[Originally published at Clashmusic.com]
[Originally published at Clashmusic.com]
The dark and gloomy backroom of the Shacklewell Arms is possibly kept that way because, were there any more light, revelers would be able to see the garishly blue and yellow walls, pink painted clouds on the ceiling, and murals of Jamaican trumpeters urging you to “live it up”.
Into this charmingly unreconstructed Dalston corner steps tonight’s instalment of East Not East, a soundclash of Bristol-based acts including audio collective Young Echo, home of Vessel, Left_Blank records boss Throwing Snow – for whom tonight is something of a label showcase – and Hyetal, purveyor of fine, spacy, melodic weirdness. Topping off the bill is part-time black metaller James Kelly aka WIFE, and the globe-trotting house sounds of new arrival DJ and producer Guy Andrews. ]
Up first, Young Echo confuse and amuse in equal measures by opening with a extended beatless bass earquake that leaves bowels trembling and features what sounds like the crystal notes of glass rims being played. Out of this aural landscape emerges splintered breakbeats, but it’s left to the live set from WIFE to move the crowd. Playing his first UK performance, Kelley leaves the sample-rich black metal of his band Altar of Plagues to WIFE’s emo-bass: tracks like ‘Trials‘ and ‘Bodies‘ blend dark, uncharacteristically human sounds including his own voice sung live through filters and effects with syncopated beats and aggressive cymbal patterns. Reminiscent of early Burial, while not up-for-it beats in an obvious Skrillex way there is an urgency to WIFE’s set that is compelling.
Throwing Snow steps up for the night’s second live set, blending breakbeats, bass thick enough to coat the walls like paint, and delicious chunks of melodic techno with more than a whiff of ’90s stalwarts – think Harthouse, Force Inc and Tresor – but with the 4-4 beat chewed up and spat out as something altogether more interesting.
Hyetal slows down the pace a touch, mixing some of his crystalline productions such as ‘Beach Scene‘ and single ‘Phoenix‘ – chip-tune saw-waves, bedroom Casio sounds and breathy vocals over precision percussion – into a DJ set whose sound seems to channel Boards of Canada via Jan Hammer. Always atmospheric, always interesting.
Rounding off the night on a different note is Guy Andrews, lifting the tone with some chunky house music vibes that stray into percussive techno and breakbeat, but always upbeat, for the mind and feet. With recent releases on Hemlock and Hotflush and plaudits from old heads like Soma mainstay Funk D Void, taste-maker Mary Anne Hobbs and up and comers Benji B and Scuba, Brighton-based Andrews is one to watch.
Bloke behind a desk, two dim red lights in a dark room: I wouldn’t hire their interior decorator, but the ears have it even if the eyes don’t.
[Originally published in Clash magazine.]
Being in a band requires a little more than just standing around playing your instruments. Beyond talent, skill and enthusiasm it demands a little showmanship.
French electro-shoegazers M83 are aware of this. The show at a packed-out Academy opens with singer-keyboardist Morgan Kibby plucked from the darkness by a spotlight wearing billowing robes, furry claws and the freaky animal/insect mask last seen gracing the cover of the ‘Midnight City’ single. Like a snorkel-nosed Wolverine she then fires green lasers from her claws into the crowd, which – as the rest of the band launch into the deafening drums and bass of appropriately named ‘Intro’ – goes batshit crazy.
Jordan Lawlor, the fresh-faced, mop-haired newcomer who won a YouTube competition to join the band, gets stuck in to overt acts of musical expression by occasionally battering two synth pads opposite Kibby at the front of the stage while kicking his legs back behind him, giving the impression of a man caught on a drum-powered treadmill.
Singer, songwriter and chief creative force Anthony Gonzalez and his brother Yann take things comparatively easy, while above them the Academy’s vast backdrop breaks out into a sea of starlight – as befitting a band named after a distant galaxy.
In fact with lasers and lights and an incredible, leg-shakingly heavy sound – ten rows from the front we can feel the air forced out of the bass bins – it’s an assault on the senses.
Gonzalez’s vision is a wide open interplanetary soundscape of reverb-washed guitar, and rocket-fuelled-beats that build and burst behind competing tides of synthesis. Tracks like the lo-fi fuzz choir of ‘Teen Angst’ or the thrashy shoegaze of ‘The Bright Flash’ come sandwiched between trilling dance-pop anthems like ‘Midnight City’ and ‘Reunion’. And anthemic they are, to the point that it’s hard to tell if you’re familiar with the track or if it’s just that you’ve heard those synth lines for years from the likes of MSTRKRFT or MGMT or even ‘Disintegration’-era Cure.
With all the leaping about, the fancy dress, the flowing locks, and the nine-minute track prog self-belief, M83 could be a 21st century Hawkwind. At their most noodly, they could be an electro-Coldplay. But whacked out at 150dB there’s a five-thousand-strong crowd here that dances along heedless.
It strikes us this is music for teenage-hood, for teenagers love-struck-dumb by first time sensations for which they have no words. Gonzalez’s videos are filled with wonder, escape, visitations from the sky, aliens, magical powers. And oh how glorious it is to feel so special, so unique. But – is it so cynical to say so? – in time the youth, like this music, will age. Now it’s a soundtrack for wide-eyes and trembling lips, emotional stuff at its best. But given time and whiskers, will they with older eyes still look back as fondly on M83’s ultimately formulaic musical charms?
Originally published at Clashmusic.com.