The Scala, London 29th May 2007
Part Chimp not only open with a big, metallic stoner rumble, they compound matters by using almost the exact riff from “Electric Funeral” to confirm that they are coming from a location somewhere between Black Sabbath and The Melvins. So then its heads down for an excercise in riffology, volume and mass squared by amplification, with the product being ringing ears and nodding heads. Under a gathering fug of smoke, spotlights and noise, it’s exactly like being blinded, deafened and punched in the thorax by bass and feedback – a singular experience, and one not without its enjoyable aspects, as Part Chimp ramp up the sludge factor and roll out the drums,
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Bush Hall, London 27th May 2007
It’s raining. Not just raining, but absolutely pissing it down. The streets are running with water, and my eyes are so full of rain it takes me fully half an hour longer to find the venue than it should otherwise have done, meaning that by the time I get in, Mr Harvey‘s set is already underway. And by crikey, he looks like he’s having a great time.
Yes, ladies and gents, that’s the most shocking thing – Mick Harvey, who seems to have spent the last nigh-on thirty years of his career looking stern while he tries to keep some discipline among his bandmates in the Birthday Party and the Bad Seeds, actually seems to be enjoying himself. Swigging contentedly from his beer, chatting away in between songs, he comes across as the all-round genial chap, even as he croons and growls his way
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Label: Vivo format: CD
Featuring guest musicans (or sound carriers as Damo Suzuki prefers to refer to his collaborators) from Rovo, Ruins and the legendary Hoppy Kamiyama of God Mountain records and Optical*8, The Fire of Heaven at the End of Universe was, as its subtitle indicates, recorded live at Tokyo’s UFO Club in March 2006. The recording quality is good, if very live sounding and lacking in much warmth or room sound, and the five improvised tracks gradually assemble themselves from a meandering freeform opening as the group and Damo adjust to each other into some hefty longer grooves which allow time for the music to breathe. Suzuki’s vocals are typically otherworldly – in that he sounds like he is beaming in from a parallel universe, singing,
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Dingwall’s, London 15th May 2007
It’s been a while since The Young Gods have appeared in London, but they’re back at last, in support of their new album Supeready/Fragmenté. Dingwall’s turns out to be a good choice of venue, allowing for a capacity crowd but without getting stiflingly overstuffed with people. Support band Shy Child are a duo of a drummer and synth player, the latter playing standing up with the keyboard on a strap for a more energetic performance, presumably. They’re not bad at all, angry buzzing blurps meshing well with the powerful percussion, but the vocals are monotone and hectoring in tone while remaining largely inaudible. Still, they do a good job of warming up the night.
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Bush Hall, London 11th May 2007
Bush Hall is a strangely grand venue for A Hawk And A Hacksaw to appear, all faded burlesque glamour in the plaster cherubim and beneath the voluptuous chandeliers. Given Jeremy Barnes‘ reinvention and re-imagining of a multitude of folk styles, the image conjured by his music is perhaps more one of rustic dances and Eastern European taverns, but since ultimately his music is about cross-cultural meetings and melding, it is perhaps appropriate after all. What might seem more at home at a wedding party than in a concert hall is part of the movement which proclaims folk musics to be the new rock and roll (again).
Continue reading A Hawk And A Hacksaw and The Hun Hangár Ensemble (live at Bush Hall) […]
Corsica Studios, London 2nd May 2007
Looking like refugees from several different bands who all met up in a jail cell after a drunken night gone horribly wrong, it’s north London’s finest pirate bar band Owlls, and they really should be playing in Tortuga in the 17th Century rather than Elephant & Castle. But no matter; by the time they’re a couple of songs in you feel like they may as well be. Bring me the horizon, and why’s all the rum gone?
Every inch the rock’n’roll preacher of doom, frontman Luc growls, howls and yowls his way through a set of rock-solid whiskey-sodden numbers, taking in sea shanties, gypsy dances, gothic terror and all points in between. One
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