Vanity Project

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2011: 25 gig salute

If my calculations are correct, I made it to 139 gigs/festivals/in-stores/bandstand busks in 2011 (a great many being free entry thank goodness), comprising 379 ‘sets’. Of those, here are the best 25, with a few bubbling under ‘momentary highlights’ and gig-like experiences of note.

A condition set upon myself for this list was that no band would appear twice, otherwise there are a few entrants who may well have done.

1=: King Creosote & Jon Hopkins. Union Chapel (May)
A sold out Union Chapel, candles flickering and, come the end, a standing ovation all round. Turns out collaboration between a modern folk troubadour and an electronica everyman works beautifully live. Key track: Bats In The Attic.

1=: Nisennenmondai. Kentish Town Forum (November).
Pretty much the same set I saw them do a year ago in support of the Ex at Tufnell Park Dome and again it was a 50 minute support slot, albeit to a far larger crowd, with four ‘pieces’ taking up the entire stint. Theirs is a powerful music, but without need for racking up the distortion or applying any extraneous vocalisation (their set being entirely instrumental). Nisennenmondai’s strength comes from danceable car-chase hypnotics, drama and energy building in the cyclical compositions as they jut out but roll fluidly.

The Magic Band

3: The Magic Band. Nottingham Rescue Rooms (December)
I followed this tour about a bit, and I would nominate the whole ‘gig experience’ of doing so but my damned rules determine a single show to be chosen. So I will choose Nottingham for the extra treat of a version of Howlin’ Wolf’s Smokestack Lightning played by way of tribute to Wolf’s guitarist Hubert Sumlin. Also seen at London Scala, Dublin Button Factory and Leeds Irish Centre.

“Thankfully, French is an excellent blues singer in his own right, taking his cue from Van Vliet in much the same way as Van Vliet did from Howlin’ Wolf. Whilst he hasn’t got quite the same range, the growl is as hearty as you need to capture the essence of what watching Captain Beefheart and the Magic Band live must have been all about.” [FULL REVIEW]

4: Gaggle. Rough Trade East (April).
Like the old school Top 40 this, something coming in low and climbing as it begins to bed in. Gaggle performing their rework/remix of the 1969 feminist cantata ‘The Brilliant & The Dark’ was at #17 in my 2010 top gigs list, but that was in front of a ‘home’ crowd at the Women’s Library. Here, dropped like a cluster bomb into the midst of a packed Rough Trade East on Record Store Day, the themes of the piece were even more arresting and thrilling. Also seen at: Royal Albert Hall Elgar Room.

5: Kap Bambino. Krems Messangelände (May)
“So, after a weekend that has often been about the art of music, we are brought to a flurrying dervish of a climax by a band for whom the body response is of equal validity to the effect upon the mind.” [FULL REVIEW].

6: PJ Harvey. Mile End Troxy (February).
The album Let England Shake was a remarkable piece of work and was rightly showcased in its entirety (albeit not in order) and interspersed with material from across her canon. On Battleship Hill was the standout moment, as its intro broke away to Peej’s piercing Kate Bush-esque falsetto, and hairs jumped to attention upon many a nape. Also seen at: Alexandra Palace

7: The Fall. KOKO (June).
Three great Fall gigs in a row for me, and all when the set is chock heavy with material from the brilliant Your Future Our Clutter LP. The Fall will never be a band that treads water or looks backwards at old glories, but part of me wouldn’t be disappointed if they toured this record in perpetuity, especially on this form. Key track: Cowboy George. Also seen at: IndigO2.

8: Paul Simon. Roundhouse (July)
Beginning strongly with Crazy Love Vol. II, this was a two hour tour through Simon songs old and new. A quarter of that time was the two encores finishing with a riotous You Can Call Me Al but containing a brilliantly arresting solo rendition of The Sound Of Silence and a voluptuous Boy In The Bubble.

Factory Floor @ Alexandra Palace

9: Factory Floor. Alexandra Palace (July)
Sixth time I’ve seen them and while a hard sound as relentless and unflinching as theirs might lose its impact on multiple viewings, if anything the opposite is true. The perfect late-night-at-a-festival (on after the headliners) group. Also seen at: Krems Messangelände, CitiPost Building and Highbury Garage.

10: Low. Barbican Hall (June)
After an awry start where Alan Sparhawk’s voice goes all over the place during Nothing But Heart, they pull it back swiftly with the first of three goosebump moments as Nightingale follows. Especially Me and (That’s How You Sing) Amazing Grace are the other standout flesh prickling moments in a gorgeous nigh-on two-hour set. Also seen at: Brighton Old Market.

11: Blanck Mass. Shacklewell Arms (December)
Perhaps one man with a laptop and a table of buttons and dials should not make for the most gripping live spectacle, even with bespoke visuals projected to grab the attention. Yet gripped we were, by a brutal, bone-rattling sensory experience.

12: James Yuill. City Arts & Music Project (May).
Electro pop so perky you could hang yer coat on it and an ideal way to get the dancin’ feet moving at the end of a Stag & Dagger night where they’d been wearied by walking between venues in Shoreditch, Hoxton and Spitalfields. Key track: On Your Own

13: Charles Hayward. Catch (August)
“My maaaaad-ness” he begins, the glint in his gaze increasingly vivid, before moving smoothly into a groove that feet can respond to. A kindly, mildly eccentric presence, he later rises from his stool to pause one song for a good thirty seconds just so that he might peer out at us incredulously.” [FULL REVIEW].

14: Portishead. Alexandra Palace (July)
In the London bus approach to gigs, ticket holders for ATP’s I’ll Be Your Mirror weekender were treated to rare giggers Portishead curating, and topping the bill, on both the Saturday and Sunday. As the sets were identical, I’ll have to pick the Saturday as my choice as the impact of Silence as a set opener was all the more powerful for it being their reintroduction to the UK stage. Commanding and captivating.

15: The Antlers. Heaven (May)
Would the appearance of a set of new songs dilute the power of the tunes from their astonishing ‘Hospice’ record? Not a bit of it! Also seen at: Borderline.

Carla Bozulich works the room @ donaufestival

16: Carla Bozulich. Klangraum Krems Minoritenkirche (May)
“Entitled ‘Eyes & Ears 5: Under The Skin’ it would continue a series of site specific performances that Carla has put together, and use the resonant monastic space to its full potential, rather than having the stage as the sole focal point. In that respect it worked wonderfully, the audience on being allowed to enter wandering between players arranged around the room, with films projecting across the space onto side walls, and also so that flickering images cascaded down the central pillars, encasing us as though in a cage of static electricity.” [FULL REVIEW]. Also seen at: Dalston Café Oto (as ‘Evangelista’).

17: Omar Souleyman. XOYO (December)
I find it nigh on impossible to not have a good time at an Omar Souleyman show. Those who have seen him will know what I mean when I say “Yeeeeeeeeaaaaaaaaaaah…YALLA!” The joie de vivre that sweeps the room is highly infectious and impacts directly on the hips and feet. Key track: Leh Jani

18: Micachu & The Shapes with Brotha May. Plastic People (March).
It’s one thing collaborating with the London Sinfonietta to create an hour long suite entitled Chopped And Screwed, but alt.pop hero Mica Levi’s aspirations aren’t all towards ‘high’ culture as to accompany the release of the recording of this orchestral collaboration was a grime mix-tape version. This show in basement club Plastic People was to launch that recording and featured Mica, Raisa and Marc on lap-tops and synths in the DJ booth rather than their usual stage set up, and with grime MC Brotha May doing his thing from the step behind them. Idiosyncratic enough to begin with, this was them indulging their esoteric passions with some aplomb.

19: The Books. Klangraum Krems Minoritenkirche (May)
“Cult-like propaganda videos, golf tutorials, the dark thoughts of unknown children captured on found Talkboy tapes featured among the collaged ‘samples’ that play out in synchronicity on a screen behind The Books. These found visuals and sounds are the kind of foundations upon which our three players build their jazz-trained whimsy beyond-New-Age expanse towards a 21st century folk music celebrating the technology as well as the spirit of the age.” [FULL REVIEW]. Key track: Cold Freezin’ Night. Also seen at: Alexandra Palace.

20: Laura Hocking & The Long Goodbye. Union Chapel (July)
Modern folk-pop groups led by singer songwriters can feel a bit ten a penny at times. However when they hit the right emotional note they can make an entire audiences jaw drop, and it certainly felt like this was happening when Laura Hocking followed her announcement that the next song as being about her autistic brother’s simultaneous responses of eagerness and fear to Firework Night, and wanting to capture that in song, with the astonishingly good Strongmen & Acrobats which, although I’m not intimately involved with the Hocking family, felt absolutely perfect.

21: The Ex + Getatchew Mekuria. Rich Mix (December)
The Ex are a fine, lively post-punk outfit in their own setting, however collaborations with brass sections seems to give them a mesmerising extra dimension. They ended up in my 2010 end of year ‘best gigs’ list with their set with Brass Unbound and this year’s entry again finds them in collaboration, this time a set with septuagenarian, Ethiopian saxophonist Getatchew Mekuria and his colleagues.

Ghostpoet @ Stag & Dagger

22: Ghostpoet. 93 Feet East (May)
Another highlight of a year of wise choices made whilst staggering around Shoreditch and Spitalfields for Stag & Dagger. Ghostpoet’s winning demeanour and electrifying sounds which defy simple categorisation was a winning combo for attracting the attention of a wanderlustful crowd. Key track: Us Against Whatever Baby. Also seen at: Thames Festival and Scala.

23: The Lampshades. Arnold Circus Bandstand (December)
One of the most unexpectedly beguiling sets I’ve seen in the semi-regular (and free) Sunday afternoon ‘Bandstand Busking’ series.

24: North Sea Radio Orchestra. St Giles-in-the-Fields (July).
Delicate, caressing and sweeping chamber orchestra in an ideally ornate setting. With material from the I A Moon amongst older pieces, an additional element of motorik krautrock (Berliner Luft) was added to their sumptuous ensemble sound. Highlight: Kingstanding. Also seen at: St Olave’s Church.

25: Mugstar. Rough Trade East (April).
Instrumental hardcore psych delivered with the emphasis less on whirlwind swirl as a tidal wave crashing forward. Also seen at: The Lexington.

honorary ‘gig’ of the year
Not a live performance, but Chris Watson’s sound-art installation at Donaufestival (Krems Kunsthalle, May) of sounds found on an expedition to Antarctica was also a further sonic highlight of the year. Invited to lie down on cushions, his collection of recordings such as pressure ridges, glacial caving, melt water and deep ocean current via quadraphonic sound attacked and doused as water and ice collided, capturing the ebb and flow as a force of seismic change rather than something gentle and calming.

Radio session of the year
Deerhunter’s session for Marc Riley on 6Music was simply incredible and I had not, previously, been that taken with them (and that’s with having seen them live before as well). Re-investigation required.

other song ‘highlights’ from the year’s gigging

Aiden Moffat & Bill Wells, The Copper Top (Cargo)
Architecture In Helsinki, I’ve Been Thinking About You (XOYO)
Beach House, Zebra (Alexandra Palace)
Bearsuit, Jim Henson’s Creature Workshop (Old Blue Last)
Blurt, Enemy Ears (Deptford Bird’s Nest)
Bug Prentice, Get What You Pays For (Rich Mix)
Cocknbull Kid, Cocknbull Kid (City Arts & Music Project)
Destroyer, Savage Night At The Opera (Heaven)
Dom Coyote, song using verbatim text from Shakespeare’s Romeo & Juliet (Union Chapel)
Dutch Uncles, The Ink (Rough Trade East)
Electrelane, Smalltown Boy (Scala)
Elbow, Lippy Kids (The O2)
Fuck Buttons, Surf Solar (Kentish Town Forum)
Grace Jones, Slave To The Rhythm (Hyde Park)
The Hidden Cameras, In The NA (Barbican Hall)
The Irrepressibles, Nuclear Strike (donaufestival)
John Maus, Keep Pushing On (Rough Trade East)
Julianna Barwick, White Flag (Rough Trade East)
Ladytron, Discotraxx (donaufestival)
Liars, Scissor (Alexandra Palace)
Lydia Lunch, Atomic Bongos (donaufestival)
Marissa Nadler, Fifty Five Falls (Rough Trade West)
Matt & Kim, Yeah Yeah (Highbury Garage)
Max Tundra, Which Song (Kingston Fighting Cocks)
Phoenix Foundation, Bitte Bitte (Rough Trade East)
Planningtorock, Doorway (Rough Trade East)
Pulp, Sunrise (Hyde Park)
Still Corners, Cuckoo (Rough Trade East)
tUnE-yArDs – Do You Want To Live (Scala)
Underground Railroad, Russian Doll (Rough Trade East)
Wanda Jackson, Funnel Of Love (Scala)
The Wedding Present. Quick, Before It Melts (Dingwalls)
Wire, Bad Worn Thing (Rough Trade East)
Zea, Armpit Elastica (Café OTO)

All Our Yesterdays – The Top 5’s

1: tUnE-yArDs @ Shoreditch Cargo.
2: Low @ Primavera Sound
3: The Fall @ Primavera Sound
4: Edwyn Collins @ Bowlie II (ATP)
5: The Hidden Cameras @ Shoreditch St Leonards Church
(full list)

1: Amiina @ Shoreditch St Leonards Church
2: Transglobal Underground @ Shoreditch Rich Mix
3: Future Islands @ University of London Union
4: Veronica Falls @ Spitalfields Rough Trade East
5: Pet Shop Boys @ Greenwich O2
(full list)

1: Tilting & Drifting: The Songs Of Scott Walker @ Barbican Theatre
2: Danananananakroyd @ Islington Lexington
3: The B-52’s @ Camden Roundhouse
4: Killing Joke @ Kentish Town Forum
5: Billy Childish & The Musicians Of The British Empire @ Dalston Barden’s Boudoir

1: Carla Bozulich @ Spitalfields The Spitz
2: The Fall @ Hammersmith Palais
3: Rarely Seen Above Ground @ Whitechapel Art Gallery
4: Tim Ten Yen @ Brixton Windmill
5: Yndi Halda @ London Blow Up Metro

1: Cardiacs @ London Astoria
2: Shitdisco @ Liverpool Barfly
3: Only Son @ Liverpool Carling Academy 2
4: Stuffy/The Fuses @ Herne Hill Half Moon
5: Gogol Bordello @ Manchester Academy 2

1: The Magic Band @ Liverpool Carling Academy 2
2: Architecture In Helsinki @ Liverpool Barfly
3: Schwervon @ Liverpool Zanzibar
4: Cranebuilders @ Liverpool Carling Academy 2
5: Thee More Shallows @ Liverpool Hev’n & Hell

1: Charlie Parr @ Leeds Packhorse
2: Soweto Gospel Choir @ Edinburgh St Georges West
3: The Magic Band @ Highbury Garage
4: Nina Nastasia with Huun-Huur-Tu @ Leeds City Varieties
5: Kid Carpet @ Liverpool Barfly

1: Low @ Islington Union Chapel
2: Jeffrey Lewis @ Leeds Royal Park Cellars
3: Olympic Lifts @ Southampton Joiners
4: The Kills @ Southampton Joiners
5: Melt Banana @ Liverpool Magnet

1: The White Stripes @ Leeds Festival
2: Cardiacs @ London Astoria
3: The Polyphonic Spree @ Leeds Festival
4: Motel @ Portsmouth Horseshoe
5: Nina Nastasia @ Spitalfields The Spitz

1: Cardiacs @ London Astoria
2: Lonnie Donegan @ Guilford Festival
3: The Monsoon Bassoon @ Highbury Garage
4: Muse @ Portsmouth Guildhall
5: Ed Harcourt @ Guildford Festival


January 1, 2012 Posted by | Yearly lists | , , , , , , , , , , , , , , , , , , , , , , , , , , | 3 Comments

Micachu & The Shapes with The London Sinfonietta @ King’s Place

Micachu & The Shapes with The London Sinfonietta.
King’s Place. 01may10.

When a piece of work provokes what the cynical might call ‘the law of diminishing returns’, there is a positive spin that can equally be applied, relating to the strength of that initial impact.

For example, in the four times I watched Micachu & The Shapes in 2009, they were never so good as they were the first time around. The only exception to this rule was during the encore to that fourth show when they hooked up with tour-mates The Invisible for a collective cover of Paul McCartney’s very-80’s electro single Temporary Secretary, which was astonishing. Thanks, one assumes, to that element of surprise.

This is perhaps The Shapes’ greatest weapon in much the same way the first Fall album you come across tends to remain your favourite. However, it does put pressure on them to turnover the material, and indeed their style, at a rapid rate. Although, of course, this is no guarantee of artistic success.

Indeed, the non-album material that was aired on those later dates last year hinted at a more dirge-based direction, rather than the scratchy giddiness of great album tracks like Lips and Vulture. If I’m honest it didn’t quite seem to fit.

However, this collaboration with the London Sinfonietta, as part of the latter’s ‘Experiment’ festival, makes sense of it. Mica Levi, Shape-leader, is a classically trained musician and composer and, despite her youth, has already composed for the London Philharmonic Orchestra.

This is her 50 minute score, Chopped & Screwed, essentially a brand new set-list weaved together like the Bayeaux Tapestry; an avant-garde symphony sharing its aesthetic quality in places with both the austere and the more aggressive moments in Scott Walker’s string score for ‘The Drift’.

There are sparse moments which complement the John Cage and Christian Wolff pieces that five of the Sinfonietta had performed in the first half by way of warm-up, whilst other interludes see all the players tapping at their violins, cellos and wind instruments like amphetamine-fed woodpeckers. Reflective vocals and samples weave in and out whilst one passage is reportedly anchored on the speech patterns from slowed-down hip-hop records.

It’s never been in doubt that Mica is brimming with musical ideas, perhaps too many for a common-or-garden band making an assault on the pop charse or even just the indie/alternative consciousness. As such, so you can well see her and the Shapes (whose contribution should not being ignored, drummer Marc Pell doing a fine job of conducting the pace of the Sinfonietta players at various points) ploughing a more ambitious furrow than merely the indie toilet circuit.

Then again, you can imagine that that ambition might not necessarily manifest itself orchestrally, it could equally be a hardcore grime record, an album of ‘English folk music’ to reflect the modern shape of East London, or the pursuit of the perfect avant-pop sound.

Hopefully it won’t be any of those and Micachu & The Shapes will continue to strike out with the shock of the new.

May 5, 2010 Posted by | new reviews | , | 1 Comment

2009: 21 gig salute

Shows/live tracks/gig ‘moments’ of the year

1: Amiina soundtrack Lotte Reiniger’s Cinderella Shoreditch St. Leonard’s Church
2: Transglobal Underground. Bethnal Green Rich Mix
3: Future Islands University of London Union & Brighton Freebutt
4: Veronica Falls, ‘Beachy Head’ Rough Trade East & Mile End Victoria
5: Pet Shop Boys, ‘What Have I Done To Deserve This?’ Greenwich O2
6: Fleet Foxes silence the Roundhouse Camden Roundhouse
7: Sons Of Noel and Adrian, ‘The Wreck Is Not A Boat’ Clerkenwell Northampton Square Bandstand
8: Jon Hopkins, ‘Light Through The Veins’ London Queen Elizabeth Hall
9: Therapy?, ‘Teethgrinder/Innocent X’ Portsmouth Wedgewood Rooms
10: Stuffy/The Fuses, ‘The River’ Brixton Windmill
11: Micachu & The Shapes, ‘Vulture’ Rough Trade East
12: Casiokids, ‘Verdens Störste Land’ Hoxton Square Bar & Kitchen
13: 9Bach Rough Trade East
14: White Town, ‘Your Woman’ Brixton Jamm
15: Jimmy of the Bobby McGees’s future as a children’s entertainer Hackney Victoria Park
16: About blow Gang Gang Dance off-stage Camden Dingwalls
17: Blurt, ‘Cut It’; Dalston Barden’s Boudoir
18: Micachu & The Shapes & The Invisible, ‘Temporary Secretary’ King’s Cross Scala
19: Lisa Knapp & Leafcutter John London Canal Museum
20: Dan Deacon’s parlour games University of London Union
21: Ear Pwr, ‘Future Eyes/I Like Waterslide’ Brighton Freebutt


The list above represents the highest points of a gigging year that saw me at 120 shows, far far more than usual due to gigging becoming a bit of an obsessive habit again, partly through the marvellous SongKick site keeping me up to date with what’s on, and partly helped by the number of free gigs available within a couple of miles of my Bethnal Green garret. In fact roughly half of those shows came gratis without even the need to blag.

Rough Trade East’s instores, Pure Groove’s intimate bar and the Bandstand Busking events provided a great way to check out new bands without touching the wallet and two that made an instant impression at these were 9Bach and Sons Of Noel and Adrian, both alternative folk acts, the former performing entirely in the Welsh language but so captivating musically as to barely register as ‘foreign’.

White Town and the Pet Shop Boys appearance in the list is, of course, largely motivated by nostalgia (which is pretty addictive, despite being the stick between the spokes of invention). Hearing Your Woman and What Have I Done To Deserve This? played live was a treat largely due to the relative rarity, Jyoti Mishra not venturing out onto stages very often, and the Pets hamstrung in the duet stakes by Dusty Springfield’s death in 1999. Rather than replace her on stage though, her pixelated image was projected dramatically onto the back wall; a brilliant tribute without being cloyingly maudlin.

Going to see Therapy? at my old second home The Wedgewood Rooms in Portsmouth was certainly partly motivated by a wish to relive my teens and early-20s, but 2009 was the year I had rediscovered their 1991 track Innocent X as though it were brand new. The distorted phone line drug comedown confession, the lashing guitar and Fyfe Ewing’s athletic rave-beat drumming sounded as fresh in 2009 as it did almost two decades earlier. This, performed in tandem with another early classic Teethgrinder set a rocket up a, to that point, meandering show and the band kicked on athletically from there.

The Pet Shop Boys was the end to my gigging year, an end that was a reminder of my beginnings (the Pets being my first ‘favourite band’ back in the 80’s) while, by contrast, my first gig brought about an ending; Stuffy/The Fuses bidding a last farewell at Brixton Windmill. The final line of their track The River, “peace at last and it’s all over” took on an added poignancy in the circumstances.

However it’s not been all sad goodbyes and veterans returning to the radar. My usual policy is to try and see loads of different bands rather than the same over and over but there have been a few this year that have made me eager to quickly return to the fold. Firstly Micachu & The Shapes did a turn at Rough Trade East to launch their album and were intriguing leading to captivating, that particular switch flicking when they played the brilliant Vulture.

Then there was Baltimore’s Future Islands, first seen with Dan Deacon in June and then in Brighton three months later (a seaside trip undertaken because I couldn’t make their London show). Part of their attraction as a live act is frontman Sam Herring who owns the stage like a silverback gorilla rising to temper and also reverses the trend of UK singers sounding American when they sing, managing to sound like both Billy Idol and Terry Thomas with his combination of gravely howls and clipped inflections.

Late in the year, Veronica Falls played at Rough Trade to support their appearance on the ‘Indiepop 09’ compilation. The song they contributed, Beachy Head, was an arch and shadowy take on the genre that managed to evoke both The Chills and Phil Spector and has been fired out of my speakers almost every day since.

Other tracks which, after hearing live this year, have gone into the almost too-regular rotation are Blurt’s pushy jazz-melt Cut It, Casio Kids Verdens Störste Land (which absolutely owned a room unfamiliar with them during the Stag & Dagger multi-venue fest in May), Jon Hopkins Light Through The Veins (proving lap-top sets can be gripping) and Ear Pwr’s insistent electro-flail Future Eyes.

At other gigs, there have been moments you cannot just go home and download. Like Micachu & The Shapes and The Invisible encoring at the end of the last gig on their joint tour to perform Paul McCartney’s long forgotten electro abomination Temporary Secretary and also Fleet Foxes’ Robin Pecknold performing Karen Cruel at the Roundhouse un-amplified and silencing 3,000 chattering voices in the process.

For fun times, you’d be hard pressed to top a Dan Deacon show which is roughly 60% tunes to 40% larks, such as choosing one member of the audience to stand alone, in a hastily formed round, and lead the dance moves, or creating a huge ever elongating human tunnel which the audience was required to run through and continue at the far end until such time as the tunnel stretched out of the doors, down the stairs, out into the road and the Friday night rain.

In terms of inappropriate surroundings, watching The Bobby McGees playing to an audience of largely 5-7 year olds as part of a low-key family festival at Victoria Park takes the prize. Mind you they had taken time to alter some of their more troubling lyrics but singer Jimmy (who lets not forget looks like Rasputin dressed simultaneously as Canio in Pagliacci, the groom at a tramp wedding and a dandyish sailor) forgot to apply this to his stage patter. At one point he started discussing the death of grandparents and introduced one song thus, “This song’s called Asshole, but they said we can’t call it Asshole today so it’s called Bumhead.” Which, when you consider the song in question is listed on their album sleeve as Goodbye Blue Monday, was probably unnecessary detailing.

Some shows have been about the whole rather than an aspect of their parts. Lisa Knapp and Leafcutter John’s collaborative ‘waterways’-based hour at the London Canal Museum before the set off on the Grand Union towards Birmingham was enchanting whilst About (a collaboration between Hot Chip’s Alexis Taylor, pioneering percussionist Charles Hayward, Spring Heel Jack and Pat Thomas) blew Gang Gang Dance off the stage at the Camden Dingwalls.

The two at the top are there because they were simply mind-blowing, but in very different ways. Transglobal Underground were almost my gig of the year simply for the spirit they engendered in the room and, crucially, my legs. Your correspondent found himself gleefully submitting to wild dancing abandon. However it was pipped at virtually the last.

It was the week before Christmas. Snow was falling outside. Inside St Leonard’s Church, Shoreditch, tea-lights glimmered along every wall as mulled-wine and mince pies were sold to an audience keeping on their overcoats and gloves. Finnish trio Amiina had come amongst all this to reprise their performance of live soundtracks to Lotte Reiniger’s cut-out animations of Cinderella and Sleeping Beauty from the Jersey Branchage festival . Both were wonderful but as the film faded out on the former and the band finished their final overture to a black screen, the emotiveness of the bowed musical saw cut through the cold. A magical moment.

So, not a bad old year all told.

Pics: 9Bach at Rough Trade East; Future Islands at Brighton Freebutt; The Bobby McGee’s at Victoria Park.

January 1, 2010 Posted by | Yearly lists | , , , , , , , , , , , , , , , , , , , , , , | 5 Comments

2009: albums of the year

1: Micachu & The Shapes – Jewellery (Rough Trade)
2: The Bobby McGee’s – L’Appropriation Bourgoisie De Le Bobby McGees (Cherryade)
3: 9Bach – 9Bach (Gwymon)
4: Ear Pwr – Super Animal Brothers III (Carpark)
5: Jon Hopkins – Insides (Double Six)

6: Arthur & Martha – Navigation (Happy Robots)
7: Camera Obscura – My Maudlin Career (4AD)
8: Fuck Buttons – Tarot Sport (ATP)
9: Gliiitches – Gaendluim Onhe (self-released)
10: Emmy The Great – First Love (Absolute)

January 1, 2010 Posted by | Yearly lists | , , , , , , , , , , | Leave a comment

Micachu & The Shapes @ ICA

Micachu & The Shapes.
London Institute of Contemporary Arts. 28apr09.

Precocious, you might call her, judging by her prodigious talent, but there appears to be no hubris with it whatsoever, not if her between song thank-yous are anything to go by, sounding like a shy four year old after being bought a Sherbet Dib-Dab by one of their friend’s nans. As it is she’s 21 but has already DJ and MC’d on the grime scene, been commissioned to compose a piece for the London Philharmonic and wowed the alt/indie scene with her debut LP Jewellery.

Her voice may not be the strongest in terms of projection, but it is beguiling and morphs in keeping with the changing outlook of the music. Within Mica’s vocal chords there is the parson’s daughter singing She Moved Through The Fair a little too loudly out in the porch; a V’s-flicking little rat catcher reading poetry with epiphanic eagerness or a punk dustman with lofty aspirations.

With so much of the itchy-foots about Micachu’s music, you might not think a 3-piece live band could pull it off, but Raisa Khan on electronics and Marc Pell on drums more than meet the challenges of what are often fairly complex arrangements. At times it’s like Jackson Pollock squirting the paint bottles over the canvas with a stuck-out tongue that is both cheeky and indicative of eager concentration.

Through the crash cycles of Wrong, the stumbling coconut shy rhythm of Just In Case and the convulsive Lips, which is given a heavier-weight distortion live, the band provide an intensity and delicateness all at once; sparsity and density in equal measure. In addition, Golden Phone, chirpy at the best of times, gains a bit of a Pearly Queen vibe, all knees up, before playing out as Fantomas avant-metal clank. New one ‘Long Life’ has psychedelia and dada in its flailing, warping sleeves, and free-jazz in the midriff.

As per the album, Ship tonight features a guesting MC Man Like Me [see above], whilst all three Shapes bwatter at snare drums, Mica doing so whilst still playing her self-modified guitar. Tweaking instruments and adding non-instruments (such as a vacuum cleaner) is certainly part of Micachu’s grand vision which encompasses not only the sound, but how it is made. You imagine, somewhere, Scott Walker is looking up from pummelling a pig carcass and offering a wry smile.

To me, more than anything I’ve heard from a new band in some time, Micachu & The Shapes have the awkward spirit and ambition of Beefheart, the ambition of Lick My Decals Off, Baby Beefheart certainly, whilst not coming near the Captain’s actual sound. After all this stuff has nothing of the desert plains about it, this music could only really have come from the clusterfuck streets of east London.

This is not to say that it’s all good good good good good. It’s just four of those, the praise not being without reservation. Once or twice, particularly on those announced as new songs, the material feels a little rushed and unfinished, but in a band brimming with ideas, a little attention deficit is perhaps unsurprising.

Also one wonders if this music, at least Jewellery as an album, could date quite easily and quickly, despite being more of its place than it is of its time. However, Mica seems the type to try and keep ahead of the game and so, I guess, one should worry more about albums future, than albums past. Certainly, you can’t see Mica on any 2009 nostalgia tours, twenty years hence.

Micachu @ MySpace

April 29, 2009 Posted by | new reviews | | Leave a comment