London 2 April 2019 Italian producer and songwriter Giorgio Moroder is basically a legend. After discovering a certain sound in the mid-seventies, he reinvented disco music overnight. The sound was full of synthesizers pulsing to a pounding beat, but also never forgetting that key ingredient, melody. Moroder then won three Oscars for his soundtrack work and during the 1980s, he was pretty much everywhere working with many top […]
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Demiurg / London 3 March 2019 This is a story of two enigmas. One is an inscrutable totalitarian art-rock collective, and the other is the most secretive state on Earth. And this is all about what happened when the two collided to the strains of a much-loved feel-good musical with Nazis in it. Laibach have been defying musical and artistic conventions and outraging public decency for nearly forty […]
London 2 March 2019 PFM (Premiata Forneria Marconi) were one of the earliest progressive rock bands to emerge from Italy in the early 1970s. They were certainly one of the best known Italian bands of that era, mainly thanks to being signed by Greg Lake to Emerson, Lake and Palmer’s then fledgling Manticore label in the UK and USA, giving the band a much wider profile than they […]
London 29 January 2019 A couple of months ago, the world lost perhaps its greatest showman, the driving force behind the creation of an entire universe: Stan Lee. Today, his creations and co-creations are everywhere — on our TV screens, at the cinema, in book stores and adorning all types of clothing, from socks to baseball caps. His influence on the world of popular culture was massive. As […]
London 26 January 2019 It’s a wet and cold January night as I edge my way past the throngs that inhabit the high street in Brixton to make my way towards the venue. The weather seems rather apt to witness two of doom’s finest bands, as well as Rise Above records stablemates.
London 26 January 2019 After having previously reviewed The Radiophonic Workshop as my first outing for Freq, I this time had the honour of seeing live someone whom you could refer to as a true musical pioneer – I humbly bore witness to the innovative genius of Michael Rother on stage.
VMS Columbine are a group of rappers from Rennes who have captured the spirit of French adolescence. They have recently released their third album, Adieu Bientôt, and are blooming into a rather well-known band. They describe themselves as “absurd, naive and deep” and their music mixes synths and guitars to create their own universe.
Brighton 18 October 2018 After Iglooghost’s live show I was sat up in bed, unable to sleep, furiously making notes and trying to find out exactly why I found this show so brilliant, significant and ground breaking. I still haven’t got to the bottom of it, and I have a strong suspicion if the artist himself read this review he would conclude that I had totally overthought the […]
London 5 December 2018 The good people at Upset The Rhythm have been trading for fifteen years now and the calibre of artists that they have to play seems to improve with every year. It feels as though they made their home at The Islington and tonight’s treats for the ears teamed UTR friend and recording artiste Robert Sotelo with Canadian guitar legend and Constellation label stalwart Eric Chenaux.
London 1 December 2018 It’s Saturday night. It’s Oxford Street. It’s nearly Christmas. It’s fucking horrible, is what it is. And what a relief to get into The 100 Club which, while packed, is still somehow less claustrophobic than the street outside. And the reason it’s packed is because everyone’s hear to see The Heads, the elusive Bristolian psych-rock combo
Cavaillon 28 November 2018 Theatrical ensemble BOT have been presenting their Ramkoers (Collision Course) production around Europe for the last few years, frequently performing in disused factories and other spaces that allow them to bring their post-industrial cabaret to venues appropriate to their subject matter.
London 17 November 2018 My, what a strange day. Going to an afternoon concert is a rare enough event these days anyway, but when the bill of fare involves a jazz ensemble led by a bona fide Hollywood film star, who then proceeds to spend at least half the show doing trivia quizzes, it really is quite something to behold.
Bristol 13 November 2018 Deep in the building’s basement, illuminated by flashing red strobes, Copper Sounds totally seduced with their ritualistic roast of belt-driven bicycle wheels and contact mic(ed) boulders. The undulating mechanism murmured like an arthritic after-shadow in the PA as the calcium rub of the stoney surfaces was effect-fed, bent across grainy percussives in a parade of pendulum-painting pennies
London 31 October 2018 Years ago, back in the early 1990s, I had a friend (well, I say “had”– we’re still friends and he’s here tonight) with whom I shared a lot of common ground in terms of musical taste. He used to always be on at me to listen to The Church.
London 22 October 2018 In the last few years, an underground music scene has been steadily growing in strength. Taking its ideas from mostly horror and science fiction soundtracks of the 1980s and mainly using vintage synthesizers, the scene dubbed itself synthwave. Using a mismatch of John Carpenter, Giorgio Moroder and more recent bands like Zombi, synthwave has grown in stature
London 13 October 2018 Hallowe’en is just around the corner, and as the holy month of Spooptober gets underway, what better time could there be for that most festive of tipples, a Nurse With Wound / Current 93 cocktail? And that’s just what’s being served at Shepherds Bush Empire tonight, albeit with a VERY early curfew, no doubt due to that awful urban phenomenon of people moving in […]
Bristol 6 October 2018 Great to be back at the Colston Hall again, the stairs and upper foyer looked down on a stage that bustled with analogue and hi-tech loveliness, a crowd were perched against the glass railings in anticipation, a great vantage point for later
Bristol 4 October 2018 First up at The Thunderbolt were Dead Space Chamber Music, offering up a crafted dronescape of e-bowed pickups and cylindered frets from Tom Bush and a witchy, spiralling sonic topped off with choral gasps and murmuring abstractions from Ellen Southern. Even without their cellist (who couldn’t make it), this was still whorling and wondrous