Komedia, Brighton 22nd February 2000
First round on a rare night of electronic experimentalism in Brighton, held in the converted supermarket cabaret venue Komedia and hosted by Semiconductor was Lucky Kitchen, an electronic duo between Alejandra Salinas and Aaron Bergman (AKA Alejandra and Underwood as the handy little placards placed on top of the mixer for each act stated). Their music was accompanied by a little video projection story, which strained at being cute, while we strained our eyes to read the sometimes garish captions. Apparently the story was about a creature called Pip and its misadventures, done in Hello Kitty style among other little creatures. For all its adorable stupidity, the Pip story really was lost on the audience, and the music could have done without it. Conversely, the music creations were clever enough; loads of natural sounds such as birds and insects and storms emerging in synch with
Continue reading People Like Us/Dummy Run/Lucky Kitchen (live) […]
@ RoTa Notting Hill Arts Club, London 21st February 2000
There’s a great sense of expectancy generated by Chicks On Speed tonight; buzzing chatter from the West London cool squad building up a tension upon a foundation of eclectic Electro DJing. When the Chicks come on stage in decorated paper dresses (on sale at the merchandise nook too) there’s an urgent crush to the front which drags all before it, even into the maw of the bassbins cramped up into one corner. Lined up in front of their mics, the trio get ready to do their stuff as an oscillating hum builds for the storm of electronic Punk to come…
So when it does break loose, it’s a bit of a disappointment to say that CoS go for the tried and tested route of starting off with a hook from one genre or another, cranking the sampler output up to
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Label: Touch Format: CD
More than just Pan(a)Sonic without the bass oscillations, Mika Vainio‘s second solo outing still bears obvious connections to his work with Ilpo Vaisanen on their last album release under that name as A , a recording which featured moments of unsettling stillness and texture among the distened beats and noise. Naturally, it’s also more about making a different kind of sound to Pan Sonic’s – wavering, exploratory, semi-consciously aware of the noises Vainio is mixing into the listening environment. Headphones are one thing, but putting Kajo among the hummings of fridge mechanisms, birdsong, passing cars and train horns is as vital as settling down for an intense listen in a darkened, soundproof room.
Turn it up loud, and some of the pieces here become truly unsettling, as wafts of electronic movement summon pre-linguistic eminences of the
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The Garage, London 31st January 2000
It’s been seven years since Matt Johnson released Dusk, the last The The album; and barring the frankly bizarre collection of Hank Williams covers, plus a series of dubious rumours, nobody has heard from him since. Until now. Joining Trent Reznor‘s Nothing label (after Epic refused to release his experimental album, GunSluts) appears to have rejuvenated Johnson, and his triumphant return to the UK stage saw him debut a selection of material from his forthcoming NakedSelf release (GunSluts is to be released later in the year on his own label). And it Rocked.
With a band comprising of an ex-Sly Stone drummer, an ex-Iggy Pop guitarist, and an ex-Frank Sinatra bassist, Johnson appears to have abandoned the rich, dark keyboards of earlier work in favour of a stripped down two guitars, bass and drum sound. It’s more Metal, but it’s no less dark. Opening
Continue reading The The (live) […]