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Kling Klang/Tennis/Ticklish (live at the Kosmische Club)

Kling KlangThe Kosmische Club

Upstairs At The Garage, London 28 July 2001

For the Kosmische Club’s fifth birthday, the party hats, balloons and banners have been brought out to celebrate half a decade of putting on one of the best clubs in London, if not the country and possibly the world. A touch of hyperbole, perhaps, but the nice thing about this club, despite the almost unbearable heat in the small roof-space room which has plagued Upstairs At The Garage in summer since the year dot, is how intimate it is. Not just in the sense of being small, but there’s usually a general air of seriously friendly fun and frivolity to be found, and it’s especially the case tonight. The party mood may not be that different from the average Kosmische, but

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The Black Heart Procession/Simon Breed (live)

Pall A. Jenkins 93 Feet East, London 9 July 2001

Simon Breed“Bosses, They’re all cunts, pricks wankers and shits – does anyone here like their boss?” Well, those were similar words to the ones I muttered when Simon Breed nearly trampled me in his stampede to the bar pre-showtime. He was allegedly referring to his boss, or bosses in general. The same song also proclaimed him to sound like Bruce Springsteen, make what you will of that. The sound system is crap, there was a bug on the wall, and the bar on which I am trying to write is shifting constantly with a serious threat to collapsing. Not a good start really, but I will calm down and give it a chance.

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Tricky (live)

The Junction, Cambridge 9 July 2001

For whatever bizarre reason, this gig couldn’t be advertised. Having found out about it, having already missed Tricky’s appearance at Robert Wyatt’s South Bank Meltdown, and noting that his only other UK appearances this tour were at the V2001 festival and Penrith (remember Withnail spitting this town’s name out in a phone box? – yes, that Penrith), I had to check it out. I’d only seen Tricky before at Glastonbury, where I was totally blown away by his metallic trance, so different from his recordings, so unimpressive to everyone gathered to see Blur aftewards. His new album, Blowback, was suitably tickling me, and two of the tracks (“Girls” and “Bury the Evidence”) hinted closer than ever at his live sound. Seeing him at the sweaty little Junction

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Reuber – Ruhig Blut

Staubgold

Reuber – Ruhig BlutThis is one of those albums which goes on forever, but with the pleasant companionship of days passing and the changes of the quality of light and temperature on one side, and the intensity of a nightmare storm battering on the other. The title is German for Keep Cool, and the long slow unwind of electronic tones is certainly chilled out to a specific degree of mellowness – at least at first it is. The circling high pitches of “Ruhig Blut A” take their twenty minutes (one side of the vinyl edition) to swap stereo channels, swooping and diving through the sound picture with tranquil ease as teensy synth pulsations make their entrance and meander in concert with sundry squeaks and gentle sputters. Calmness is achieved. Rhythms are

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His Name Is Alive (live)

Lovetta PippenArts Café, Toynbee Hall, London 3 July 2001

One of the things about getting older is the urge to mellow out, to chill into a fully-realised state. Warn Defever has been skimming the surfaces and wading into the depths of music for over a decade now, and his frequently disparate collision of sounds and genres onto each His Name Is Alive record has been whittled down into a focussed approach to collecting sounds together. This has found its most recent form on the (apparently, deceptively) polished R&B sheen of the surprising Someday My Blues Will Cover The Earth, but anyone expecting the live show accompanying that album to revolve around funky beats and low basslines was in for yet another raised eyebrow moment – the latest in a long series from

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Young Gods/Lolita Storm (live)

Franz Treichler warms up the crowdThe Mean Fiddler, London 2 July 2001

Lolita Storm

Somehow Lolita Storm should have got a better reaction on this bill – their shouty teen rants and splattery Digital Hardcore beats and pieces are part of the busy collision of Electronics and Rock the Young Gods were instrumental in creating after all. But perhaps the early start time is why there’s about twenty people gently bobbing in front of the trio of singers in their hand-drawn t-shirt dresses and Punk attitude. The resulting blasts of defiantly anti-Spice agit-prop shrieking and close-harmony invective fall a little flat as a result, and the band seem less than sparkling as a result.

Still, give ‘em a roiling moshpit and a flail of legs in the air and the sneering kick

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