Category: Live Reports (Page 23 of 37)

B-Movie: Lust & Sound In West Berlin 1979 – 1989 at Manchester Home

1 October 2015 /

‘B-Movie: Lust & Sound In West Berlin 1979 – 1989’ is an insightful new documentary about the music, art and chaos of the divided city before its infamous wall came down.

Starting with punk and ending with The Love Parade, anything seemed possible in a place that was unlike anywhere else in Europe. Using mostly unreleased footage, photos and original interviews, it tells the story of the cultural interzone from the view of Mark Reeder who also narrates the film.

Having made its UK premiere at Sheffield’s Showroom Workstation the previous night, the showing at Home in Manchester was attended by NEW ORDER’s Bernard Sumner. It was Reeder’s long-time friend who gave him the Transcendent 2000 synth which he had built from a kit while watching Spaghetti Westerns on late night TV and used with JOY DIVISION. Also present were other figures from Manchester’s music scene such as Martyn Walsh from INSPIRAL CARPETS, A CERTAIN RATIO’s Jez Kerr, Alan Hempsall from CRISPY AMBULANCE and indie duo MFU.

Now best known as a remixer and for his iconic trance label MFS, Reeder left Manchester in 1978 to explore his passion for electronic music from Germany such as KRAFTWERK and NEU! Having visited Düsseldorf, his next destination was West Berlin, home of TANGERINE DREAM. Iconised by David Bowie who recorded his ‘Heroes’ album at the city’s Hansa Tonstudio and the controversial film ‘Christiane F’, West Berlin was the satellite symbol of freedom and hedonism during The Cold War. Slap bang in the middle of the Communist governed DDR, it was occupied in three sectors by British, French and American armed forces while surrounded by The Warsaw Pact.

B-MOVIE Mark-in-Berlin

The first person Reeder encountered was a six foot six transvestite who was stacking shelves in a supermarket; he soon immersed himself in the vibrant tension of the city which became a breeding ground for the artistic avant-garde. ‘B-Movie: Lust & Sound In West Berlin 1979 – 1989’ is Reeder’s own journey as he finds himself working as Factory Records’ German representative, a roadie, a musician, a manager, a sound engineer and even an actor in video nasties!

Mark Reeder’s personal links with Factory Records and JOY DIVISION enabled him to bring the quartet over to play the one of city’s most notable venues Kant Kino. Although the gig was only attended by around 150 Berliners, it was to become highly influential on those present, while the band documented their experience in the shape of one of their last ever studio recordings ‘Komakino’.

All West Berliners were excused National Service while the city itself was cheap to live in, compared with the rest of the Federal Republic. The assorted circumstances allowed colourful, free thinking characters to evolve within the squats and communes.

Photo by Peter Gruchot

The inherent self-sufficiency aspect of life in West Berlin meant that performance art noise merchants such as MALARIA! and EINSTÜRZENDE NEUBAUTEN could exist, free from interference and commercial considerations. It was like “one massive band” in this Radikalinski scene.

This environment ultimately fuelled West Berlin’s notorious and decadent nightlife. On a visit with his band THE BIRTHDAY PARTY in 1982, Nick Cave became fascinated with the city and remained, crashing over at Reeder’s apartment in the process. But some of the less confrontational aspects of West Berlin did crossover into the mainstream with the success of NENA and her massive 1983 German language hit ’99 Luftballons’ in the US.

Reeder himself made a bid for stardom as a member of SHARK VEGAS with the singles ‘You Hurt Me’ produced by Bernard Sumner and ‘Love Habit’ whose video was shot on Die Glienicker Brücke which symbolised another divide between East and West. But despite touring with NEW ORDER in 1984, fame did not materialise and Reeder ended up doing voices on porn movies to make a living.

Meanwhile, as things started to get artistically stale in the city, technological advancement courtesy of samplers and the advent of club culture allowed DJs such as WESTBAM to make an impression. Reeder’s original vision of a Berlin engulfed by electronic sound was now actually becoming a reality. But while this was happening, politically, the times they were-a-changing…

The fall of The Berlin Wall is symbolised in the film by footage of David Hasselhoff singing his West German Schlager rock No1 ‘Looking For Freedom’ on 31st December 1989… ironically, no footage exists of Reeder during this period because he was on holiday in Ceaușescu’s Romania at the time! It was not just the end of Communist rule and East Berlin, but also the end of West Berlin and the unique enclave that had flourished in its own, idealistic manner.

Complimenting ‘B-Movie: Lust & Sound In West Berlin 1979 – 1989’ is the top notch soundtrack compiled by Reeder; as well as the local music of the period from MALARIA, DIE TOTEN HOSEN, DIE ARTZE and EINSTÜRZENDE NEUBAUTEN, there is more recent material from the likes of WESTBAM whose ‘You Need The Drugs‘ with Richard Butler is a recurring tune throughout the film.

Chaired by Haçienda DJ and noted cultural commentator Dave Haslam, the Q&A afterwards with Reeder was amusing and informative. The first question came from Bernard Sumner, mischievously keen to bait the man who introduced him to Italo and New York disco – “Did you smuggle anything out of East Berlin… like Russian uniforms?”

Reeder shared a story on how after returning from a trip to East Berlin, he was attempting to smuggle a uniform through Checkpoint Charlie while his SHARK VEGAS bandmate Alistair Gray was hiding a bundle of red flag material, all unbeknown to Sumner. If caught, there was the penalty of exile to a salt mine in Siberia!

“I had a brand new East German uniform underneath my clothes… I looked like Arnie Schwarzenegger! The trousers were a bit long so I rolled them up!” recalled the Denton lad, “the border guard waved me through but then behind me, this bundle Alistair had broke open and cascaded all over the floor! I thought F*CK! As they dragged Alistair off, he was pointing and I looked down… this uniform trouser was sticking out”! Luckily for Reeder, two other men also passing the checkpoint started an argument so the guards’ attention was drawn on them and he got across the border unhindered.

Reeder also revealed his subversive activities in music had led to the East German Ministry for State Security aka The Stasi compiling a file on him. But instead of preventing entry, they always welcomed him so they could keep him under surveillance while he worked in a recording studio.

“They said I was out to corrupt the youth of East Germany” Reeder fondly remembered on being watched by The Stasi, “they even asked their spy in MI5 to correlate if I was working for them, because they thought I must have been working for somebody! I was making Western TV programmes like ‘The Tube’ and showing East Germany in a positive light, yet on the other side, I was smuggling in music and doing these secret gigs so they didn’t know where to put me! At one point, they even thought I was gonna try and break someone out of prison!”

It turned out a young punk who had joined Reeder’s circle was actually a Stasi undercover operative! “I better not have a Stasi file cos of you!” snorted Sumner playfully to roars of laughter from those present.

Mark Reeder’s life in West Berlin makes for a fascinating and enjoyable documentary that could be subtitled ‘An Englishman In Berlin’; yet ‘B-Movie: Lust & Sound In West Berlin 1979 – 1989’ only tells part of the story. Will there be a second instalment?

“Abwarten und Tee trinken” as they say in Germany 😉

‘B-Movie: Lust & Sound In West Berlin 1979 – 1989’ is released by Edel as a DVD and Blu-ray on 2nd October 2015, available through Amazon Germany. The film is also available to download via iTunes at http://apple.co/1ULinCv

The soundtrack album featuring JOY DIVISION, DIE TÖTEN HOSEN, WESTBAM,  SHARK VEGAS and MALARIA! is also available as a 2CD, double vinyl LP and download

The Mark Reeder single ‘Mauerstadt’ is available for download while there is also an accompanying ‘B-Book’ and a deluxe Gesamtbox containing all formats – further details at http://b-movie-der-film.de/b-kenner.html

http://www.b-movie-der-film.de/

https://www.facebook.com/lustandsoundinwestberlin/

https://www.facebook.com/markreedermusic

http://www.5point1.org/info.html

http://homemcr.org/

Text by Chi Ming Lai
1st October 2015

ELECTRONIC SUMMER 2015 at Gothenburg Brewhouse

5 September 2015 /

Norse Code

ELECTRICITYCLUB.CO.UK has said many times before: “There are electronic music events… and there are electronic music events…”

And the best sort of electronic music events are those curated by electronic music enthusiasts, people who actually enthuse about the genre, recognise its history and expel a passion to see it continue as a defined artform. Two such people are Henrik Wittgren and Sebastian Hess.

Their organisation Depeche Mode Party Gothenburg has been running successful music events in the Swedish city for several years. Electronic Summer started as a DEPECHE MODE fan event in 2012 with none other than Alan Wilder as guest of honour, while the live headliners were MESH and DE/VISION.

ES2015-Psyche+Jennifer

Since then, the event has developed with DAF and APOPTYGMA BERZERK headlining in 2013, while the 2014 event featured COVENANT, ASSEMBLAGE 23 and AESTHETIC PERFECTION.

With VNV NATION, SOLAR FAKE, MARSHEAUX, KARIN PARK and PYSCHE featuring in the Electronic Summer 2015 line-up, a sell-out crowd at the Brewhouse Arena was eagerly anticipating a great weekend of music and culture.

Such was the community spirit of the occasion that musicians from local acts such as TRAIN TO SPAIN were also in attendance. To start proceedings, early arrivals were welcomed to an enjoyable pre-party featuring AVANTGARDE, XHILE, PRESENCE OF MIND and DESTIN FRAGILE. Each act had appeared on the cult Swedish synthpop compilation ‘Circuit One’ and gathered to celebrate its 20th anniversary.

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PRESENCE OF MIND were particularly impressive with their brand of dark, but melodic synthrock. Their debut album ‘Interpersonal’ was only released in 2014, but it is a indicator as to why Swedish acts are generally holding their own against competition from around the world.

Meanwhile, DESTIN FRAGILE showcased songs from their ‘Halfway To Nowhere’ album released this year and some observers have considered it one of the best synth flavoured long players of 2015.

Day 1 began in the late afternoon with Nordic friendly blog Cold War Night Life hosting a DJ set in The Outsider bar area. As music fans prepared themselves for a nine hour night, DJ combo Spacelab aka Alexander Hofman and Johan Billing from S.P.O.C.K. continued the electronic soundtrack.

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Throughout the weekend, there were enjoyable DJ sets based around the themes of Mute, DEPECHE MODE, NITZER EBB and ERASURE but there was also just great electronic pop by artists of all generations ranging from KRAFTWERK, SOFT CELL and NEW ORDER to CLUB8, TRUST and SUSANNE SUNDFØR.

The first live act of the day was the milk loving PETER SJÖHOLM who gave his distinctive quirky take on electronic pop. But that was followed by the unusual sight of Day 2 headliners VNV NATION taking to the stage at 19:00 hours. Performing what was billed as an alternative set, it contained a collection of their lesser played works from their vast catalogue like ‘Kingdom’ and was a suitable dress rehearsal for their headline slot. Following on, NATTSKIFTET and VIRTUAL VOICES kept the crowds warm in preparation for Canadian darkwave trailblazers PSYCHE.

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Accompanied by Stefan Rabura, Darrin Huss led a spirited performance that was fittingly poignant following the recent sad passing of his brother and PSYCHE founder member Stephen.

This was particularly evident on ‘The Brain Collapses’ from ‘Insomnia Theatre’, their debut album together. The magnificent ‘The Saint Became A Lush’ from ‘Unveiling The Secret’ was another pivotal moment while that album’s title track and ‘Uncivilized’ were other treats.

Huss recited his synthpop knowledge too, dropping in snatches of EURYTHMICS’ ‘Sweet Dreams’ and YAZOO’s ‘Bring Your Love Down (Didn’t I)’ during the set.

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KARIN PARK gave another of her towering performances, the aggressive synth glam of ‘Look What You’ve Done’ fully exploiting the presence of her metalhead drummer brother David and lively new keyboardist Kine Sandbæk Jensen aka PIECES OF JUNO.

Meanwhile ‘Stick To The Lie’ and ‘Ashes’ demonstrated that despite her intense stage demeanour, Miss Park does supreme electronic pop. To climax the set, the charismatic Swede led a three way drum barrage to conclude the mighty ‘Thousand Loaded Guns’.

PROJECT PITCHFORK concluded the evening with a suitably Teutonic fist of aggression; their in-yer-face pounding ensured any remaining energy left in the audience after a long day was put to efficient use. If nothing, it ensured a good night’s sleep in preparation for Electronic Summer 2015’s second instalment.

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Day 2 began with HILTIPOP, the solo project of Magnus Johansson from the YAZOO influenced duo ALISON who released their only album ‘Duality’ in 2010.

His promising FAD GADGET meets KRAFTWERK template was an ideal way to ease everyone back into the synthetic groove and many watching including George Geranios of Undo Records and Darrin Huss were impressed. Following on, STURM CAFÉ gave their own localised take on electronic body music. 

With enough flashes of DAF to wake anyone who was still sleepy, the Alte Schule sound was not totally unexpected from a band who soundtracked a movie called ‘Die Zombiejäger’. 

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Meanwhile, ME THE TIGER were another highly regarded Swedish band on the second day’s very internationally flavoured bill and notably reflected their country’s solidarity values. 

With their synth assisted new wave songs like ‘Ariana’ and ‘Pocket Sized Edition Ending’, the trio showcased their YEAH YEAH YEAHS influenced pop augmented by punky guitars and lively drums. In Gabriella Åström, ME THE TIGER have a feisty front woman.

Full of energy and attitude, this was something that was particularly evident on anthemic numbers like ‘Heartbeats’ and ‘What Promises Are Worth’. Even a broken kick pedal didn’t dampen their enthusiasm and this was promptly repaired without a flutter.

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The event maintained its original DEPECHE MODE roots with the presence of Athens based synth maidens MARSHEAUX performing selections from their acclaimed reinterpretation of ‘A Broken Frame’.

The wispy renditions of ‘My Secret Garden’, ‘Monument’ and ‘Leave In Silence’ were particular highlights while there was the surprise inclusion of ‘See You’ B-side ‘Now This Is Fun’. Best of of all though was an angelic rendition of ‘The Sun & The Rainfall’.

But it wasn’t all about Basildon as MARSHEAUX impressed the Devotee dominant crowd with their own cracking tunes like ‘Hanging On’, ‘Dream Of A Disco’, ‘Come On Now’ and ‘Breakthrough’.

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German duo SOLAR FAKE led by Sven Friedrich kept the crowd moving with their Goth infused electro, a tone that was not entirely surprising given Friedrich’s roots in cult alternative band DREADFUL SHADOWS.

‘I Hate You More Than My Life’ was a more than ideal overture while ‘Under Control’ provided a trancey focal point with hints of COVENANT. The remainder of their set was enjoyably accessible dark synthpop that suited the duo’s striking look.

To conclude the weekend, VNV NATION blasted their way through a hits set of their characteristic Futurepop, the duo of Ronan Harris and Mark Jackson certainly providing lashings of “Victory Not Vengeance”.

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2011’s ‘Space & Time’ and the 1999 vintage of ‘Standing’ were just two of the stomping crowd pleasers while the more epic electro rock inclined ‘Perpetual’ made a fitting set closer.

Throughout the weekend, there was an enormously warm and friendly atmosphere. The event had something for everyone so as different factions of the audience moved between their preferred acts, there was plenty of time for passionate discussion in the various bars.

Despite fierce debate about the merits of synthpop versus industrial, most shared an intense dislike of EDM and agreed that its inane DJ culture was ruining electronic music. However, when there were differences in opinion as the well-known Nordic enjoyment for liquid refreshment kicked in, no-one took it personally. There was plenty of mutual laughter as chat varied from whether ‘MG’ was actually a Eurorack YouTube tutorial put to record, to the use of the word “Marmite” as a descriptive term in music journalism.

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Electronic Summer has developed into a fine annual platform showcasing the best in independent synth driven talent from around the world. The 2015 variant was a truly worldwide event, again proving what can be done when event organisers actually enjoy and understand the music they are dealing in.

It was indeed, a fine benchmark for other event organisers to aspire to.

ELECTRICITYCLUB.CO.UK gives its sincerest thanks to Henrik Wittgren and Sebastian Hess at Depeche Mode Party Gothenburg

Thanks also to Simon Helm at Cold War Night Life

www.electronicsummer.se

www.anachronsounds.de/

www.solarfake.de/en

www.marsheaux.com/

www.methetiger.com/

www.facebook.com/sturmcafe

https://soundcloud.com/sem-hilti-johansson

www.project-pitchfork.eu/

www.karinpark.com/

www.psyche-hq.de/

www.facebook.com/nattskiftetmusik

http://members.tripod.com/~virtual_voices/

www.facebook.com/peter5joholm

www.facebook.com/destin.fragile.pop

www.facebook.com/PresenceOfMindSweden

www.discogs.com/artist/129276-Xhile

www.facebook.com/pages/Avantgarde/

Text by Chi Ming Lai
Photos by Chi Ming Lai, Simon Helm, Jennifer Last and Madeleine Berg
5th September 2015

SOS#2 Festival at Electrowerkz

9 August 2015 /


The cancellation of Alt-Fest in August 2014 sent shockwaves around the alternative music scene.

Although the fantasy festival approach had led some to read between the lines and anticipate that the event was never going to take place, many put faith in supporting the scene and fellow music enthusiasts.

Quite why people were prepared to commit themselves to a live promoter who had no acknowledged record of organising an event of this magnitude still remains a mystery… the initial crowdfunding exercise should have rung alarm bells as to the lack of liquid funds to run Alt-Fest.

If only the organisers had learned to walk before they ran and opted for something more manageable… so acts from many shores, like AESTHETIC PERFECTION, CLAN OF XYMOX and AGONIZE who had pre-arranged to come to the UK, now had nowhere to play. Coming to the rescue were Flag Promotions who promptly hosted everyone at Electrowerkz in London. Fittingly named SOS, the event was a success and prompted a second instalment for 2015.

This year’s first night was headlined by Seattle’s ASSEMBLAGE 23 with support from ANALOG ANGEL and a host of other combos of varying electro and alternative persuasions in two rooms.

Opening SOS#2 in the electro section was new act TREGENZA, who sounded nothing like how they looked.

The combo surprised those present to a cover of ‘The Partisan’, a song made famous by Leonard Cohen and with the solemn militaristic grandeur of ‘Born Into Fire’, it was a promising performance.

EMPATHY TEST have been much talked about and on paper have all the ingredients. In a currently weakened British scene, they have stood out with their hipster credentials, good looks and brooding synth sound. But even with a song like ‘Kirrilee’, there is something missing. Like STRANGERS before them in 2012, EMPATHY TEST are not MIRRORS, or even the current UK benchmark EAST INDIA YOUTH. However, a small enthusiastic following was rooting for them all the way through their set.

VIVIEN GLASS on the other hand made much more of an impact, from their co-ordinated stage presentation to their dark, punchy synthpop.

With a syncopated groove on their better songs like ’Black Magic’ and ‘Julius’ offset by moody female lead vocals, they are perhaps this year’s FUTURE PERFECT.

Their debut album ‘Awake My Sleeper’ was a mixed bag, so the new one ‘Jura’ out in September is awaited with interest.

With D-K-A-G being a rather generic EBM Industrial band who shouted “DAS” rather a lot, it was time to make a sharp exit. Welcome relief came in the downstairs alternative rock room where RED SUN REVIVAL provided some of the chromatic Gothic resonance that gave ECHO & THE BUNNYMEN some crossover appeal in the ‘Ocean Rain’ years.

Very much originally part of the Industrial scene up to 2011, an introduction of melodic synthpop elements has given ANALOG ANGEL a much more expansive template which has widened their appeal. The recent support slot for KRAFTWERK legend Wolfgang Flür and tonight’s spirited crowd singalong to ‘We Won’t Walk Away’ was evidence of that. And there was also a cheer of recognition for ‘When You Called My Name’, the song that signalled ANALOG ANGEL’s move into more synthpop based territory.

After a slight delay, ASSEMBLAGE 23 took to the stage and despite the jet lag, Tom Shear was on good form with Paul Seegers sternly controlling the backing. While A23’s stomping numbers like ‘Let Me Be Your Armor’ pleased the faithful, it was the emotive ‘Damaged’ from 2007’s ‘Meta’ and 2009’s superbly spacey futurepop of ‘Spark’ that stole the show.

Having released their first recordings in 1998, a few acts could learn from ASSEMBLAGE 23’s resilience and humility with regards maintaining an audience and surviving in the modern music industry

It was a packed evening although some rightly quibbled that the running order was far too crammed, with schedule clashes and little time for punters to properly mingle between acts, other than a glancing hello. But SOS#2 was entertaining and enlightening, providing a much needed platform for independently minded electronic music.

With thanks to Flag Promotions

http://www.flagpromotions.com/

http://www.assemblage23.com/

http://www.analog-angel.com/

http://redsunrevival.com/

http://www.vivienglass.com/

http://www.empathytest.com/

https://www.facebook.com/tregenzamusic

Text and photos by Chi Ming Lai
9th August 2015

FFS Live at The Troxy

30 June 2015 /

To say that FFS’ performance at The Troxy in London was something of a blinder would be an understatement.

On the one hand, there was FRANZ FERDINAND, the Glasgow based art rockers, playing together with an impeccable tightness and vitality that reminded people of the freshness they brought to a 2004 music scene that was dominated by dreary bedwetters like COLDPLAY, SNOW PATROL and KEANE.

On the other were SPARKS, the veteran sibling duo comprising of Russell and Ron Mael who, with a career spanning over 45 years, have had many career ups and downs including being teenybopper pin-ups and disco champions. However tonight, their trajectory is again upwards and Russell Mael in particular had the vigour of a man who was much younger than his 66 years!

There is no doubt that the six piece’s self-titled collaborative album is one of the best of 2015. It has reinvigorated both acts and proved that age is no barrier to making great music. In the packed venue that clearly forgot to switch its air conditioning on, Russell Mael and Alex Kapranos displayed a wonderful, endearing camaraderie.

Kapranos in particular was smiling and thoroughly enjoying himself, relaxed in the knowledge that the pressure of fronting the band was now shared with his falsetto ranging spiritual godfather. Meanwhile the younger Mael was relishing working with a partner who was slightly more animated than his motionless brother. But the senior Mael did have his lively moments too.

Although maintaining his usual stern persona behind his keyboard throughout most of the show (save the amusing odd towel wipe of his armpits), for the powerful percussive climax of ‘The Number One Song In Heaven’, he loosened his tie, took centre stage and tap danced to huge roars of approval. Nicely segued into a synth boosted reboot of ‘Michael’, this song pairing provided a wonderful mid-show highlight.

Opening with the self-explanatory ‘Johnny Delusional’, the well-paced set was drawn largely from the ‘FFS’ long player. But there were a number of favourites from the SPARKS and FRANZ FERDINAND back catalogues too. While ‘This Town Ain’t Big Enough For Both Of Us’ and ‘Do You Want To?’ were the staple crowd pleasers, there was also the welcome additions of ‘Achoo’ (the SPARKS song which FRANZ FERDINAND attempted at their first ever rehearsal) and ‘Walk Away’, while ‘Take Me Out’ predictably had the whole crowd bouncing.

 

Nick McCarthy took to the mike for his deadpan turn on ‘The Things I Won’t Get’, but rumour has it that Kapranos already owns most of the items on the FRANZ FERDINAND guitarist’s shopping list, hence the absence of his vocal! McCarthy even indulged in a spot of crowd surfing later on during proceedings.

The eccentric march of ‘The Power Couple’ had the audience swinging in all manner of loopy motions, but it was the FFS album’s rousing closing track that stole the show.

As the chant of “P*SS OFF!” rang in unison around The Troxy, the crowd punched the air in a gesture of defiant solidarity. Despite the inclusion of a fair number of hits, it was the positive reception for the FFS material that was the show’s biggest revelation and the key indicator of the album’s quality.

‘Police Encounters’ showed how FFS are a sum greater than its parts, while ‘Collaborations Don’t Work’ was a marvellous example of quirky songwriting that came over like seven song snippets cut ‘n’ pasted together for one enjoyable art school musical.

They returned to encore with a funky rendition of ‘When Do I Get To Sing My Way’. Seamlessy welded to the catchy ‘Call Girl’, it concluded an unforgettably fabulous evening that left the multi-generational audience sweaty but grinning as they headed home. The fact is, FFS won’t be able to go on forever, so miss them at your peril…

The album ‘FFS’ is released by Domino Records in CD, deluxe CD, red vinyl double LP and download formats

FFS UK dates include: Edinburgh Festival Theatre (24th August), Manchester Albert Hall (25th August), Glasgow Barrowland (26th August)

http://www.ffsmusic.com/

https://www.facebook.com/FFSMUSICOFFICIAL

http://www.franzferdinand.com/

http://allsparks.com/

Text and photos by Chi Ming Lai
30th June 2015

EAST INDIA YOUTH + HANNAH PEEL Live at Village Underground

8 June 2015 /


Technology and record company budget cuts have now meant that it is entirely feasible that an act with only one or two members can function perfectly well as a live act.

Whereas in the past, solo electronic-based musicians such as Howard Jones were the exception rather than rule, nowadays even rock acts such as duos ROYAL BLOOD and SLAVES are pairing down to the bare essentials, using the limitations of such line-ups to great effect.

When it comes to presenting electronica live, the stripped down approach is risky if there is little or no visual stimulus on stage, and a person nodding behind a laptop isn’t really going to engage for an hour.

Tonight’s event showed that a combination of sheer musical talent, well written songs, pristine vocals and a hypnotising stage presence can hold the attention of a 700 capacity audience without resorting to a support mechanism of lighting and backdrops.

With her performance tonight, Hannah Peel’s sound has further shapeshifted into something far more electronic than her earlier folky roots. Accompanied by two banks of synths and her familiar music box set-up, she cut a striking presence on the Village Underground stage. Opening with the title track and then ‘Silk Road’ from her ‘Fabricstate’ EP she alternated between organic piano textures and ribcage rattling bass, all the while sequencing and mixing her sound on stage without resorting to using a laptop.

Peel’s vocals were faultless, the only downside being that during some of sparser moments of her set, the sound of bar chatter became all too apparent, as some of the Shoreditch hipster contingent stroked their ever-lengthening beards and (probably) contemplated the merits of not wearing socks with shoes…

Peel’s solo work first came to attention with her Grand Illusions music box versions of electronic classics including ‘Electricity’ and ‘Blue Monday’.

Tonight she took the WILD BEASTS track ‘Palace’ and gave it the same stripped down approach, replacing the original PolyMoog-style textures with a fascinating instrument which is hand cranked and has each note punched onto strips of paper which can be joined together to create longer pieces.

The song reached its inevitable conclusion when the note-punched roll of paper finally fell to the floor. The final two tracks were new compositions, the first was a synth arpeggio-based number entitled ‘All That Matters’. Putting her Dave Smith Mopho synth to good use, it also employed more of a 4/4 approach than some of her previous work.

The concluding song ‘Forevrest’ had a glitchy feel to it with 6/8 elements and some FX sounds which were reminiscent of a broken Tardis, all the while with Peel swaying seductively from left to right between her banks of equipment.

It will certainly be intriguing to see how Hannah Peel’s next recorded material progresses and from what was showcased tonight, it should further her position as one of the UK’s best electronic artists.

EAST INDIA YOUTH AKA William Doyle has in a very short period of time established himself as a firm favourite and any concerns that a one man and his synth approach wouldn’t be able to hold an audience for an hour were soon dissipated, as he started attacking his Novation controller synth for the opening track ‘The Juddering’.

Sounds were panned and shifted back and forth across the Village Underground PA.

Throughout the evening, there were several controlled, almost MY BLOODY VALENTINE wall-of-sound moments with a mid-track sub bass moving some serious air.

With the exception of the intro, Doyle’s set was comprised of a pick of the vocal tracks from his two albums ‘Total Strife Forever’ and ‘Culture of Volume’.

One of the highlights of the latter, ‘Turn Away’ followed and gave an early outing for some live bass playing and a chance to explore the space at the back of the stage.

The combination of the electric bass and Doyle’s satorial suited and booted dress sense recalled a combination of a young Andy McCluskey (with admittedly better dance moves!) and one of the guys from MIRRORS, the use of the live instrument really helping to bring some of the tracks to life and adding even more visual appeal.

The gospel-influenced ‘Looking For Someone’ followed and Doyle’s single voice easily managed to carry the track, which on record has some serious multi-layering going on. The song climaxed in another bass workout and dissolved into a malstrom of FX and feedback.

During ‘Dripping Down’, a sweat-soaked Doyle was appropriately thrown a towel and then spent much of the rest of the set using it because of the sheer physicality used in performing the songs on show.

Centrepiece for the set was ‘Heaven, How Long’, a dynamic track which started with filtered arpeggios and then climaxed in an extended, motorik Krautrock inspired drum pattern. ‘Hearts That Never’ was stretched well over 12 minutes, probably the most dance-influenced track in EIY’s catalogue, it was the track that really got the capacity Village Underground audience moving.

To end the evening, Doyle stepped away from his banks of equipment to another mic set-up stage right and delivered a moving ‘Carousel’. Again vocally pitch-perfect, it was a fitting end to a captivating show.

There was no encore because one wasn’t necessary, the only thing missing was a rendition of ‘End Result’ from ‘Culture of Volume’, but this was a minor quibble.

The Village Underground audience left having witnessed a performer who spent the evening completely caught up in his own musical creations, almost oblivious to the crowd held rapt in front of him. A stunning evening of electronic music, one which will live in the memory for a long time to come.

EAST INDIA YOUTH ‘Culture of Volume’ is released by XL Recordings as a CD, vinyl LP and download

http://eastindiayouth.co.uk/

https://www.facebook.com/eastindiayouth

Hannah Peel ‘Rebox 2’ is released by My Own Pleasure as a download via the usual digital outlets on 20th July 2015, the CD is available now from http://hannahpeel.tmstor.es/

http://www.hannahpeel.com

http://www.facebook.com/hanpeel

Text by Paul Boddy
Photos by Richard Price
8th June 2015

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