Offset Festival (day one): one-liners
Offset Festival 2010
Hainault Forest Country Park, 04sep10
day one
One-line reviews off all acts seen. Rarely can one line describe a band’s whole set, mainly because I rarely saw a band’s whole set. Rendering, you might argue, the whole thing a bit futile. Still, my blog, my rules, by which I mean none.
The Neat Main Stage
Too early a slot for this much infectious rattle and bounce.
Pariso Hardcore Stage
Challenged crowd not only with hardcore fury but also tasked them with the building of an inverse human pyramid and, fair play, some of the chaps gave it a good go.
Oh! Gunquit Offset Presents Stage
On paper, 60’s style garage bands who don’t reference Cadillacs and surfboards, rather Facebook and, err, off milk, are all wrong, but Oh! Gunquit gleefully get away with it.
Cold In Berlin Main Stage
If the main thrust of Alice Glass’ shtick was actually singing, and she fronted a band in the Interpol scheme of things, it might come out like this.
Guess What ECC Stage
Tempted to say “dunno, what?”, but the ‘what’ appears to be a slightly overdressed for the occasion Velvety Undergroundy thing.
Invasion Main Stage
Where soul and metal come together in a way not seen since Esso’s ‘Wigan Casino’ coin collection.
House of §chtinter ECC Stage
Shrouded within a heavy sheet and hidden behind a dolls house frontage (dolls house noir, anyway), Ho§ offers brooding drone, torch piano twinkle, barely visible video projection and spoken word gloom.
Bo Ningen Main Stage
The kind of strident psych that only works when performed by those with billowing hair
Egyptian Hip-Hop Loud & Quiet Stage
Well as it wasn’t spat rhymes on sarcophagus maintenance or pyramid styles (not to include tea-bags, Ponzi schemes or the organisation of English football) I didn’t think I be interested, but turns out, after a hesitant start, to be rather intriguing stuff.
Teeth!!! Loud & Quiet Stage
Prodding eager chiptuney business, with live drums amid the squeaks
Kap Bambino Main Stage
Much like Teeth!!!, only a little more ankle-grabbingly hectic with their synthetic beats, and entirely of the moment
Lavotchkin Hardcore Stage
Apropos of nothing, early doors, their frenetic display is interrupted by a man wearing nothing but a gimp mask and a thong.
La La Vasquez Offset Presents Stage
Yelping and tumbling through ‘Blue Monday’ and a set of lackadaisical garage pop where strong harmonies are they key and sadly, here, are the let down.
Good Shoes Main Stage
There’s something so utilitarian about them, which doesn’t feel like a ringing endorsement really.
Art Brut Main Stage
Eddie Argos is post-punk perky-pop’s most effortlessly erudite yet cheeky wit.
Factory Floor Loud & Quiet Stage
Have really hit form and found their attack-as-build-followed-by-subtle-release voice in 2010 and it’s been mesmerising to watch them grow in stature
Liquid Liquid Main Stage
After FF seemed rather pedestrian and unthreatening by comparison, but pleasingly percussive in their own way
Thomas Tantrum Offset Presents Stage
Light, fluffy, take-em-home-to-meet-your-mother indie poplets
O.Children ECC Stage
Seeping synths, hints of Nick Cave in the shadows, yet a twinkle in the black of their irides
Telepathe Loud & Quiet Stage
An electro pop thousand yard stare, but through moist and milky eyes
I didn’t enjoy Bo Ningen as much as I thought I might at the 1234. Gutted to have only caught about 30 seconds of O Children at Green Man (they were running ahead of schedule – gah!) – sounded good. Also missed Factory Floor there because they clashed with The Flaming Lips. Glad you got to see Invasion – but can’t quite tell whether you actually enjoyed it?
Comment by Ben | September 5, 2010 |
I thought Invasion were okay, just a bit one dimensional – I’m afraid I come down firmly on the side of the Hoof in terms of our conversation at the 1234 – indeed got amongst it large to said Hoof on the Sunday of this festival. Bo Ningen were much much better on the main stage here than being glimpsed through tent flaps at the 1234.
Comment by vanityprojectuk | September 6, 2010 |