Friday, 28 January 2011
No Depression announces its SXSW showcase
No Depression was an excellent print magazine that covered the alt-country movement ( whatever that was ), back in the 1990s. Unfortunately the print version was one of the first magazines to go under. They have however maintained a very good website at www.nodepression.com and yesterday announced their 2011 SXSW showcase: http://www.nodepression.com/profiles/blogs/announcing-the-2011-no
Thursday, 6 January 2011
Reviewing the list of SXSW bands
The holidays are over! The stockings have all been put back in their proper receptacles. My Best of 2010 music wrap up has been written and mailed. Now it is time to turn my attention to SXSW 2011. I am happy to see that the Music Festival has posted over 1000 bands already. I am disappointed that I knew only a handful. Which isn't necessarily a bad thing, but I am even more disappointed that it does not appear that I will be able to use my usual method to discover new talent. In previous years, I would spend one evening downloading the sample MP3's posted by the bands. I would then create CDs/playlists of these hundreds of songs and listen to them over a period of weeks, giving each a rating from 1 to 5. No samples of been posted so far. It appears that the festival is providing only links to MYSPACE pages. To load and listen that number of bands will be too time consuming. I therefore ask: 1) Do you have an alternative? Something like an Iphone ap that will speed up the process :-) 2) Can you give recommendations of bands you guys have heard of? ( I will create a list ).
Hopefully I will be posting a lot more often in the next few weeks.
Sunday, 12 December 2010
Review: Jenny and Johnny, Luminaire, London UK, 10 December 2010
Top rock'n'indie pop. Now I understand the rave reviews. I've been enjoying the album and thinking 'Lemonheads and Juliana Hatfield' but this set rocked out. The set was full of energy – didn't hang about between songs and high pace. There's a back catalogue that we weren't aware of but like a lot.
For a new band you could see their experience they knew how to plan a set and performed it really well. Jenny has a great voice and they both were really good musicians without being showing.
Johnny's falsetto was impressive and it was good to see Jenny singing lead on so many of the tracks, rather than just doing backing.
The kind of group that make you want to buy a guitar and start a band.
Review: La Sera, Luminaire, London UK, 10 December 2010
A classic two-girl, boy-with-glasses-on-drums beat combo. They made us think of a slew of other girl-fronted bands with sweet voices over loud guitars: Veruca Salt, Blondie, Bettie Seveert, Madder Rose etc.
Vocals were quiet in the mix, but assume that was deliberate and it did work to make the sound more like a garage band.
Enjoyable pop songs. One which they said was available on 7-inch online and which they had to restart after blowing an amp was really good. Also solid cover of 'Dedicated To The One I Love'.
Thursday, 2 December 2010
Review: Arcade Fire, The 02, London, UK, 1 December 2010
Seeing the Arcade Fire play an arena show felt slightly surreal. As they said themselves, they haven't had any hit singles, and hurdy gurdy and mandolin solos are hardly typical arena fare. Yet here were all 17,000 of us, braving transport chaos on a freezing night to see them. They have become an arena band by virtue of record sales and popularity, but without having to compromise their sound or show.
The set opened with real oomph, and a barnstorming Keep the Car Running about four songs in. There was then a more subdued run of songs from The Suburbs, after which the audience were asked to imagine they were at a real rock show for the set-closing run of classics (that should have been hits had they). I don't know whether it was because of audience reaction to it, or the band's familiarity with it, but the older material seemed to lift off in a way the newer songs didn't. Perhaps that will come with time.
We managed to grab a great spot right near the front, as the side of the floor was being kept clear, allowing people to walk right up to the front before the show started.
Overall, the show was a great improvement on their Neon Bible show at Ally Pally which felt rather hollow and had few of the peaks in this show (Keep the Car..., Wake Up... etc). With faith restored, it'll be exciting to see them next time they play in London. I suspect that, more than many bands, it'd be especially thrilling to see them in a theatre-style venue, so will definitely keep an eye out for any announcements about more intimate shows.
The set opened with real oomph, and a barnstorming Keep the Car Running about four songs in. There was then a more subdued run of songs from The Suburbs, after which the audience were asked to imagine they were at a real rock show for the set-closing run of classics (that should have been hits had they). I don't know whether it was because of audience reaction to it, or the band's familiarity with it, but the older material seemed to lift off in a way the newer songs didn't. Perhaps that will come with time.
We managed to grab a great spot right near the front, as the side of the floor was being kept clear, allowing people to walk right up to the front before the show started.
Overall, the show was a great improvement on their Neon Bible show at Ally Pally which felt rather hollow and had few of the peaks in this show (Keep the Car..., Wake Up... etc). With faith restored, it'll be exciting to see them next time they play in London. I suspect that, more than many bands, it'd be especially thrilling to see them in a theatre-style venue, so will definitely keep an eye out for any announcements about more intimate shows.
Sunday, 28 November 2010
The View, 27 November 2010, Bethnal Green Working Men's Club, London, UK
On fire, as ever.
Secret gig held in the surprising venue of a proper working men's club. Only heard about the show on Wednesday, so we were lucky to get tickets.
It was a really fun evening. The band were wandering around in the crowd before their set and during the support band, which made it feel like a family party.
The set included quite a few songs from the new album which sounded pretty good – looking forward to hearing it. They also played great versions of songs off the first two albums.
Clearly a fan's gig, the atmosphere was relaxed and lively, as you'd hope and expect, with lots of ;'The View are on Fire' chants. They played for 1hr15m or so and really rocketed through it.
Secret gig held in the surprising venue of a proper working men's club. Only heard about the show on Wednesday, so we were lucky to get tickets.
It was a really fun evening. The band were wandering around in the crowd before their set and during the support band, which made it feel like a family party.
The set included quite a few songs from the new album which sounded pretty good – looking forward to hearing it. They also played great versions of songs off the first two albums.
Clearly a fan's gig, the atmosphere was relaxed and lively, as you'd hope and expect, with lots of ;'The View are on Fire' chants. They played for 1hr15m or so and really rocketed through it.
Love in the Asylum, 27 November 2010, Bethnal Green Working Men's Club, London, UK
Made us think of a British Vampire Weekend with some flavour of the Specials mashed in and a healthy dose of charm. Quite danceable and definitely worth another listen.
Set was acoustic-tinged, but apparently sound is usually harder edged. A couple of really fun songs, but whole set was pretty strong for a support band we'd not heard of before.
Set was acoustic-tinged, but apparently sound is usually harder edged. A couple of really fun songs, but whole set was pretty strong for a support band we'd not heard of before.
Wednesday, 24 November 2010
Review: Willard Grant Conspiracy, Luminaire, London UK, 23 November 2010
The band cooked up an evocative, experimental soundscape. Having known nothing about them and taken a punt after a run of luck at the Luminaire, it was good to have been on a fun voyage of discovery.
The first song was an exciting introduction, bring to mind a whole set of different gothic songs (Johnny Cash's Hurt, things by the Pixies, Mark Lanagan and J Mascis and Therapy's Diane and its b-side acoustic versions of Loose, Die Laughing and Screamager).
The song about the battle for the soul of a gym teacher (performed a cappela) was quite a standard out. The final song painted a whole world in minature from the perspective of a girl trapped down a well, with somber and spooking saw playing. The song had to be restarted after a string broke, but they managed to re-create the atmosphere, if not quite the spine tingling moment it felt they might be about to hit on the first run though.
The first song was an exciting introduction, bring to mind a whole set of different gothic songs (Johnny Cash's Hurt, things by the Pixies, Mark Lanagan and J Mascis and Therapy's Diane and its b-side acoustic versions of Loose, Die Laughing and Screamager).
The song about the battle for the soul of a gym teacher (performed a cappela) was quite a standard out. The final song painted a whole world in minature from the perspective of a girl trapped down a well, with somber and spooking saw playing. The song had to be restarted after a string broke, but they managed to re-create the atmosphere, if not quite the spine tingling moment it felt they might be about to hit on the first run though.
Review: Benjamin Folke Thomas, Luminaire, London UK, 23 November 2010
Young folker with rock and roll sensibilities and stage presence and very skillful guitar fingerwork. He wore his influences proudly with lots of references from Dylan (Gates of Eden...) and the King James Bible. But it was pleasing to see these nods, rather than it sounding like a pastiche. And he showed potential for a lyrical style of his own with some wit, as shown on 'You and me baby, we're rhythm and blues; you've got the rhythm and I've got the blues' and 'She was happy anywhere; I wasn't happy anywhere' (with apologies for any misquoting).
Tuesday, 23 November 2010
Review: Chris Smither, Luminaire, London UK, 28 October 2010
‘Tom, can you take a bit of 650 out of the guitar?’ was Chris’s great request to the soundman. With one quick question he revealed an attention to detail and knowledge of his craft you rarely have a chance to experience. And that knowledge and care shone through in the performance.
He played country-blues style rhythmical finger-picking guitar with odd bits of slide guitar. If it wasn’t a reversal of chronology, I’d say quite a bit like Kelly-Joe Phelps. With just him and his guitar, he made enough sound for a whole band with a great driving rhythm throughout.
He told great long stories and had the crowd chuckling, giggling and then returning to hushed reverence. Having sat for the first set, we stood for the second set, which was mesmerising. He really drew us in and a cover of Visions of Johanna was majestic. A really great gig.
This was a last minute gig choice to fill the void left by Manic Street Preachers’ cancelling their Brixton show. We opted for it on the basis of the website describing Chris’s performance technique as ‘riveting’ and I wouldn’t quibble with that choice of words.
He played country-blues style rhythmical finger-picking guitar with odd bits of slide guitar. If it wasn’t a reversal of chronology, I’d say quite a bit like Kelly-Joe Phelps. With just him and his guitar, he made enough sound for a whole band with a great driving rhythm throughout.
He told great long stories and had the crowd chuckling, giggling and then returning to hushed reverence. Having sat for the first set, we stood for the second set, which was mesmerising. He really drew us in and a cover of Visions of Johanna was majestic. A really great gig.
This was a last minute gig choice to fill the void left by Manic Street Preachers’ cancelling their Brixton show. We opted for it on the basis of the website describing Chris’s performance technique as ‘riveting’ and I wouldn’t quibble with that choice of words.
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