mistakes are the glorious fruits of his
labours over the period since our first chat, which he is revealing
in the form of a double A-side single in December. And ‘labour’
is as apt a word as any to describe the brief spurts of writing
and recording that went into them. When these demos landed
in my Dropbox in mid-July, they hinted at panoramas through
infant eyes: gorgeously melodic, subtle and somewhat jarring
due to their fluid wavering between old-school instrumentation
and electronics. Synthesis and silence struck me then, and
now, as the tracks pull delicately at the edges of their structure,
lapping backwards and forwards to catch beats in the riptide. “I
see an ornament,” he says during our Skype call in the midst of
summer, when I ask him to come up with an image summarising
the mood of the EP. He links me to the cover of an old Coldplay
record: a stone or a shell in someone’s hand, swamped in velvet
light. “Definitely an ornament in blue,” he affirms. “Please don’t
think I’m into Coldplay by any means, but these colours would
work.” Listening to the final version of the tracks, where Ed’s
tender vocals seem to be balancing above a descent into the
internal, accepting the bliss of one’s own solitary headspace, my
mind’s eye can’t help but agree with him about the blue part.
Though occasionally an exercise in frustration, spending the
better part of a year on such scant material has enabled Ed
to realise, to the fullest extent, how good these songs could
be. Post-Ninetails, Black got an offer from Ady Suleiman (close
friend and prospective alt-RnB artist) to be his right-hand man
in London. He de-camped and got swiftly embroiled in new
commitments and the pleasures of the capital. For our final
Skype call in November, Ed is speaking from Suleiman’s shed.
Time away from the north has only cemented his opinion of the
music industry but “You have to move down here [London],”
Ed tells me. “I know it’s typical to say that. For the stage Ady’s
at, you have to have a connection to this city.” Living with that
reality didn’t stop him from spending long nights in with Logic,
Ed Black
Bido Lito! Dec 2014 / Jan 2015 7
bidolito.co.uk
the digital software beloved by people with too little leisure
time. When he was “starving or need[ing] a piss”, he’d forgo the
demands of nature to spend hours at his digital workstation,
fiddling over modulations and EQ levels.
However, behind Black’s easy, tech-savvy veneer lurks an
artistic obsession – some would say insecurity – with being
alone. A breakup almost ruined him: he was nervous the ex in
question would turn up for his Sound City gig, and he actually
resurrected a song called Being Alone that night, drip-feeding
his audience glimpses of the New Ed, the one willing to bear
the scrutiny of an entire room and thrive in it. There’s been an
acoustic release on the cards for quite a while, reflecting the
shitload of Bon Iver he was listening to while trying to climb
out of his emotional quicksand. “I wouldn’t necessarily classify
[the acoustic tracks] as ‘of that mould’, but Justin Vernon was
undeniably a huge influence on their conception. I still haven’t
got round to doing them yet because I don’t want my tunes
muddled up, and I don’t want to spread myself too thin.” He
and the girl are back together after six months apart. “It’s a bit
weird working on something I wrote in a completely different
headspace. They’re a big thing for me, relationships. Since I was
16 I’ve always been in one, in some form or another. Whenever
I’m single I don’t enjoy it at all.”
If the delayed catharsis of a voice and whispered chords
could turn out to be Black’s For Emma, Forever Ago, then his
completed material imitates Bon Iver’s second album, along
with the spliced, sensual dub of FKA twigs and Baths’ child-like
melodic intuition. I ask whether the lushness and warmth of the
EP is an attempt to find solace in other people, or if it endorses
retreating inside one’s self completely. “Hmmm,” he says. “I
haven’t especially thought about that, but if I’d go one way, I’d
say it reaches out. Y’know, like the experience of realising the
layers and the textures of the thing with Jake.”
This is Jake King, Ninetails’ drummer and Black’s alchemic
totem. I visited Jake’s flat on Roscoe Street back in August to
see how they were getting on. Alongside a Mac or two, and
bunch of magnificent synth equipment, a board hung on the
wall, scrawled with ideas like ‘Longer opening section?’ or, more
simply, ‘BASS’. The lads sit me down and we listen to the half-
completed demos without speaking, bobbing our heads. “There
are elements of field recording in the percussion. I’ve just deleted
a few actually...” Jake explains. “There’s a rain sound I really
love: it was falling on a coal bunker outside my mum’s house.
I’ll chop that up and make it into a sensible beat.” I attempt to
make a link to Swedish philosopher Alain de Botton’s theory
on the symbolic effects of thunderstorms. They look perplexed.
Dammit, Josh, rein it in.
Another difficult question is thrown to Ed in our last
conversation: have you matured in the past year? He squints.
“Subconsciously... My hair’s matured.” What about plans for an
album in the near future? Would it be along the same lines (albeit
faster lines, one might wish) as these effervescent offerings?
“Again, I don’t think about it too much. There’s not a lot of
thinking behind what I manage to do here and there. It’s cool –
it’s why they’ve come out the way they have. But I’d say I’d lean
more towards conventional structures, despite the fact I love the
atmosphere I’ve already managed to capture.”
Here’s hoping an atmosphere of daring originality continues
to hang over Black’s career – it suits him down to the ground.
Won’t Go Back b/w Mistakes is streaming exclusively on
bidolito.co.uk now, and will be released in December.
edblack.bandcamp.com
Bido Lito! Dec 2014 / Jan 2015 7
bidolito.co.ukbidolito.co.ukbidolito
the digital software beloved by people with too little leisure
time. When he was “starving or need[ing] a piss”, he’d forgo the
demands of nature to spend hours at his digital workstation,
fiddling over modulations and EQ levels.
However, behind Black’s easy, tech-savvy veneer lurks an
artistic obsession – some would say insecurity – with being
alone. A breakup almost ruined him: he was nervous the ex in
question would turn up for his Sound City gig, and he actually
resurrected a song called Being AloneBeing Alone that night, drip-feeding
his audience glimpses of the New Ed, the one willing to bear
the scrutiny of an entire room and thrive in it. There’s been an
acoustic release on the cards for quite a while, reflecting the
shitload of Bon Iver he was listening to while trying to climb
out of his emotional quicksand. “I wouldn’t necessarily classify
[the acoustic tracks] as ‘of that mould’, but Justin Vernon was
undeniably a huge influence on their conception. I still haven’t
got round to doing them yet because I don’t want my tunes
muddled up, and I don’t want to spread myself too thin.” He
and the girl are back together after six months apart. “It’s a bit
weird working on something I wrote in a completely different
headspace. They’re a big thing for me, relationships. Since I was
16 I’ve always been in one, in some form or another. Whenever
I’m single I don’t enjoy it at all.”
If the delayed catharsis of a voice and whispered chords
could turn out to be Black’s For Emma, Forever Ago, then his
completed material imitates Bon Iver’s second album, along
with the spliced, sensual dub of FKA twigs and Baths’ child-like
melodic intuition. I ask whether the lushness and warmth of the
EP is an attempt to find solace in other people, or if it endorses
retreating inside one’s self completely. “Hmmm,” he says. “I
haven’t especially thought about that, but if I’d go one way, I’d
say it reaches out. Y’know, like the experience of realising the
layers and the textures of the thing with Jake.”
This is Jake King, Ninetails’ drummer and Black’s alchemic
totem. I visited Jake’s flat on Roscoe Street back in August to
see how they were getting on. Alongside a Mac or two, and
bunch of magnificent synth equipment, a board hung on the
wall, scrawled with ideas like ‘Longer opening section?’ or, more
simply, ‘BASS’. The lads sit me down and we listen to the half-
completed demos without speaking, bobbing our heads. “There
are elements of field recording in the percussion. I’ve just deleted
a few actually...” Jake explains. “There’s a rain sound I really
love: it was falling on a coal bunker outside my mum’s house.
I’ll chop that up and make it into a sensible beat.” I attempt to
make a link to Swedish philosopher Alain de Botton’s theory
on the symbolic effects of thunderstorms. They look perplexed.
Dammit, Josh, rein it in.
Another difficult question is thrown to Ed in our last
conversation: have you matured in the past year? He squints.
“Subconsciously... My hair’s matured.” What about plans for an
album in the near future? Would it be along the same lines (albeit
faster lines, one might wish) as these effervescent offerings?
“Again, I don’t think about it too much. There’s not a lot of
thinking behind what I manage to do here and there. It’s cool –
it’s why they’ve come out the way they have. But I’d say I’d lean
more towards conventional structures, despite the fact I love the
atmosphere I’ve already managed to capture.”
Here’s hoping an atmosphere of daring originality continues
to hang over Black’s career – it suits him down to the ground.
Won’t Go Back b/w Won’t Go Back b/w Won’t Go Back Mistakes is streaming exclusively on
bidolito.co.uk now, and will be released in December.
edblack.bandcamp.com
Bido Lito! Dec 2014 / Jan 20158
bidolito.co.uk
Cavalry
Words: Jack Graysmark / @ZeppelinG1993
Photography: Gaz Jones / @GJMPhoto
As much as I adore Liverpool, I am still occasionally hit by the
temptation to retreat to the countryside; lock yourself away in
a reclusive log cabin in North Wales and the lush surroundings
will delight you in abundance. But influence you? Well, it certainly
worked for Bon Iver, but how about closer to home? CAVALRY’s
guitarist Austin Logan was inspired enough to give it a try himself,
and came away reaping the rewards. With a track called Leaves
in their repertoire and an autumnal hue to their sound, you’d be
forgiven for thinking that Austin’s excursion brought a fairly literal
inspiration to the Cavalry aesthetic, but that’s where the parallel
falls short. In fact, he refers to the result of his casual excursion
– coming up with the band’s name – as a “happy accident”, one
of many that have permeated the band’s career since they came
together in late 2013.
Ambushing the quintet in the midst of a busy schedule of
meetings and rehearsals, I am keen to peer beneath the veneer
of this rugged indie band blooming with potential. Two demos
posted online back in January – Lament, and the aforementioned
Leaves – have garnered acclaim across the board, from BBC
Introducing in Merseyside to Radio 1’s new music heavyweight,
Huw Stephens, and Radio 2 darling, Janice Long. But instead of
rushing to respond to such praise, Cavalry have been carefully
planning their next move while perfecting their craft with regular
stints on the support-act circuit. There’s a charge coming, but
never underestimate the importance of tactics.
Their name even seems to personify the charge that’s also
present in their songs, with slow-burning, folk-tinged introductions
that increase in intensity as they march into grittier territory.
Frontman Alan Croft highlights this idea as one that captures
the essential tenet of the band, while bassist Paul James Jones
points to the meaning of the word cavalry in the military sense:
“It suggests the notion of being a last-minute rescue, a chance to
escape – which I think reflects on how this project has taken us
all by surprise. The way we came together, it was a saviour-style
moment where we just decided to go with it.” Their criss-crossed
roots (childhood friends and university acquaintances) make for
a cosily fraternal relationship. Three of the band (Croft, Logan
and guitarist Steve Taylor) operate from a house they share on
Lark Lane, feeding off the area’s zealous bohemian spirit. It’s a
setting where you would naturally expect creativity to flourish,
but Logan admits that the lack of divide between a professional
and personal relationship can occasionally put a strain on certain
circumstances. “The positives outweigh the negatives though,”
butts in Croft. “We initially moved in to focus on getting the songs
to a certain standard. When you rent out a rehearsal space you
can often feel like you’re working to a strict deadline, but it’s not
so rigid when you’re living together.”
It might come off as a slightly romanticised idea, five self-
sacrificing figures putting in the overtime to iron out the fine details
all for the love of their craft. But put those glamorised notions aside
and think about it in terms of communication and collaboration –
suddenly it actually seems like an obvious choice. If the perfect
melody comes to you in a sudden moment of inspiration, then it’s
much easier to share it with your bandmate if he’s in the room
next door, and the best time to react to an idea and work on it is
while it is still fresh. This also encourages a democratic approach to
songwriting, allowing all five band members to amalgamate their
vast range of influences from their own individual experiences.
Jones has an invested interest in post-production through his
past experiments with electronic music, which bleeds into Cavalry
through the orchestration of different layers of sound. Croft spent
time in Canada prior to the band’s inception, but he finds hindsight
and reflection more fitting for inspiring his lyrics. “It’s been quite
turbulent in the past few years, but now I’m far more comfortable
writing knowing the situation that we’re in.”
With their penchant for balancing intricacy with intimacy,
likening Cavalry to elements of The National and Local Natives
would be deemed fair suggestions. But heads nod fervently
around the group when Croft mentions Paul Simon, citing
Graceland as an album upon which they all agree as a defining
influence. “He’s definitely someone I connect with lyrically,” Croft
argues, “but what also stands out for me is that a lot of the songs
are based around one man and his guitar; it’s then about how you
coordinate the other parts.”
There we have the tactic behind the charge; it is not just simply
“what” but “how.” The first few bars on their demos are pleasant
enough, but it’s the potency of the guitar on Leaves that stays
with you long after its swoons have ebbed from the speakers. And
then there are the harmonies from Logan and Taylor, which allow
the tension of Gareth Dawson’s elevated percussion to release.
There’s no denying its power, but it comes as a warm embrace
rather than a crushing blow. “When I write a song, it always starts
with an acoustic guitar,” Logan explains, “which can leave you
quite limited. The harmonies add another texture, a different layer
you can use to transform the melody.”
“I think if we’d known how much joy we would have had from
Lament and Leaves, we would have had more material lined up
to drip-feed the response,” admits Croft. “There’s more material
ready to go, enough to fill several albums, but it’s just picking the
right time.” Bassist Jones agrees, going on to offer: “I think it’s
been for the best though, because we’ve carved our identity into
our sound a lot more since then. When the new release comes
out, it’ll be the best representation of us as a band, because of
what we’ve learned in the live arena.”
Maybe it’s the harsh cold of the winter’s night that makes
Cavalry’s music so soothing at this time of year, but it’s the band’s
determination to evolve that pulls you back in. Change is natural
after all, but when you have this solid unit, each element equally
invested in the other, you know that any change will be balanced
by consistency. Brace yourself for the charge.
soundcloud.com/cavalryliverpool
Bido Lito! Dec 2014 / Jan 20158
bidolito.co.ukbidolito.co.ukbidolito
Cavalry
Words: Jack Graysmark / @ZeppelinG1993
Photography: Gaz Jones / @GJMPhoto
As much as I adore Liverpool, I am still occasionally hit by the
temptation to retreat to the countryside; lock yourself away in
a reclusive log cabin in North Wales and the lush surroundings
will delight you in abundance. But influence you? Well, it certainly
worked for Bon Iver, but how about closer to home? CAVALRY’s
guitarist Austin Logan was inspired enough to give it a try himself,
and came away reaping the rewards. With a track called Leaves
in their repertoire and an autumnal hue to their sound, you’d be
forgiven for thinking that Austin’s excursion brought a fairly literal
inspiration to the Cavalry aesthetic, but that’s where the parallel
falls short. In fact, he refers to the result of his casual excursion
– coming up with the band’s name – as a “happy accident”, one
of many that have permeated the band’s career since they came
together in late 2013.
Ambushing the quintet in the midst of a busy schedule of
meetings and rehearsals, I am keen to peer beneath the veneer
of this rugged indie band blooming with potential. Two demos
posted online back in January – Lament, and the aforementioned
Leaves – have garnered acclaim across the board, from BBC
Introducing in Merseyside to Radio 1’s new music heavyweight,
Huw Stephens, and Radio 2 darling, Janice Long. But instead of
rushing to respond to such praise, Cavalry have been carefully
planning their next move while perfecting their craft with regular
stints on the support-act circuit. There’s a charge coming, but
never underestimate the importance of tactics.
Their name even seems to personify the charge that’s also
present in their songs, with slow-burning, folk-tinged introductions
that increase in intensity as they march into grittier territory.
Frontman Alan Croft highlights this idea as one that captures
the essential tenet of the band, while bassist Paul James Jones
points to the meaning of the word cavalry in the military sense:
“It suggests the notion of being a last-minute rescue, a chance to
escape – which I think reflects on how this project has taken us
all by surprise. The way we came together, it was a saviour-style
moment where we just decided to go with it.” Their criss-crossed
roots (childhood friends and university acquaintances) make for
a cosily fraternal relationship. Three of the band (Croft, Logan
and guitarist Steve Taylor) operate from a house they share on
Lark Lane, feeding off the area’s zealous bohemian spirit. It’s a
setting where you would naturally expect creativity to flourish,
but Logan admits that the lack of divide between a professional
and personal relationship can occasionally put a strain on certain
circumstances. “The positives outweigh the negatives though,”
butts in Croft. “We initially moved in to focus on getting the songs
to a certain standard. When you rent out a rehearsal space you
can often feel like you’re working to a strict deadline, but it’s not
so rigid when you’re living together.”
It might come off as a slightly romanticised idea, five self-
sacrificing figures putting in the overtime to iron out the fine details
all for the love of their craft. But put those glamorised notions aside
and think about it in terms of communication and collaboration –
suddenly it actually seems like an obvious choice. If the perfect
melody comes to you in a sudden moment of inspiration, then it’s
much easier to share it with your bandmate if he’s in the room
next door, and the best time to react to an idea and work on it is
while it is still fresh. This also encourages a democratic approach to
songwriting, allowing all five band members to amalgamate their
vast range of influences from their own individual experiences.
Jones has an invested interest in post-production through his
past experiments with electronic music, which bleeds into Cavalry
through the orchestration of different layers of sound. Croft spent
time in Canada prior to the band’s inception, but he finds hindsight
and reflection more fitting for inspiring his lyrics. “It’s been quite
turbulent in the past few years, but now I’m far more comfortable
writing knowing the situation that we’re in.”
With their penchant for balancing intricacy with intimacy,
likening Cavalry to elements of The National and Local Natives
would be deemed fair suggestions. But heads nod fervently
around the group when Croft mentions Paul Simon, citing
Graceland as an album upon which they all agree as a defining
influence. “He’s definitely someone I connect with lyrically,” Croft
argues, “but what also stands out for me is that a lot of the songs
are based around one man and his guitar; it’s then about how you
coordinate the other parts.”
There we have the tactic behind the charge; it is not just simply
“what” but “how.” The first few bars on their demos are pleasant
enough, but it’s the potency of the guitar on Leaves that stays
with you long after its swoons have ebbed from the speakers. And
then there are the harmonies from Logan and Taylor, which allow
the tension of Gareth Dawson’s elevated percussion to release.
There’s no denying its power, but it comes as a warm embrace
rather than a crushing blow. “When I write a song, it always starts
with an acoustic guitar,” Logan explains, “which can leave you
quite limited. The harmonies add another texture, a different layer
you can use to transform the melody.”
“I think if we’d known how much joy we would have had from
Lament and Leaves, we would have had more material lined up
to drip-feed the response,” admits Croft. “There’s more material
ready to go, enough to fill several albums, but it’s just picking the
right time.” Bassist Jones agrees, going on to offer: “I think it’s
been for the best though, because we’ve carved our identity into
our sound a lot more since then. When the new release comes
out, it’ll be the best representation of us as a band, because of
what we’ve learned in the live arena.”
Maybe it’s the harsh cold of the winter’s night that makes
Cavalry’s music so soothing at this time of year, but it’s the band’s
determination to evolve that pulls you back in. Change is natural
after all, but when you have this solid unit, each element equally
invested in the other, you know that any change will be balanced
by consistency. Brace yourself for the charge.
soundcloud.com/cavalryliverpool
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Bido Lito! Dec 2014 / Jan 201510
bidolito.co.uk
Don’t grow up: it’s a trap. As soon as you can read they’ve got
you by the balls and there’s not much you can do about it. From
that first day at little school in long socks you’ve been unwittingly
cursed, coerced into understanding rules, dissuaded from dive
bombing into swimming pools, exposed to the elucidating
wants that hide behind brand strap-lines, and then crushed by
the realisation that you didn’t-read-the-fucking-smallprint. Words
are weapons. Words aren’t actions. Words can be twisted.
When introduced to the first alphabet on a clear blue summer’s
day in the 5th Century BC, Plato was instantly distrustful. With
one white bushy eyebrow arched, he looked towards his pupil,
Aristotle, and exclaimed for all of Athens to hear: “This shit smells
real fishy to me. I oughta tear those Phoenicians a new asshole
for inventing it”. Unfazed, Aristotle returned his gaze and replied,
“Word is born”.
Or so the story goes. And words are, of course, at least partly
responsible for every great novel you’ve ever read and every
song lyric you can’t get out of your head. Words animate what
language depicts and can themselves be animated — all in the
good name of art. Now showing at FACT is an exhibition entitled
TYPE MOTION, a celebration of the creative possibilities of text
in a digital galaxy far, far beyond print. The basis for this artistic
vocabulary is nothing new: since the caves of Lascaux over 17,300
years ago we’ve been using text and image as a mode of artistic
expression. The printing press furthered this in 1439 and the
conceptual art of the 1960s subverted it by dragging language
into the field of painting.
Type Motion is a multimedia affair; films, title sequences,
pop videos and interactive screens all offer ample validation
for text as an individual art form. Suspended from the ceiling
in the downstairs gallery space are six screens on which films
run continuously, each with their own soundtrack. The room is
otherwise unlit and its walls are mirrored, the floor polished
to an obsidian kinda blackness. In this most optimal setting
the images reflect where they please, surrounding the viewer
with a ton of moving text from the likes of Saul Bass, Marcel
Duchamp and John Baldessari. It feels like walking into (and
not onto) the set of Blade Runner: an engulfing disorientation
of the most futuristic persuasion. Yet this feeling of being
adrift didn’t last — and that’s because I’ve spent most of my
life in cities, all of it as part of Generation X. In the modern
metropolis we become desensitised to text for the sole reason
that we’re bombarded by it: on buses, by fly-posters and from
the many backlit pulpits of Viacom and Clear Channel. Yet
for someone of my parents’ generation, I can imagine this
sensory assault is similar to being pushed out of a moving car
in 1950s Bootle only to land on the pavement in Tokyo 2020.
Times don’t stop changing: in the late nineteenth century, folk
from the outskirts of Paris would travel into the centre, arriving
at Place Saint-Medard just to look at the new phenomenon
of billboards. The same is true of Piccadilly Circus to post-
Blitzkrieg greater Londoners.
But what’s on show in this exhibition is art; it’s just very closely
related to its commercial cousin. The delineation between the
two has been expertly handled by the curators in this exhibition,
even if its line was already blurred by those that dug its popular
roots: text art royalty Ed Rushca worked as graphic designer at
an advertising agency and Andy Warhol was first a commercial
illustrator. In this most seriffed of worlds, profession and creative
inclination are two sides of the same canvas.
Upstairs, Type Motion invites you to get interactive on works
specially commissioned for the exhibition. Hovering above a
virtual cityscape, you navigate your flight via movement sensors
and land on buildings that launch videos of iconic moments of
text in motion. There is also the largest touch-screen device I’ve
seen that doesn’t come with Jamie Carragher attached. It houses
a diamond mine of information for the typographically minded:
an archive of such breadth and depth it’d exhaust you before you
exhaust it. My highlight of the exhibition is shown on the cinema
screen up here: a structuralist film from 1970 by Hollis Frampton
entitled Zorns Lemma. The film uses all the components of film:
image, sound, narrative, but applies to them a mathematically
devised structure (its title relates to the work of Max Zorn, a
German algebraist) so the film appears to be entirely abstract. It’s
not. It’s a beguiling, unravelling Ezra Pound poem of street signs,
alphabets, couples and meat being minced.
Words: A. W. Wilde / awwilde.co.uk
A QUICK ROUND OF APPLAUSE FOR TEXT IN ART, IN PROTEST AND ON WALLS
Run from Fear
Fun from Rear
Bido Lito! Dec 2014 / Jan 201510
bidolito.co.ukbidolito.co.ukbidolito
Don’t grow up: it’s a trap. As soon as you can read they’ve got
you by the balls and there’s not much you can do about it. From
that first day at little school in long socks you’ve been unwittingly
cursed, coerced into understanding rules, dissuaded from dive
bombing into swimming pools, exposed to the elucidating
wants that hide behind brand strap-lines, and then crushed by
the realisation that you didn’t-read-the-fucking-smallprint. Words
are weapons. Words aren’t actions. Words can be twisted.
When introduced to the first alphabet on a clear blue summer’s
day in the 5th Century BC, Plato was instantly distrustful. With
one white bushy eyebrow arched, he looked towards his pupil,
Aristotle, and exclaimed for all of Athens to hear: “This shit smells
real fishy to me. I oughta tear those Phoenicians a new asshole
for inventing it”. Unfazed, Aristotle returned his gaze and replied,
“Word is born”.
Or so the story goes. And words are, of course, at least partly
responsible for every great novel you’ve ever read and every
song lyric you can’t get out of your head. Words animate what
language depicts and can themselves be animated — all in the
good name of art. Now showing at FACT is an exhibition entitled
TYPE MOTION, a celebration of the creative possibilities of text
in a digital galaxy far, far beyond print. The basis for this artistic
vocabulary is nothing new: since the caves of Lascaux over 17,300
years ago we’ve been using text and image as a mode of artistic
expression. The printing press furthered this in 1439 and the
conceptual art of the 1960s subverted it by dragging language
into the field of painting.
Type Motion is a multimedia affair; films, title sequences,
pop videos and interactive screens all offer ample validation
for text as an individual art form. Suspended from the ceiling
in the downstairs gallery space are six screens on which films
run continuously, each with their own soundtrack. The room is
otherwise unlit and its walls are mirrored, the floor polished
to an obsidian kinda blackness. In this most optimal setting
the images reflect where they please, surrounding the viewer
with a ton of moving text from the likes of Saul Bass, Marcel
Duchamp and John Baldessari. It feels like walking into (and
not onto) the set of Blade Runner: an engulfing disorientation
of the most futuristic persuasion. Yet this feeling of being
adrift didn’t last — and that’s because I’ve spent most of my
life in cities, all of it as part of Generation X. In the modern
metropolis we become desensitised to text for the sole reason
that we’re bombarded by it: on buses, by fly-posters and from
the many backlit pulpits of Viacom and Clear Channel. Yet
for someone of my parents’ generation, I can imagine this
sensory assault is similar to being pushed out of a moving car
in 1950s Bootle only to land on the pavement in Tokyo 2020.
Times don’t stop changing: in the late nineteenth century, folk
from the outskirts of Paris would travel into the centre, arriving
at Place Saint-Medard just to look at the new phenomenon
of billboards. The same is true of Piccadilly Circus to post-
Blitzkrieg greater Londoners.
But what’s on show in this exhibition is art; it’s just very closely
related to its commercial cousin. The delineation between the
two has been expertly handled by the curators in this exhibition,
even if its line was already blurred by those that dug its popular
roots: text art royalty Ed Rushca worked as graphic designer at
an advertising agency and Andy Warhol was first a commercial
illustrator. In this most seriffed of worlds, profession and creative
inclination are two sides of the same canvas.
Upstairs, Type Motion invites you to get interactive on works
specially commissioned for the exhibition. Hovering above a
virtual cityscape, you navigate your flight via movement sensors
and land on buildings that launch videos of iconic moments of
text in motion. There is also the largest touch-screen device I’ve
seen that doesn’t come with Jamie Carragher attached. It houses
a diamond mine of information for the typographically minded:
an archive of such breadth and depth it’d exhaust you before you
exhaust it. My highlight of the exhibition is shown on the cinema
screen up here: a structuralist film from 1970 by Hollis Frampton
entitled Zorns Lemma. The film uses all the components of film:
image, sound, narrative, but applies to them a mathematically
devised structure (its title relates to the work of Max Zorn, a
German algebraist) so the film appears to be entirely abstract. It’s
not. It’s a beguiling, unravelling Ezra Pound poem of street signs,
alphabets, couples and meat being minced.
Words: A. W. Wilde / awwilde.co.uk
Run from Fear
Fun from Rear
Bido Lito! Dec 2014 / Jan 2015 11
bidolito.co.uk
And Type Motion is a wonderfully curious thing; with its
multitude of screens within screens it turns FACT into a set of
Russian Matryoshka dolls. It’s an exhibition of an art form too
new to have a retrospective, yet proving simultaneously that
the simulation of newness is often the artist’s BBF. Does the
exhibition prove that digital is the all-pervasive future? No.
And neither should it. To say that digital is the death knell is to
un-friend our future and to negate the influence of the many
artists that paved the way to it. The commonality with the artist
featured in Type Motion and their analogue forbearers is the
creation of visual languages. A visual language is much more
than just a style, although it is not itself unstylish. This next lot
have meaning and style by the truckload:
JENNY HOLTZER “borrows freely from mass culture to explore
some of the more pressing issues of our time”. Her medium is
text. Perhaps best known for her LED signs, her work takes many
forms but, be they T-shirts or sandstone benches, the weight of
what she’s saying is unquestionable.
ED RUSHCA and Los Angeles are umbilically linked and many
working in this field of art owe him a debt. An interrogation of
language from an exceptional painter. Oof.
BOB & ROBERTA SMITH is the work of one man who
favours a swift and direct communication with the viewer and
paints onto discarded wood and cardboard, the flotsam and
jetsam of Deptford’s streets. His work is a warm cuddle from
democracy itself.
THE GUILFORD 4 ARE INNOCENT was the first bit of political
graffiti I can remember seeing. As a 1970s child, it was everywhere
in the aftermath of the hooky conviction of four supposed IRA
terrorists. When each of their sentences were overturned sixteen
years later the graffiti returned, this time shouting: GUILFORD 4 –
POLICE 0. This is the simplistic epitome of text at its most potent
and reflexive: once you see it, you can’t help but read it and want
to understand the meaning behind it. And it is in protest that
text becomes nakedly polemic and unashamedly powerful. The
artwork of the Guerrilla Girls tackling sexism does for feminism
what the posters of Emory Douglas and the Black Panthers did
for racism. That is: force recognition of prejudice by spelling out
exactly how much state-sanctioned, power-crazed bullshit exists
in the world.
The Paris riots of Mai ‘68 are a prime example of the role
image, text and sloganeering can play in arming democracy and
effecting change. The posters of the Atelier Populaire plastered
Paris and were described as “weapons in the service of the
struggle and are an inseparable part of it”. The riots and resulting
ideology are credited by some as imbuing the French political
class with a new brace of ethics. And such was its resonance
in the popular culture that followed, describing its fetishistic
attributes as a soundclash between acid house and the Miners’
Strike doesn’t sound remotely odd.
The ’83-4 Miners’ Strike mobilised a mixture of text and
image that nodded to the rich artistic history of trade union and
working-class banners that pre-dates the Jarrow Crusade. The art
of the marching banner is celebrated in John Gorman’s definitive
book Banner Bright – in which the work of sign-writers and
coach-painters is given its rightful elevation. Needless to say, this
type of work wasn’t quick to produce and so posters, postcards
and badges became an excellent medium for making solidarity
visible in the day-to-day struggle against Thatcher’s clan.
So, how do we conclude where the role of text resides in the
arts this very second? Does digital artistry prove that the writing’s
on the wall for writing on the wall? Does it fuck. It does, however,
highlight the fact that the combination of images and text is now
the most frequent kind of reading we do in a www-world. It’s a
nightmare for novelists because it shortens the attention span.
Because we can't concentrate, we read the same line in a book
countless times. The same line in a book countless times. Same
line. Countless times. And because we can't concentrate, we read
the same line in a book countless times. Ahh, Buzzfeed.
The Type Motion exhibition at FACT runs until 8th February 2015.
fact.co.uk
A.W. Wilde’s latest publication is a collection of short stories
titled A Large Can Of Whoopass, which can be purchased from
awwilde.co.uk
A QUICK ROUND OF APPLAUSE FOR TEXT IN ART, IN PROTEST AND ON WALLS
Savour Kindness Because
Cruelty Is Always
Possible Later
Bido Lito! Dec 2014 / Jan 2015 11
bidolito.co.ukbidolito.co.ukbidolito
And Type Motion is a wonderfully curious thing; with its
multitude of screens within screens it turns FACT into a set of
Russian Matryoshka dolls. It’s an exhibition of an art form too
new to have a retrospective, yet proving simultaneously that
the simulation of newness is often the artist’s BBF. Does the
exhibition prove that digital is the all-pervasive future? No.
And neither should it. To say that digital is the death knell is to
un-friend our future and to negate the influence of the many
artists that paved the way to it. The commonality with the artist
featured in Type Motion and their analogue forbearers is the
creation of visual languages. A visual language is much more
than just a style, although it is not itself unstylish. This next lot
have meaning and style by the truckload:
JENNY HOLTZER “borrows freely from mass culture to explore
some of the more pressing issues of our time”. Her medium is
text. Perhaps best known for her LED signs, her work takes many
forms but, be they T-shirts or sandstone benches, the weight of
what she’s saying is unquestionable.
ED RUSHCA and Los Angeles are umbilically linked and many
working in this field of art owe him a debt. An interrogation of
language from an exceptional painter. Oof.
BOB & ROBERTA SMITH is the work of one man who
favours a swift and direct communication with the viewer and
paints onto discarded wood and cardboard, the flotsam and
jetsam of Deptford’s streets. His work is a warm cuddle from
democracy itself.
THE GUILFORD 4 ARE INNOCENT was the first bit of political
graffiti I can remember seeing. As a 1970s child, it was everywhere
in the aftermath of the hooky conviction of four supposed IRA
terrorists. When each of their sentences were overturned sixteen
years later the graffiti returned, this time shouting: GUILFORD 4 –
POLICE 0. This is the simplistic epitome of text at its most potent
and reflexive: once you see it, you can’t help but read it and want
to understand the meaning behind it. And it is in protest that
text becomes nakedly polemic and unashamedly powerful. The
artwork of the Guerrilla Girls tackling sexism does for feminism
what the posters of Emory Douglas and the Black Panthers did
for racism. That is: force recognition of prejudice by spelling out
exactly how much state-sanctioned, power-crazed bullshit exists
in the world.
The Paris riots of Mai ‘68 are a prime example of the role
image, text and sloganeering can play in arming democracy and
effecting change. The posters of the Atelier Populaire plastered
Paris and were described as “weapons in the service of the
struggle and are an inseparable part of it”. The riots and resulting
ideology are credited by some as imbuing the French political
class with a new brace of ethics. And such was its resonance
in the popular culture that followed, describing its fetishistic
attributes as a soundclash between acid house and the Miners’
Strike doesn’t sound remotely odd.
The ’83-4 Miners’ Strike mobilised a mixture of text and
image that nodded to the rich artistic history of trade union and
working-class banners that pre-dates the Jarrow Crusade. The art
of the marching banner is celebrated in John Gorman’s definitive
book Banner Bright – in which the work of sign-writers and
coach-painters is given its rightful elevation. Needless to say, this
type of work wasn’t quick to produce and so posters, postcards
and badges became an excellent medium for making solidarity
visible in the day-to-day struggle against Thatcher’s clan.
So, how do we conclude where the role of text resides in the
arts this very second? Does digital artistry prove that the writing’s
on the wall for writing on the wall? Does it fuck. It does, however,
highlight the fact that the combination of images and text is now
the most frequent kind of reading we do in a www-world. It’s a
nightmare for novelists because it shortens the attention span.
Because we can't concentrate, we read the same line in a book
countless times. The same line in a book countless times. Same
line. Countless times. And because we can't concentrate, we read
the same line in a book countless times. Ahh, Buzzfeed.
The Type Motion exhibition at FACT runs until 8th February 2015.
fact.co.uk
A.W. Wilde’s latest publication is a collection of short stories
titled A Large Can Of WhoopassA Large Can Of Whoopass, which can be purchased from , which can be purchased from
awwilde.co.uk
A QUICK ROUND OF APPLAUSE FOR TEXT IN ART, IN PROTEST AND ON WALLS
Savour Kindness Because
Cruelty Is Always
Possible Later
Bido Lito! Dec 2014 / Jan 201512
bidolito.co.uk
“It’s not a fable,” he says, leaning forward with wide eyes. “It’s
an old truth.”
A letter is placed on the table. It could be a copy, although its
laminate covering suggests something precious and coveted. The
date reads 21st November, 1911. In elegant type, a Mr Fred Luke is
testifying about an organist. “Should you appoint him, I feel sure
you will never regret the choice,” it reads. “Believe me to remain.”
The letter ends at that, eschewing the traditional follow-up
(“your loyal companion”) and leaving the line as a bare bone of
poetic thought. It’s confident, romantic, and a little obtuse, and
chimes perfectly with how Jez Wing, the man on the other side
of the table to me, thinks. His great-grandfather, whose talents
have inadvertently inspired Wing to work on a new trilogy of
records as COUSIN JAC, happens to be the subject of Mr Luke’s
glowing recommendation. For Wing, there is sadness in never
knowing what has truly remained for our families and the history
they inhabit, generation after generation. One thing’s for sure: for
as much joy as that line gives him, you can bet there’s more in
tackling a “great big Victorian synthesiser” in St. George’s Hall.
He’s talking, of course, about the building’s grand concert organ,
built in 1855 by Henry Willis, and which featured on at least one
of the tracks on Cousin Jac’s first record, Believe Me To Remain.
Maybe some propensities are hard to ignore.
Cousin Jac has been a concept for a while, and not just in the
mind of Jez Wing. The name was given by Cornish miners to their
brethren looking for work across the Atlantic; now, it is Wing’s
three-year project shuffling to the end of a beginning, an alias on
which to launch his own voyage of personal conquest. Believe
Me To Remain is an album born out of escape, reconciliation and
jaunts to and from American airports with the smell of the ocean
still in your nose. The singer and keyboardist, who has been a
member of Echo & The Bunnymen’s live band since 2009, has
eulogised a corner of the past that is often idealised but rarely
articulated this well: the time of the New World, when making
a life could mean leaving a family, and the call of the horizon
was both noble and dangerous. Ships, ports and sacrifices drift
on the record’s lean course towards spiritual promise, casting a
long goodbye to an imagined shore where a lover stands waiting
for the pain of separation to be justified. “I started writing from
that point of view,” says Jez from the embrace of a suitably plush
armchair. “What I would call ‘auto-fiction’. Primarily, the sea ties
us all together. It also provides a life for people, which is why
it makes me think of my family. My granddad was a navy man.
It represents a life-blood, a lifeline.” One, then, that has crucially
never left him as unchartered experiences tried to lay claim to
his attention.
“Recently, I heard that the impact of these huge ice meteors
helped form the oceans we know today. I don’t necessarily believe
that’s true but it fascinates me! Essentially, the sea is an asteroid!”
he laughs, aware it sounds like bollocks.
His commitments to the Bunnymen occasionally come
between him and progress of his own work, although touring
with one of the most quietly admired bands of the last 30 years
sure has plenty of perks. A few weeks ago he performed in
front of an audience of millions on David Letterman’s late-night
show, and many of the musicians who contributed to Believe Me
To Remain were picked up on tours in the US. In fact, the last
couple of years have been vital for allowing Wing the security and
brashness to bring his baby to life. The story in his head never
got stale – on the contrary, the research he did in-between shows
added a wealth of depth to his barnacle odyssey. Waterwitch, a
favourite track of his, was written after he saw a framed painting
of a vessel in a Dutch hotel. Like his great-grandfather’s letter
from over a century ago, the combination of words sent ideas
careering through Wing’s head, even though he admits to not
knowing what the song is about exactly. Which is an unusual turn
for Believe Me To Remain: the majority of the record’s lyrics, from
the musings of Passing Place to Atlanta’s nostalgic longing for
home, are rooted in specificity. The same care translates to the
album’s cover, which was painted by one of Jez’s close friends.
It depicts a sooty hill crashing down towards a steeple and thin,
imposing houses, while a white-sailed ship grazes by, heading
out to the unknown.
Storytelling is so attached to this music that it’s sometimes hard
to talk to Wing about much else. To be frank, it’s a miracle that his
original inspiration carried him this far, that it didn’t sit and rot on
the shelf after so long. I wonder if the imagery he seems obsessed
by – the torrent of cannons, feathers, masts and setting suns – is
his tool for coping with reality, as all stories tend to be. “Yes, it is
our way of coping. But that doesn’t make it any less wonderful or
completely immersive. Who’s to say I’m not playing with reality
by spinning a yarn?” In particular, there is a recurring feminine
presence keeping the narrator from abandoning himself. It’s very
cyclical, I tell him. “In a loose sense, it draws from relationships,” he
says. “Collective male/female struggles are part of what I’m talking
about. [second track] Lightning And Thunder might come across like
I’m a moody git. However, it’s come from a place that’s made up of
intense laughter and a shitload of tension. It’s come from family.
“There’s a Steely Dan lyric,” he continues, “that goes: ‘a woman’s
voice reminds me to serve and not to speak’. In order to honour
your wife, partner, community… we look to the harmonious
female spirit.” All of this takes some getting used to. Seafaring is a
myth that’s still broadly masculine. Yet if you think about it, cracks
emerge beneath the deck of the Ahab figure, who, harpoon in
hand, may be trembling in our collective conscious. After all, boats
are feminised by default and many carry the names of women, as
if there needs to be a maternal force to organise passage across
chaos. For the ocean can also be pure, frightening space.
Jez is safe with his own identity back home. He’s glad the
Cornish have been recognised as a minority by the EU, and speaks
fondly of the “tribal nature of British-ness”. By the end of his first
outing as Cousin Jac, that divided land has melted away. Parts
two and three of the narrative will be released when he gets
around to recording them; writing has already begun, and he’s
nervous about his ability to play it all live (the full backing band
can reach a dozen in number, with the optional string section).
Eventually, he’d like to go for the grandiose ploy of performing
his triptych in full over successive evenings, though we’ll have to
wait for them to mature, the narratives apparently setting course
to traverse afro-beat and jazz next time: morsels from foreign
shores, ready to gaze at the dwindling light on the horizon and
add to the chase.
Believe Me To Remain is out now.
cousinjac.com
Words: Joshua Potts / @joshpjpotts
Photography: Keith Ainsworth / arkimages.co.uk
bidolito.co.ukbidolito.co.ukbidolito
“It’s not a fable,” he says, leaning forward with wide eyes. “It’s
an old truth.”
A letter is placed on the table. It could be a copy, although its
laminate covering suggests something precious and coveted. The
date reads 21st November, 1911. In elegant type, a Mr Fred Luke is
testifying about an organist. “Should you appoint him, I feel sure
you will never regret the choice,” it reads. “Believe me to remain.”
The letter ends at that, eschewing the traditional follow-up
(“your loyal companion”) and leaving the line as a bare bone of
poetic thought. It’s confident, romantic, and a little obtuse, and
chimes perfectly with how Jez Wing, the man on the other side
of the table to me, thinks. His great-grandfather, whose talents
have inadvertently inspired Wing to work on a new trilogy of
records as COUSIN JAC, happens to be the subject of Mr Luke’s
glowing recommendation. For Wing, there is sadness in never
knowing what has truly remained for our families and the history
they inhabit, generation after generation. One thing’s for sure: for
as much joy as that line gives him, you can bet there’s more in
tackling a “great big Victorian synthesiser” in St. George’s Hall.
He’s talking, of course, about the building’s grand concert organ,
built in 1855 by Henry Willis, and which featured on at least one
of the tracks on Cousin Jac’s first record, Believe Me To Remain.
Maybe some propensities are hard to ignore.
Cousin Jac has been a concept for a while, and not just in the
mind of Jez Wing. The name was given by Cornish miners to their
brethren looking for work across the Atlantic; now, it is Wing’s
three-year project shuffling to the end of a beginning, an alias on
which to launch his own voyage of personal conquest. Believe
Me To Remain is an album born out of escape, reconciliation and
jaunts to and from American airports with the smell of the ocean
still in your nose. The singer and keyboardist, who has been a
member of Echo & The Bunnymen’s live band since 2009, has
eulogised a corner of the past that is often idealised but rarely
articulated this well: the time of the New World, when making
a life could mean leaving a family, and the call of the horizon
was both noble and dangerous. Ships, ports and sacrifices drift
on the record’s lean course towards spiritual promise, casting a
long goodbye to an imagined shore where a lover stands waiting
for the pain of separation to be justified. “I started writing from
that point of view,” says Jez from the embrace of a suitably plush
armchair. “What I would call ‘auto-fiction’. Primarily, the sea ties
us all together. It also provides a life for people, which is why
it makes me think of my family. My granddad was a navy man.
It represents a life-blood, a lifeline.” One, then, that has crucially
never left him as unchartered experiences tried to lay claim to
his attention.
“Recently, I heard that the impact of these huge ice meteors
helped form the oceans we know today. I don’t necessarily believe
that’s true but it fascinates me! Essentially, the sea is an asteroid!”
he laughs, aware it sounds like bollocks.
His commitments to the Bunnymen occasionally come
between him and progress of his own work, although touring
with one of the most quietly admired bands of the last 30 years
sure has plenty of perks. A few weeks ago he performed in
front of an audience of millions on David Letterman’s late-night
show, and many of the musicians who contributed to Believe Me
To Remain were picked up on tours in the US. In fact, the last
couple of years have been vital for allowing Wing the security and
brashness to bring his baby to life. The story in his head never
got stale – on the contrary, the research he did in-between shows
added a wealth of depth to his barnacle odyssey. Waterwitch, a
favourite track of his, was written after he saw a framed painting
of a vessel in a Dutch hotel. Like his great-grandfather’s letter
from over a century ago, the combination of words sent ideas
careering through Wing’s head, even though he admits to not
knowing what the song is about exactly. Which is an unusual turn
for Believe Me To Remain: the majority of the record’s lyrics, from
the musings of Passing PlacePassing Place to Atlanta’s nostalgic longing for
home, are rooted in specificity. The same care translates to the
album’s cover, which was painted by one of Jez’s close friends.
It depicts a sooty hill crashing down towards a steeple and thin,
imposing houses, while a white-sailed ship grazes by, heading
out to the unknown.
Storytelling is so attached to this music that it’s sometimes hard
to talk to Wing about much else. To be frank, it’s a miracle that his
original inspiration carried him this far, that it didn’t sit and rot on
the shelf after so long. I wonder if the imagery he seems obsessed
by – the torrent of cannons, feathers, masts and setting suns – is
his tool for coping with reality, as all stories tend to be. “Yes, it is
our way of coping. But that doesn’t make it any less wonderful or
completely immersive. Who’s to say I’m not playing with reality
by spinning a yarn?” In particular, there is a recurring feminine
presence keeping the narrator from abandoning himself. It’s very
cyclical, I tell him. “In a loose sense, it draws from relationships,” he
says. “Collective male/female struggles are part of what I’m talking
about. [second track] Lightning And ThunderLightning And Thunder might come across like
I’m a moody git. However, it’s come from a place that’s made up of
intense laughter and a shitload of tension. It’s come from family.
“There’s a Steely Dan lyric,” he continues, “that goes: ‘a woman’s
voice reminds me to serve and not to speak’. In order to honour
your wife, partner, community… we look to the harmonious
female spirit.” All of this takes some getting used to. Seafaring is a
myth that’s still broadly masculine. Yet if you think about it, cracks
emerge beneath the deck of the Ahab figure, who, harpoon in
hand, may be trembling in our collective conscious. After all, boats
are feminised by default and many carry the names of women, as
if there needs to be a maternal force to organise passage across
chaos. For the ocean can also be pure, frightening space.
Jez is safe with his own identity back home. He’s glad the
Cornish have been recognised as a minority by the EU, and speaks
fondly of the “tribal nature of British-ness”. By the end of his first
outing as Cousin Jac, that divided land has melted away. Parts
two and three of the narrative will be released when he gets
around to recording them; writing has already begun, and he’s
nervous about his ability to play it all live (the full backing band
can reach a dozen in number, with the optional string section).
Eventually, he’d like to go for the grandiose ploy of performing
his triptych in full over successive evenings, though we’ll have to
wait for them to mature, the narratives apparently setting course
to traverse afro-beat and jazz next time: morsels from foreign
shores, ready to gaze at the dwindling light on the horizon and
add to the chase.
Believe Me To Remain is out now.
cousinjac.com
Words: Joshua Potts / @joshpjpotts
Photography: Keith Ainsworth / arkimages.co.uk
David GrayMonday 1 December 7.30pm
Imelda MayFriday 5 December 7.30pm
DadaFest International 2014
Staff Benda BililiSaturday 6 December 7.30pm
Seth LakemanWednesday 4 February 7.30pm
Christmas with theRoyal LiverpoolPhilharmonicOrchestraWhite Christmas:The GreatestHoliday HitsSaturday 13 December 7.30pm
The Spiritof ChristmasThursday 18 / Saturday 20 -Tuesday 23 December 7.30pm
Family Concert
Rudolph onHope StreetSaturday 20 & Sunday 21December 11.30am & 2.30pmMonday 22 December 2.30pm
Swinging in theNew Year withJacqui DankworthWednesday 31 December 7.30pm
Disney FantasiaLive in ConcertSaturday 3 January2.30pm & 7.30pm
Book now for
Christmas!Your NEW LiverpoolPhilharmonic Hallthis Christmas
Box Officeliverpoolphil.com0151 709 3789
Bido Lito Ad 259 x 320 November 2014_Layout 1 17/11/2014 15:42 Page 1
Bido Lito! Dec 2014 / Jan 201514
bidolito.co.uk
LIVERPOOL MUSIC WEEK 2014 REVIEW Words: Sam Turner, Dave Tate, Joshua Potts, Richard
Lewis, Paddy Clarke, Alastair Dunn.
Photography: Michelle Roberts / sheshoots.co.uk
Liverpool has enjoyed an embarrassment of riches on the festival
front this year. 2014 has seen the biggest names, the best cutting-
edge artists and Shaggy all grace Merseyside. As we reached the
year’s curtain call, LIVERPOOL MUSIC WEEK strode up to the plate
for its tenth edition, primed to unleash more fantastic music on our
venues with some mouth-watering prospects on an aggressively
great bill. Dave Tate started at the top with the stunning opening
event at Camp and Furnace, waiting with baited breath to see
the current critic’s darling, while Josh Potts encountered post-rock
royalty in the same venue the following night. Dave Tate then took
a trip to the other side of town for a set by established indie-dance
favourites at the O2 Academy.
SHOWCASE EVENTSThere are many round these parts (by which
I of course mean the music press) who'd
have you believe Daniel Snaith is some
kind of musical second coming,
and they certainly have a strong
case. His last three albums,
under the aliases of
CARIBOU and Daphni,
have all received
justified critical
acclaim and
he has proved
himself equally adept
behind the decks, taking
headline sets at festivals
across the summer.
While he's certainly blessed with
a polymathic ability (not only in music,
Snaith holds a doctorate in Mathematics),
it would also be fair to say I've been slightly
trepidatious about the trajectory his latest album
has set him on. While his previous work has never
shied away from the mainstream, he was usually found
to be skirting its periphery. Familiar, while challenging its
conventions enough to be interesting. With latest offering, Our
Love, however, it seems he has set his sights firmly on the charts.
My first thoughts on hearing the album were how similar a
lot of it was to much contemporary pop/dance. Not that there's
anything inherently wrong with that, of course, but the album
failed to excite me in the same way as, say, Swim or (Daphni
debut) Jiaolong. Perhaps this is a sign of Snaith’s increasing
ambition to crack the mainstream. Judging from tonight's show
ambition is something Snaith possesses in spades. Every track is
squeezed and pushed to its most anthemic, showcasing his move
towards a bigger and more club/festival-friendly sound.
Perhaps Snaith’s overriding characteristic, and greatest
strength, lies in his ability to connect seemingly disparate scenes
and eras. The songs he plays from his last two Caribou albums –
such as the ever-excellent Odessa – exhibit his attempts to
reconcile a love of dance music with his desire to
play as a band. In the context of this band,
the music incorporates much of
the flowery psychedelia of
his earlier albums.
New single
Can't Do
Without
You would
not sound out of
place atop the Radio 1
playlist, but even tracks dating as
far back as 2007’s Andorra hold their own in
this decidedly dance- friendly context. Caribou’s
broad appeal is evident, with everyone from 'the youth of
today' to the discerning, beard-stroking musos in attendance. It
may be difficult to maintain your uniqueness as an artist whilst the
audiences
continue to
grow but it's a
safe bet to say if
anyone can do it,
it's probably Dan.
The buzz
surrounding
Saturday night’s
bill seems to
shake the highest
rafters of the
Furnace, where a
dense crowd has
filled almost every
nook in the room to watch
MUGSTAR unleash hell. No,
they don’t kick anything over,
and their guitars are not beaten on
the stage floor like Fisher Price mallets,
though you wonder if the noises arising
from such activity would be out of place in the
quartet’s familiar (but never easy) krautrock tempest.
Having gained an extremely passionate local following
over the years, the band brutalise any who find the idea of
ripples in their pints ungodly. Canvas and Black Fountain are
as unstoppable as a truck spotlighting a baby deer; Mugstar are
always best when their sheer energy batters the niggling feeling
that maybe one gear is all they can hit but, Christ, what velocity,
what furious confidence in their material.
FOREST SWORDS is another local lad done good – one of
Merseyside’s true breakout stars. It’s great to see him back home
in Camp and Furnace on this celebratory Friday evening, at the
summit of an All Tomorrow’s Parties event that he’s curated. An
ancient idol revolves slowly on the screen behind him, possibly
a nod towards Matthew Barnes’ fast and loose appropriation
of world music to his tightly wound, electronic fantasia. Like
his ambient forefathers, he’s able to let melodies squirrel away
beneath percussive bedrock, yet stabs through here and there
Carib
ou
Bido Lito! Dec 2014 / Jan 201514
bidolito.co.ukbidolito.co.ukbidolito
LIVERPOOL MUSIC WEEK 2014 REVIEW Words: Sam Turner, Dave Tate, Joshua Potts, Richard
Lewis, Paddy Clarke, Alastair Dunn.
Photography: Michelle Roberts / sheshoots.co.uk
Liverpool has enjoyed an embarrassment of riches on the festival
front this year. 2014 has seen the biggest names, the best cutting-
edge artists and Shaggy all grace Merseyside. As we reached the
year’s curtain call, LIVERPOOL MUSIC WEEK strode up to the plate
for its tenth edition, primed to unleash more fantastic music on our
venues with some mouth-watering prospects on an aggressively
great bill. Dave Tate started at the top with the stunning opening
event at Camp and Furnace, waiting with baited breath to see
the current critic’s darling, while Josh Potts encountered post-rock
royalty in the same venue the following night. Dave Tate then took
a trip to the other side of town for a set by established indie-dance
favourites at the O2 Academy.
SHOWCASE EVENTSThere are many round these parts (by which
I of course mean the music press) who'd
have you believe Daniel Snaith is some
kind of musical second coming,
and they certainly have a strong
case. His last three albums,
under the aliases of
CARIBOU and Daphni,
have all received
justified critical
acclaim and
he has proved
himself equally adept
behind the decks, taking
headline sets at festivals
across the summer.
While he's certainly blessed with
a polymathic ability (not only in music,
Snaith holds a doctorate in Mathematics),
it would also be fair to say I've been slightly
trepidatious about the trajectory his latest album
has set him on. While his previous work has never
shied away from the mainstream, he was usually found
to be skirting its periphery. Familiar, while challenging its
conventions enough to be interesting. With latest offering, Our
Love, however, it seems he has set his sights firmly on the charts.
My first thoughts on hearing the album were how similar a
lot of it was to much contemporary pop/dance. Not that there's
anything inherently wrong with that, of course, but the album
failed to excite me in the same way as, say, Swim or (Daphni or (Daphni
debut) JiaolongJiaolong. Perhaps this is a sign of Snaith’s increasing
ambition to crack the mainstream. Judging from tonight's show
ambition is something Snaith possesses in spades. Every track is
squeezed and pushed to its most anthemic, showcasing his move
towards a bigger and more club/festival-friendly sound.
Perhaps Snaith’s overriding characteristic, and greatest
strength, lies in his ability to connect seemingly disparate scenes
and eras. The songs he plays from his last two Caribou albums –
such as the ever-excellent Odessa – exhibit his attempts to
reconcile a love of dance music with his desire to
play as a band. In the context of this band,
the music incorporates much of
the flowery psychedelia of
his earlier albums.
New single
Can't Do
Without
You would
not sound out of
place atop the Radio 1
playlist, but even tracks dating as
far back as 2007’s Andorra hold their own in
this decidedly dance- friendly context. Caribou’s
broad appeal is evident, with everyone from 'the youth of
today' to the discerning, beard-stroking musos in attendance. It
may be difficult to maintain your uniqueness as an artist whilst the
audiences
continue to
grow but it's a
safe bet to say if
anyone can do it,
it's probably Dan.
The buzz
surrounding
Saturday night’s
bill seems to
shake the highest
rafters of the
Furnace, where a
dense crowd has
filled almost every
nook in the room to watch
MUGSTAR unleash hell. No,
they don’t kick anything over,
and their guitars are not beaten on
the stage floor like Fisher Price mallets,
though you wonder if the noises arising
from such activity would be out of place in the
quartet’s familiar (but never easy) krautrock tempest.
Having gained an extremely passionate local following
over the years, the band brutalise any who find the idea of
ripples in their pints ungodly. Canvas and Black Fountain are
as unstoppable as a truck spotlighting a baby deer; Mugstar are
always best when their sheer energy batters the niggling feeling
that maybe one gear is all they can hit but, Christ, what velocity,
what furious confidence in their material.
FOREST SWORDS is another local lad done good – one of
Merseyside’s true breakout stars. It’s great to see him back home
in Camp and Furnace on this celebratory Friday evening, at the
summit of an All Tomorrow’s Parties event that he’s curated. An
ancient idol revolves slowly on the screen behind him, possibly
a nod towards Matthew Barnes’ fast and loose appropriation
of world music to his tightly wound, electronic fantasia. Like
his ambient forefathers, he’s able to let melodies squirrel away
beneath percussive bedrock, yet stabs through here and there
Carib
ou
Bido Lito! Dec 2014 / Jan 2015 15
bidolito.co.uk
with vocal lines that take you off guard, shuttling towards a
cataclysm we’re eternally hoping for. When Barnes’ stars
align, there’s no will to refuse them. The Weight Of
Gold is a perfect example of his mythos, performed
with see-sawing back motions and a bass pitch
that’s too ridiculous to be healthy.
If Forest Swords represents
the transitory level of success as an
instrumental artist, MOGWAI have
to be the lords of the long
game. The Glaswegians
have experimented
with their quiet-
loud nuclear
dynamic
before
–
however,
2014’s Rave
Tapes might be
their most mature
effort yet and,
truthfully, it adds
a lot of meat to
Mogwai’s musical
bones. Opener
Heard About You
Last Night slithers
beautifully to life,
three luminous
hexagons above
blinking out over our
dark bodies. Remurdered’s
menace could be lifted straight
out of Pink Floyd’s Welcome To
The Machine, another dizzying and
dystopian murmur bubbling at the edges
of ascendency. Count all of the finger-flights up
the neck of John Cummings’ guitar and you deserve
a medal. The group swap instruments occasionally,
tuning into a kinesis that binds each take-off with the
titanic force of a leviathan emerging from clouds of fog. Each
song requires patience but they are very rewarding: Death Rays, in
particular, layers its sonic patchwork together without revealing
any seams. Mogwai can say more with a held chord than most
bands can cram into a lyric sheet, and for this, and the fact that
they are simply one of the most cohesive units gracing modern
music, we can reattach to reality tomorrow with a glimpse of
transcendence.
On the face of it, MONEY don't look like a band you would
particularly want opening for you. Recent headline slots have
shown them to be a band capable of wearing out an audience
with the conviction they put into their performance and, if they hit
their stride, they could easily threaten to blow any headliners out
of the water. Their reverb-washed post-punk sound brings to mind
The Bunnymen and the songs push towards anthemic. Synth pads
wash and rise and vocals soar, touching on themes of love and
loss, all with a decidedly Byronic bent. And my, what vocals they
are. Midway between a choirboy and a drunk, Jamie Lee manages
to evoke an entire spectrum of emotions and then some, all
with a coy smile across his face. His swagger and charisma are
arresting. Again, not exactly a band you'd relish following.
Pity, then, poor WILD BEASTS, for that is precisely the hand
they've been dealt. Things start promisingly enough and they've
brought along all the bells and whistles, not to mention a
particularly impressive light show. In spite of all this, however, I
find myself zoning out from the second song in. The sound from
the venue could partially be to blame, but only to the extent that
it exposes a weakness inherent in the band’s latest synth-based
offerings. Stood up alongside their better – and better-renowned –
earlier work such as All The King’s Men and Hooting And Howling,
it makes you wonder why they ever chose to move away from
their guitar-based roots at all.
Indeed, the band seem a long way from those quirky-
yet-compelling Cumbrians with the camp falsettos
and jagged guitar pop that found
them fame. Instead, they have
repositioned
themselves as a
group of Thin
White Duke-
era
Bowies,
wrapped
in swagger and
turtlenecks. While
they prove themselves
experienced-enough musicians to
put on a good show, at times it feels like they're
going through the motions. Towards the end of the set they
do try to engage the crowd with their louder songs and more
dance-inspired beats but it's too little, too late. It's a shame really
because underneath all the synth glitz, 80s fashion and faux
posturing, I'm sure there's still a band capable of putting on a
great show. Just not tonight.
FREE SHOWS @ THE KAZIMIER
With the echoing din of such fine purveyors of modern rock
still rattling the walls of Camp and Furnace, we pitched up at
The Kazimier for a fine weeklong series of free shows. Dave Tate,
Richard Lewis and Paddy Clarke saw some of the highlights.
There's nothing like a bit of Saturday Night Fever, particularly
when it's soundtracked by the infectious, hypnotic grooves of one
of San Francisco’s finest groups of recent years. PEAKING LIGHTS
certainly bring a party atmosphere, even if it's mostly limited to
the stage. Not since the Shangaan of Nozinja has Liverpool played
host to music simultaneously ebullient and danceable. While their
sound is clearly indebted to Jamaican dub production and ideas,
there is a gratifying lack of affected patois, quasi-spirituality or
misappropriated ideology that afflicts so much of dub-inspired
music. Peaking Lights’ music equally references shades of 4AD as
it does Studio One and is all the stronger and more interesting for
it. Danceable and fun. Now if only they could drag a few more
bodies on to the floor.
HOOKWORMS’ support slot to fellow cosmic voyagers
Moon Duo two years ago saw the same venue at
roughly half-full, whereas tonight The Kaz is at
sardines capacity before the five-piece descend
from the dressing room.
Assuredly opening with slow-burner
Away/Towards – the curtain-raiser to
last year’s magnificent debut LP,
Pearl Mystic – the set powers
forwards in units of
three or four tracks
at a time, the
first tranche
comprising
twenty minutes
of exhilarating prog/
psych cross-pollination
before a brief respite is
finally permitted.
Stood front and centre onstage,
vocalist MJ is the fulcrum of the band’s
sound and somehow manages to combine
intense emotional vocal catharsis with lab
technician-like accuracy across keyboards and the
sound desk of white noise effects and samples in front
of him. To the left of the stage, a guitarist grapples with
his low-slung axe whilst opposite a fellow six-stringer lets
loose a blizzard of FX, their efforts backed up by the formidable
drive of the rhythm section.
Showcasing new material – XL-proportioned lead single The
Impasse and new 45 On Leaving, pulsing along on an insistent
jabbing bassline – amply demonstrate why imminent second LP
The Hum is pulling in plaudits from across the board. The upbeat
stomp of Radio Tokyo signposts the group’s excursions into
poppier climes, while the swooning Off Screen proves the quintet
can change gears from intense to expansive, ‘quieter’ moments
where, conversely, the volume doesn’t actually drop. The title
of the straight-ahead motorik psych-pop of Retreat played last,
Mogw
ai
Hookworm
s
Bido Lito! Dec 2014 / Jan 2015 15
bidolito.co.ukbidolito.co.ukbidolito
with vocal lines that take you off guard, shuttling towards a
cataclysm we’re eternally hoping for. When Barnes’ stars
align, there’s no will to refuse them. The Weight Of The Weight Of
Gold is a perfect example of his mythos, performed
with see-sawing back motions and a bass pitch
that’s too ridiculous to be healthy.
If Forest Swords represents
the transitory level of success as an
instrumental artist, MOGWAI have
to be the lords of the long
game. The Glaswegians
have experimented
with their quiet-
loud nuclear
dynamic
before
–
however,
2014’s Rave
TapesTapes might be
their most mature
effort yet and,
truthfully, it adds
a lot of meat to
Mogwai’s musical
bones. Opener
Heard About You
Last NightLast Night slithers
beautifully to life,
three luminous
hexagons above
blinking out over our
dark bodies. Remurdered’s
menace could be lifted straight
out of Pink Floyd’s Welcome To
The Machine, another dizzying and
dystopian murmur bubbling at the edges
of ascendency. Count all of the finger-flights up
the neck of John Cummings’ guitar and you deserve
a medal. The group swap instruments occasionally,
tuning into a kinesis that binds each take-off with the
titanic force of a leviathan emerging from clouds of fog. Each
song requires patience but they are very rewarding: Death RaysDeath Rays, in
particular, layers its sonic patchwork together without revealing
any seams. Mogwai can say more with a held chord than most
bands can cram into a lyric sheet, and for this, and the fact that
they are simply one of the most cohesive units gracing modern
music, we can reattach to reality tomorrow with a glimpse of
transcendence.
On the face of it, MONEY don't look like a band you would
particularly want opening for you. Recent headline slots have
shown them to be a band capable of wearing out an audience
with the conviction they put into their performance and, if they hit
their stride, they could easily threaten to blow any headliners out
of the water. Their reverb-washed post-punk sound brings to mind
The Bunnymen and the songs push towards anthemic. Synth pads
wash and rise and vocals soar, touching on themes of love and
loss, all with a decidedly Byronic bent. And my, what vocals they
are. Midway between a choirboy and a drunk, Jamie Lee manages
to evoke an entire spectrum of emotions and then some, all
with a coy smile across his face. His swagger and charisma are
arresting. Again, not exactly a band you'd relish following.
Pity, then, poor WILD BEASTS, for that is precisely the hand
they've been dealt. Things start promisingly enough and they've
brought along all the bells and whistles, not to mention a
particularly impressive light show. In spite of all this, however, I
find myself zoning out from the second song in. The sound from
the venue could partially be to blame, but only to the extent that
it exposes a weakness inherent in the band’s latest synth-based
offerings. Stood up alongside their better – and better-renowned –
earlier work such as All The King’s MenAll The King’s Men and Hooting And HowlingHooting And Howling,
it makes you wonder why they ever chose to move away from
their guitar-based roots at all.
Indeed, the band seem a long way from those quirky-
yet-compelling Cumbrians with the camp falsettos
and jagged guitar pop that found
them fame. Instead, they have
repositioned
themselves as a
group of Thin
White Duke-
era
Bowies,
wrapped
in swagger and
turtlenecks. While
they prove themselves
experienced-enough musicians to
put on a good show, at times it feels like they're
going through the motions. Towards the end of the set they
do try to engage the crowd with their louder songs and more
dance-inspired beats but it's too little, too late. It's a shame really
because underneath all the synth glitz, 80s fashion and faux
posturing, I'm sure there's still a band capable of putting on a
great show. Just not tonight.
FREE SHOWS @ THE KAZIMIER
With the echoing din of such fine purveyors of modern rock
still rattling the walls of Camp and Furnace, we pitched up at
The Kazimier for a fine weeklong series of free shows. Dave Tate,
Richard Lewis and Paddy Clarke saw some of the highlights.
There's nothing like a bit of Saturday Night Fever, particularly
when it's soundtracked by the infectious, hypnotic grooves of one
of San Francisco’s finest groups of recent years. PEAKING LIGHTS
certainly bring a party atmosphere, even if it's mostly limited to
the stage. Not since the Shangaan of Nozinja has Liverpool played
host to music simultaneously ebullient and danceable. While their
sound is clearly indebted to Jamaican dub production and ideas,
there is a gratifying lack of affected patois, quasi-spirituality or
misappropriated ideology that afflicts so much of dub-inspired
music. Peaking Lights’ music equally references shades of 4AD as
it does Studio One and is all the stronger and more interesting for
it. Danceable and fun. Now if only they could drag a few more
bodies on to the floor.
HOOKWORMS’ support slot to fellow cosmic voyagers
Moon Duo two years ago saw the same venue at
roughly half-full, whereas tonight The Kaz is at
sardines capacity before the five-piece descend
from the dressing room.
Assuredly opening with slow-burner
Away/TowardsAway/Towards – the curtain-raiser to
last year’s magnificent debut LP,
Pearl MysticPearl Mystic – the set powers
forwards in units of
three or four tracks
at a time, the
first tranche
comprising
twenty minutes
of exhilarating prog/
psych cross-pollination
before a brief respite is
finally permitted.
Stood front and centre onstage,
vocalist MJ is the fulcrum of the band’s
sound and somehow manages to combine
intense emotional vocal catharsis with lab
technician-like accuracy across keyboards and the
sound desk of white noise effects and samples in front
of him. To the left of the stage, a guitarist grapples with
his low-slung axe whilst opposite a fellow six-stringer lets
loose a blizzard of FX, their efforts backed up by the formidable
drive of the rhythm section.
Showcasing new material – XL-proportioned lead single The
ImpasseImpasse and new 45 On LeavingOn Leaving, pulsing along on an insistent
jabbing bassline – amply demonstrate why imminent second LP
The Hum is pulling in plaudits from across the board. The upbeat
stomp of Radio TokyoRadio Tokyo signposts the group’s excursions into
poppier climes, while the swooning Off Screen proves the quintet
can change gears from intense to expansive, ‘quieter’ moments
where, conversely, the volume doesn’t actually drop. The title
of the straight-ahead motorik psych-pop of Retreat played last,
Mogw
ai
Hookworm
s
Bido Lito! Dec 2014 / Jan 201516
bidolito.co.uk
meanwhile, proves paradoxical, given that the present band are
advancing in the opposite direction at gathering speed. A quick
“Cheers Liverpool” and they depart to long, highly deserved
applause.
Across this year’s Liverpool Music Week bill you
can dip in to sets that are both brilliant and
bizarre, but few are as unyieldingly bizarre
as AMERICANS, the disordered duo who
open the evening tucked in a corner
amid a tangle of wires and props
on the crowded floor. Though
they open with sparse,
easy chimes, the
pleasantries are
soon smothered
by a harsh,
cacophonous swarm of
frantic drums and whirring,
abrasive synths which attack
and attack with no surrender in
sight.
It’s a shambolic set, yet somehow
completely engrossing – it might well be one
of the best comedy routines Liverpool’s seen in
years. Though one particularly obnoxious gaggle of
pissed-up, middle-aged punters who’ve stumbled into
the wrong hen-do feel the need to heckle, for the majority
the duo are remarkably endearing.
SEAWITCHES follow and bring things back down to earth –
unfortunately a little too much. Their set is a relatively engaging
one, thanks in no small part to the lashings of ethereal charisma
lent by frontwoman Jo Herring’s command of the stage, and they’ve
no shortage of fetching riffs and creeping atmospherics. The band’s
problem is simply a minor identity crisis – the shadows of Savages,
Siouxsie and The Cure still darken their idiosyncrasies. That said,
they reveal much in embryonic talent that’s there to be tightened,
and those vocals soar nonetheless.
WE CAME OUT LIKE TIGERS are, as ever, a welcome cat amongst
the pigeons. Led by the melodrama of the choral Tribulation,
as they take their opening strides they duly career into
a thunder of drums and razor-sharp screams. Noisy
is an understatement, the group completely
uncompromising in a set of magnetic intensity.
They take to quieter moments, too, with
immense reserves of confidence, solo
vocal segments still captivating
for what appears to be a far
from stereotypical screamo
crowd. As frontman
Simon Barr turns
political orator for
a defiant soap-box
speech towards the
set’s close, it’s more than
clear that he’s a man with The
Kazimier in his palm.
EAGULLS have more than the
swagger to follow, rocketing into their
luscious post-punk wails with the fine-tuned
intensity of Killing Joke at their most thrilling. It’s
not long before the moshers stumble frontwards for
Nerve Endings after ten minutes or so of quivering build
up and, given the band’s early, inexorable pace it’s not hard
to work out why. They are a potent live force, yet also a band
without a huge amount of material – exuberantly acclaimed their
self-titled debut might be, but they’ve little more than that record’s
ten tracks to work with, all of which follow a set formula, and the
set feels wanting of a simple step up. That said, they’re as good
in their delivery as any of the slick performers out there, and,
should their baying crowd stick around, it’s only time in
the way of some sure-to-be stratospheric highs.
Tuesday brings a reminder that THE ANTLERS
are a band of nothing but gargantuan quality.
Before those venerable Brooklynites can
see starry-eyed expectations fulfilled,
however, JAMES CANTY is up
showing off his own prowess:
solo acoustic segments
propped up by his
modestly moving,
electronic-leaning
backers. In the former it’s
off-kilter at the perfect angle,
the passion more than apparent
yet never bordering on the saccharine,
while in the meatier sequences it’s synth
pop done properly.
With the bar set rather high then, ETCHES leap
to push it once more with a plush, commanding set of
individualist, dark electro pop that breathes charisma into
a formula dominated by down-tempo mumblers. Above all,
the set simply shows character, the group’s musical narratives
shaped by organic twists and turns, kaleidoscopic collisions of
texture and the hypnotic float of delectable riffs, their latest Ice
Cream Dream Machine the closer and the highlight. It’s a set so
good it almost leaves seeds of a scandalous upstaging in the back
of some still-reeling minds.
On record, The Antlers have a long time been the refuge of the
disillusioned hipster, with records like Hospice earning the type of
reverence reserved for their elders and so-called betters. Their live
set is everything their adoring cult could hope for: a captivating
sequence of knife-edge tenderness to reel in their doting mob.
They open with the delicacies of Palace, distilling, refining and
unleashing a yearning cocktail of opulent texture into the very
purest of assaults on the senses. Throughout the set they
essentially keep repeating the feat, their hour or so a
protracted sequence of singular euphoria, peppered
with stratospheric crescendos of sparse-yet-
unbridled emotion. As on record they never
quite deviate from their marvellous
mid-tempos, perhaps leaving those
yet to be converted a little out
of the communal loop. That
minority are a meagre one,
though, for at large
the set leaves the
masses in tatters as
the spell finally breaks,
and a departing Epilogue feels
enough to stake a claim for the
festival’s finest hour.
For the uncostumed Halloween crowd
that’s seemingly oblivious to the festivities
beyond the beer garden, an imperious evening
with LIARS awaits. As Liars take the stage to a beaten,
bemused but ever-enraptured crowd there’s still plenty
of room for manoeuvre; that, however, is the perfect state of
affairs, with Liars seizing on the breathing room from the off, the
gleeful bounces of an adoring front row quick to fill the space.
The set rests on the trio’s more recent electronic leanings, and
Eagu
lls
The A
ntlers
Bido Lito! Dec 2014 / Jan 201516
bidolito.co.ukbidolito.co.ukbidolito
meanwhile, proves paradoxical, given that the present band are
advancing in the opposite direction at gathering speed. A quick
“Cheers Liverpool” and they depart to long, highly deserved
applause.
Across this year’s Liverpool Music Week bill you
can dip in to sets that are both brilliant and
bizarre, but few are as unyieldingly bizarre
as AMERICANS, the disordered duo who
open the evening tucked in a corner
amid a tangle of wires and props
on the crowded floor. Though
they open with sparse,
easy chimes, the
pleasantries are
soon smothered
by a harsh,
cacophonous swarm of
frantic drums and whirring,
abrasive synths which attack
and attack with no surrender in
sight.
It’s a shambolic set, yet somehow
completely engrossing – it might well be one
of the best comedy routines Liverpool’s seen in
years. Though one particularly obnoxious gaggle of
pissed-up, middle-aged punters who’ve stumbled into
the wrong hen-do feel the need to heckle, for the majority
the duo are remarkably endearing.
SEAWITCHES follow and bring things back down to earth –
unfortunately a little too much. Their set is a relatively engaging
one, thanks in no small part to the lashings of ethereal charisma
lent by frontwoman Jo Herring’s command of the stage, and they’ve
no shortage of fetching riffs and creeping atmospherics. The band’s
problem is simply a minor identity crisis – the shadows of Savages,
Siouxsie and The Cure still darken their idiosyncrasies. That said,
they reveal much in embryonic talent that’s there to be tightened,
and those vocals soar nonetheless.
WE CAME OUT LIKE TIGERS are, as ever, a welcome cat amongst
the pigeons. Led by the melodrama of the choral Tribulation,
as they take their opening strides they duly career into
a thunder of drums and razor-sharp screams. Noisy
is an understatement, the group completely
uncompromising in a set of magnetic intensity.
They take to quieter moments, too, with
immense reserves of confidence, solo
vocal segments still captivating
for what appears to be a far
from stereotypical screamo
crowd. As frontman
Simon Barr turns
political orator for
a defiant soap-box
speech towards the
set’s close, it’s more than
clear that he’s a man with The
Kazimier in his palm.
EAGULLS have more than the
swagger to follow, rocketing into their
luscious post-punk wails with the fine-tuned
intensity of Killing Joke at their most thrilling. It’s
not long before the moshers stumble frontwards for
Nerve EndingsNerve Endings after ten minutes or so of quivering build
up and, given the band’s early, inexorable pace it’s not hard
to work out why. They are a potent live force, yet also a band
without a huge amount of material – exuberantly acclaimed their
self-titled debut might be, but they’ve little more than that record’s
ten tracks to work with, all of which follow a set formula, and the
set feels wanting of a simple step up. That said, they’re as good
in their delivery as any of the slick performers out there, and,
should their baying crowd stick around, it’s only time in
the way of some sure-to-be stratospheric highs.
Tuesday brings a reminder that THE ANTLERS
are a band of nothing but gargantuan quality.
Before those venerable Brooklynites can
see starry-eyed expectations fulfilled,
however, JAMES CANTY is up
showing off his own prowess:
solo acoustic segments
propped up by his
modestly moving,
electronic-leaning
backers. In the former it’s
off-kilter at the perfect angle,
the passion more than apparent
yet never bordering on the saccharine,
while in the meatier sequences it’s synth
pop done properly.
With the bar set rather high then, ETCHES leap
to push it once more with a plush, commanding set of
individualist, dark electro pop that breathes charisma into
a formula dominated by down-tempo mumblers. Above all,
the set simply shows character, the group’s musical narratives
shaped by organic twists and turns, kaleidoscopic collisions of
texture and the hypnotic float of delectable riffs, their latest Ice
Cream Dream Machine the closer and the highlight. It’s a set so
good it almost leaves seeds of a scandalous upstaging in the back
of some still-reeling minds.
On record, The Antlers have a long time been the refuge of the
disillusioned hipster, with records like HospiceHospice earning the type of
reverence reserved for their elders and so-called betters. Their live
set is everything their adoring cult could hope for: a captivating
sequence of knife-edge tenderness to reel in their doting mob.
They open with the delicacies of Palace, distilling, refining and
unleashing a yearning cocktail of opulent texture into the very
purest of assaults on the senses. Throughout the set they
essentially keep repeating the feat, their hour or so a
protracted sequence of singular euphoria, peppered
with stratospheric crescendos of sparse-yet-
unbridled emotion. As on record they never
quite deviate from their marvellous
mid-tempos, perhaps leaving those
yet to be converted a little out
of the communal loop. That
minority are a meagre one,
though, for at large
the set leaves the
masses in tatters as
the spell finally breaks,
and a departing EpilogueEpilogue feels
enough to stake a claim for the
festival’s finest hour.
For the uncostumed Halloween crowd
that’s seemingly oblivious to the festivities
beyond the beer garden, an imperious evening
with LIARS awaits. As Liars take the stage to a beaten,
bemused but ever-enraptured crowd there’s still plenty
of room for manoeuvre; that, however, is the perfect state of
affairs, with Liars seizing on the breathing room from the off, the
gleeful bounces of an adoring front row quick to fill the space.
The set rests on the trio’s more recent electronic leanings, and
Eagu
lls
The A
ntlers
Bido Lito! Dec 2014 / Jan 201518
bidolito.co.uk
it’s their second outing, Mask Maker, that truly sets the night alight.
Relentless grooves and finely-tuned explosions of electro-insanity
are the order of the day, the New Yorkers hurtling through their
show with an off-kilter swagger that soon filters into the mob,
some of whom simply stare in befuddled hypnosis, others diving
headfirst into the lunacy. The set concludes only slightly too soon
with Mess On A Mission, and the crowd need no cajoling into a
manic reception as frontman Angus Andrew’s frenzied refrain is
matched at every word.
CLOSING PARTYFor those who’ve been here before – and there should be plenty
of us, this being the tenth edition and all – the legendary status of
the LMW Closing Party will need no explanation. For those new to
it, it invariably offers a fittingly thrilling and bustling finale. Alastair
Dunn and Jack Graysmark threw themselves in to the tumult of
this year’s Music Week climax, which saw a full-on takeover
of the city’s Baltic Triangle sprawling across numerous
venues.
There are few signs to indicate the hive
of activity into which the Baltic Triangle
has been turned by Liverpool Music
Week’s Closing Party, as it’s
hidden away within these old
warehouse walls. At a time
when development
plans threaten the
very fabric of
this area,
this
culmination of
a week of musical
extravagance feels
even more selective and
for those in the know.
VEYU have managed to turn
the bare white space of The Blade
Factory in to their own mini-EPI, with
neon-flecked artwork and rippling visuals
splashed across the walls. It seems a little at
odds with their own pastel-hued melodica but, as
Running and In The Forest unravel, it’s hard to imagine
a setting that won’t fit this band’s gorgeous tones.
The escapades of main act on the District Stage,
BLACK LIPS, have become the stuff of legend, so it is
no wonder that the venue is packed to capacity.
Those who arrive late to the toilet-roll-and-
sweat party miss STRANGE COLLECTIVE
charging the air in the room with
a riotous crackle, but it’s the
headliners who people will
remember after this
limb-flailing show.
Though Black Lips
appear to have
matured
and
mellowed
since their
infamous early
performances, they
still put on a riotous show.
The frenetic pace of their
songs does little to disguise how
well crafted they truly are, and the
gospel and blues influences are clear
throughout. Fan favourites Bad Kids and
Oh Katrina! prove the highlights of the set, but
everything in-between is just as good.
Over at Camp and Furnace, such is the anticipation
that a mass of punters are waiting patiently to get into the
main hub when half-eight rolls around. Suddenly, the room is
swelling and a foreboding static is heralding the arrival of BIRD,
a four-piece that always capture the twisted, otherworldly beauty
that lies within darkness. The subdued guitar notes on The Rain
Song linger before swiftly being bought into
focus with ear-shattering percussion. With
whispers of the band shutting-up
shop and confirmation that this
is their final Liverpool show,
it’s reassuring that they
remain resolute in their
performance as
they fly home to
roost.
Headliners
CHVRCHES really
reap the rewards of the
vast, cavernous space of
the same venue. Their melodies
come ready-made for translating
the crowd’s energy into a blissful, pop-
heavy elation and, as they launch into the
frenetic roll of We Sink, the industrial setting
complements the swarm of synths and intense
neon graphics that douse the stage.
Maybe it’s just the PA, but despite frontwoman Lauren
Mayberry’s determination her vocals occasionally drown
under the full force of the band’s sound, such as the blistering
chorus of Night Sky. Yet on other tracks, like Gun, she is clear and
assertive, bolstered by a vigorous aura of self-belief. Iain Cook
and Martin Doherty flank her, often shoehorned to their stations
of synths and samples, so it’s refreshing when Cook pulls out a
bass to flaunt at the front of the stage, while Doherty takes on
vocal duties for new single Under The Tide, twisting his mic cord
in aggressive writhing while Mayberry retreats to the safety of
the synth pads.
After what seems like an obvious finish on the woozy delirium
of The Mother We Share, the band return for a triple encore of
non-singles. As a calm wave attempting to defuse a boisterous
storm, it feels out of place; in the live arena, this is a band that
excel in their bombastic, full-on moments. It is astonishing that
this is the Glasgow trio’s first visit to Merseyside, but what a
debut to make; delivered in seismic quantities, Chvrches’ brand of
synth pop demands not only your reaction but your participation.
When the pace is pushed as far as it can go, it works wonders as
a final charge.
Head to bidolito.co.uk to see a full photo gallery from this year’s
Liverpool Music Week shows.
liverpoolmusicweek.com
Chvrc
hes
Black
Lips
Bido Lito! Dec 2014 / Jan 201518
bidolito.co.ukbidolito.co.ukbidolito
it’s their second outing, Mask Maker, that truly sets the night alight. Mask Maker, that truly sets the night alight. Mask Maker
Relentless grooves and finely-tuned explosions of electro-insanity
are the order of the day, the New Yorkers hurtling through their
show with an off-kilter swagger that soon filters into the mob,
some of whom simply stare in befuddled hypnosis, others diving
headfirst into the lunacy. The set concludes only slightly too soon
with Mess On A Mission, and the crowd need no cajoling into a
manic reception as frontman Angus Andrew’s frenzied refrain is
matched at every word.
CLOSING PARTYFor those who’ve been here before – and there should be plenty
of us, this being the tenth edition and all – the legendary status of
the LMW Closing Party will need no explanation. For those new to
it, it invariably offers a fittingly thrilling and bustling finale. Alastair
Dunn and Jack Graysmark threw themselves in to the tumult of
this year’s Music Week climax, which saw a full-on takeover
of the city’s Baltic Triangle sprawling across numerous
venues.
There are few signs to indicate the hive
of activity into which the Baltic Triangle
has been turned by Liverpool Music
Week’s Closing Party, as it’s
hidden away within these old
warehouse walls. At a time
when development
plans threaten the
very fabric of
this area,
this
culmination of
a week of musical
extravagance feels
even more selective and
for those in the know.
VEYU have managed to turn
the bare white space of The Blade
Factory in to their own mini-EPI, with
neon-flecked artwork and rippling visuals
splashed across the walls. It seems a little at
odds with their own pastel-hued melodica but, as
RunningRunning and In The Forest unravel, it’s hard to imagine
a setting that won’t fit this band’s gorgeous tones.
The escapades of main act on the District Stage,
BLACK LIPS, have become the stuff of legend, so it is
no wonder that the venue is packed to capacity.
Those who arrive late to the toilet-roll-and-
sweat party miss STRANGE COLLECTIVE
charging the air in the room with
a riotous crackle, but it’s the
headliners who people will
remember after this
limb-flailing show.
Though Black Lips
appear to have
matured
and
mellowed
since their
infamous early
performances, they
still put on a riotous show.
The frenetic pace of their
songs does little to disguise how
well crafted they truly are, and the
gospel and blues influences are clear
throughout. Fan favourites Bad Kids and
Oh Katrina! prove the highlights of the set, but
everything in-between is just as good.
Over at Camp and Furnace, such is the anticipation
that a mass of punters are waiting patiently to get into the
main hub when half-eight rolls around. Suddenly, the room is
swelling and a foreboding static is heralding the arrival of BIRD,
a four-piece that always capture the twisted, otherworldly beauty
that lies within darkness. The subdued guitar notes on The Rain
SongSong linger before swiftly being bought into
focus with ear-shattering percussion. With
whispers of the band shutting-up
shop and confirmation that this
is their final Liverpool show,
it’s reassuring that they
remain resolute in their
performance as
they fly home to
roost.
Headliners
CHVRCHES really
reap the rewards of the
vast, cavernous space of
the same venue. Their melodies
come ready-made for translating
the crowd’s energy into a blissful, pop-
heavy elation and, as they launch into the
frenetic roll of We Sink, the industrial setting
complements the swarm of synths and intense
neon graphics that douse the stage.
Maybe it’s just the PA, but despite frontwoman Lauren
Mayberry’s determination her vocals occasionally drown
under the full force of the band’s sound, such as the blistering
chorus of Night SkyNight Sky. Yet on other tracks, like Gun, she is clear and
assertive, bolstered by a vigorous aura of self-belief. Iain Cook
and Martin Doherty flank her, often shoehorned to their stations
of synths and samples, so it’s refreshing when Cook pulls out a
bass to flaunt at the front of the stage, while Doherty takes on
vocal duties for new single Under The Tide, twisting his mic cord
in aggressive writhing while Mayberry retreats to the safety of
the synth pads.
After what seems like an obvious finish on the woozy delirium
of The Mother We Share, the band return for a triple encore of
non-singles. As a calm wave attempting to defuse a boisterous
storm, it feels out of place; in the live arena, this is a band that
excel in their bombastic, full-on moments. It is astonishing that
this is the Glasgow trio’s first visit to Merseyside, but what a
debut to make; delivered in seismic quantities, Chvrches’ brand of
synth pop demands not only your reaction but your participation.
When the pace is pushed as far as it can go, it works wonders as
a final charge.
Head to bidolito.co.uk to see a full photo gallery from this year’s
Liverpool Music Week shows.
liverpoolmusicweek.com
Chvrc
hes
Black
Lips
STEPHEN WILLIAMSFRI 30TH JAN
STEPHEN WILLIAMSFRI 30TH JAN
STEPHEN LANGSTAFFFRI 6TH DEC
STEPHEN LANGSTAFFFRI 6TH DEC
THE SECURITY PROJECTSAT 31ST JAN
THE SECURITY PROJECTSAT 31ST JAN
RED AND BLUE LEGENDSFRI 6TH FEB
RED AND BLUE LEGENDSFRI 6TH FEB
SIMON AMSTELL12TH-13TH FEB
SIMON AMSTELL12TH-13TH FEB
MARTINI LOUNGESAT 14TH FEB
MARTINI LOUNGESAT 14TH FEB
GRETCHEN PETERSSUN 29TH MAR
GRETCHEN PETERSSUN 29TH MAR
DREAMING OF KATETHU 17TH APR
DREAMING OF KATETHU 17TH APR
KATHERINE RYANTHU 8TH MAY
KATHERINE RYANTHU 8TH MAY
SHANKLEYS DREAM CAME TRUEFRI 15TH MAY
SHANKLY’S DREAM CAME TRUEFRI 15TH MAY
LAUSAT 16TH MAY
LAUSAT 16TH MAY
CARA DILLONTHU 21ST MAYCARA DILLONTHU 21ST MAY
084488844110844888441185 Hanover Street L1 3DZ85 Hanover Street L1 3DZ
WWW.EPSTEINLIVERPOOL.CO.UKWWW.EPSTEINLIVERPOOL.CO.UK@EpsteinTheatre facebook.com/EpsteinTheatre@EpsteinTheatre facebook.com/EpsteinTheatre
STEPHEN WILLIAMSFRI 30TH JAN
STEPHEN WILLIAMSSTEPHEN WILLIAMSSTEPHEN WILLIAMSSTEPHEN WILLIAMSFRI 30TH JANFRI 30TH JANFRI 30TH JANFRI 30TH JAN
STEPHEN LANGSTAFFTAFFTFRI 6TH DEC
STEPHEN LANGSSTEPHEN LANGSSTEPHEN LANGSSTEPHEN LANGSTSTEPHEN LANGSTTTTTAFFTAFFTAFFTTTAFFTAFFAFFAFFAFFTAFFTAFFTAFFAFFAFFTAFFFRI 6TH DEC FRI 6TH DEC FRI 6TH DEC FRI 6TH DEC
THE SECURITY PROJECTSAT 31ST JANAT 31ST JANA
THE SECURITY PROJECTTHE SECURITY PROJECTTHE SECURITY PROJECTTHE SECURITY PROJECTSSSSASAAAAAT 31ST JANAT 31ST JANAT 31ST JANAAAT 31ST JANA T 31ST JANT 31ST JANT 31ST JANT 31ST JANAT 31ST JANAT 31ST JANAT 31ST JANT 31ST JANT 31ST JANAT 31ST JAN
RED AND BLUE LEGENDSFRI 6TH FEB
RED AND BLUE LEGENDSRED AND BLUE LEGENDSRED AND BLUE LEGENDSRED AND BLUE LEGENDSFRI 6TH FEBFRI 6TH FEBFRI 6TH FEBFRI 6TH FEB
SIMON AMSTELL12TH-13TH FEB
SIMON AMSTELLSIMON AMSTELLSIMON AMSTELLSIMON AMSTELL12TH-13TH FEB12TH-13TH FEB12TH-13TH FEB12TH-13TH FEB
MARTINI LOUNGERTINI LOUNGERSAT 14TH FEBAT 14TH FEBA
MAMAMAMARMARRRRRTINI LOUNGERTINI LOUNGERTINI LOUNGERRRTINI LOUNGER TINI LOUNGETINI LOUNGETINI LOUNGETINI LOUNGERTINI LOUNGERTINI LOUNGERTINI LOUNGETINI LOUNGETINI LOUNGERTINI LOUNGESSSSASAAAAAT 14TH FEBAT 14TH FEBAT 14TH FEBAAAT 14TH FEBA T 14TH FEBT 14TH FEBT 14TH FEBT 14TH FEBAT 14TH FEBAT 14TH FEBAT 14TH FEBT 14TH FEBT 14TH FEBAT 14TH FEB
GRETCHEN PETERSSUN 29TH MAR
GRETCHEN PETERSGRETCHEN PETERSGRETCHEN PETERSGRETCHEN PETERSSUN 29TH MARSUN 29TH MARSUN 29TH MARSUN 29TH MAR
DREAMING OF KATEATEATHU 17TH APR
DREAMING OF KDREAMING OF KDREAMING OF KDREAMING OF KADREAMING OF KAAAAATEATEATEAAATEATETETETEATEATEATETETEATETHU 17TH APRTHU 17TH APRTHU 17TH APRTHU 17TH APR
KATHERINE ATHERINE A RYRYR ANYANYTHU 8TH MAYAYA
KKKKAKAAAAATHERINE ATHERINE ATHERINE AAATHERINE ATHERINE THERINE THERINE THERINE ATHERINE ATHERINE ATHERINE THERINE THERINE ATHERINE RRRRYRYRYRRRYRYYYYANYANYANYYYANYRYRYRYYYRYANANANANYANYANYANANANYANTHU 8TH MTHU 8TH MTHU 8TH MTHU 8TH MATHU 8TH MAAAAAYAYAYAAAYAYYYYAYAYAYYYAY
SHANKLEYS DREAM CAME TRUEFRI 15TH MAYAYA
SHANKLY’S DREAM CAME TRUESHANKLEYS DREAM CAME TRUESHANKLY’S DREAM CAME TRUESHANKLEYS DREAM CAME TRUEFRI 15TH MFRI 15TH MFRI 15TH MFRI 15TH MAFRI 15TH MAAAAAYAYAYAAAYAYYYYAYAYAYYYAY
LAUSAT 16TH MAT 16TH MA AYAYA
LAULAULAULAUSSSSASAAAAAT 16TH MAT 16TH MAT 16TH MAAAT 16TH MA T 16TH MT 16TH MT 16TH MT 16TH MAT 16TH MAAT 16TH MAT 16TH MAT 16TH MT 16TH MT 16TH MAT 16TH M AAAAYAYAYAAAYAYYYYAYAYAYYYAY
CARA DILLONTHU 21ST MAYAYACARA DILLONCARA DILLONCARA DILLONCARA DILLONTHU 21ST MTHU 21ST MTHU 21ST MTHU 21ST MATHU 21ST MAAAAAYAYAYAAAYAYYYYAYAYAYYYAY
084488844110000 844888441844888441844888441844888441 111185 Hanover Street L1 3DZ88885 Hanover Street L1 3DZ85 Hanover Street L1 3DZ5 Hanover Street L1 3DZ5 Hanover Street L1 3DZ5 Hanover Street L1 3DZ5 Hanover Street L1 3DZ
WWW.EPSTEINLIVERPOOL.CO.UKWWW.EPSTEINLIVERPOOL.CO.UKWWW.EPSTEINLIVERPOOL.CO.UKWWW.EPSTEINLIVERPOOL.CO.UKWWW.EPSTEINLIVERPOOL.CO.UK@EpsteinTheatre facebook.cEpsteinTheatre facebook.cEpsteinTheatre facebook.com/EpsteinTheatre@@@@EpsteinTheatre facebook.c@EpsteinTheatre facebook.cEpsteinTheatre facebook.cEpsteinTheatre facebook.cEpsteinTheatre facebook.cEpsteinTheatre facebook.cEpsteinTheatre facebook.cEpsteinTheatre facebook.cEpsteinTheatre facebook.cEpsteinTheatre facebook.cEpsteinTheatre facebook.cEpsteinTheatre facebook.cEpsteinTheatre facebook.cEpsteinTheatre facebook.coEpsteinTheatre facebook.cooooom/EpsteinTheatreom/EpsteinTheatrem/EpsteinTheatrem/EpsteinTheatrem/EpsteinTheatrem/EpsteinTheatre
Bido Lito! Dec 2014 / Jan 201522
bidolito.co.uk
“No way are you getting me to do that!”
“No” isn't a word that I've heard very often from the mouth of
Dave McTague, a man who has been heavily involved in music
in this city for some time. From the early days of Another Late
Night Magazine, through publicity and marketing for the likes
of Africa Oyé and Threshold Festival, and artist management for
Nordic chanteuse Ragz, McTague has been there and done pretty
much everything there is to do in this old town. The constant
throughout this myriad of projects has been MELLOWTONE,
McTague’s own acoustic showcase, which celebrates ten years
of soothing sounds this month, and is the basis for this jovial
outburst. McTague is adamant he couldn't calculate how many
Mellowtone shows there have been in total, despite spending
days sifting through boxes of old flyers while compiling this
retrospective. “All I know for sure is it's in the hundreds!” he tells
me, laughing at the prospect. By way of celebration of a decade
of promoting shows, McTague has compiled a commemorative
release: Mellowtone: 10 Years is a CD of 18 songs by former
Mellowtone alumni that soundtrack not only their timeline, but a
rather pleasant evening in.
For those of us who have been so wrapped up in musical
goings on in the city over recent years, it’s difficult to think of a
live music scene in Liverpool without Mellowtone; but it wasn’t
ever thus. Having relocated from Leeds to study at John Moores
University, McTague found himself promoting for a few local
club nights back in 2004, where he met with future Mellowtone
conspirator Richie Vegas. However, his experiences as a punter
led to him creating a night of his own: “When we started, guitar
bands were still influenced by 90s Britpop. I was sick of gigs with
a few lads huddled at the back. There was very little acoustic
music in Liverpool that wasn't open mic nights, which is normally
a different standard to what you'd want at a folk night. So we
tried to take that music and put it on a proper stage”. The word
“proper” relates in this instance more to the perceptions of the
audience than the dimensions of the playing area.
The idea had formed, but wasn't firm until a chance encounter
at the View Two Gallery on Mathew Street gave them the perfect
launch pad. “Finding a good space was very important,” Dave
explains. “Mellowtone only became a reality once Richie and I
stumbled across the View Two. Instantly we knew: 'this is the
place – this is happening now!'.” The View Two may be their
spiritual home, but it's far from their only home. Over the years,
Mellowtone have hosted events at over 40 different Liverpool
venues, as well as curating stages at many of our major festivals
– Sound City, Liverpool Music Week and Liverpool International
Music Festival. McTague explains: “I've made a point of trying to
keep it nomadic – different venues, different nights of the week. I
wanted it to be regular, but in a way that people would still have
to pay attention, and seek us out”. A bold strategy, but one that
certainly worked on this enthusiastic music fan new to the city
ten years ago.
My early memories of Mellowtone centre on the friendly face
of one of the most well-known and admired people working in
Liverpool music. Dave always had time to chat even when he
didn't, ready with a flyer to thrust into your hand as he left, each
one a promise of interesting acts in exciting new places. “We
try to use intimate venues – galleries, cafés, the small room in a
pub,” explains McTague. “Even in the times we've progressed to
bigger venues and bigger artists, we've maintained that intimacy
through booking smaller shows alongside.” There was a certain
thrill in discovering where they would pop up next, but it was
always clear the music was most important – a fact not lost on the
musicians themselves. Long-time Mellowtone performer Ragz
Nordset vividly recalls “the intense silence filling the View Two
at every gig once an artist had started”, a sure sign of the respect
the audience held for both artist and promoter. “The audience can
trust the artists to be worth seeing,” concurs Kaya Herstad Carney,
who has also played at dozens of incarnations of the Mellowtone
night. “There's a good mix of undiscovered gems from all over
alongside more established local acts; acoustic in its core, but not
scared of making big noises.” That trust is also built on a strong
supporting cast. Resident DJs Vegas and Johnnie O'Hare – known
under the moniker of their grassroots music festival Above the
Beaten Track – have been integral since day one, helping “to
turn each gig into an event,” according to Vegas. “Dave had
that concept – an actual event rather than just a gig – from the
start. We try and play sympathetically in terms of tempo and
mood, but also contrast with the band's sound. Present people
with something they may enjoy but have never heard before or
wouldn't otherwise listen to.”
Comedian Sam Avery was an accomplished compère throughout
the early years, before passing the baton to another lively local
luminary, DJ/promoter Monkey. Avery believes this attention to
detail, which is often an afterthought for most people, helps
set them apart: “Dave is totally on the ball with every minor and
major part of a gig without being a tit about it, so Mellowtone is
always very professionally run, but retains that laidback vibe that
it wouldn't work without.”
It's an infectious vibe that invites collaboration – another key
component of their framework. Every carefully crafted Mellowtone
flyer features the logos of countless other partners, local and
national. In an industry where friendship is often fabricated,
McTague is not shy of working with his peers and competitors,
having combined with Harvest Sun, Cheap Thrills, Evol and
many others where necessary to put on a good show. “Mutually
beneficial” is a phrase to which McTague returns frequently,
including when discussing the desire to produce the compilation.
“We want more people to hear these great musicians we're
booking, so maybe they come along next time we book them. It's
a testament to how many good songwriters there are here that
I really struggled with who to leave out. Some of the artists are
no longer active or have gone on to other things, so it acts as a
document of a period in Liverpool's musical history.” A decade is
the perfect juncture at which to take stock.
Everyone I spoke to has different theories, but personally I believe
the mix of a tight and trusted crew allied to a perpetual addition
of new ideas, people and places is the secret to Mellowtone's
longevity. “It certainly keeps it interesting for me,” McTague admits.
“I try to book shows that I'd want to go to myself.”
Fitting last words – almost as good as the fresh flyer in my
hand that accompanies them.
Mellowtone:10 Years is available to buy at all Mellowtone live
shows, and online at mellowtone.bandcamp.com
Words: Maurice Stewart / theviewfromthebooth.tumblr.com
Bido Lito! Dec 2014 / Jan 201522
bidolito.co.ukbidolito.co.ukbidolito
“No way are you getting me to do that!”
“No” isn't a word that I've heard very often from the mouth of
Dave McTague, a man who has been heavily involved in music
in this city for some time. From the early days of Another Late
Night Magazine, through publicity and marketing for the likes
of Africa Oyé and Threshold Festival, and artist management for
Nordic chanteuse Ragz, McTague has been there and done pretty
much everything there is to do in this old town. The constant
throughout this myriad of projects has been MELLOWTONE,
McTague’s own acoustic showcase, which celebrates ten years
of soothing sounds this month, and is the basis for this jovial
outburst. McTague is adamant he couldn't calculate how many
Mellowtone shows there have been in total, despite spending
days sifting through boxes of old flyers while compiling this
retrospective. “All I know for sure is it's in the hundreds!” he tells
me, laughing at the prospect. By way of celebration of a decade
of promoting shows, McTague has compiled a commemorative
release: Mellowtone: 10 Years is a CD of 18 songs by former
Mellowtone alumni that soundtrack not only their timeline, but a
rather pleasant evening in.
For those of us who have been so wrapped up in musical
goings on in the city over recent years, it’s difficult to think of a
live music scene in Liverpool without Mellowtone; but it wasn’t
ever thus. Having relocated from Leeds to study at John Moores
University, McTague found himself promoting for a few local
club nights back in 2004, where he met with future Mellowtone
conspirator Richie Vegas. However, his experiences as a punter
led to him creating a night of his own: “When we started, guitar
bands were still influenced by 90s Britpop. I was sick of gigs with
a few lads huddled at the back. There was very little acoustic
music in Liverpool that wasn't open mic nights, which is normally
a different standard to what you'd want at a folk night. So we
tried to take that music and put it on a proper stage”. The word
“proper” relates in this instance more to the perceptions of the
audience than the dimensions of the playing area.
The idea had formed, but wasn't firm until a chance encounter
at the View Two Gallery on Mathew Street gave them the perfect
launch pad. “Finding a good space was very important,” Dave
explains. “Mellowtone only became a reality once Richie and I
stumbled across the View Two. Instantly we knew: 'this is the
place – this is happening now!'.” The View Two may be their
spiritual home, but it's far from their only home. Over the years,
Mellowtone have hosted events at over 40 different Liverpool
venues, as well as curating stages at many of our major festivals
– Sound City, Liverpool Music Week and Liverpool International
Music Festival. McTague explains: “I've made a point of trying to
keep it nomadic – different venues, different nights of the week. I
wanted it to be regular, but in a way that people would still have
to pay attention, and seek us out”. A bold strategy, but one that
certainly worked on this enthusiastic music fan new to the city
ten years ago.
My early memories of Mellowtone centre on the friendly face
of one of the most well-known and admired people working in
Liverpool music. Dave always had time to chat even when he
didn't, ready with a flyer to thrust into your hand as he left, each
one a promise of interesting acts in exciting new places. “We
try to use intimate venues – galleries, cafés, the small room in a
bigger venues and bigger artists, we've maintained that intimacy
through booking smaller shows alongside.” There was a certain
thrill in discovering where they would pop up next, but it was
always clear the music was most important – a fact not lost on the
musicians themselves. Long-time Mellowtone performer Ragz
Nordset vividly recalls “the intense silence filling the View Two
at every gig once an artist had started”, a sure sign of the respect
the audience held for both artist and promoter. “The audience can
trust the artists to be worth seeing,” concurs Kaya Herstad Carney,
who has also played at dozens of incarnations of the Mellowtone
night. “There's a good mix of undiscovered gems from all over
alongside more established local acts; acoustic in its core, but not
scared of making big noises.” That trust is also built on a strong
supporting cast. Resident DJs Vegas and Johnnie O'Hare – known
under the moniker of their grassroots music festival Above the
Beaten Track – have been integral since day one, helping “to
turn each gig into an event,” according to Vegas. “Dave had
that concept – an actual event rather than just a gig – from the
start. We try and play sympathetically in terms of tempo and
mood, but also contrast with the band's sound. Present people
with something they may enjoy but have never heard before or
wouldn't otherwise listen to.”
Comedian Sam Avery was an accomplished compère throughout
the early years, before passing the baton to another lively local
luminary, DJ/promoter Monkey. Avery believes this attention to
detail, which is often an afterthought for most people, helps
set them apart: “Dave is totally on the ball with every minor and
major part of a gig without being a tit about it, so Mellowtone is
always very professionally run, but retains that laidback vibe that
it wouldn't work without.”
It's an infectious vibe that invites collaboration – another key
component of their framework. Every carefully crafted Mellowtone
flyer features the logos of countless other partners, local and
national. In an industry where friendship is often fabricated,
McTague is not shy of working with his peers and competitors,
having combined with Harvest Sun, Cheap Thrills, Evol and
many others where necessary to put on a good show. “Mutually
beneficial” is a phrase to which McTague returns frequently,
including when discussing the desire to produce the compilation.
“We want more people to hear these great musicians we're
booking, so maybe they come along next time we book them. It's
a testament to how many good songwriters there are here that
I really struggled with who to leave out. Some of the artists are
no longer active or have gone on to other things, so it acts as a
document of a period in Liverpool's musical history.” A decade is
the perfect juncture at which to take stock.
Everyone I spoke to has different theories, but personally I believe
the mix of a tight and trusted crew allied to a perpetual addition
of new ideas, people and places is the secret to Mellowtone's
longevity. “It certainly keeps it interesting for me,” McTague admits.
“I try to book shows that I'd want to go to myself.”
Fitting last words – almost as good as the fresh flyer in my
hand that accompanies them.
Mellowtone:10 Years is available to buy at all Mellowtone live
shows, and online at mellowtone.bandcamp.com
Mellowtone alumni that soundtrack not only their timeline, but a try to use intimate venues – galleries, cafés, the small room in a
pub,” explains McTague. “Even in the times we've progressed to
many others where necessary to put on a good show. “Mutually
beneficial” is a phrase to which McTague returns frequently, pub,” explains McTague. “Even in the times we've progressed to
Words: Maurice Stewart / theviewfromthebooth.tumblr.comWords: Maurice Stewart / theviewfromthebooth.tumblr.comWords: Maurice Stewart / theviewfromthebooth.tumblr.com
1 HES K ETH ST A IG B URTH , L IV ER P O O L
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1 HES K ETH ST A IG B URTH , L IV ER P O O L
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Bido Lito! Dec 2014 / Jan 201524
bidolito.co.uk
Who are ya?Tales from the wings with The Music Consortium
The next time you go to a festival and stand in front of a
stage that looks like it’s been chopped off the back of an aircraft
hangar, I want you to ask yourself the following questions: how
did it get there?; was it there last week, and will it be there
tomorrow?; who made sure that the sound that comes out of
those colossal speakers is loud but not deafening?; how do the
twinkly lights dangling from that truss always seem to kick in
to life when the guitarist launches into his solo?; why are those
men in three-quarter-length shorts and black T-shirts (for they
are invariably men, mostly in three-quarter-lengths, and seldom
out of black T-shirts) looking so miserable as they tinker with the
dials on the amps?; why do the band always ask for “more vocals
in the monitor”?
By contemplating all of these questions, you will be weighing
in your hands the largely ignored roles of the tech and production
crew: those shadowy, saintly figures who make live music happen.
Most of us are so wrapped up in experiencing the thrill of live
performance that we rarely spare a thought for these mechanics
behind the world of live music. Spike Beecham knows more than
most about the vagaries of working in the shadows of stacks and
monitors, having worked as a stage or production manager on
events all round the world for over a decade. His company, THE
MUSIC CONSORTIUM, began by providing local crewing to Leeds
Festival, and has since expanded to supplying technical event
support services to all manner of festivals, exhibitions and venues
across the globe. In a bid to find out a little more about the lot of
the underappreciated techy, we asked Spike to debunk some of
the myths and tell us why we all owe them a debt of gratitude.
What follows is a message from the great Henry Rollins to all
you budding rock stars out there: “Listen to the stage manager
and get on stage when they tell you to. No one has the time for
your rock-star bullshit, none of the techs backstage care if you’re
David Bowie or the milkman. When you act like a jerk, they are
completely unimpressed with the infantile display that you might
think comes with your dubious status. They were there hours
before you building the stage and they will be there hours after
you leave tearing it down. They should get your salary and you
should get theirs.”
So hands up who actually knows what a stage manager or a
tech does, or what any of the crew does, for that matter? Lighting
technicians anyone? Riggers? You may be more familiar with our
American friends’ catchall phrase, “roadies”, whilst we Brits prefer
to use tags that better explain our role on the road: guitar tech,
sound engineer and so on. The point I’m making is that, although
there are enough column inches written about bands on tour to
sink the Titanic on a monthly basis, very little seems to be known
about the dark arts of the touring crew. Although they are spoken
about in hushed tones and are known by mythic names whose
origins stem from the great and mysterious land of rock and roll
legend – Mugger, Digby, Polaris, Stanna, Shippo, Bamo, Stone,
Nick the Hat (all genuine) to name a few – little is known about
what they do during the day, just what they get up to after the
trucks are packed up at night.
Traditionally, the best crew are half magician, half cynic, able
to solve any technical issue with gaffer tape and a sharp knife
while simultaneously shaking their heads and guffawing at the
(more often than not) bombastic demands of a drunken vocalist
who’s decided he wants to do a soundcheck, er… now. Today,
the role of any member of a successful touring crew is one that
sees them spanning the globe and combines hours of frenetic
activity, in order to the get the gig up and running, with hours of
waiting around doing nothing. That’s when the boredom sets in,
the mischief starts and taking care of the gear becomes taking
care of the “gear”.
To coin a phrase from Springsteen, this job was born in the
USA in the 1960s, when the roadie was essentially part of the
band and was respected by the fans; but that evolved and by the
70s the roadie became the person who got booed by the punters
when they took the band offstage at the end of the show. These
days, being a member of the backstage crew is a bit like being
a social worker with a tool kit. If things go wrong on stage, you
don't mince about and make a big song and dance: egos must
remain firmly in check when the act is on stage, so that they
remain relaxed and able to perform. You fix the problem with the
minimum amount of fuss and return to the shadows. The act may
or may not be aware that there’s a problem, but either way will
give you a certain amount of time and space to get the issue
sorted. The guy who takes the band off the stage at the end of
the show still has to put up with the odd bit of booing: I should
know because more often than not that’ll be me, as I’m usually
either the stage manager or the production manager – as the job
of the person that takes the act off stage is now called. Once the
act leaves the stage, as Rollins stated, we tear it all down, load it
into trucks and move on.
In conclusion then, and for the record, if it wasn’t for the rest of
the crew/technicians – whether they are operating on the stage,
backstage or at front of house – I wouldn’t be able to get booed
at all, because without that crew the act would never have been
able to start the show in the first place. After reading this, you
budding rock stars may still have no idea what these guys do, and
to be honest that might be for the best, but show some respect,
please. Because, although they may tread lightly and talk softly in
your presence, just remember that, when they’re standing behind
the amps in the dark, they all carry knives and the odd hammer…
to fix things with, obviously.
For more information about the services that The Music
Consortium offer, head to themusicconsortium.com.
Spike also writes a regular blog about some of the stories and
experiences he encounters from his position side of stage. Head to
themusicconsortium.tumblr.com to read more of these tales.
Bido Lito! Dec 2014 / Jan 201524
bidolito.co.ukbidolito.co.ukbidolito
Who are ya?Tales from the wings with The Music Consortium
The next time you go to a festival and stand in front of a
stage that looks like it’s been chopped off the back of an aircraft
hangar, I want you to ask yourself the following questions: how
did it get there?; was it there last week, and will it be there
tomorrow?; who made sure that the sound that comes out of
those colossal speakers is loud but not deafening?; how do the
twinkly lights dangling from that truss always seem to kick in
to life when the guitarist launches into his solo?; why are those
men in three-quarter-length shorts and black T-shirts (for they
are invariably men, mostly in three-quarter-lengths, and seldom
out of black T-shirts) looking so miserable as they tinker with the
dials on the amps?; why do the band always ask for “more vocals
in the monitor”?
By contemplating all of these questions, you will be weighing
in your hands the largely ignored roles of the tech and production
crew: those shadowy, saintly figures who make live music happen.
Most of us are so wrapped up in experiencing the thrill of live
performance that we rarely spare a thought for these mechanics
behind the world of live music. Spike Beecham knows more than
most about the vagaries of working in the shadows of stacks and
monitors, having worked as a stage or production manager on
events all round the world for over a decade. His company, THE
MUSIC CONSORTIUM, began by providing local crewing to Leeds
Festival, and has since expanded to supplying technical event
support services to all manner of festivals, exhibitions and venues
across the globe. In a bid to find out a little more about the lot of
the underappreciated techy, we asked Spike to debunk some of
the myths and tell us why we all owe them a debt of gratitude.
What follows is a message from the great Henry Rollins to all
you budding rock stars out there: “Listen to the stage manager
and get on stage when they tell you to. No one has the time for
your rock-star bullshit, none of the techs backstage care if you’re
David Bowie or the milkman. When you act like a jerk, they are
completely unimpressed with the infantile display that you might
think comes with your dubious status. They were there hours
before you building the stage and they will be there hours after
you leave tearing it down. They should get your salary and you
should get theirs.”
So hands up who actually knows what a stage manager or a
tech does, or what any of the crew does, for that matter? Lighting
technicians anyone? Riggers? You may be more familiar with our
American friends’ catchall phrase, “roadies”, whilst we Brits prefer
to use tags that better explain our role on the road: guitar tech,
sound engineer and so on. The point I’m making is that, although
there are enough column inches written about bands on tour to
sink the Titanic on a monthly basis, very little seems to be known
about the dark arts of the touring crew. Although they are spoken
about in hushed tones and are known by mythic names whose
origins stem from the great and mysterious land of rock and roll
legend – Mugger, Digby, Polaris, Stanna, Shippo, Bamo, Stone,
Nick the Hat (all genuine) to name a few – little is known about
what they do during the day, just what they get up to after the
trucks are packed up at night.
Traditionally, the best crew are half magician, half cynic, able
to solve any technical issue with gaffer tape and a sharp knife
while simultaneously shaking their heads and guffawing at the
(more often than not) bombastic demands of a drunken vocalist
who’s decided he wants to do a soundcheck, er… now. Today,
the role of any member of a successful touring crew is one that
sees them spanning the globe and combines hours of frenetic
activity, in order to the get the gig up and running, with hours of
waiting around doing nothing. That’s when the boredom sets in,
the mischief starts and taking care of the gear becomes taking
care of the “gear”.
To coin a phrase from Springsteen, this job was born in the
USA in the 1960s, when the roadie was essentially part of the
band and was respected by the fans; but that evolved and by the
70s the roadie became the person who got booed by the punters
when they took the band offstage at the end of the show. These
days, being a member of the backstage crew is a bit like being
a social worker with a tool kit. If things go wrong on stage, you
don't mince about and make a big song and dance: egos must
remain firmly in check when the act is on stage, so that they
remain relaxed and able to perform. You fix the problem with the
minimum amount of fuss and return to the shadows. The act may
or may not be aware that there’s a problem, but either way will
give you a certain amount of time and space to get the issue
sorted. The guy who takes the band off the stage at the end of
the show still has to put up with the odd bit of booing: I should
know because more often than not that’ll be me, as I’m usually
either the stage manager or the production manager – as the job
of the person that takes the act off stage is now called. Once the
act leaves the stage, as Rollins stated, we tear it all down, load it
into trucks and move on.
In conclusion then, and for the record, if it wasn’t for the rest of
the crew/technicians – whether they are operating on the stage,
backstage or at front of house – I wouldn’t be able to get booed
at all, because without that crew the act would never have been
able to start the show in the first place. After reading this, you
budding rock stars may still have no idea what these guys do, and
to be honest that might be for the best, but show some respect,
please. Because, although they may tread lightly and talk softly in
your presence, just remember that, when they’re standing behind
the amps in the dark, they all carry knives and the odd hammer…
to fix things with, obviously.
For more information about the services that The Music
Consortium offer, head to themusicconsortium.com.
Spike also writes a regular blog about some of the stories and
experiences he encounters from his position side of stage. Head to
themusicconsortium.tumblr.com to read more of these tales.
DECEMBERCLUB
SILVER APPLES £13
JESSE MALIN £10
M.O.P. £15
ITCHY FEET £7
NINA NESBITT + BILLY LOCKETT, KERRI WATT £14
HYPNOTIC BRASS ENSEMBLEHYPNOTIC BRASS ENSEMBLE £13.50
HERE & NOW w/POISENED ELEC-TRIC HEAD £10
SAINT SAVIOUR & BILL RYDER-JONES £10
CHERRY GHOST £15
NYE - STEALING SHEEP PRESENT MYTHOPOEIA II - GALAXIES & TAPESTRIES £10-15
-----------------------------------
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03
05
06
07
09
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13
22
31
Bido Lito! Dec 2014 / Jan 201526
bidolito.co.uk
DEC/JAN IN BRIEF
THE PAPERHEAD We’re delighted that Nashville whizzkids THE PAPERHEAD have returned to the fray, making this gig at The Ship one that’s not to be missed. Signed to
revered Chicago label Trouble In Mind (Ty Segall, Night Beats, Fuzz), the quartet issued their second LP, Africa Avenue, in November, three years after their
debut record blazed a hole in the neo-psych movement. Adding elements of cosmic country and krautrock to their fresh spin on classic 1960s British
psychedelia, the four-piece have shown that their potential for expansion will be hard to contain.
The Shipping Forecast / 30th January
SOUND CITY 2015 The Unsung Hero will get its chance in the limelight with the subject being used as the unifying theme of LIVERPOOL SOUND CITY’s 2015 conference
programme. And they’ve already lined up three heavyweight guests to deliver this idea: The Fall’s acerbic wit, MARK E. SMITH; Ramones manager and king
of NYC punk, DANNY FIELDS; and Cream creator JAMES BARTON (pictured), who was just named by Billboard Magazine as the most influential person in the
realm of EDM. Sound City are teaming up with Primavera Pro on their eighth music conference, which will take place at the Titanic Hotel, Stanley Dock.
liverpoolsoundcity.co.uk
MICHAEL CHAPMANAn artist who received sizeable praise from John Peel in the late sixties, and was a contemporary of folk legends John Martyn and Roy Harper, MICHAEL
CHAPMAN visits Liverpool this month. A well-known figure amongst the folk cognoscenti, the 2011 reissue of Chapman’s creative and critical highpoint, Fully
Qualified Survivor (1970), on storied reissue label Light In The Attic Records brought his work to a new audience. A 2012 tribute album, meanwhile, featured
contributions from Lucinda Williams, Thurston Moore and Hiss Golden Messenger, who have all cited Chapman’s work as a major influence.
Leaf / 8th December
HEAVENLY WEEKEND Legendary indie label Heavenly Recordings celebrates its twenty-fifth birthday in January with a weekend-long shindig in the picturesque town of
Hebden Bridge. Renowned as one of the leading small independent venues in the country, the Trades Club is set to feature luminaries of the label across
the four days (including Temples, The Wytches, Toy, Jimi Goodwin and the Mark Lanegan Band). The evening of Sunday 25th is reserved for the label’s two
Merseyside acts, as recent signings HOOTON TENNIS CLUB (pictured) appear alongside STEALING SHEEP, who are due to release a new LP in 2015.
Hebden Bridge Trades Club / 22-25th January 2015
SOUND STATION SUCCESSAfter a fantastic all-day live festival at Moorfields Station, which featured ten of Merseyside’s most exciting emerging new artists as well as live
performances on Merseyrail trains, 18-year-old hip hop artist BLUE SAINT (pictured) scooped the title of MERSEYRAIL SOUND STATION PRIZE 2014 winner.
Along with the title, Blue Saint will receive of a year of professional music industry management, recording time and free Merseyrail travel. Having just
released the first EP in a three-part story, the next twelve months will be an exciting time for the artist: watch this space. merseyrailsoundstation.com
MYTHOPOEIA IISTEALING SHEEP are hosting a second outing of their New Year’s Eve spectacular in their spiritual home of The Kazimier, following 2013’s highly successful
debut. Billed as MYTHOPOEIA II: GALAXIES & TAPESTRIES, the sequel includes a set from the hosts, alongside sets from some of their mates: electro noisecore
ensemble BARBEROS; Leeds Afrobeat/no wave crew AZORES; and a collaboration with THE HARLEQUIN DYNAMITE MARCHING BAND. The décor and theme
of the night will make for a unique deviation from the traditional Auld Lang Syne malarkey. And while we’re on the subject of the host band…
The Kazimier / 31st December
WINTER ARTS MARKETThe Winter Arts Market returns for its 6th year as St George’s Hall invites artists and crafters to show what they’re made of. On Saturday 6th and Sunday
7th December, over 200 artists – including Gillian Tidgwell, Martin Jones, and Sue Wood – will descend on the Liverpool landmark selling decorations,
jewellery, art, prints and handmade greetings cards. Under 16s go free, and it’s £2 for everyone else. You can also book ahead to reserve your place on a
craft workshop with The Super Silly Scientists to make your own traditional kinetic toy. winterartsmarket.com
St George’s Hall / 6th and 7th December
Edited by Richard Lewis and Emma Brady
Bido Lito! Dec 2014 / Jan 201526
bidolito.co.ukbidolito.co.ukbidolito
DEC/JAN INDEC/JAN INDEC/JAN I B BN BN RIEF RIEF RIEF BRIEF B BRIEF B
THE PAPERHEAD We’re delighted that Nashville whizzkids THE PAPERHEAD have returned to the fray, making this gig at The Ship one that’s not to be missed. Signed to We’re delighted that Nashville whizzkids THE PAPERHEAD have returned to the fray, making this gig at The Ship one that’s not to be missed. Signed to We’re delighted that Nashville whizzkids THE PAPERHEAD have returned to the fray, making this gig at The Ship one that’s not to be missed. Signed to We’re delighted that Nashville whizzkids THE PAPERHEAD have returned to the fray, making this gig at The Ship one that’s not to be missed. Signed to
revered Chicago label Trouble In Mind (Ty Segall, Night Beats, Fuzz), the quartet issued their second LP, revered Chicago label Trouble In Mind (Ty Segall, Night Beats, Fuzz), the quartet issued their second LP, Africa AvenueAfrica Avenue, in November, three years after their , in November, three years after their , in November, three years after their
debut record blazed a hole in the neo-psych movement. Adding elements of cosmic country and krautrock to their fresh spin on classic 1960s British debut record blazed a hole in the neo-psych movement. Adding elements of cosmic country and krautrock to their fresh spin on classic 1960s British debut record blazed a hole in the neo-psych movement. Adding elements of cosmic country and krautrock to their fresh spin on classic 1960s British debut record blazed a hole in the neo-psych movement. Adding elements of cosmic country and krautrock to their fresh spin on classic 1960s British
psychedelia, the four-piece have shown that their potential for expansion will be hard to contain.psychedelia, the four-piece have shown that their potential for expansion will be hard to contain.
The Shipping Forecast / 30th January
SOUND CITY 2015 DEC/JAN I
SOUND CITY 2015 DEC/JAN I
The Unsung Hero will get its chance in the limelight with the subject being used as the unifying theme of LIVERPOOL SOUND CITY’s 2015 conference The Unsung Hero will get its chance in the limelight with the subject being used as the unifying theme of LIVERPOOL SOUND CITY’s 2015 conference The Unsung Hero will get its chance in the limelight with the subject being used as the unifying theme of LIVERPOOL SOUND CITY’s 2015 conference
programme. And they’ve already lined up three heavyweight guests to deliver this idea: The Fall’s acerbic wit, MARK E. SMITH; Ramones manager and king programme. And they’ve already lined up three heavyweight guests to deliver this idea: The Fall’s acerbic wit, MARK E. SMITH; Ramones manager and king programme. And they’ve already lined up three heavyweight guests to deliver this idea: The Fall’s acerbic wit, MARK E. SMITH; Ramones manager and king
of NYC punk, DANNY FIELDS; and Cream creator JAMES BARTON (pictured), who was just named by Billboard Magazine as the most influential person in the of NYC punk, DANNY FIELDS; and Cream creator JAMES BARTON (pictured), who was just named by Billboard Magazine as the most influential person in the of NYC punk, DANNY FIELDS; and Cream creator JAMES BARTON (pictured), who was just named by Billboard Magazine as the most influential person in the
realm of EDM. Sound City are teaming up with Primavera Pro on their eighth music conference, which will take place at the Titanic Hotel, Stanley Dock. realm of EDM. Sound City are teaming up with Primavera Pro on their eighth music conference, which will take place at the Titanic Hotel, Stanley Dock. realm of EDM. Sound City are teaming up with Primavera Pro on their eighth music conference, which will take place at the Titanic Hotel, Stanley Dock.
liverpoolsoundcity.co.uk
MICHAEL CHAPMANAn artist who received sizeable praise from John Peel in the late sixties, and was a contemporary of folk legends John Martyn and Roy Harper, MICHAEL An artist who received sizeable praise from John Peel in the late sixties, and was a contemporary of folk legends John Martyn and Roy Harper, MICHAEL An artist who received sizeable praise from John Peel in the late sixties, and was a contemporary of folk legends John Martyn and Roy Harper, MICHAEL An artist who received sizeable praise from John Peel in the late sixties, and was a contemporary of folk legends John Martyn and Roy Harper, MICHAEL
CHAPMAN visits Liverpool this month. A well-known figure amongst the folk cognoscenti, the 2011 reissue of Chapman’s creative and critical highpoint, CHAPMAN visits Liverpool this month. A well-known figure amongst the folk cognoscenti, the 2011 reissue of Chapman’s creative and critical highpoint, CHAPMAN visits Liverpool this month. A well-known figure amongst the folk cognoscenti, the 2011 reissue of Chapman’s creative and critical highpoint, CHAPMAN visits Liverpool this month. A well-known figure amongst the folk cognoscenti, the 2011 reissue of Chapman’s creative and critical highpoint, Fully Fully Fully Fully
Qualified SurvivorQualified Survivor (1970), on storied reissue label Light In The Attic Records brought his work to a new audience. A 2012 tribute album, meanwhile, featured (1970), on storied reissue label Light In The Attic Records brought his work to a new audience. A 2012 tribute album, meanwhile, featured (1970), on storied reissue label Light In The Attic Records brought his work to a new audience. A 2012 tribute album, meanwhile, featured (1970), on storied reissue label Light In The Attic Records brought his work to a new audience. A 2012 tribute album, meanwhile, featured
contributions from Lucinda Williams, Thurston Moore and Hiss Golden Messenger, who have all cited Chapman’s work as a major influence.contributions from Lucinda Williams, Thurston Moore and Hiss Golden Messenger, who have all cited Chapman’s work as a major influence.contributions from Lucinda Williams, Thurston Moore and Hiss Golden Messenger, who have all cited Chapman’s work as a major influence.contributions from Lucinda Williams, Thurston Moore and Hiss Golden Messenger, who have all cited Chapman’s work as a major influence.
Leaf / 8th December
HEAVENLY WEEKEND Legendary indie label Heavenly Recordings celebrates its twenty-fifth birthday in January with a weekend-long shindig in the picturesque town of Legendary indie label Heavenly Recordings celebrates its twenty-fifth birthday in January with a weekend-long shindig in the picturesque town of Legendary indie label Heavenly Recordings celebrates its twenty-fifth birthday in January with a weekend-long shindig in the picturesque town of
Hebden Bridge. Renowned as one of the leading small independent venues in the country, the Trades Club is set to feature luminaries of the label across Hebden Bridge. Renowned as one of the leading small independent venues in the country, the Trades Club is set to feature luminaries of the label across Hebden Bridge. Renowned as one of the leading small independent venues in the country, the Trades Club is set to feature luminaries of the label across
the four days (including Temples, The Wytches, Toy, Jimi Goodwin and the Mark Lanegan Band). The evening of Sunday 25th is reserved for the label’s two the four days (including Temples, The Wytches, Toy, Jimi Goodwin and the Mark Lanegan Band). The evening of Sunday 25th is reserved for the label’s two the four days (including Temples, The Wytches, Toy, Jimi Goodwin and the Mark Lanegan Band). The evening of Sunday 25th is reserved for the label’s two
Merseyside acts, as recent signings HOOTON TENNIS CLUB (pictured) appear alongside STEALING SHEEP, who are due to release a new LP in 2015.Merseyside acts, as recent signings HOOTON TENNIS CLUB (pictured) appear alongside STEALING SHEEP, who are due to release a new LP in 2015.Merseyside acts, as recent signings HOOTON TENNIS CLUB (pictured) appear alongside STEALING SHEEP, who are due to release a new LP in 2015.
Hebden Bridge Trades Club / 22-25th January 2015
SOUND STATION SUCCESSAfter a fantastic all-day live festival at Moorfields Station, which featured ten of Merseyside’s most exciting emerging new artists as well as live After a fantastic all-day live festival at Moorfields Station, which featured ten of Merseyside’s most exciting emerging new artists as well as live After a fantastic all-day live festival at Moorfields Station, which featured ten of Merseyside’s most exciting emerging new artists as well as live After a fantastic all-day live festival at Moorfields Station, which featured ten of Merseyside’s most exciting emerging new artists as well as live
performances on Merseyrail trains, 18-year-old hip hop artist BLUE SAINT (pictured) scooped the title of MERSEYRAIL SOUND STATION PRIZE 2014 winner. performances on Merseyrail trains, 18-year-old hip hop artist BLUE SAINT (pictured) scooped the title of MERSEYRAIL SOUND STATION PRIZE 2014 winner. performances on Merseyrail trains, 18-year-old hip hop artist BLUE SAINT (pictured) scooped the title of MERSEYRAIL SOUND STATION PRIZE 2014 winner. performances on Merseyrail trains, 18-year-old hip hop artist BLUE SAINT (pictured) scooped the title of MERSEYRAIL SOUND STATION PRIZE 2014 winner.
Along with the title, Blue Saint will receive of a year of professional music industry management, recording time and free Merseyrail travel. Having just Along with the title, Blue Saint will receive of a year of professional music industry management, recording time and free Merseyrail travel. Having just Along with the title, Blue Saint will receive of a year of professional music industry management, recording time and free Merseyrail travel. Having just Along with the title, Blue Saint will receive of a year of professional music industry management, recording time and free Merseyrail travel. Having just
released the first EP in a three-part story, the next twelve months will be an exciting time for the artist: watch this space.released the first EP in a three-part story, the next twelve months will be an exciting time for the artist: watch this space.released the first EP in a three-part story, the next twelve months will be an exciting time for the artist: watch this space. merseyrailsoundstation.com merseyrailsoundstation.com
MYTHOPOEIA IISTEALING SHEEP are hosting a second outing of their New Year’s Eve spectacular in their spiritual home of The Kazimier, following 2013’s highly successful STEALING SHEEP are hosting a second outing of their New Year’s Eve spectacular in their spiritual home of The Kazimier, following 2013’s highly successful STEALING SHEEP are hosting a second outing of their New Year’s Eve spectacular in their spiritual home of The Kazimier, following 2013’s highly successful
debut. Billed as MYTHOPOEIA II: GALAXIES & TAPESTRIES, the sequel includes a set from the hosts, alongside sets from some of their mates: electro noisecore debut. Billed as MYTHOPOEIA II: GALAXIES & TAPESTRIES, the sequel includes a set from the hosts, alongside sets from some of their mates: electro noisecore debut. Billed as MYTHOPOEIA II: GALAXIES & TAPESTRIES, the sequel includes a set from the hosts, alongside sets from some of their mates: electro noisecore
ensemble BARBEROS; Leeds Afrobeat/no wave crew AZORES; and a collaboration with THE HARLEQUIN DYNAMITE MARCHING BAND. The décor and theme ensemble BARBEROS; Leeds Afrobeat/no wave crew AZORES; and a collaboration with THE HARLEQUIN DYNAMITE MARCHING BAND. The décor and theme ensemble BARBEROS; Leeds Afrobeat/no wave crew AZORES; and a collaboration with THE HARLEQUIN DYNAMITE MARCHING BAND. The décor and theme
of the night will make for a unique deviation from the traditional Auld Lang Syne malarkey. And while we’re on the subject of the host band…of the night will make for a unique deviation from the traditional Auld Lang Syne malarkey. And while we’re on the subject of the host band…of the night will make for a unique deviation from the traditional Auld Lang Syne malarkey. And while we’re on the subject of the host band…
The Kazimier / 31st December
WINTER ARTS MARKETThe Winter Arts Market returns for its 6th year as St George’s Hall invites artists and crafters to show what they’re made of. On Saturday 6th and Sunday The Winter Arts Market returns for its 6th year as St George’s Hall invites artists and crafters to show what they’re made of. On Saturday 6th and Sunday The Winter Arts Market returns for its 6th year as St George’s Hall invites artists and crafters to show what they’re made of. On Saturday 6th and Sunday The Winter Arts Market returns for its 6th year as St George’s Hall invites artists and crafters to show what they’re made of. On Saturday 6th and Sunday
7th December, over 200 artists – including Gillian Tidgwell, Martin Jones, and Sue Wood – will descend on the Liverpool landmark selling decorations, 7th December, over 200 artists – including Gillian Tidgwell, Martin Jones, and Sue Wood – will descend on the Liverpool landmark selling decorations, 7th December, over 200 artists – including Gillian Tidgwell, Martin Jones, and Sue Wood – will descend on the Liverpool landmark selling decorations, 7th December, over 200 artists – including Gillian Tidgwell, Martin Jones, and Sue Wood – will descend on the Liverpool landmark selling decorations,
jewellery, art, prints and handmade greetings cards. Under 16s go free, and it’s £2 for everyone else. You can also book ahead to reserve your place on a jewellery, art, prints and handmade greetings cards. Under 16s go free, and it’s £2 for everyone else. You can also book ahead to reserve your place on a jewellery, art, prints and handmade greetings cards. Under 16s go free, and it’s £2 for everyone else. You can also book ahead to reserve your place on a jewellery, art, prints and handmade greetings cards. Under 16s go free, and it’s £2 for everyone else. You can also book ahead to reserve your place on a
craft workshop with The Super Silly Scientists to make your own traditional kinetic toy. craft workshop with The Super Silly Scientists to make your own traditional kinetic toy. winterartsmarket.comwinterartsmarket.com
St George’s Hall / 6th and 7th December
Edited by Richard Lewis and Emma BradyEdited by Richard Lewis and Emma Brady
Bido Lito! Dec 2014 / Jan 2015 27
bidolito.co.uk
THE INVISIBLE WIND FACTORYDeep in the docklands of the city sits a factory that once chugged to the grind of wind turbine production. Long since deserted, the building has now been
appropriated by innovators The Vision Commission, and they’re throwing open the doors for a spectacular launch party that is based around the building’s
former industrial processes. The centrepiece of the event will be a suitably immersive audio-visual treat from avant-techno duo DOGSHOW, accompanied
by DJ Jacques Upitup’s piece entitled Organ Works – Variations For Electone HS6. Bring your hard hats and steel toecaps for a freakout.
25 Carlton Street / 13th December
BIDO AND SOUND CHRISTMAS QUIZThis year sees a new festive date for your diary: the inaugural Bido Lito! and Sound Food & Drink Christmas Music Quiz is set to rival all other
Quiz of the Years (or is that Quizzes of the Year?). Starting at 7.30pm, there’s a £100 cash prize and a shiny new trophy up for grabs; and if you
win or lose, stick around for live music from seasonal string band THE EGGNOGS, plus DJ sets from ourselves and Liquidation til 1am. Down the
Baileys and don’t worry about Wednesday morning, it’s Christmaaaaasss!
Sound Food & Drink / 16th December
HYPNOTIC BRASS ENSEMBLEThe Kazimier’s evergreen Funk and Soul Klub scores a triumph once again as they bring the highly venerated HYPNOTIC BRASS ENSEMBLE to town.
Comprising the youngest eight sons of trumpet legend Phil Cohran (known for his work with the Sun Ra Arkestra), the Chicagoan horn octet incorporate
hip hop, jazz, funk and rock influences in to their pieces. The group have amassed a dazzling list of collaborations over the past decade and more,
including Wu Tang Clan, Prince and Femi Kuti, as well as appearing on Gorillaz’ Plastic Beach LP.
The Kazimier / 9th December
GIT AWARD 2015The GIT Award is back, already gearing up to present its fourth annual award for local artists at a lavish ceremony at The Kazimier on 4th April 2015. And
the work in shortlisting potential successors to last year’s winner Forest Swords has already begun. Our very own Christopher Torpey has joined the local
judging panel this year, with Clash Magazine’s Robin Murray, Simon Raymonde from Bella Union, and 4AD label boss Rich Walker among those joining
the national judging panel. If you’d like to enter, send four tracks to [email protected] by 31st January. Head to bidolito.co.uk now to read
Christopher Torpey's thoughts on what the GIT Award holds in store this year.
BIDO LITO! @ LIVERPOOL ACOUSTIC FESTIVAL Liverpool Acoustic Festival returns in March 2015 to showcase acclaimed national and international acoustic artists plus a host of acoustic-related activities. And
we’re delighted to say that we’re having a presence at the event this year, by hosting the showcase performance from Irish duo THE LOST BROTHERS (pictured) with
an accompanying DJ set from NICK POWER, who collaborated with the former Liverpool-based pair on their new Parr Street Studios-recorded album New Songs Of
Dawn And Dust. Academy Award winner and star of Once, MARKETA IRGLOVA, will also feature, alongside local artists, public workshops and a record fair.
Unity Theatre / 20th and 21st March 2015
NEON WALTZThough NEON WALTZ hail from the far-flung Scottish Highlands, some irresistible pull to these here parts has drawn them back for a return date at The
Shipping Forecast on their latest tour. Last time out they teamed up with Bill Ryder-Jones for a Mick Head cover, and their alignment with Scouse rock
royalty dovetails nicely with their own moody and nagging fireside indie warmth. After a burgeoning start to their career, it’ll be interesting to see how far
the Caithness troupe have come in these few short months.
The Shipping Forecast / 12th December
SILVER APPLESBlossoming in the late-60s, US electro duo SILVER APPLES were successful in laying down a truly innovative blueprint to which a raft of psychedelic
contemporaries and successors have paid homage – Kraftwerk, Cluster, Portishead and fellow New Yorkers Suicide among them. Now piloted solely by 76-
year-old keyboard/proto-synthesizer whiz Simeon following the death of drummer Danny Taylor in 2005, Silver Apples continue to tour the world and win
over successive generations of music fans at every turn. They return to Liverpool after recently headlining Le Guess Who? festival in Utrecht.
The Kazimier / 2nd December
THRESHOLD VHomegrown festival THRESHOLD returns on the weekend of 27th-29th March 2015, showcasing the best of Merseyside’s creative community with a
programme including music, visual arts, performance, film, media and industry sessions. With four years of success under its belt it’s no surprise that
early bird tickets are now nearly sold out. Easily one of the most accessible festivals for local talent, applications to play are now being accepted via a
partnership with online music platform ReverbNation. Make sure your band gets in there quick though, as the application process closes in December.
thresholdfestival.co.uk
bidolito.co.uk
Bido Lito! Dec 2014 / Jan 2015 27
THE INVISIBLE WIND FACTORYTHE INVISIBLE WIND FACTORYTHE INVISIBLE WIND FACTORYDeep in the docklands of the city sits a factory that once chugged to the grind of wind turbine production. Long since deserted, the building has now been Deep in the docklands of the city sits a factory that once chugged to the grind of wind turbine production. Long since deserted, the building has now been Deep in the docklands of the city sits a factory that once chugged to the grind of wind turbine production. Long since deserted, the building has now been
appropriated by innovators The Vision Commission, and they’re throwing open the doors for a spectacular launch party that is based around the building’s appropriated by innovators The Vision Commission, and they’re throwing open the doors for a spectacular launch party that is based around the building’s appropriated by innovators The Vision Commission, and they’re throwing open the doors for a spectacular launch party that is based around the building’s
former industrial processes. The centrepiece of the event will be a suitably immersive audio-visual treat from avant-techno duo DOGSHOW, accompanied former industrial processes. The centrepiece of the event will be a suitably immersive audio-visual treat from avant-techno duo DOGSHOW, accompanied former industrial processes. The centrepiece of the event will be a suitably immersive audio-visual treat from avant-techno duo DOGSHOW, accompanied
by DJ Jacques Upitup’s piece entitled by DJ Jacques Upitup’s piece entitled by DJ Jacques Upitup’s piece entitled Organ Works – Variations For Electone HS6Organ Works – Variations For Electone HS6. Bring your hard hats and steel toecaps for a freakout.
25 Carlton Street / 13th December25 Carlton Street / 13th December25 Carlton Street / 13th December
BIDO AND SOUND CHRISTMAS QUIZBIDO AND SOUND CHRISTMAS QUIZBIDO AND SOUND CHRISTMAS QUIZBIDO AND SOUND CHRISTMAS QUIZThis year sees a new festive date for your diary: the inaugural This year sees a new festive date for your diary: the inaugural This year sees a new festive date for your diary: the inaugural This year sees a new festive date for your diary: the inaugural Bido Lito! and Sound Food & Drink Christmas Music Quiz is set to rival all other
Quiz of the Years (or is that Quizzes of the Year?). Starting at 7.30pm, there’s a £100 cash prize and a shiny new trophy up for grabs; and if you Quiz of the Years (or is that Quizzes of the Year?). Starting at 7.30pm, there’s a £100 cash prize and a shiny new trophy up for grabs; and if you Quiz of the Years (or is that Quizzes of the Year?). Starting at 7.30pm, there’s a £100 cash prize and a shiny new trophy up for grabs; and if you Quiz of the Years (or is that Quizzes of the Year?). Starting at 7.30pm, there’s a £100 cash prize and a shiny new trophy up for grabs; and if you
win or lose, stick around for live music from seasonal string band THE EGGNOGS, plus DJ sets from ourselves and Liquidation til 1am. Down the win or lose, stick around for live music from seasonal string band THE EGGNOGS, plus DJ sets from ourselves and Liquidation til 1am. Down the win or lose, stick around for live music from seasonal string band THE EGGNOGS, plus DJ sets from ourselves and Liquidation til 1am. Down the win or lose, stick around for live music from seasonal string band THE EGGNOGS, plus DJ sets from ourselves and Liquidation til 1am. Down the
Baileys and don’t worry about Wednesday morning, it’s Christmaaaaasss!Baileys and don’t worry about Wednesday morning, it’s Christmaaaaasss!Baileys and don’t worry about Wednesday morning, it’s Christmaaaaasss!Baileys and don’t worry about Wednesday morning, it’s Christmaaaaasss!
Sound Food & Drink / 16th DecemberSound Food & Drink / 16th DecemberSound Food & Drink / 16th December
HYPNOTIC BRASS ENSEMBLEHYPNOTIC BRASS ENSEMBLEHYPNOTIC BRASS ENSEMBLEThe Kazimier’s evergreen Funk and Soul Klub scores a triumph once again as they bring the highly venerated HYPNOTIC BRASS ENSEMBLE to town. The Kazimier’s evergreen Funk and Soul Klub scores a triumph once again as they bring the highly venerated HYPNOTIC BRASS ENSEMBLE to town. The Kazimier’s evergreen Funk and Soul Klub scores a triumph once again as they bring the highly venerated HYPNOTIC BRASS ENSEMBLE to town.
Comprising the youngest eight sons of trumpet legend Phil Cohran (known for his work with the Sun Ra Arkestra), the Chicagoan horn octet incorporate Comprising the youngest eight sons of trumpet legend Phil Cohran (known for his work with the Sun Ra Arkestra), the Chicagoan horn octet incorporate Comprising the youngest eight sons of trumpet legend Phil Cohran (known for his work with the Sun Ra Arkestra), the Chicagoan horn octet incorporate
hip hop, jazz, funk and rock influences in to their pieces. The group have amassed a dazzling list of collaborations over the past decade and more, hip hop, jazz, funk and rock influences in to their pieces. The group have amassed a dazzling list of collaborations over the past decade and more, hip hop, jazz, funk and rock influences in to their pieces. The group have amassed a dazzling list of collaborations over the past decade and more,
including Wu Tang Clan, Prince and Femi Kuti, as well as appearing on Gorillaz’ Plastic Beach LP.including Wu Tang Clan, Prince and Femi Kuti, as well as appearing on Gorillaz’ Plastic Beach LP.including Wu Tang Clan, Prince and Femi Kuti, as well as appearing on Gorillaz’ Plastic Beach LP.
The Kazimier / 9th DecemberThe Kazimier / 9th December
GIT AWARD 2015GIT AWARD 2015GIT AWARD 2015The GIT Award is back, already gearing up to present its fourth annual award for local artists at a lavish ceremony at The Kazimier on 4th April 2015. And The GIT Award is back, already gearing up to present its fourth annual award for local artists at a lavish ceremony at The Kazimier on 4th April 2015. And The GIT Award is back, already gearing up to present its fourth annual award for local artists at a lavish ceremony at The Kazimier on 4th April 2015. And
the work in shortlisting potential successors to last year’s winner Forest Swords has already begun. Our very own Christopher Torpey has joined the local the work in shortlisting potential successors to last year’s winner Forest Swords has already begun. Our very own Christopher Torpey has joined the local the work in shortlisting potential successors to last year’s winner Forest Swords has already begun. Our very own Christopher Torpey has joined the local
judging panel this year, with Clash Magazine’s Robin Murray, Simon Raymonde from Bella Union, and 4AD label boss Rich Walker among those joining judging panel this year, with Clash Magazine’s Robin Murray, Simon Raymonde from Bella Union, and 4AD label boss Rich Walker among those joining judging panel this year, with Clash Magazine’s Robin Murray, Simon Raymonde from Bella Union, and 4AD label boss Rich Walker among those joining
the national judging panel. If you’d like to enter, send four tracks to the national judging panel. If you’d like to enter, send four tracks to the national judging panel. If you’d like to enter, send four tracks to [email protected] by 31st January. Head to [email protected] by 31st January. Head to [email protected] bidolito.co.uk now to read bidolito.co.uk now to read bidolito.co.uk
Christopher Torpey's thoughts on what the GIT Award holds in store this year.Christopher Torpey's thoughts on what the GIT Award holds in store this year.Christopher Torpey's thoughts on what the GIT Award holds in store this year.
BIDO LITO! @ LIVERPOOL ACOUSTIC FESTIVAL BIDO LITO! @ LIVERPOOL ACOUSTIC FESTIVAL BIDO LITO! @ LIVERPOOL ACOUSTIC FESTIVAL Liverpool Acoustic Festival returns in March 2015 to showcase acclaimed national and international acoustic artists plus a host of acoustic-related activities. And Liverpool Acoustic Festival returns in March 2015 to showcase acclaimed national and international acoustic artists plus a host of acoustic-related activities. And Liverpool Acoustic Festival returns in March 2015 to showcase acclaimed national and international acoustic artists plus a host of acoustic-related activities. And
we’re delighted to say that we’re having a presence at the event this year, by hosting the showcase performance from Irish duo THE LOST BROTHERS (pictured) with we’re delighted to say that we’re having a presence at the event this year, by hosting the showcase performance from Irish duo THE LOST BROTHERS (pictured) with we’re delighted to say that we’re having a presence at the event this year, by hosting the showcase performance from Irish duo THE LOST BROTHERS (pictured) with
an accompanying DJ set from NICK POWER, who collaborated with the former Liverpool-based pair on their new Parr Street Studios-recorded album an accompanying DJ set from NICK POWER, who collaborated with the former Liverpool-based pair on their new Parr Street Studios-recorded album an accompanying DJ set from NICK POWER, who collaborated with the former Liverpool-based pair on their new Parr Street Studios-recorded album New Songs Of New Songs Of
Dawn And DustDawn And Dust. Academy Award winner and star of . Academy Award winner and star of . Academy Award winner and star of Once, MARKETA IRGLOVA, will also feature, alongside local artists, public workshops and a record fair.
Unity Theatre / 20th and 21st March 2015Unity Theatre / 20th and 21st March 2015Unity Theatre / 20th and 21st March 2015
NEON WALTZNEON WALTZThough NEON WALTZ hail from the far-flung Scottish Highlands, some irresistible pull to these here parts has drawn them back for a return date at The Though NEON WALTZ hail from the far-flung Scottish Highlands, some irresistible pull to these here parts has drawn them back for a return date at The Though NEON WALTZ hail from the far-flung Scottish Highlands, some irresistible pull to these here parts has drawn them back for a return date at The
Shipping Forecast on their latest tour. Last time out they teamed up with Bill Ryder-Jones for a Mick Head cover, and their alignment with Scouse rock Shipping Forecast on their latest tour. Last time out they teamed up with Bill Ryder-Jones for a Mick Head cover, and their alignment with Scouse rock Shipping Forecast on their latest tour. Last time out they teamed up with Bill Ryder-Jones for a Mick Head cover, and their alignment with Scouse rock
royalty dovetails nicely with their own moody and nagging fireside indie warmth. After a burgeoning start to their career, it’ll be interesting to see how far royalty dovetails nicely with their own moody and nagging fireside indie warmth. After a burgeoning start to their career, it’ll be interesting to see how far royalty dovetails nicely with their own moody and nagging fireside indie warmth. After a burgeoning start to their career, it’ll be interesting to see how far
the Caithness troupe have come in these few short months.the Caithness troupe have come in these few short months.the Caithness troupe have come in these few short months.
The Shipping Forecast / 12th DecemberThe Shipping Forecast / 12th DecemberThe Shipping Forecast / 12th December
SILVER APPLESSILVER APPLESSILVER APPLESBlossoming in the late-60s, US electro duo SILVER APPLES were successful in laying down a truly innovative blueprint to which a raft of psychedelic Blossoming in the late-60s, US electro duo SILVER APPLES were successful in laying down a truly innovative blueprint to which a raft of psychedelic Blossoming in the late-60s, US electro duo SILVER APPLES were successful in laying down a truly innovative blueprint to which a raft of psychedelic Blossoming in the late-60s, US electro duo SILVER APPLES were successful in laying down a truly innovative blueprint to which a raft of psychedelic
contemporaries and successors have paid homage – Kraftwerk, Cluster, Portishead and fellow New Yorkers Suicide among them. Now piloted solely by 76-contemporaries and successors have paid homage – Kraftwerk, Cluster, Portishead and fellow New Yorkers Suicide among them. Now piloted solely by 76-contemporaries and successors have paid homage – Kraftwerk, Cluster, Portishead and fellow New Yorkers Suicide among them. Now piloted solely by 76-contemporaries and successors have paid homage – Kraftwerk, Cluster, Portishead and fellow New Yorkers Suicide among them. Now piloted solely by 76-
year-old keyboard/proto-synthesizer whiz Simeon following the death of drummer Danny Taylor in 2005, Silver Apples continue to tour the world and win year-old keyboard/proto-synthesizer whiz Simeon following the death of drummer Danny Taylor in 2005, Silver Apples continue to tour the world and win year-old keyboard/proto-synthesizer whiz Simeon following the death of drummer Danny Taylor in 2005, Silver Apples continue to tour the world and win year-old keyboard/proto-synthesizer whiz Simeon following the death of drummer Danny Taylor in 2005, Silver Apples continue to tour the world and win
over successive generations of music fans at every turn. They return to Liverpool after recently headlining Le Guess Who? festival in Utrecht.over successive generations of music fans at every turn. They return to Liverpool after recently headlining Le Guess Who? festival in Utrecht.over successive generations of music fans at every turn. They return to Liverpool after recently headlining Le Guess Who? festival in Utrecht.over successive generations of music fans at every turn. They return to Liverpool after recently headlining Le Guess Who? festival in Utrecht.
The Kazimier / 2nd DecemberThe Kazimier / 2nd December
THRESHOLD VTHRESHOLD VTHRESHOLD VHomegrown festival THRESHOLD returns on the weekend of 27th-29th March 2015, showcasing the best of Merseyside’s creative community with a Homegrown festival THRESHOLD returns on the weekend of 27th-29th March 2015, showcasing the best of Merseyside’s creative community with a Homegrown festival THRESHOLD returns on the weekend of 27th-29th March 2015, showcasing the best of Merseyside’s creative community with a
programme including music, visual arts, performance, film, media and industry sessions. With four years of success under its belt it’s no surprise that programme including music, visual arts, performance, film, media and industry sessions. With four years of success under its belt it’s no surprise that programme including music, visual arts, performance, film, media and industry sessions. With four years of success under its belt it’s no surprise that
early bird tickets are now nearly sold out. Easily one of the most accessible festivals for local talent, applications to play are now being accepted via a early bird tickets are now nearly sold out. Easily one of the most accessible festivals for local talent, applications to play are now being accepted via a early bird tickets are now nearly sold out. Easily one of the most accessible festivals for local talent, applications to play are now being accepted via a
partnership with online music platform ReverbNation. Make sure your band gets in there quick though, as the application process closes in December. partnership with online music platform ReverbNation. Make sure your band gets in there quick though, as the application process closes in December. partnership with online music platform ReverbNation. Make sure your band gets in there quick though, as the application process closes in December.
thresholdfestival.co.ukthresholdfestival.co.ukthresholdfestival.co.uk
bidolito.co.ukbidolito.co.ukbidolito
Bido Lito! Dec 2014 / Jan 201528
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Reviews
WOMAN’S HOUREVOL @ Arts Club
Since the release of their debut LP
Conversations in July, which seemed to
seem to send the blogosphere into a frenzy,
WOMAN’S HOUR have gone from strength to
strength. With a string of stylish, self-directed
videos they have carved for themselves a
distinct aesthetic, and one that relates not
only to their image but to their sound as well:
word-of-mouth suggests that their live shows
are similarly honed.
The band emerge from the dark recesses
and open with Unbroken Sequence, a slowly
unfolding bed of pulsating synths and minimal
percussion, with Fiona Burgess's characteristically
soft, dream-like vocals floating just above
everything else. Their songs may be effervescent,
swooning numbers but they are also hooky
as hell, with each track providing memorable
shifts and turns. In this way, the art school pop
sensibilities being exhibited on stage never
really become pretentious or contrived, and it is
clear throughout how much the members of the
band enjoy playing these songs.
The best example of this is standout track
of the evening Her Ghost. Interesting and
well crafted, it is the kind of song that could
be played to ten people in a loft, like tonight,
but that could also conceivably do well in the
charts. Essentially, this is what Woman’s Hour
have managed to achieve with their sound, the
melding of avant-garde vision with relatively
simple, pop-orientated structures. It certainly
works for them, but after six or seven songs
it has to be said that it becomes quite hard to
maintain concentration and enthusiasm. The
lack of atmosphere inside the venue almost
definitely has a lot to do with this, but even so
it does begin to detract from the performance,
and it is clear that those on stage are slightly
disappointed with the turnout.
The show must go on, however, and
single Conversations does much to buoy the
spirits. Will Burgess's guitar-work intertwines
symbiotically with his sister’s vocal lines,
creating a perfect accompaniment that also
brings depth to the instrumentation. The
rhythm section is steady and understated,
never pushing the songs in certain directions
but waiting instead to be pulled along.
Though there was a slight lull in the middle,
overall it has been an enjoyable display and
The Day That Needs Defending makes for a
neat conclusion. Those in attendance appear
satisfied, and perhaps even a little bewildered
that they have been present to witness such
an intimate performance from a much-hyped
band. Personally, I wouldn't be surprised if in
the not-too-distant future they return to play
the much grander setting downstairs here at
the Arts Club. I guess it remains to be seen.
Alastair Dunn
REAL ESTATEAlvvays
Harvest Sun @ The Kazimier
Canadians ALVVAYS open up tonight’s show
and immediately impress the quickly swelling
Tuesday night crowd. The five-piece delight in
looking and sounding like the best teenage
rom com never made. All the stereotypes are
there but combining wonderfully to make
something that thoroughly transcends any
prejudicial first impressions. Subtle synth
sounds underlie irresistible pop guitar hooks
to sweetly highlight pintsized singer Holly
Rankin’s soaring vocals. Next Of Kin is a set
highlight and these rising stars do everything
they need to to enamour themselves to this
refreshingly engaged gathering of musos.
Some bands sound exactly like where
they’re from, their music intrinsically linked
with their surrounds, both reflecting it and
explaining it: Joy Division wrought urban
decay in their doomed din, while Creedence
Clearwater Revival delivered a slice of
southern States small-town life via their
countrified rock, but other bands use music
as an escape. REAL ESTATE come from the
tough blue-collar state, New Jersey (albeit a
rather quaint suburb), from which its famous
tough-guy forebears Frank Sinatra, Jon Bon
Jovi and Bruce Springsteen drew strength in
the face of life’s claustrophobia. Real Estate
are very much from the other side of music’s
geographical coin.
It’s impossible not to listen to the four-
piece’s breezy tunes and not imagine driving
down a West Coast palm tree-lined boulevard
with the sun shimmering on the bonnet as
lead guitarist Matt Mondaline’s flourishes
wash over a packed-out Kazimier tonight.
There’s sheer joy in this music rather than
Woman's Hour (Keith Ainsworth / arkimages.co.uk)
Bido Lito! Dec 2014 / Jan 201528
bidolito.co.ukbidolito.co.ukbidolito
Reviews
WOMAN’S HOUREVOL @ Arts Club
Since the release of their debut LP
Conversations in July, which seemed to
seem to send the blogosphere into a frenzy,
WOMAN’S HOUR have gone from strength to
strength. With a string of stylish, self-directed
videos they have carved for themselves a
distinct aesthetic, and one that relates not
only to their image but to their sound as well:
word-of-mouth suggests that their live shows
are similarly honed.
The band emerge from the dark recesses
and open with Unbroken SequenceUnbroken Sequence, a slowly
unfolding bed of pulsating synths and minimal
percussion, with Fiona Burgess's characteristically
soft, dream-like vocals floating just above
everything else. Their songs may be effervescent,
swooning numbers but they are also hooky
as hell, with each track providing memorable
shifts and turns. In this way, the art school pop
sensibilities being exhibited on stage never
really become pretentious or contrived, and it is
clear throughout how much the members of the
band enjoy playing these songs.
The best example of this is standout track
of the evening Her Ghost. Interesting and
well crafted, it is the kind of song that could
be played to ten people in a loft, like tonight,
but that could also conceivably do well in the
charts. Essentially, this is what Woman’s Hour
have managed to achieve with their sound, the
melding of avant-garde vision with relatively
simple, pop-orientated structures. It certainly
works for them, but after six or seven songs
it has to be said that it becomes quite hard to
maintain concentration and enthusiasm. The
lack of atmosphere inside the venue almost
definitely has a lot to do with this, but even so
it does begin to detract from the performance,
and it is clear that those on stage are slightly
disappointed with the turnout.
The show must go on, however, and
single Conversations does much to buoy the
spirits. Will Burgess's guitar-work intertwines
symbiotically with his sister’s vocal lines,
creating a perfect accompaniment that also
brings depth to the instrumentation. The
rhythm section is steady and understated,
never pushing the songs in certain directions
but waiting instead to be pulled along.
Though there was a slight lull in the middle,
overall it has been an enjoyable display and
The Day That Needs DefendingThe Day That Needs Defending makes for a
neat conclusion. Those in attendance appear
satisfied, and perhaps even a little bewildered
that they have been present to witness such
an intimate performance from a much-hyped
band. Personally, I wouldn't be surprised if in
the not-too-distant future they return to play
the much grander setting downstairs here at
the Arts Club. I guess it remains to be seen.
Alastair Dunn
REAL ESTATEAlvvays
Harvest Sun @ The Kazimier
Canadians ALVVAYS open up tonight’s show
and immediately impress the quickly swelling
Tuesday night crowd. The five-piece delight in
looking and sounding like the best teenage
rom com never made. All the stereotypes are
there but combining wonderfully to make
something that thoroughly transcends any
prejudicial first impressions. Subtle synth
sounds underlie irresistible pop guitar hooks
to sweetly highlight pintsized singer Holly
Rankin’s soaring vocals. Next Of Kin is a set
highlight and these rising stars do everything
they need to to enamour themselves to this
refreshingly engaged gathering of musos.
Some bands sound exactly like where
they’re from, their music intrinsically linked
with their surrounds, both reflecting it and
explaining it: Joy Division wrought urban
decay in their doomed din, while Creedence
Clearwater Revival delivered a slice of
southern States small-town life via their
countrified rock, but other bands use music
as an escape. REAL ESTATE come from the
tough blue-collar state, New Jersey (albeit a
rather quaint suburb), from which its famous
tough-guy forebears Frank Sinatra, Jon Bon
Jovi and Bruce Springsteen drew strength in
the face of life’s claustrophobia. Real Estate
are very much from the other side of music’s
geographical coin.
It’s impossible not to listen to the four-
piece’s breezy tunes and not imagine driving
down a West Coast palm tree-lined boulevard
with the sun shimmering on the bonnet as
lead guitarist Matt Mondaline’s flourishes
wash over a packed-out Kazimier tonight.
There’s sheer joy in this music rather than
Woman's Hour (Keith Ainsworth / arkimages.co.uk)
Bido Lito! Dec 2014 / Jan 2015 29
bidolito.co.uk
Reviews
resistance to the daily grind. And it’s lapped
up by the Liverpool crowd.
The majority of tonight’s set comes from
the band’s last two albums: Days and this
year’s flawless Atlas. The interplay between
Mondaline and frontman Martin Courtney’s
guitars is mesmeric, while bassist Alex
Bleeker (who at least looks like a New Jersey
roughnik) is charming whilst adding the
occasional hooky bassline. Real Estate as a
package are charm personified; Bleeker’s quip
about Clinic being the sum total of Liverpool’s
musical heritage is received in the spirit it
was delivered, whilst Courtney’s dialogue is
limited but sincere.
The crowd’s demands for their solid set
to be followed by an encore are met as the
band return to the stage to play Out Of Tune
and It’s Real before parting with the crowd as
they are transported from California to a damp
Wolstenholme Square.
Sam Turner / @samturner1984
ROLLER TRIODead Hedge Trio – Leather Cow
The Kazimier
Tonight, presented by Kazimier’s Jazz Club,
there come three bands that each give a
different definition of what jazz actually is. It’s
a vague and loose term, jazz, rescued from
vapid “feel-good” commerciality in the World
War Two era by the likes of Charlie Parker
and his ilk. Be-bop clawed back jazz’s artistic
credibility. Now, in a dimly lit Liverpool venue,
it’s clear to see that not only is that credibility
still intact but the music itself is still evolving
beyond any boundaries created by past jazz
idols.
LEATHER COW arrive on stage first and burst
into an onslaught of the most emancipated
free jazz you’re likely to hear. Ornette Coleman
is an obvious reference aside from the fact that
Leather Cow’s bassist, Rob Wilkinson, hits a lot
harder than Ornette ever did. Wilkinson plays
like an out-of-place Death From Above 1979 fan
which, surprisingly, nicely complements the
wayward direction that the band take. Leather
Cow are an impressive but challenging start
to the night and that’s a challenge that this
audience is more than willing to accept.
Next we have DEAD HEDGE TRIO, who are
slightly more refined than their predecessors
yet even more expressive. The guitarist, Rory
Ballantyne, adds 20,000 leagues’ worth
of depth to their expansive sound, playing
abrasive, coarse chords and melodies that
are reminiscent of John Frusciante’s work
on Ataxia’s first LP. Nick Branton, the trio’s
saxophonist, lunges charismatically into his
instrument, warring enigmatically with the
thing as if it were in the midst of a musical
brawl. The musicianship shown by the whole
band, held together by drummer Michael
Roller Trio (Nata Moraru / natamoraru.tumblr.com)
Bido Lito! Dec 2014 / Jan 2015 29
bidolito.co.ukbidolito.co.ukbidolito
Reviews
resistance to the daily grind. And it’s lapped
up by the Liverpool crowd.
The majority of tonight’s set comes from
the band’s last two albums: DaysDays and this
year’s flawless Atlas. The interplay between
Mondaline and frontman Martin Courtney’s
guitars is mesmeric, while bassist Alex
Bleeker (who at least looks like a New Jersey
roughnik) is charming whilst adding the
occasional hooky bassline. Real Estate as a
package are charm personified; Bleeker’s quip
about Clinic being the sum total of Liverpool’s
musical heritage is received in the spirit it
was delivered, whilst Courtney’s dialogue is
limited but sincere.
The crowd’s demands for their solid set
to be followed by an encore are met as the
band return to the stage to play Out Of Tune
and It’s Real before parting with the crowd as
they are transported from California to a damp
Wolstenholme Square.
Sam Turner / @samturner1984
ROLLER TRIODead Hedge Trio – Leather Cow
The Kazimier
Tonight, presented by Kazimier’s Jazz Club,
there come three bands that each give a
different definition of what jazz actually is. It’s
a vague and loose term, jazz, rescued from
vapid “feel-good” commerciality in the World
War Two era by the likes of Charlie Parker
and his ilk. Be-bop clawed back jazz’s artistic
credibility. Now, in a dimly lit Liverpool venue,
it’s clear to see that not only is that credibility
still intact but the music itself is still evolving
beyond any boundaries created by past jazz
idols.
LEATHER COW arrive on stage first and burst
into an onslaught of the most emancipated
free jazz you’re likely to hear. Ornette Coleman
is an obvious reference aside from the fact that
Leather Cow’s bassist, Rob Wilkinson, hits a lot
harder than Ornette ever did. Wilkinson plays
like an out-of-place Death From Above 1979 fan
which, surprisingly, nicely complements the
wayward direction that the band take. Leather
Cow are an impressive but challenging start
to the night and that’s a challenge that this
audience is more than willing to accept.
Next we have DEAD HEDGE TRIO, who are
slightly more refined than their predecessors
yet even more expressive. The guitarist, Rory
Ballantyne, adds 20,000 leagues’ worth
of depth to their expansive sound, playing
abrasive, coarse chords and melodies that
are reminiscent of John Frusciante’s work
on Ataxia’s first LP. Nick Branton, the trio’s
saxophonist, lunges charismatically into his
instrument, warring enigmatically with the
thing as if it were in the midst of a musical
brawl. The musicianship shown by the whole
band, held together by drummer Michael
Roller Trio (Nata Moraru / natamoraru.tumblr.com)
Bido Lito! Dec 2014 / Jan 201530
bidolito.co.uk
Reviews
Metcalfe, is almost primal. They journey
through tracks Monster Munch and the stirring
Antibiotic with passionate fervour. Elements
of early Portico Quartet emerge throughout.
The boys from Dead Hedge leave the crowd
stunned.
It’s been a busy few years for ROLLER TRIO,
whose debut album was nominated for a
Mercury Music award. In no time at all they
have become one of the most important and
innovative new breakthrough acts in the British
music scene, challenging people’s perceptions
of what modern jazz should sound like.
This evening’s show is part of a short tour
in support of their imminent second album
Fracture, the release of which is being funded
through an online crowdfunding campaign.
The band play an engaging set which includes
the new single High Tea as well as older
pieces Deep Heat, Roller Toaster and Howdy
Saudi. The performance is immersive: complex
melodic structures and rhythmic syncopations
are fed through the instruments with almost
mathematical precision. Guitarist Luke Wynter
sticks like glue to the rhythms employed;
even the erratic wanderings of drummer Luke
Redding-Williams and saxophonist James
Mainwaring, whose vibrant playing entrances
everyone in the room, cannot throw off the
skeletal underpinning of Wynter’s nebulous
guitar work.
Roller Trio offer a mix of electronic infusion,
hip hop-style breakbeats, the occasional
foray into rock territory and, mostly, some
lush, opulent and almost geometric jazz. It’s
a wonderful and innovative cacophony. You
aren’t likely to catch a show quite like this
one anytime soon, so, it’d be wise simply to
patiently await Roller Trio’s next return to
Liverpool.
Christopher Carr
SPRING KINGMoats
EVOL @ The Shipping Forecast
SPRING KING stem from intriguing roots.
Rather than the usual origins story featuring a
few friends jamming together, the garage punk
act was born in frontman Tarek Musa’s bedroom
from a handful of demos. The fact he’s now
the drummer means you’re constantly thrown
off guard via your rigid expectations of where
the vocalist should reside, as your eyes dart
back and forth from centre stage. However, it
would be foolish to suggest that the chemistry
between each member is anything less because
of it; in Spring King’s party, it’s all for one.
The same can be said for support slot regulars
MOATS. Just as exciting on the umpteenth
performance as the first, everyone’s a winner,
in particular the four lads themselves. It’s their
last show before heading to Austin City Limits
in Texas, but they’re not holding back here
because of it. Hordes of friends surge forward
Spring King (Gaz Jones / @GJMPhoto)
Bido Lito! Dec 2014 / Jan 201530 Reviews
Metcalfe, is almost primal. They journey
through tracks Monster Munch and the stirring
Antibiotic with passionate fervour. Elements
of early Portico Quartet emerge throughout.
The boys from Dead Hedge leave the crowd
stunned.
It’s been a busy few years for ROLLER TRIO,
whose debut album was nominated for a
Mercury Music award. In no time at all they
have become one of the most important and
innovative new breakthrough acts in the British
music scene, challenging people’s perceptions
of what modern jazz should sound like.
This evening’s show is part of a short tour
in support of their imminent second album
Fracture, the release of which is being funded
through an online crowdfunding campaign.
The band play an engaging set which includes
the new single High TeaHigh Tea as well as older
pieces Deep HeatDeep Heat, Roller Toaster and Howdy Howdy
Saudi. The performance is immersive: complex
melodic structures and rhythmic syncopations
are fed through the instruments with almost
mathematical precision. Guitarist Luke Wynter
sticks like glue to the rhythms employed;
even the erratic wanderings of drummer Luke
Redding-Williams and saxophonist James
Mainwaring, whose vibrant playing entrances
everyone in the room, cannot throw off the
skeletal underpinning of Wynter’s nebulous
guitar work.
Roller Trio offer a mix of electronic infusion,
hip hop-style breakbeats, the occasional
foray into rock territory and, mostly, some
lush, opulent and almost geometric jazz. It’s
a wonderful and innovative cacophony. You
aren’t likely to catch a show quite like this
one anytime soon, so, it’d be wise simply to
patiently await Roller Trio’s next return to
Liverpool.
Christopher Carr
SPRING KINGMoats
EVOL @ The Shipping Forecast
SPRING KING stem from intriguing roots.
Rather than the usual origins story featuring a
few friends jamming together, the garage punk
act was born in frontman Tarek Musa’s bedroom
from a handful of demos. The fact he’s now
the drummer means you’re constantly thrown
off guard via your rigid expectations of where
the vocalist should reside, as your eyes dart
back and forth from centre stage. However, it
would be foolish to suggest that the chemistry
between each member is anything less because
of it; in Spring King’s party, it’s all for one.
The same can be said for support slot regulars
MOATS. Just as exciting on the umpteenth
performance as the first, everyone’s a winner,
in particular the four lads themselves. It’s their
last show before heading to Austin City Limits
in Texas, but they’re not holding back here
because of it. Hordes of friends surge forward
Spring King (Gaz Jones / @GJMPhoto)
as frontman Matthew Duncan requests
the crowd to “get electrocuted”, with some
having come from as far as south of the
Birmingham divide to see the band. As the set
lurches from fast and foreboding numbers
to the more contemplative Fortnight, which
ponders a past girlfriend over echoing guitars
as the drums gradually build, it’s not difficult
to see why.
Unsurprisingly, Moats have built a strong
reputation in this corner of the North West,
while tonight acts as a road test for the
headliners. Musa may recognise these parts
as a LIPA alumni (which explains the presence
of fellow graduate Dan Croll at the front), but
since then he has returned to his stomping
ground of Manchester and unleashed an
impressive array of production work. Now
signed to Transgressive with a debut EP
preaching to the masses, it’s all raring to go;
Spring King just need to test the water.
Third track Can I? provides the first real
ruckus of the night. From then on in it’s a
relentless assault that is only reined in for the
more restrained Not Me, Not Now towards
the end. Croll is just one of many that indulge
in some exuberant headbanging, which suits
the scene perfectly; you wonder: why on earth
is such boisterousness not a feature of every
gig of this kind? Surely in the tight confines of
the Hold it’s only a matter of time before the
blaze of reverb draws the room to breaking
point? The secret ingredient lies in the two
guitarists and bassist on stage.
While Musa remains heavily focused over
the drums, the remaining members stand in
a line and stimulate the crowd through their
vigorous onstage antics. One guitarist veers
across to Musa in a seamless flow during
Mumma, before bravely crowdsurfing on
curtain-call Vampire, where vigorous moshing
hammers him against the ceiling. For all the
casual, carefree vibes conveyed by their music,
the Spring King live experience is tight as hell,
and all the more enjoyable for it.
Tonight has seen the reaction you crave
at the unveiling of fresh, raw talent: reckless
yet co-operative euphoria. It may be short
and sweaty, but pandemonium is often best
enjoyed in small doses, and Spring King carry
it with such a strong sense of assurance that
you can tell this is only the first step on a long
road ahead.
Jack Graysmark / @ZeppelinG1993
LONEWYWH - Adronite
The Kazimier
With heady reverberations still ringing in
the ever-hungry ears of Liverpool music fans,
it is time to dust down and cram in as many
gigs as possible before the year ends. For
those feeling a little psyched-out, the prospect
of a laidback evening in the company of one
of the most discussed electronic musicians in
recent months, LONE, is sure to be tempting.
As first support act, WYWH, takes to the
stage gig-goers are conspicuously absent.
Unperturbed, WYWH, aka Andrew Parry,
launches into an ethereal and enthralling set.
The tracks are dark and introspective, with
very deep, repetitive basslines and reverb-
soaked, melodic meanderings. His usage
of a chaosilator does exactly what its name
suggests, bringing a little bit of chaos to what
is otherwise a carefully constructed and well-
orchestrated performance. It is a shame there
are not more people here to witness it, but
this is, sadly, usually the case at such gigs,
and there are countless brilliant performances
from opening acts that go practically unheard
at venues across the city.
Negativity aside, the crowd has swelled
somewhat to welcome next act ADRONITE.
The Sheffield-based two-piece blend live bass
guitar and synths to create an interesting
sonic palette. Overlaid with vocals from singer
James de Graef the display is engaging if
perhaps not overly memorable. This is not to
detract from their skill as musicians or their
appeal as performers, but for this particular
show there is a certain sense that something
is missing.
Since the release of his fifth album, Reality
Testing, in June, the name Lone (Matt Cutler)
has been on the lips of many a music critic,
and presumably on many a muso's must-
see lists. This being his first Liverpool show
it is the first opportunity some have had
and, with KONX-OM-PAX providing a live AV
accompaniment, it promises to be a pretty
special event.
Cutler has always had an amazing ear for
melody, and that is perhaps the defining
feature of his work and tonight's performance.
The music is intensely danceable whilst
retaining an air of minimalism, and the
refrains so catchy they are almost sung.
In contrast to the previous acts on the bill,
there is a real sense of joy to Lone's songs,
with introspection making way for gleeful
movement. This is not to suggest a lack of
substance, as it is clear that every section and
every beat has been painstakingly thought
over and implemented expertly, to create a
sound which is full yet not lacking in space.
Lone's hip hop-inflected grooves, together
with Konx's AV display make for a pretty fine
spectacle indeed.
Though the night, in terms of audience,
started off pretty quietly it has ended on a
definite high note. As far as debut Liverpool
shows go Lone's has to be up there, and
I imagine a lot of people will leave here
tonight wondering why it has taken so long
to bring him to the city.
Alastair Dunn
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BOOK NOW: 0161 832 1111facebook.com/manchesteracademy @MancAcademy
www.manchesteracdemy.net www.gigantic.com
Oxford Road, Manchester
John Garcia Tuesday 4th December
A Certain Ratio Saturday 13th December
Urban Voodoo Machine Sunday 14th December
Arch Enemy / Kreator Friday 19th December
King Creosote Tuesday 27th January
Nazareth Friday 30th January
Gus G (Firewind/Ozzy Osbourne) Saturday 21st February
Gun Friday 27th March
Saturday 18th April (at The Ruby Lounge)
Friday 15th May
Big Country Saturday 12th December
BidoLito.148x117.MASTER.indd 1 19/11/2014 11:25
as frontman Matthew Duncan requests
the crowd to “get electrocuted”, with some
having come from as far as south of the
Birmingham divide to see the band. As the set
lurches from fast and foreboding numbers
to the more contemplative FortnightFortnight, which
ponders a past girlfriend over echoing guitars
as the drums gradually build, it’s not difficult
to see why.
Unsurprisingly, Moats have built a strong
reputation in this corner of the North West,
while tonight acts as a road test for the
headliners. Musa may recognise these parts
as a LIPA alumni (which explains the presence
of fellow graduate Dan Croll at the front), but
since then he has returned to his stomping
ground of Manchester and unleashed an
impressive array of production work. Now
signed to Transgressive with a debut EP
preaching to the masses, it’s all raring to go;
Spring King just need to test the water.
Third track Can I? provides the first real
ruckus of the night. From then on in it’s a
relentless assault that is only reined in for the
more restrained Not Me, Not NowNot Me, Not Now towards
the end. Croll is just one of many that indulge
in some exuberant headbanging, which suits
the scene perfectly; you wonder: why on earth
is such boisterousness not a feature of every
gig of this kind? Surely in the tight confines of
the Hold it’s only a matter of time before the
blaze of reverb draws the room to breaking
point? The secret ingredient lies in the two
guitarists and bassist on stage.
While Musa remains heavily focused over
the drums, the remaining members stand in
a line and stimulate the crowd through their
vigorous onstage antics. One guitarist veers
across to Musa in a seamless flow during
Mumma, before bravely crowdsurfing on
curtain-call VampireVampire, where vigorous moshing
hammers him against the ceiling. For all the
casual, carefree vibes conveyed by their music,
the Spring King live experience is tight as hell,
and all the more enjoyable for it.
Tonight has seen the reaction you crave
at the unveiling of fresh, raw talent: reckless
yet co-operative euphoria. It may be short
and sweaty, but pandemonium is often best
enjoyed in small doses, and Spring King carry
it with such a strong sense of assurance that
you can tell this is only the first step on a long
road ahead.
Jack Graysmark / @ZeppelinG1993
LONEWYWH - Adronite
The Kazimier
With heady reverberations still ringing in
the ever-hungry ears of Liverpool music fans,
it is time to dust down and cram in as many
gigs as possible before the year ends. For
those feeling a little psyched-out, the prospect
of a laidback evening in the company of one
of the most discussed electronic musicians in
recent months, LONE, is sure to be tempting.
As first support act, WYWH, takes to the
stage gig-goers are conspicuously absent.
Unperturbed, WYWH, aka Andrew Parry,
launches into an ethereal and enthralling set.
The tracks are dark and introspective, with
very deep, repetitive basslines and reverb-
soaked, melodic meanderings. His usage
of a chaosilator does exactly what its name
suggests, bringing a little bit of chaos to what
is otherwise a carefully constructed and well-
orchestrated performance. It is a shame there
are not more people here to witness it, but
this is, sadly, usually the case at such gigs,
and there are countless brilliant performances
from opening acts that go practically unheard
at venues across the city.
Negativity aside, the crowd has swelled
somewhat to welcome next act ADRONITE.
The Sheffield-based two-piece blend live bass
guitar and synths to create an interesting
sonic palette. Overlaid with vocals from singer
James de Graef the display is engaging if
perhaps not overly memorable. This is not to
detract from their skill as musicians or their
appeal as performers, but for this particular
show there is a certain sense that something
is missing.
Since the release of his fifth album, Reality Reality
TestingTesting, in June, the name Lone (Matt Cutler)
has been on the lips of many a music critic,
and presumably on many a muso's must-
see lists. This being his first Liverpool show
it is the first opportunity some have had
and, with KONX-OM-PAX providing a live AV
accompaniment, it promises to be a pretty
special event.
Cutler has always had an amazing ear for
melody, and that is perhaps the defining
feature of his work and tonight's performance.
The music is intensely danceable whilst
retaining an air of minimalism, and the
refrains so catchy they are almost sung.
In contrast to the previous acts on the bill,
there is a real sense of joy to Lone's songs,
with introspection making way for gleeful
movement. This is not to suggest a lack of
substance, as it is clear that every section and
every beat has been painstakingly thought
over and implemented expertly, to create a
sound which is full yet not lacking in space.
Lone's hip hop-inflected grooves, together
with Konx's AV display make for a pretty fine
spectacle indeed.
Though the night, in terms of audience,
started off pretty quietly it has ended on a
definite high note. As far as debut Liverpool
shows go Lone's has to be up there, and
I imagine a lot of people will leave here
tonight wondering why it has taken so long
to bring him to the city.
Alastair Dunn
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BOOK NOW: 0161 832 1111facebook.com/manchesteracademy @MancAcademy
www.manchesteracdemy.net www.gigantic.com
Oxford Road, Manchester
John Garcia Tuesday 4th December
A Certain Ratio Saturday 13th December
Urban Voodoo Machine Sunday 14th December
Arch Enemy / Kreator Friday 19th December
King Creosote Tuesday 27th January
Nazareth Friday 30th January
Gus G (Firewind/Ozzy Osbourne) Saturday 21st February
Gun Friday 27th March
Saturday 18th April (at The Ruby Lounge)
Friday 15th May
Big Country Saturday 12th December
COLLEGEKalax
Harvest Sun and Bam!Bam!Bam! @ Leaf
I remember nostalgia. Or I thought I did, until
tonight. As it turns out, opening that particular
Pandora’s Box does not reap golden harvests of
the heart. No, instead there is distance, coldness,
and too much bloody over-thinking to justify
taking a trip down our cultural backwaters for
three hours of flashy, retrograde anaemia.
There is really a third performer here this
evening, who just maybe gets all the star credit:
the screen. It is large and imposing, front and
centre, an obelisk transmitting what is meant to
be the twinned journeys of irony and technology,
a prospect which has presumably drawn some of
the crowd that haven’t seen Drive because they
spend their days bashing out John Carpenter
scores on a Casio keyboard.
KALAX at least uses this behemoth for some
sort of dynamism. Objects zoom in and out
of perspective, making way for a dark car,
patrolling a city, of course, that lights up a dame
with a smoking gun. The man himself isn’t half
as arresting. He wobbles under his beanie and
presses keys on a Mac. All of us can do that,
can’t we? What, exactly, is the point of coming
to a show in which the music is interchangeable
– set to precisely the same mood throughout:
blooping, brooding, somnambulant synth-
gasms livened by a rare vocal sample – and the
high point comes from assorted clips of people
dancing in the 80s? We get it! This is post-modern
love for the MTV generation; OK, fantastic, but
does it have to be so damn predictable?
And so to COLLEGE. Frenchman David Grellier
is another level of mediocrity altogether.
In fact, The Light Of Your Dress and The
Drone could almost be the same song; ergo
the entirety of his set, the whole numbing
ordeal of it, replete with nothing so much
as a smile from the sleepwalking composer.
His accompanying visuals don’t try and go
for story, opening as they do on a flickering
desert morning and reminding us over and
over again of his name in red neon script. One
image in particular, outside of the time-lapse
videos, is very fitting: a spaceman slumped
pensively over the cosmic abyss, cradling a
keytar while the world carries on without him.
It’s to this effect that the reality of College’s
work limps into focus. We should be in love
with the earliest elements of electronica, he
seems to argue, because that purity was the
beginning of a sonic adventure without limits,
bound only to the map of its beat. Confusion
and introspection were not in vogue thirty
years ago, and that carefree mentality can be
ours again if we shrug off the advancements
the genre has made and smell the hairspray,
the lost abandon of the baby boomer. Well,
bollocks. This sort of stuff helps no one apart
from the middle-aged demographic that can’t
give up their Sega Mega Drives. We have
advanced, and it’s better than this.
As menacing and sporadically danceable as
a few of College’s tracks are, the mood has all
the intensity of a retro screensaver, the kind that
pings around without going anywhere. When
Drive soundtrack highlight A Real Hero finally
comes (drawing a cheer from everyone), it is far
too late. The song actually highlights what’s been
missing: something human, something real.
Josh Potts / @joshpjpotts
THE BOG STANDARDSLiverpool Irish Festival @ The
Caledonia, Kelly’s Dispensary
If you’d have bumped into Mikey Kenney a few
months ago, he'd have told you he was learning
how to tap dance while simultaneously playing
the fiddle. Based on this, any band in which
he features is bound to intrigue. Previously
masquerading (mainly) as Ottersgear, Mikey
was usually found solo at MelloMello's first
incarnation (hopeful thinking for the future),
his tunes ringing of Ireland, but not necessarily
focusing. Merging his talents with that of
bandmates Nick Branton and Simon Knighton
to form THE BOG STANDARDS, Kenney has been
allowed to blossom as the three have taken
full advantage of their rumbling presence on
the Liverpool pub music scene with this recent
venture, an education on Irish and American folk.
Liverpool Irish Festival provides a perfect setting
for three young musicians intent on massaging
the roots of Irish music into a culture that owes a
lot to its traditional Celtic heritage.
The Bog Standards are all about those songs
that romance the imbibed memories of all those
of Irish descent, no doubt having heard from the
older members of our families that when you'd
go down the pub, everyone would "give a song".
Irish sessions led by the band members on
Tuesday afternoons in The Caledonia no doubt
set this scene, but it's the polished nature of the
Bog Standards proper where they display their
best. Before visiting The Caledonia and Kelly's
Dispensary on their billed nights, I was fearful of
wistful panpipes. But The Bog Standards hit hard,
their melodies instantaneously transporting
you to those green lands, managing to embody
the most swirling of Irish music. An early
outstanding rendition of These Hills is enough
to cement the attention of the crowd. Kenney's a
cappella rendition brings a smile to the faces of
those captivated by the interlacing sounds, and
his voice really is something else, reverberating
about the room as he sings with his entire body,
the dancers delighted. Their version of trad folk
sounds like the kind that makes you feel real
nostalgia even if you've only been to a wedding
in Cork, once. Are they in our blood, this race of
people, their music celebrated by their children
miles away?
Before long the crowd is spinning as if in
COLLEGEKalax
Harvest Sun and Bam!Bam!Bam! @ Leaf
I remember nostalgia. Or I thought I did, until
tonight. As it turns out, opening that particular
Pandora’s Box does not reap golden harvests of
the heart. No, instead there is distance, coldness,
and too much bloody over-thinking to justify
taking a trip down our cultural backwaters for
three hours of flashy, retrograde anaemia.
There is really a third performer here this
evening, who just maybe gets all the star credit:
the screen. It is large and imposing, front and
centre, an obelisk transmitting what is meant to
be the twinned journeys of irony and technology,
a prospect which has presumably drawn some of
the crowd that haven’t seen Drive because they
spend their days bashing out John Carpenter
scores on a Casio keyboard.
KALAX at least uses this behemoth for some
sort of dynamism. Objects zoom in and out
of perspective, making way for a dark car,
patrolling a city, of course, that lights up a dame
with a smoking gun. The man himself isn’t half
as arresting. He wobbles under his beanie and
presses keys on a Mac. All of us can do that,
can’t we? What, exactly, is the point of coming
to a show in which the music is interchangeable
– set to precisely the same mood throughout:
blooping, brooding, somnambulant synth-
gasms livened by a rare vocal sample – and the
high point comes from assorted clips of people
dancing in the 80s? We get it! This is post-modern
love for the MTV generation; OK, fantastic, but
does it have to be so damn predictable?
And so to COLLEGE. Frenchman David Grellier
is another level of mediocrity altogether.
In fact, The Light Of Your DressThe Light Of Your Dress and The
Drone could almost be the same song; ergo
the entirety of his set, the whole numbing
ordeal of it, replete with nothing so much
as a smile from the sleepwalking composer.
His accompanying visuals don’t try and go
for story, opening as they do on a flickering
desert morning and reminding us over and
over again of his name in red neon script. One
image in particular, outside of the time-lapse
videos, is very fitting: a spaceman slumped
pensively over the cosmic abyss, cradling a
keytar while the world carries on without him.
It’s to this effect that the reality of College’s
work limps into focus. We should be in love
with the earliest elements of electronica, he
seems to argue, because that purity was the
beginning of a sonic adventure without limits,
bound only to the map of its beat. Confusion
and introspection were not in vogue thirty
years ago, and that carefree mentality can be
ours again if we shrug off the advancements
the genre has made and smell the hairspray,
the lost abandon of the baby boomer. Well,
bollocks. This sort of stuff helps no one apart
from the middle-aged demographic that can’t
give up their Sega Mega Drives. We have
advanced, and it’s better than this.
As menacing and sporadically danceable as
a few of College’s tracks are, the mood has all
the intensity of a retro screensaver, the kind that
pings around without going anywhere. When
Drive soundtrack highlight A Real Hero finally
comes (drawing a cheer from everyone), it is far
too late. The song actually highlights what’s been
missing: something human, something real.
Josh Potts / @joshpjpotts
THE BOG STANDARDSLiverpool Irish Festival @ The
Caledonia, Kelly’s Dispensary
If you’d have bumped into Mikey Kenney a few
months ago, he'd have told you he was learning
how to tap dance while simultaneously playing
the fiddle. Based on this, any band in which
he features is bound to intrigue. Previously
masquerading (mainly) as Ottersgear, Mikey
was usually found solo at MelloMello's first
incarnation (hopeful thinking for the future),
his tunes ringing of Ireland, but not necessarily
focusing. Merging his talents with that of
bandmates Nick Branton and Simon Knighton
to form THE BOG STANDARDS, Kenney has been
allowed to blossom as the three have taken
full advantage of their rumbling presence on
the Liverpool pub music scene with this recent
venture, an education on Irish and American folk.
Liverpool Irish Festival provides a perfect setting
for three young musicians intent on massaging
the roots of Irish music into a culture that owes a
lot to its traditional Celtic heritage.
The Bog Standards are all about those songs
that romance the imbibed memories of all those
of Irish descent, no doubt having heard from the
older members of our families that when you'd
go down the pub, everyone would "give a song".
Irish sessions led by the band members on
Tuesday afternoons in The Caledonia no doubt
set this scene, but it's the polished nature of the
Bog Standards proper where they display their
best. Before visiting The Caledonia and Kelly's
Dispensary on their billed nights, I was fearful of
wistful panpipes. But The Bog Standards hit hard,
their melodies instantaneously transporting
you to those green lands, managing to embody
the most swirling of Irish music. An early
outstanding rendition of These Hills is enough
to cement the attention of the crowd. Kenney's a
cappella rendition brings a smile to the faces of
those captivated by the interlacing sounds, and
his voice really is something else, reverberating
about the room as he sings with his entire body,
the dancers delighted. Their version of trad folk
sounds like the kind that makes you feel real
nostalgia even if you've only been to a wedding
in Cork, once. Are they in our blood, this race of
people, their music celebrated by their children
miles away?
Before long the crowd is spinning as if in
Bido Lito! Dec 2014 / Jan 2015 33
bidolito.co.uk
Reviews
the underclass deck of the Titanic (as depicted
in the Hollywood blockbuster of course – not
sure if it was actually like that). The toe-tapping
gets a little too fast for my skills, but Knighton's
stomp box expertly drives on as Nick Branton
whistles around the sharp and precise fiddling
of Kenney, surely fatal to anyone standing
behind him. The delivery of crowd favourites
Rocky Top and Michael Hurley's The Slurf Song
– one example of how the Bog Standards have
incorporated an easy Irish slant on folk from
overseas – intensifies further the atmosphere of
this already emotionally charged gig.
Delighted is exactly how you’d describe
the audience of a Bog Standards gig. Though
regularly billed, with the energy this band
creates and feeds off, it'd be great to see them
move out of the dicey world of pub residencies
and into ticketed venues. Though as your nana
would tell you, the pub is exactly where this
music is supposed to be.
Emma Brady / @emmabraydee
KING CREOSOTE Charlie Cunningham
Mellowtone and Ceremony Concerts
@ The Epstein Theatre
The last time I was in The Epstein Theatre –
previously The Neptune Theatre – was panto
season 1994; children ran riot in the aisles,
popcorn coated the floor and the building
appeared to be falling to bits. A good twenty
years later and the atmosphere couldn’t be
more different: there is a hushed murmur of
chatter moving from the front of the theatre to
the back, the walls look as sturdy as anything
and the stalls are heaving with well-behaved
musos waiting for Fife folker KING CREOSOTE to
take to the traditional proscenium arch stage.
However, before the headliner we are
treated to a good helping of inoffensive singer
songwriter folk in CHARLIE CUNNINGHAM. His
voice echoes nicely around the building as the
theatre audience gradually moves towards a full
house. Charlie Cunningham is gracious and very
likeable and his sweet, well-written songs are a
brilliant segue into our main event.
King Creosote arrives on stage to riotous
applause. He humbly waves, takes a seat, picks
up his guitar and begins. From songs about small
Scottish towns to big political issues (“I shouldn’t
really be mentioning the referendum, should I?”
he jokes), King Creosote commands the venue
and his audience. His music is soft, tender and
at times very wistful, but the response it gets
from the crowd is far from that as the mainly
middle-aged crowd hoot and holler through the
well-crafted set. Quaint, guitar-driven folk songs
follow each other and are accompanied by a
double bass and a one-man percussion section.
Creosote truly comes into his own when he
plays tracks from his collaboration album with
Jon Hopkins. Songs such as John Taylor’s Month
Away and Bats In The Attic resonate perfectly
and show off his muted charm; yet one of the
highlights of the evening is a surreal cover
version of Nina’s political pop classic 99 Red
Balloons which is so bizarre that it could only be
described as a triumph.
From start to finish Creosote owns the stage
as everybody hangs intently on his every word.
He is slick, talented and, most importantly,
comes across as a bloke with whom you would
love to share a whisky. His set leaves everyone
loudly chattering after the gig, declaring the
show a triumph. And, unlike my previous trip to
this great venue, there is not a single “Oh no it
wasn’t” to be heard in response.
Paddy Hughes
TOM VEKEVOL @ The Kazimier
Ah TOM VEK, that nice chap who was at one
time touted as the next big thing in British
music. You know the one. He released a cult
album around 2005 and then disappeared
into the ether for some many years before
returning with his much-anticipated follow-up
and a snazzy new haircut. Precisely the kind of
guy you'd like to take back to your parents. Yes
Dad, he's in a band but don't worry, it's a steady
income (provided it isn't another six years
until his next album). Mum would love him.
Handsome without being threatening, a casual
but polite demeanour. A safe pair of hands.
But his safety has proven to be a bit of a
stumbling block for me. Like sneaking a drink
from your parents’ cupboard aged 14 or that
first cigarette at a friend’s birthday, falling
for Vek’s minimalism may well feel exciting
and dangerous at the time but in hindsight
proves to be little more than a rite of passage
– something that you move beyond onto more
exciting things. That's not to say he is in any way
musically naïve. Over the course of his three
albums – the most recent of which, Luck, he is
here tonight touring – he has proven adept at
combining disparate threads of electronica,
indie and pop. In combining these, though, I've
always found his music to be a lot of everything
but not necessarily enough of anything.
In the studio his production chops go some
way to overcoming this issue, imbuing the tracks
with energy and vigour. In the flesh, however,
the tracks come across as a little tired and
uninspired. Polished and precise, definitely, but
lacking in energy and inventiveness. Nothing
from the newest album stands out particularly
and even though the big hitters Nothing But
Green Lights, C-C and A Chore manage to provide
some energy, it fizzles out between songs – Vek
lacking the onstage presence to really get the
crowd going.
All of the tracks do indeed highlight Vek’s
proficiency as a songwriter with an excellent
grasp of melody and rhythm but, as a live act,
him and his band (again, perfectly capable if not
maddeningly exciting) do little to convince me.
Things do pick up somewhat in the middle of
the set but the momentum is cut short by an
awkwardly placed ballad. Maybe, this being a
Sunday, they are a little tired, maybe Vek feels
a little more at home in the studio than on the
stage or maybe it's just one of those nights, but
he's not quite won me round just yet.
Dave Tate
SANKOFAOxJam @ Arts Club
It feels like SANKOFA have been around
forever. Having played their way into most of
the best venues in town, released numerous
EPs and 7” singles, had cover sleeves designed
by the legendary John Van Hamersveld and
earned acclaim from Grateful Dead artist
Stanley Mouse, the band are now an essential
part of the local circuit. It’s a testament to
Sankofa’s well-earned popularity that much
of the crowd at the Arts Club arrive during the
build-up to their set. However, the last year
King Creosote (Glyn Akroyd)
Bido Lito! Dec 2014 / Jan 2015 33
bidolito.co.ukbidolito.co.ukbidolito
Reviews
the underclass deck of the Titanic (as depicted
in the Hollywood blockbuster of course – not
sure if it was actually like that). The toe-tapping
gets a little too fast for my skills, but Knighton's
stomp box expertly drives on as Nick Branton
whistles around the sharp and precise fiddling
of Kenney, surely fatal to anyone standing
behind him. The delivery of crowd favourites
Rocky TopRocky Top and Michael Hurley's The Slurf SongThe Slurf Song
– one example of how the Bog Standards have
incorporated an easy Irish slant on folk from
overseas – intensifies further the atmosphere of
this already emotionally charged gig.
Delighted is exactly how you’d describe
the audience of a Bog Standards gig. Though
regularly billed, with the energy this band
creates and feeds off, it'd be great to see them
move out of the dicey world of pub residencies
and into ticketed venues. Though as your nana
would tell you, the pub is exactly where this
music is supposed to be.
Emma Brady / @emmabraydee
KING CREOSOTE Charlie Cunningham
Mellowtone and Ceremony Concerts
@ The Epstein Theatre
The last time I was in The Epstein Theatre –
previously The Neptune Theatre – was panto
season 1994; children ran riot in the aisles,
popcorn coated the floor and the building
appeared to be falling to bits. A good twenty
years later and the atmosphere couldn’t be
more different: there is a hushed murmur of
chatter moving from the front of the theatre to
the back, the walls look as sturdy as anything
and the stalls are heaving with well-behaved
musos waiting for Fife folker KING CREOSOTE to
take to the traditional proscenium arch stage.
However, before the headliner we are
treated to a good helping of inoffensive singer
songwriter folk in CHARLIE CUNNINGHAM. His
voice echoes nicely around the building as the
theatre audience gradually moves towards a full
house. Charlie Cunningham is gracious and very
likeable and his sweet, well-written songs are a
brilliant segue into our main event.
King Creosote arrives on stage to riotous
applause. He humbly waves, takes a seat, picks
up his guitar and begins. From songs about small
Scottish towns to big political issues (“I shouldn’t
really be mentioning the referendum, should I?”
he jokes), King Creosote commands the venue
and his audience. His music is soft, tender and
at times very wistful, but the response it gets
from the crowd is far from that as the mainly
middle-aged crowd hoot and holler through the
well-crafted set. Quaint, guitar-driven folk songs
follow each other and are accompanied by a
double bass and a one-man percussion section.
Creosote truly comes into his own when he
plays tracks from his collaboration album with
Jon Hopkins. Songs such as John Taylor’s Month John Taylor’s Month
AwayAway and Bats In The Attic resonate perfectly
and show off his muted charm; yet one of the
highlights of the evening is a surreal cover
version of Nina’s political pop classic 99 Red
Balloons which is so bizarre that it could only be
described as a triumph.
From start to finish Creosote owns the stage
as everybody hangs intently on his every word.
He is slick, talented and, most importantly,
comes across as a bloke with whom you would
love to share a whisky. His set leaves everyone
loudly chattering after the gig, declaring the
show a triumph. And, unlike my previous trip to
this great venue, there is not a single “Oh no it
wasn’t” to be heard in response.
Paddy Hughes
TOM VEKEVOL @ The Kazimier
Ah TOM VEK, that nice chap who was at one
time touted as the next big thing in British
music. You know the one. He released a cult
album around 2005 and then disappeared
into the ether for some many years before
returning with his much-anticipated follow-up
and a snazzy new haircut. Precisely the kind of
guy you'd like to take back to your parents. Yes
Dad, he's in a band but don't worry, it's a steady
income (provided it isn't another six years
until his next album). Mum would love him.
Handsome without being threatening, a casual
but polite demeanour. A safe pair of hands.
But his safety has proven to be a bit of a
stumbling block for me. Like sneaking a drink
from your parents’ cupboard aged 14 or that
first cigarette at a friend’s birthday, falling
for Vek’s minimalism may well feel exciting
and dangerous at the time but in hindsight
proves to be little more than a rite of passage
– something that you move beyond onto more
exciting things. That's not to say he is in any way
musically naïve. Over the course of his three
albums – the most recent of which, Luck, he is
here tonight touring – he has proven adept at
combining disparate threads of electronica,
indie and pop. In combining these, though, I've
always found his music to be a lot of everything
but not necessarily enough of anything.
In the studio his production chops go some
way to overcoming this issue, imbuing the tracks
with energy and vigour. In the flesh, however,
the tracks come across as a little tired and
uninspired. Polished and precise, definitely, but
lacking in energy and inventiveness. Nothing
from the newest album stands out particularly
and even though the big hitters Nothing But Nothing But
Green LightsGreen Lights, C-C and A Chore manage to provide
some energy, it fizzles out between songs – Vek
lacking the onstage presence to really get the
crowd going.
All of the tracks do indeed highlight Vek’s
proficiency as a songwriter with an excellent
grasp of melody and rhythm but, as a live act,
him and his band (again, perfectly capable if not
maddeningly exciting) do little to convince me.
Things do pick up somewhat in the middle of
the set but the momentum is cut short by an
awkwardly placed ballad. Maybe, this being a
Sunday, they are a little tired, maybe Vek feels
a little more at home in the studio than on the
stage or maybe it's just one of those nights, but
he's not quite won me round just yet.
Dave Tate
SANKOFAOxJam @ Arts Club
It feels like SANKOFA have been around
forever. Having played their way into most of
the best venues in town, released numerous
EPs and 7” singles, had cover sleeves designed
by the legendary John Van Hamersveld and
earned acclaim from Grateful Dead artist
Stanley Mouse, the band are now an essential
part of the local circuit. It’s a testament to
Sankofa’s well-earned popularity that much
of the crowd at the Arts Club arrive during the
build-up to their set. However, the last year
King Creosote (Glyn Akroyd)
Bido Lito! Dec 2014 / Jan 201534
bidolito.co.uk
Reviews
has been a turbulent one, and since July the
band have been playing as a three-piece in the
absence of a full-time bassist. A change like this
will always affect a band’s sound in one way
or another, and the anticipation in the room to
see how the garage blues trio deal with it is
tangible.
Grasp, recently recorded at Edge Studios
and set for an EP release in December, starts
with echoing plucks of guitar that merge with
a steadily building drumbeat and break into a
wash of dreamscape reverb. Ste Wall provides
his inimitable vocals and guitar skills, with Joel
Whitehead on lead guitar and Josh Perry tasked
with providing the rhythm section. This is a
much more relaxed sound than earlier releases,
glittering guitar taking the place of driving bass.
Josh does a great job of holding it all together,
a difficult one with two lead instrumentalists.
Between songs and during a guitar changeover,
the band joke amongst themselves, clearly
enjoying the chance to be back on stage after
a three-month recording break. Their third song
is Mamasan, more recognisable territory for
the old-school Sankofa fans in the crowd. It’s a
song very deliberately added to this set – a slow
track that hints at an evolution away from their
heavier psych sounds. The atmosphere is one
of quiet reverence. The band then burst into a
slamming blues riff, the guitars duelling with
back-and-forth solos, building up an explosive
ending chord before thanking the fans for
coming and leaving the stage.
Despite a shorter set than some would
have expected, Sankofa show again that their
desire to evolve and progress is going to be
the creative force behind future releases. It’s
clear that they’ve taken the positives from
events that could have set them back and used
them to experiment with new sounds and
possibilities. This is what Liverpool has always
done best, and it’s in good hands.
Chris Hughes
THOUGHT FORMSVenus De Milo
Bam!Bam!Bam! @ The Shipping Forecast
As local venues go, The Shipping Forecast’s
Hold certainly has its charms; but, despite
its excellent sound and just the right level
of intimacy, gigs in here can occasionally
feel a little roomy. Still, that’s not to say that
those of us who’ve made the effort to turn
out on a Friday night can’t endeavour to enjoy
ourselves to the fullest.
Main support VENUS DE MILO are comprised
of impressively skilled musicians, with a good,
solid rhythm section underpinning a canvas
of ethereal, effects-drenched guitars. They
flit between spacey, borderline-progressive
shoegaze and driving, funky alt. rock as the
set develops. It’s a fairly appealing mix, but
it’s noticeable that they only seem truly
comfortable when veering toward the latter,
and it makes you wonder whether they might
be better off putting all their eggs in the same
basket. Their songs are good, and there’s
no questioning their skill: but ultimately
their performance falls a little flat, which
can mostly be chalked up to their almost
complete lack of stage presence. Of course,
this doesn’t come naturally to everyone, but
it’s something they might consider working
on if they want their live experience to do
their tunes justice.
Predictably, once Venus De Milo finish their
set, their LIPA chums in the audience piss
off almost immediately. It’s a shame really,
because THOUGHT FORMS are deserving of
a far bigger audience. Their set begins with
singer Deej Dhariwal playing a pulsating
drone through a toy keyboard, fed through
an effect pedal setup that wouldn’t look
out of place on the Starship Enterprise,
before switching to guitar and building (very)
gradually into a full-on apocalyptic dirge with
the drummer and other guitarist behind him.
Thought Forms sound absolutely huge on
stage, particularly considering that they’re a
three-piece without a bassist – they simply
don’t need one. The inventiveness and scope
of their guitar playing is so layered, so meaty,
that the addition of a bass probably would
just make it sound that bit too muddy.
To their credit, the band seem unperturbed
by the empty space in front of them, and
keenly soldier on through a set of compelling,
challenging, and often blistering guitar music.
Thought Forms’ ideas may be intense and
complex, but their music is just so powerful
and dense that you can’t help but get lost in
it, leaving me nothing short of fixated for the
whole set.
Alex Holbourn / @AlexHolbourn
TAMIKRESTHarvest Sun @ The Kazimier
Walking through town on a damp and cold
November night, the odd whoosh and crackle
of belated fireworks in the distance, it’s difficult
to summon up images of the dazzling, pristine
wilderness of the Sahara. The caravanseri, the
Thought Forms (Stuart Moulding / @OohShootStu)
Bido Lito! Dec 2014 / Jan 201534
bidolito.co.ukbidolito.co.ukbidolito
Reviews
has been a turbulent one, and since July the
band have been playing as a three-piece in the
absence of a full-time bassist. A change like this
will always affect a band’s sound in one way
or another, and the anticipation in the room to
see how the garage blues trio deal with it is
tangible.
GraspGrasp, recently recorded at Edge Studios
and set for an EP release in December, starts
with echoing plucks of guitar that merge with
a steadily building drumbeat and break into a
wash of dreamscape reverb. Ste Wall provides
his inimitable vocals and guitar skills, with Joel
Whitehead on lead guitar and Josh Perry tasked
with providing the rhythm section. This is a
much more relaxed sound than earlier releases,
glittering guitar taking the place of driving bass.
Josh does a great job of holding it all together,
a difficult one with two lead instrumentalists.
Between songs and during a guitar changeover,
the band joke amongst themselves, clearly
enjoying the chance to be back on stage after
a three-month recording break. Their third song
is Mamasan, more recognisable territory for
the old-school Sankofa fans in the crowd. It’s a
song very deliberately added to this set – a slow
track that hints at an evolution away from their
heavier psych sounds. The atmosphere is one
of quiet reverence. The band then burst into a
slamming blues riff, the guitars duelling with
back-and-forth solos, building up an explosive
ending chord before thanking the fans for
coming and leaving the stage.
Despite a shorter set than some would
have expected, Sankofa show again that their
desire to evolve and progress is going to be
the creative force behind future releases. It’s
clear that they’ve taken the positives from
events that could have set them back and used
them to experiment with new sounds and
possibilities. This is what Liverpool has always
done best, and it’s in good hands.
Chris Hughes
THOUGHT FORMSVenus De Milo
Bam!Bam!Bam! @ The Shipping Forecast
As local venues go, The Shipping Forecast’s
Hold certainly has its charms; but, despite
its excellent sound and just the right level
of intimacy, gigs in here can occasionally
feel a little roomy. Still, that’s not to say that
those of us who’ve made the effort to turn
out on a Friday night can’t endeavour to enjoy
ourselves to the fullest.
Main support VENUS DE MILO are comprised
of impressively skilled musicians, with a good,
solid rhythm section underpinning a canvas
of ethereal, effects-drenched guitars. They
flit between spacey, borderline-progressive
shoegaze and driving, funky alt. rock as the
set develops. It’s a fairly appealing mix, but
it’s noticeable that they only seem truly
comfortable when veering toward the latter,
and it makes you wonder whether they might
be better off putting all their eggs in the same
basket. Their songs are good, and there’s
no questioning their skill: but ultimately
their performance falls a little flat, which
can mostly be chalked up to their almost
complete lack of stage presence. Of course,
this doesn’t come naturally to everyone, but
it’s something they might consider working
on if they want their live experience to do
their tunes justice.
Predictably, once Venus De Milo finish their
set, their LIPA chums in the audience piss
off almost immediately. It’s a shame really,
because THOUGHT FORMS are deserving of
a far bigger audience. Their set begins with
singer Deej Dhariwal playing a pulsating
drone through a toy keyboard, fed through
an effect pedal setup that wouldn’t look
out of place on the Starship Enterprise,
before switching to guitar and building (very)
gradually into a full-on apocalyptic dirge with
the drummer and other guitarist behind him.
Thought Forms sound absolutely huge on
stage, particularly considering that they’re a
three-piece without a bassist – they simply
don’t need one. The inventiveness and scope
of their guitar playing is so layered, so meaty,
that the addition of a bass probably would
just make it sound that bit too muddy.
To their credit, the band seem unperturbed
by the empty space in front of them, and
keenly soldier on through a set of compelling,
challenging, and often blistering guitar music.
Thought Forms’ ideas may be intense and
complex, but their music is just so powerful
and dense that you can’t help but get lost in
it, leaving me nothing short of fixated for the
whole set.
Alex Holbourn / @AlexHolbourn
TAMIKRESTHarvest Sun @ The Kazimier
Walking through town on a damp and cold
November night, the odd whoosh and crackle
of belated fireworks in the distance, it’s difficult
to summon up images of the dazzling, pristine
wilderness of the Sahara. The caravanseri, the
Thought Forms (Stuart Moulding / @OohShootStu)
CURTISSTIGERSTUE 10th FEB 7:30pm
JEFFERSON STARSHIPTHU 29th JAN 8:00pm
JOE MCELDERRYTHE EVOLUTION TOUR 2015 SAT 14th MAR 7:30pm
MOTHERSHIPA TRIBUTE TOLED ZEPPELINSAT 21st FEB 8:00pm
NATHAN CARTERTUE 17th MAR 7:30pm
FOCUSSUN 22nd MAR 8:00pm
IANMCCULLOCHTHU 19th MAR 8:00pm
MARC ALMONDIN CONCERTTHU 16th APR 7:30pm
JOHN RENBOURN & WIZZ JONESSAT28th MAR 8:00pm
CURVED AIR 2015 FRI 17th APR8:00pm
CURTISSTIGERSTUE 10th FEB 7:30pm
JEFFERSON STARSHIPTHU 29th JAN 8:00pm
JOE MCELDERRYTHE EVOLUTION TOUR 2015 SAT 14th MAR 7:30pm
MOTHERSHIPA TRIBUTE TOLED ZEPPELINSAT 21st FEB 8:00pm
NATHAN CARTERTUE 17th MAR 7:30pm
FOCUSSUN 22nd MAR 8:00pm
IANMCCULLOCHTHU 19th MAR 8:00pm
MARC ALMONDIN CONCERTTHU 16th APR 7:30pm
JOHN RENBOURN& WIZZ JONESSAT28th MAR 8:00pm
CURVED AIR 2015FRI 17th APR8:00pm
Bido Lito! Dec 2014 / Jan 201536
bidolito.co.uk
Reviews
wadis and oases are thousands of miles away
and all that’s shifting on Hanover Street is the
litter, blown this way and that by the gusts of
wind. However, I’m on my way to The Kazimier,
our very own cultural oasis right here in the
heart of town, and tonight they’re serving up
a desert storm of blues and traditional North
African takamba in the form of TAMIKREST –
cultural and political ambassadors of the Taureg,
pan-national nomads of the Sahara.
Tamikrest translates as “junction” or “alliance”
and the band hail from the northern area of Mali,
an area recently embroiled in fierce fighting
involving several factions, so the geographical,
political and musical connotations of the name
strike an immediate chord. The band themselves,
formed in 2006 and as much a vehicle for
delivering a political message as a good
time, could also be said to be standing at the
crossroads, having recently delivered a critically
acclaimed album, Chatma, and embarked on an
extensive European tour.
So, what to expect? Polemic or poetry?
By the time Tamikrest arrive on stage, their
Taureg members resplendent in traditional
dress, there is a palpable air of expectation in
the room and when Ousmane Ag Mossa deftly
launches the band into a slide blues-enriched
groove, a quick glance reveals everyone in the
audience grinning in delight and starting to
sway. These are infectious rhythms, propelled
by crisp drumming and percussion, and stalking,
restless basslines. Mossa’s vocals blend
perfectly with singer Fatma Wallette Cheickhe,
the mystery of the words (sung in Tamasheq)
adding to the esoteric, exotic vibe. The feel of
the songs recalls early 90s Ali Farka Toure/Ry
Cooder collaboration Talking Timbuktu, as well
as the more obvious reference point of Malian
supergroup Tinariwen.
Tamikrest do not go in for grand gestures:
there is no rock-god posturing here, no diva
desperate for attention. Instead, there’s almost
a reluctance to stand in the spotlight – an
ensemble cast working in perfect harmony to
deliver the message via the sound.
Halfway through the set the music stops and
Mossa makes an impassioned speech in rapid-
fire French. After listening in respectful silence,
the audience applaud enthusiastically at the
conclusion, although I doubt no more than a
handful have understood what was being said
(actually, this being the Kaz, they probably did).
A halted translation from the keyboard player
reveals the subject of Mossa’s polemic – lack
of schools, nutrition, healthcare; a surfeit of
conflict, religious and political self-interest and
killing.
When the band return to their instruments,
the tempo is heightened, and the rhythm is
insistent and decorated with some blindingly
nimble guitar work – the Floyd/Can comparisons
being largely substantiated. The band leave the
stage after almost an hour to huge acclaim, duly
returning for an encore and playing a daringly
low-key, beautifully melodic number before
leaving again and being recalled once more by
rapturous applause – a process that repeats two
or three times.
So, polemic or poetry? When Tamikrest leave
the stage for the final time, the audience are
still wearing those beatific smiles. This is a
music whose origins lie in North Africa and
which has been embellished in the cotton fields
of the South and the juke joints of Chicago,
returning full circle to provide a transcendent,
contemporary groove. Poetry indeed.
Glyn Akroyd
MERSEYRAIL SOUND STATION FESTIVAL
Moorfields Station
After a year of solid podcasting and
almost one hundred entries from Merseyside
musicians, we’re now descending in to
Moorfields train station for a gig… it can only
be the MERSEYRAIL SOUND STATION FESTIVAL
2014. Walking through the turnstile and down
the escalator, it is clear that Moorfields has
been transformed again, for the second annual
finale of the Merseyrail Sound Station Prize.
A full-stage rig dominates the concourse, to
the slight bemusement of some morning
commuters. Speaker stacks, crowd-control
barriers and the day’s first bunch of groupies
attest to a set-up that’s more suited to the O2
Academy than a station on the Northern Line;
there’s even a green room for the artists.
The set-up is so that the ten finalists of this
year’s Sound Station Prize can perform in front
of a panel of judges to decide who will be
the overall winner of the 2014 version of the
competition. Before it all gets underway, the
voice of the Sound Station podcast and today’s
compère, Jay Hynd, announces that competitors
EMILIO PINCHI and EMILY AYRE have been doing
the rounds already, playing acoustic sets on
trains. Both artists arrive at Moorfields with
guitars in hands and slightly wider than normal
smiles on their faces: they’ve just played the
weirdest gig of their lives, to a carriage full of
people making their way in to town. Not your
average commute.
Merseyrail Sound Station Festival (Keith Ainsowrth / arkimages.co.uk)
Bido Lito! Dec 2014 / Jan 201536
bidolito.co.ukbidolito.co.ukbidolito
Reviews
wadis and oases are thousands of miles away
and all that’s shifting on Hanover Street is the
litter, blown this way and that by the gusts of
wind. However, I’m on my way to The Kazimier,
our very own cultural oasis right here in the
heart of town, and tonight they’re serving up
a desert storm of blues and traditional North
African takamba in the form of TAMIKREST –
cultural and political ambassadors of the Taureg,
pan-national nomads of the Sahara.
Tamikrest translates as “junction” or “alliance”
and the band hail from the northern area of Mali,
an area recently embroiled in fierce fighting
involving several factions, so the geographical,
political and musical connotations of the name
strike an immediate chord. The band themselves,
formed in 2006 and as much a vehicle for
delivering a political message as a good
time, could also be said to be standing at the
crossroads, having recently delivered a critically
acclaimed album, Chatma, and embarked on an
extensive European tour.
So, what to expect? Polemic or poetry?
By the time Tamikrest arrive on stage, their
Taureg members resplendent in traditional
dress, there is a palpable air of expectation in
the room and when Ousmane Ag Mossa deftly
launches the band into a slide blues-enriched
groove, a quick glance reveals everyone in the
audience grinning in delight and starting to
sway. These are infectious rhythms, propelled
by crisp drumming and percussion, and stalking,
restless basslines. Mossa’s vocals blend
perfectly with singer Fatma Wallette Cheickhe,
the mystery of the words (sung in Tamasheq)
adding to the esoteric, exotic vibe. The feel of
the songs recalls early 90s Ali Farka Toure/Ry
Cooder collaboration Talking Timbuktu, as well
as the more obvious reference point of Malian
supergroup Tinariwen.
Tamikrest do not go in for grand gestures:
there is no rock-god posturing here, no diva
desperate for attention. Instead, there’s almost
a reluctance to stand in the spotlight – an
ensemble cast working in perfect harmony to
deliver the message via the sound.
Halfway through the set the music stops and
Mossa makes an impassioned speech in rapid-
fire French. After listening in respectful silence,
the audience applaud enthusiastically at the
conclusion, although I doubt no more than a
handful have understood what was being said
(actually, this being the Kaz, they probably did).
A halted translation from the keyboard player
reveals the subject of Mossa’s polemic – lack
of schools, nutrition, healthcare; a surfeit of
conflict, religious and political self-interest and
killing.
When the band return to their instruments,
the tempo is heightened, and the rhythm is
insistent and decorated with some blindingly
nimble guitar work – the Floyd/Can comparisons
being largely substantiated. The band leave the
stage after almost an hour to huge acclaim, duly
returning for an encore and playing a daringly
low-key, beautifully melodic number before
leaving again and being recalled once more by
rapturous applause – a process that repeats two
or three times.
So, polemic or poetry? When Tamikrest leave
the stage for the final time, the audience are
still wearing those beatific smiles. This is a
music whose origins lie in North Africa and
which has been embellished in the cotton fields
of the South and the juke joints of Chicago,
returning full circle to provide a transcendent,
contemporary groove. Poetry indeed.
Glyn Akroyd
MERSEYRAIL SOUND STATION FESTIVAL
Moorfields Station
After a year of solid podcasting and
almost one hundred entries from Merseyside
musicians, we’re now descending in to
Moorfields train station for a gig… it can only
be the MERSEYRAIL SOUND STATION FESTIVAL
2014. Walking through the turnstile and down
the escalator, it is clear that Moorfields has
been transformed again, for the second annual
finale of the Merseyrail Sound Station Prize.
A full-stage rig dominates the concourse, to
the slight bemusement of some morning
commuters. Speaker stacks, crowd-control
barriers and the day’s first bunch of groupies
attest to a set-up that’s more suited to the O2
Academy than a station on the Northern Line;
there’s even a green room for the artists.
The set-up is so that the ten finalists of this
year’s Sound Station Prize can perform in front
of a panel of judges to decide who will be
the overall winner of the 2014 version of the
competition. Before it all gets underway, the
voice of the Sound Station podcast and today’s
compère, Jay Hynd, announces that competitors
EMILIO PINCHI and EMILY AYRE have been doing
the rounds already, playing acoustic sets on
trains. Both artists arrive at Moorfields with
guitars in hands and slightly wider than normal
smiles on their faces: they’ve just played the
weirdest gig of their lives, to a carriage full of
people making their way in to town. Not your
average commute.
Merseyrail Sound Station Festival (Keith Ainsowrth / arkimages.co.uk)
Distribution is what we do...
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0151 708 [email protected]
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!
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I DESIGNBIDO LITO!
Distribution is what we do...
Magazines PostersBido Lito
0151 708 [email protected]
www.middledistance.org
!
// LUKE-AVERY.COM// [email protected]// 07729 308307
I DESIGNBIDO LITO!
Bido Lito! Dec 2014 / Jan 201538
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Reviews
First to take to the stage proper are 23 FAKE
STREET, four young indie upstarts who receive
a warm welcome with We Are The Fire. Though
they’re not the most imaginative band, there’s
undoubtedly plenty of promise in what they’re
doing and we’ll look forward to seeing how they
develop their precocious talents together.
Voice warmed up from singing on the train,
Emily Ayre is a personal highlight with her many
idiosyncrasies. Visually, Ayre is a walking paint
palette, while vocally she offers a mash-up of
Kate Bush, Lykke Li and just a smidge of Lenka
around the edges. Listen to Canvas, a single
on her upcoming EP Pillow Talk, to hear for
yourself.
As the day goes on, it’s clear that Merseyside’s
emerging music scene is anything but two-
dimensional, from THE RAGAMUFFINS and their
nods to skiffly ska, to BLUE SAINT and his rap
with a distinctly creative lyrical edge. As I watch,
I’m particularly enjoying Blue Saint’s crowd
participation: it takes a while, but his energy is
infectious and by the end of his fifteen-minute
stint I’m shouting louder than anyone else.
Singer-songwriters NIAMH JONES and Emilio
Pinchi show the depth of solo performing talent
that we have in the city, both possessing some
fine tunes that will be polished to a bright
sheen by a few more years of development.
DAVE O’GRADY sits at the other end of this axis,
with a bank of releases already behind him. His
three-song set is as accomplished as you’ll see,
causing many passersby to stop and listen in.
By the time SUNSTACK JONES roll in as last
band of the day, the hallway of Moorfields is
packed tight. It’s with sweaty hands that we
applaud that just-sunk-into-a-warm-bath feeling
that is Bet I Could.
With Sunstack’s lyrics still in our ears, we move
on to Hopskotch Restaurant and Bar for the prize-
giving, and a few words from Andy Woodhouse
of last year’s winners SOHO RIOTS. The tension
is palpable I’ll tell you that much, as all ten
finalists and ourselves are spread throughout
the bar, awaiting the result. After a brief speech
from the judges’ representative – our own Craig
Pennington – host Jay Hynd announces that this
year’s winner is… Blue Saint!
Blue Saint (real name Daniel Sebuyange)
steps up to gracefully accept his award,
saying: “I’m shocked and extremely grateful
to receive the award. I enjoyed the day
so much, the mix of talent on show from
the other acts was amazing,” before being
whisked off for a live session on Dave Monks’
BBC Introducing Merseyside radio show. With
a promising start to his rap career already
underway (performing alongside the likes
of Skinnyman, Ed Sheeran and Plan B), and
a recently released EP titled Enter Mynd, Part
I as the first part of an ambitious creative
story depicting his musical journey so far, he
seems a more than worthy choice as winner.
Congratulations Blue Saint, we’ll be seeing
lots of you, no doubt.
NatersP / @natersp
DIMENSIONSFort Punta Christo, Croatia
We made our first trip over to Fort Punta
Christo back in September 2013 for the second
edition of DIMENSIONS FESTIVAL. Over the last
12 months we’ve spent every after party chatting
people’s ears off about what an experience
that was, so it’s with giddying excitement that
we find ourselves on the tarmac of Pula’s tinpot
airport once again.
For those unacquainted, the festival takes
place in and around a 19th Century fort located
on a forested headland on Croatia’s sparkling
Istrian coast. Common-or-garden stages are
replaced by circular pits inside stone towers,
dungeons, and what was formerly the moat
of the fort – a 100-metre-long trench served by
one of the most intense sound systems we’ve
had the pleasure of being rattled by.
We arrive just in time for an opening concert
which happened to take place inside a 2000-
year-old Roman amphitheatre in Pula itself.
Featuring the mesmerising piano workouts of
NILS FRAHM against the backdrop of a setting
sun, this has the feeling of a once-in-a-lifetime
experience.
Having almost passed out of existence on
the boat back to the site, hurling ourselves in
to the ocean turns out to be one of the best
hangover cures available. A few hours later,
having nursed ourselves back to health on the
beach, we find ourselves following a lantern
trail up a winding, dusty path, through the
trees and into the spectacular surroundings of
the fort.
ROY AYERS’ classic Everybody Loves The
Sunshine perfectly captures the mood of the
festival in The Clearing early on Thursday night,
while inside the walls, many stay rooted at the
Void stage, lapping up the muscular techno
dished out by Ostgut Ton luminaries BEN KLOCK
and MARCEL DETTMANN. We veer away to catch
dubstep legend MALA, a decision rewarded
with a set which serves as a crucial example
of just how powerful the genre can be, in a
time when it is often argued that the style has
burnt itself out. Cuts from Compa and V.I.V.E.K. –
artists who have broken through over the last
couple of years – ride alongside the classics
nicely, but those from Mala himself, and Coki’s
examples of tear-out done proper, predictably
have people skanking hardest.
Still reeling from the experience, Hyperdub
bossman KODE9 hammers the crowd with a
bombardment of footwork and juke that serves
as a barnstorming tribute to his late friend DJ
Rashad, who died earlier this year, having been
a torchbearer of these styles since the late
90s.
On Friday, GREG BEATO churns out rolling
techno and woozy house with a distinctly
rough flavour, warming up The Moat for a
predictably on-point set from BEN UFO, who
hands us one of the moments of the festival
by dropping Floorplan’s Never Grow Old (Re-
Plant), a rapturous collision of gospel and hard-
hitting techno.
Our highlight? Jackmaster likened him to
Jeff Mills at the top of his game and there can
be no doubt that Steel city don BLAWAN is one
of modern techno’s leading lights. Played at a
frightening pace, new Karenn track Pace Yourself
is a standout in a thunderous set riddled with
that signature menace which courses through
many of his productions.
On paper, Sunday looked to provide a thrilling
conclusion to the festival, with White Material
boss DJ RICHARD, the live machinery onslaught
of KARENN, Detroit legend ROBERT HOOD and
his old pals in UNDERGROUND RESISTANCE
all highlighted on our now dusty, ragged
programme. But it’s not to be. Late that evening,
a truly biblical storm causes a blackout on the
majority of the stages meaning these artists
and countless others are cancelled. Though
a couple of stages reopen later on and some
brave souls manage to catch a very special
five-hour back-to-back set between FLOATING
POINTS and MOTOR CITY DRUM ENSEMBLE,
it’s a shame not everything goes off without
a hitch. But after four incredibly memorable,
joyous days and nights of the finest electronic
music in the most spectacular setting we could
hope for, we’ll be blessed if we make it three
on the bounce next year.
Rob Syme
Dimensions Festival (Dan Medhurst)
Bido Lito! Dec 2014 / Jan 201538
bidolito.co.ukbidolito.co.ukbidolito
Reviews
First to take to the stage proper are 23 FAKE
STREET, four young indie upstarts who receive
a warm welcome with We Are The Fire. Though
they’re not the most imaginative band, there’s
undoubtedly plenty of promise in what they’re
doing and we’ll look forward to seeing how they
develop their precocious talents together.
Voice warmed up from singing on the train,
Emily Ayre is a personal highlight with her many
idiosyncrasies. Visually, Ayre is a walking paint
palette, while vocally she offers a mash-up of
Kate Bush, Lykke Li and just a smidge of Lenka
around the edges. Listen to Canvas, a single
on her upcoming EP Pillow Talk, to hear for
yourself.
As the day goes on, it’s clear that Merseyside’s
emerging music scene is anything but two-
dimensional, from THE RAGAMUFFINS and their
nods to skiffly ska, to BLUE SAINT and his rap
with a distinctly creative lyrical edge. As I watch,
I’m particularly enjoying Blue Saint’s crowd
participation: it takes a while, but his energy is
infectious and by the end of his fifteen-minute
stint I’m shouting louder than anyone else.
Singer-songwriters NIAMH JONES and Emilio
Pinchi show the depth of solo performing talent
that we have in the city, both possessing some
fine tunes that will be polished to a bright
sheen by a few more years of development.
DAVE O’GRADY sits at the other end of this axis,
with a bank of releases already behind him. His
three-song set is as accomplished as you’ll see,
causing many passersby to stop and listen in.
By the time SUNSTACK JONES roll in as last
band of the day, the hallway of Moorfields is
packed tight. It’s with sweaty hands that we
applaud that just-sunk-into-a-warm-bath feeling
that is Bet I Could.
With Sunstack’s lyrics still in our ears, we move
on to Hopskotch Restaurant and Bar for the prize-
giving, and a few words from Andy Woodhouse
of last year’s winners SOHO RIOTS. The tension
is palpable I’ll tell you that much, as all ten
finalists and ourselves are spread throughout
the bar, awaiting the result. After a brief speech
from the judges’ representative – our own Craig
Pennington – host Jay Hynd announces that this
year’s winner is… Blue Saint!
Blue Saint (real name Daniel Sebuyange)
steps up to gracefully accept his award,
saying: “I’m shocked and extremely grateful
to receive the award. I enjoyed the day
so much, the mix of talent on show from
the other acts was amazing,” before being
whisked off for a live session on Dave Monks’
BBC Introducing Merseyside radio show. With
a promising start to his rap career already
underway (performing alongside the likes
of Skinnyman, Ed Sheeran and Plan B), and
a recently released EP titled Enter Mynd, Part Enter Mynd, Part
I as the first part of an ambitious creative
story depicting his musical journey so far, he
seems a more than worthy choice as winner.
Congratulations Blue Saint, we’ll be seeing
lots of you, no doubt.
NatersP / @natersp
DIMENSIONSFort Punta Christo, Croatia
We made our first trip over to Fort Punta
Christo back in September 2013 for the second
edition of DIMENSIONS FESTIVAL. Over the last
12 months we’ve spent every after party chatting
people’s ears off about what an experience
that was, so it’s with giddying excitement that
we find ourselves on the tarmac of Pula’s tinpot
airport once again.
For those unacquainted, the festival takes
place in and around a 19th Century fort located
on a forested headland on Croatia’s sparkling
Istrian coast. Common-or-garden stages are
replaced by circular pits inside stone towers,
dungeons, and what was formerly the moat
of the fort – a 100-metre-long trench served by
one of the most intense sound systems we’ve
had the pleasure of being rattled by.
We arrive just in time for an opening concert
which happened to take place inside a 2000-
year-old Roman amphitheatre in Pula itself.
Featuring the mesmerising piano workouts of
NILS FRAHM against the backdrop of a setting
sun, this has the feeling of a once-in-a-lifetime
experience.
Having almost passed out of existence on
the boat back to the site, hurling ourselves in
to the ocean turns out to be one of the best
hangover cures available. A few hours later,
having nursed ourselves back to health on the
beach, we find ourselves following a lantern
trail up a winding, dusty path, through the
trees and into the spectacular surroundings of
the fort.
ROY AYERS’ classic Everybody Loves The Everybody Loves The
Sunshine perfectly captures the mood of the
festival in The Clearing early on Thursday night,
while inside the walls, many stay rooted at the
Void stage, lapping up the muscular techno
dished out by Ostgut Ton luminaries BEN KLOCK
and MARCEL DETTMANN. We veer away to catch
dubstep legend MALA, a decision rewarded
with a set which serves as a crucial example
of just how powerful the genre can be, in a
time when it is often argued that the style has
burnt itself out. Cuts from Compa and V.I.V.E.K. –
artists who have broken through over the last
couple of years – ride alongside the classics
nicely, but those from Mala himself, and Coki’s
examples of tear-out done proper, predictably
have people skanking hardest.
Still reeling from the experience, Hyperdub
bossman KODE9 hammers the crowd with a
bombardment of footwork and juke that serves
as a barnstorming tribute to his late friend DJ
Rashad, who died earlier this year, having been
a torchbearer of these styles since the late
90s.
On Friday, GREG BEATO churns out rolling
techno and woozy house with a distinctly
rough flavour, warming up The Moat for a
predictably on-point set from BEN UFO, who
hands us one of the moments of the festival
by dropping Floorplan’s Never Grow Old (Re-
Plant), a rapturous collision of gospel and hard-
hitting techno.
Our highlight? Jackmaster likened him to
Jeff Mills at the top of his game and there can
be no doubt that Steel city don BLAWAN is one
of modern techno’s leading lights. Played at a
frightening pace, new Karenn track Pace Yourself
is a standout in a thunderous set riddled with
that signature menace which courses through
many of his productions.
On paper, Sunday looked to provide a thrilling
conclusion to the festival, with White Material
boss DJ RICHARD, the live machinery onslaught
of KARENN, Detroit legend ROBERT HOOD and
his old pals in UNDERGROUND RESISTANCE
all highlighted on our now dusty, ragged
programme. But it’s not to be. Late that evening,
a truly biblical storm causes a blackout on the
majority of the stages meaning these artists
and countless others are cancelled. Though
a couple of stages reopen later on and some
brave souls manage to catch a very special
five-hour back-to-back set between FLOATING
POINTS and MOTOR CITY DRUM ENSEMBLE,
it’s a shame not everything goes off without
a hitch. But after four incredibly memorable,
joyous days and nights of the finest electronic
music in the most spectacular setting we could
hope for, we’ll be blessed if we make it three
on the bounce next year.
Rob Syme
Dimensions Festival (Dan Medhurst)
Bido Lito! Dec 2014 / Jan 2015 39
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Bido Lito! Dec 2014 / Jan 2015 39
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