Category: Live Reports (Page 28 of 37)

SAY LOU LOU Live at XOYO


Flitting between Sydney and Stockholm in their younger years, Scandipodean twins SAY LOU LOU have been impressing since their debut single ‘Maybe You’ came out in 2012 on the prestigious Kitsuné label.

Their brilliant second single ‘Julian’ led to them being signed by Sony while none other than Richard X has been working with them on their debut album.

Icy blonde Elektra and smouldering brunette Miranda have showbiz in their blood; they are the daughters of Steve Kilbey, lead singer of Oz rockers THE CHURCH who had a huge US hit with ‘Under The Milky Way’ back in 1988.

With their steady tempos, art house cinematics and stylish presentation, SAY LOU LOU have been described as a female HURTS and even supported them during their 2013 European tour. A recent sojourn with the trendy LONDON GRAMMAR helped their cause further and resulted in this sold out show at London’s XOYO.

Starting with forthcoming single ‘Everything We Touch’, this came over like a sophisticated Scandipop take on HEART driven by a togetherness that could only have come from two siblings.

The rousing single ‘Better In The Dark’ followed with its companion B-side ‘Beloved’ not long after. Constructed around a mid tempo heartbeat spiced with some dream laden electronics, the two songs are an ideal pairing.

‘Beloved’ was particularly striking with its pretty Yé-Yé girl styled vocals, not entirely surprising having been co-written with Hannah Robinson and Liam Howe. Meanwhile, ‘Peppermint’ took things down further but the set wasn’t entirely mid-paced. There then came ‘Nothing But A Heartbeat’ which sounded like one of those semi-sprightly cinematic numbers HURTS used to do before they turned into SIMPLE MINDS. It was a welcome change in mood for the show.

SAY LOU LOU have a duality concept of one dark twin / one light twin which revealed itself on stage… as did Elektra’s slight wardrobe malfunction, much to Miranda’s amusement. Although Miranda has the dark hair, it was she who was the more animated of the pair, all arms aloft and swaying her hair along with the music while occasionally playing synth. Elektra was much more intense and cooler, holding together the responsibility of primary lead singer.

Despite these roles, collectively the girls were thoroughly enjoying the occasion. Their warmth really exuded when they even took time out to throw stickers into the audience and hand vinyl copies of their second single ‘Julian’ to those in the front row. And it was ‘Julian’ was that was the show’s standout, even prompting a dash of singalong from the eager crowd. Full of tension and intrigue like a Nordic Noir mini-series compressed into a three minute pop song, don’t be surprised if ‘Julian’ reappears again in single format as part of the new album’s promotional campaign.

To close the main section, there was the epic ‘Skylights’, basically how MARSHEAUX would sound if Marianthi and Sophie attempted an AOR ballad. Thankfully, clichés such as guitar solos were avoided and sweeping keyboards filled the void instead. It rounded things up nicely before an encore with their debut single ‘Maybe You’. About a relationship on the edge of failure, with SAY LOU LOU’s teenage angst all bottled into their music, the twins really should be performing in black and white like an Ingmar Bergman film.

With Swedish pop nous crossed with a sweaty Aussie pub rock aesthetic, SAY LOU LOU are delivering on their brand of shimmering but accessible escapism.

The steady momentum of their music could do with a kick occasionally but the potential is there. With major label support on their side, whether they will become mega like Lana Del Rey or lost like SUNDAY GIRL remains to be seen.


‘Everything We Touch’ is released on 21st April 2014 with the album due sometime in September

http://www.sayloulou.com/

http://www.facebook.com/SayLouLoumusic

https://soundcloud.com/sayloulou


Text by Chi Ming Lai
Photos by Richard Price
2nd March 2014

HANNAH PEEL Fabricstate EP Live Launch

Multi-instrumentalist singer  / songwriter Hannah Peel launched her new ‘Fabricstate’ EP with a special intimate gig at MemeTune Studio, home of chief Mathematician Benge and his renowned collection of vintage synthesizers.

It also happened to be where her second album is currently being recorded. In the complex, which was the venue for interviews with Gary Numan and John Foxx as part of BBC4’s Synth Britannia documentary, were various items of vintage equipment dotted around the room such as the Polymoog and Korg Polyphonic Ensemble; it was a perfect setting to showcase Hannah Peel’s newly developing sound that has mutated to more experimental climes since her traditionally structured debut album ‘The Broken Wave’.

Since playing with the JOHN FOXX & THE MATHS live band, her own music has used more electronics alongside her beloved violin, piano and trombone. Her last EP ‘Nailhouse’ featured a beautiful synth friendly song called ‘Harbour’. Of course, Hannah Peel’s own sweet contemplative voice has also suited these melancholic synthetic soundscapes.

‘Fabricstate’ itself has been influenced by Hannah’s love of classic cinema and Italo Calvino’s 1972 book ‘Invisible Cities’ with the imagined travels of Kublai Khan, through to the loneliness felt by living in big cities, the failure and building of new relationships and to dreams of a better future.

So it was apt that the performance opened with ‘Chloe’, the theme tune to ’Dates’, a drama series highlighting the darker but very real side of internet dating… it deservedly won a 2013 Royal Television Society award for Best Original Title Music and its eerie dynamic suitably reflected the tension of the programme.

The haunting ‘Silk Road’ with its Middle Eastern afflicted vocal was ideal for the hushed environment of an intimate setting. Clavia Nord ivories rang gently while arpeggios blipped over subtle rhythmical samples that provided the heartbeat.

Upping the tempo and rumble, ‘Desolation Row’ and its beautifully haunting tones saw brass and strings of both the real and synthetic variety combining for a wonderful uplifting quality despite the inherent melancholy.

There was then a surprise when Hannah announced she was going to perform a music box assisted cover of THE BLUE NILE’s Paul Buchanan from his recent ‘Mid Air’ solo opus. But tied to her synth duties, she invited a member of the audience to join her. Together, they produced a rather lovely electro acoustic take of an already beautiful song. It is slated to be included on her next album. ‘Baucis’ from the ‘Nailhouse’ EP stirred proceedings slightly after the sedate atmospheres of ‘Cars In The Garden’ with its expletive laden first verse but the best was yet to come.

So with its thoughtful use of synths and loop pedals, ‘Fabricstate’ the song went and stole the show. A subtle understated number in its first half, the song was bolstered by an unexpected but amazing whirring solo on a DS Mopho x4 as things built to a percussive climax with clusters of accompaniment from the various loops. It was a suitably climatic ending to a fine, captivating performance.

The ‘Fabricstate’ collection is without doubt, Hannah Peel’s best solo work yet. A fine example of what happens when the warmth of the synthesizer is exploited and coupled with a classically trained background, the hybrid style has resulted in a quietly subversive organic and technological fusion. Based on the evidence of tonight’s showcase, her second album is going to be a fascinating listen.


ELECTRICITYCLUB.CO.UK gives its sincerest thanks to Hannah Peel

The ‘Fabricstate’ EP is available as a 10” vinyl and download via My Own Pleasure

http://www.hannahpeel.com

http://www.facebook.com/hanpeel

http://hannahpeel.bigcartel.com/

http://memetune.net/


Text and photos by Chi Ming Lai
28th February 2014

AESTHETIC PERFECTION Live at Camden Underworld

AESTHETIC PERFECTION is American musician Daniel Graves, and in what could be seen as an anti-TALK TALK style career trajectory, his once aggressive Industrial sound has gradually evolved over four albums to become more melodically commercial.

Hardcore followers of his first two albums have welcomed this new direction with about as much love as a SLAYER fan receiving a press release saying that the band had embraced Christianity.

To his credit, Graves has doggedly stuck to his guns and tonight was a chance to showcase material from his new album ‘Til Death’. The album itself is a tour-de-force of monophonic synth hooks, earworm choruses melded with the occasional dark lyric like “I want to feel your heartbeat next to mine, left alone in a bodybag”.

Expanded to a three piece for the live arena, atmospheric album opener ‘Happily Ever After’ kick started the AESTHETIC PERFECTION show, making good use of Tim van Horn’s precision military-style drumming and the first portion of the set leaned heavily on new material including singles ‘Antibody’, ‘Big Bad Wolf’ and ‘The Dark Half’ from ‘Til Death’ and the YAZOO goes Aggrotech ‘Inhuman’ from ‘All Beauty Destroyed’.

Graves is an energetic and charismatic frontperson, eschewing the trend of the generic militaristic EBM vocalist in favour of a look that evoked part Malcolm McDowell and part child catcher in ‘Chitty Chitty Bang Bang’, constantly stalking the stage, striking foot on monitor poses.

A mention must also go to synth player Elliot Berlin who spent much of the set risking life and limb to climb his keyboard stand and balance on his Nord Lead whilst attempting to hang off the Underworld ceiling! Standout tracks also aired from ‘Til Death’ included the fiendishly hooky ‘Lights Out (Ready to Go)’ with its ‘Girls on Film’ inspired chord and vocal progression and the, ahem, darker ‘New Black’ with its Kraftwerkian vocoder sections.

As the set progressed, older material which showcased AP’s more aggressive Industrial roots started to filter in, with ‘The Great Depression’ from ‘A Violent Emotion’ and a final one-two punch of ‘Schadenfreude’ and ‘Spit It Out’ climaxing the evening, the latter songs dispensing with sung musical vocal hooks and replaced by the post-hardcore screaming which made up most of ‘Close to Human’ and ‘A Violent Emotion’. Although partially hampered by a sound mix that meant several of the bass sequences were overwhelmed by some of the DAF-style live drums, this was none-the-less a powerhouse performance from an act who are viewed by some as one of electronic music’s best kept secrets.

It’s apparent here that Graves (to use one of his songtitles) has a Dark Half and two sides to his musical personality which have informed AESTHETIC PERFECTION’s musical evolution. In a not too distant parallel universe, Daniel Graves should probably be songwriting for überpop stars like Lady Gaga and Katy Perry (such is the strength of his pop sensibility and writing skills – ‘Big Bad Wolf’ could quite easily be covered by a mainstream artist), but has instead chosen to evolve AESTHETIC PERFECTION to suit his current writing style.

To many, the Industrial scene is dying a slow death, its distorted 909 kicks and pseudo-trance riffs now sound dated and what was once seen as the darkest, most aggressive form of electronic music has now been replaced by dubstep and the harder streams of EDM. However, at the heart of the new tracks played tonight there still remains a darkness and Graves himself has said “People may say the anger is gone, but it’s not, it’s just bubbling underneath the surface”.

An artist who is prepared to risk their musical career for something which he or she truly believes in should be admired, especially within a music industry which is in a constant state of flux and AESTHETIC PERFECTION followers will be hoping that there will be plenty more challenging and quality electronic music to come with a ‘Happily Ever After’ ending to the story…


‘Til Death’ is released by Metropolis Records

Their European tour continues on the following dates:

Munich Backstage (25 Feb), Zurich X-Tra Limmathaus (26 Feb), Glauchau Alte Spinnerei (28 Feb), Frankfurt Das Bett (2 March), Hannover Engel 07 (4 March), Berlin Magnet Club (5 March), Malmo Babel (7 March), Hamburg Markthalle (8 March), Athens Second Skin Club (14 March), St. Petersburg Backstage Club (15 March), Moscow Rockhouse (16 March)

http://www.aesthetic-perfection.net/

https://www.facebook.com/aestheticperfection


Text and Photos by Paul Boddy
23rd February 2014

WRANGLER Live at Proof Positive

With their debut mini-album ‘LA Spark’ now set for release in May, WRANGLER previewed material at a special live showcase for Proof Positive, an experimental improvisation evening curated by musician Tom Rogerson of THREE TRAPPED TIGERS who has also collaborated with the trio.

The trio themselves are Stephen Mallinder ex-CABARET VOLTAIRE, TUNNG’s Phil Winter and synth collector extraordinaire Benge, best known for his work in JOHN FOXX & THE MATHS whose aims for the project are to harness “lost technology to make new themes for the modern world”.

The intimate location was the ultra-hip Servants Jazz Quarters in Dalston, a bar with an open basement for live acts to play in.

Eschewing the vast arrays of analogue kit for which is particularly Benge is known for, WRANGLER use a more practically workable softsynth arrangement augmented by live electronic drums, a variety of touch pad controllers’ and in the latter half of the set, Tom Rogerson on his trusty Juno 60.

The key WRANGLER track has to be ‘Lava Land’, a superb cross between CABARET VOLTAIRE and prime ‘Metamatic’ era JOHN FOXX but with a modern twist. Mallinder’s voice manipulations up and down the scale are a particularly now statement, ranging from demonic gargoyle to stern drowning robot. The frantic pace is strangely danceable but the mood is distinctly unsettling, especially when the screeching string machine kicks in. Another highlight is the dystopian electro funk of ‘Harder’ with its cacophony of phased percussive effects. Meanwhile the leftfield but club friendly ‘LA Spark’ title track will meet the approval of Cabs fans circa 1983-85.

At the close of a short set to which Mallinder amusingly quipped “what do expect for a fiver?”, there was an unexpected rework of CABARET VOLTAIRE’s ‘Crackdown’. With the audience shouting for more, Mallinder appreciated the response but told everyone that he had to catch the last train back home to Brighton. With vintage synths and drum machines given space to create a soundtrack for a dissident future landscape, WRANGLER’s ‘LA Spark’ promises to be one of most eagerly anticipated electronic releases of 2014.


‘LA Spark’ is released by Memetune on vinyl, CD and digital formats on 5th May 2014

https://www.facebook.com/pages/We-Are-Wrangler/1389558817973207

http://memetune.net

http://proofpositivegig.com/


Text and Photos by Chi Ming Lai
21st February 2014

POLLY SCATTERGOOD Live At The Workshop

The intimate surroundings of The Workshop in London was the venue for emerging Mute artist Polly Scattergood.

Polly Scattergood released her debut self-titled debut album in 2009 to great critical acclaim. Her guest spot on BEF’s 2012 covers LP ‘Music Of Quality & Distinction – Dark’ singing the Bacharach and David classic ‘The Look Of Love’ also exhibited her versatility as a interpreter as well as a songwriter.

With influences such as Bjork and COCTEAU TWINS, her promising sound has undergone a natural progression for its grower of a follow-up ‘Arrows’. Taking on more synthetic textures but retaining her kooky, affected vocals, the brilliant ‘Cocoon’ and ‘Falling’ initiated proceedings. With her charming banter and enigmatic oddness, Scattergood came over like a cross between Sarah Brightman and Sally Thomsett from ‘Man About The House’. Swigging from her brandy bottle for ‘medicinal purposes’, she very much endeared herself to everyone present.

‘Subsequently Lost’ almost stole the show with its accessible NEW ORDER drive and an air of fragility. A vocodered double track provided a chilling schizophrenic feel. ‘Disco Damaged Kid’ was another enticing casualty ditty that successfully merged Norfolk with Berlin!

With the horrendous rainy winter the UK was having as the backdrop, the ‘Arrows’ material now made total sense. However, when Scattergood opted for her starker, more esoteric compositions like ‘Colours Colliding’ and ‘Machines’, it did appear to bemuse the club inclined regulars in attendance while the crowd who were there for her were totally mesmerised.

On the passionate and stripped bared ‘Miss You’, the totally bonkers Polly’s stage persona really let rip. Despite her traumas in Polly World, everyone is rooting for her and this is her trump card!

When the set concluded with the deliciously wired avant pop of ‘Wanderlust’, live keyboardist Glenn Kerrigan joined Scattergood at her Moog Little Phatty for a magnificent sweeping and swirly climax. Scattergood gave a wonderfully passionate performance that exposed a captivating vulnerability.

As an artist marked out the vein of Elizabeth Frasier and Alison Goldfrapp, luckily she is on a label that will let her persue artistic aspirations rather than sales. Her career trajectory can only ascend; it should be a cracking third or fourth album…


‘Arrows’ is released by Mute Artists

http://www.pollyscattergood.com/

https://www.facebook.com/polly.scattergood

https://twitter.com/pollyworld


Text by Chi Ming Lai
Photos by Richard Price
9th February 2014

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