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Day: 27 September 2013

Feature: Looking Beyond Warehouse

Written by Sam Bartram on . Posted in Music.

With The Warehouse Project season due to start in the coming weeks there is a conspicuous whiff of ecstasy amongst students and party goers alike. It’s common knowledge by now that The Warehouse Project has flooded Manchester’s underground music market, yet whether this is beneficial or not is up for debate. I’m certainly not going to argue against the consistent quality of their bills – fuck it, at the risk of sounding massively contradictory, I’ve already bought three tickets and intend to go to more nights.

However, one of The Warehouse Project’s greatest appeals, its sheer scale, is also its largest downfall as competitors struggle to swim against the huge wave that The Warehouse brand has created. The most obvious evidence of this battle was the recent closure of one of Manchester’s most recognisable clubs in Sankeys, the venue that was described as Manchester’s original ‘super-club’. Sankeys’ downfall may not have been entirely down to The Warehouse Project but the level of competition over bookings and punters inevitably took its toll. Indeed, it seems for many that it has become hard to look past The Warehouse Project for a student-loan-blowing night out and this, for me at least, is a shame in a city of such broad and passionate musical history.

Take nights such as Meandyou or Chow Down that have both worked hard to provide intimate, original and creative nights that are always bound with an interest for underground music rather than profit. Certainly, the presence of The Warehouse Project has created a mindset that dictates that more is better when in reality seeing the likes of Ben UFO or Plastician in a closer environment can be just as, if not more, gratifying than going to a twenty headliner strong Warehouse night. Indeed, this argument can be cast off as mere opinion but the underlying repercussions of The Warehouse Project’s dominance is clear as limitations over bookings make it hard for new nights to come to fruition. Admittedly this is not an entirely new concern but with the growth of The Warehouse Project continuing to surge, the question of smaller nights vulnerability is noticeable. From Soup Kitchen to The Mint Lounge, music is always going to remain at the fore of a clubber’s itinerary, but what can make a cities electronic scene great is diversity between venues, DJ’s and promoters. If there is a danger of The Warehouse Project controlling any more of the market, then the risk of Manchester’s entire scene being saturated into a single brand could spell the end to the cities once diverse musical movements.

So next time you’re debating over Modeselektion or Annie Mac Presents, spare a thought for a lesser night that could turn out to be more.

Review: Beacons Festival

Written by Mancunion on . Posted in Music.

16th-18th August

Heslaker Farm, Skipton

6/10

Beacons Festival returns to Funkirk Estate, a quaint farm near the Yorkshire Dales. In its second year, an impressive line up has expanded its capacity and reputation.

Though described as an ‘art and music’ event, the site feels drab and uninspired. Some effort has been made to make the main arena- a field- feel like a festival, but more than the odd art installation is required. A ‘pop-up’ Urban Outfitters doesn’t help. Aren’t festivals an escape from such high-street normality? The painfully homogeneous crowd- students- only reinforces that feeling.

Thankfully, the music in the Resident Advisor tent goes a good way to make up for this. New York hotshot Anthony Naples kicks off Friday’s antics, making a strong selection of gritty, grooving tunes. Move D follows with a three-hour master class possible of only a true veteran. John Talabot’s closing set keeps the crowd moving until the fun is stopped by the far-too-early 2am curfew. No sunrise raving at Beacons.

Saturday’s highlights are house-revivalists Bicep and Hessle Audio big man Ben UFO. In a trademark stompy set, Bicep find the time to drop Scuba’s rave-pastiche anthem ‘NE1BUTU’. It goes off. Ben UFO’s darker cuts make for a fascinating change of tone and as the crowd lap up every pounding kick drum, there’s no need for sing-a-longs here.

Andrés and Theo Parrish embark upon a five hour journey through only the most soulful hip-hop, house and techno to close the festival on Sunday. For a very different ride, James Holden delivers his euphoric, trance-influenced progression outside on the RBMA stage. Finding an act to provide that weekend climax any better would be near impossible.

It’s clear Beacons has the music side of things sorted, but a truly great festival is a lot more than this. Bring on the day this twigs with the organisers.

Album: Arctic Monkeys – AM

Written by Tom Ingham on . Posted in Music.

Released September 9th, 2013.

Domino

3/10

Arctic Monkeys came along at a perfect time; call them indie, post-punk revivalists, whatever – their brand of urgent, angular rock stirred something in the hearts and minds of teenagers and bored middle-aged musos alike. In a decade where TV exec’s actually sought after Geordie narrators for their shows, a strong sense of identity had never been more important. Unfortunately, these cheeky Sheffield chaps have lost whatever charm they once had.

AM is Arctic’s fifth record, and the alarm bells were ringing at Suck It and See frankly. It’s fair to say the first two albums are in essence the definitive work of the Arctic Monkeys. Humbug’s psychedelic twist gave the band a whole new lease of life, displaying an ability to evolve and expand musically. Then you hit Suck It and See, a well-crafted album, but nevertheless one that seemed sterile and safe in comparison. And that brings me to AM, which with great sadness I report, is even worse.

The album opens with a plodding Sabbath-esque beat over which a limp-wristed, pansy riff is thrown. ‘Do I wanna Know?’ sets the tone for what’s to come; it’s brooding, but not intense – my gut reaction is half arsed. The band never climb out of second gear; ‘One For the Road’ is another head hanging track that is frustratingly sparse, relying on embellishments from Jamie Cook to lift the monotony, especially on ‘Knee Socks’.

Sonically the downfall seems to lie with the people the Arctics have become associated with. Tchad Blake (Black Keys producer) and Josh Homme’s influence has swamped the bands sound and ultimately sucked away everything that sold them to us all those years ago.

The riffs are simple, and almost all of which could be played by a novice on one string (not necessarily a bad thing); the beat is industrial and cold, but the sound is polished and clean which just doesn’t add up. ‘Cannon’ by the White Stripes is a great example of how this kind of song writing can work when done raw and with passion; AM comes across like Arctic Monkeys doing a mishmash of other peoples work and forgetting to put their own two cents into the ring.

Alex Turner’s lyrics are like marmite and stay as colloquial as ever on this record, but the echo on almost every vocal, backed by another falsetto voice becomes repetitive and extremely annoying. As standard nowadays we’re treated to a few pleasant ballads, most notably  ‘I Wanna Be Yours’ but unfortunately the likes of which don’t stand up to, or feel half as sincere as songs such as ‘Cornerstone’ and ‘Love Is a Laserquest’.

Arcade Fire’s latest drop ‘Reflektor’ goes to shows  how evolution and change doesn’t haven’t to compromise a bands core sound, and the merits which made them great – with Arctic’s recent releases it seems the band are stagnating and becoming more and more irrelevant by the minute.

Am oozes coolness and sexiness but also a total reluctance to overreach itself – it’s a slippers on, let’s watch an ITV drama approach to Rock, which may appear aesthetically pleasing to some fans, but honestly I advise anyone who is planning to sit through the whole record in one go to have some KC & The Sunshine Band at the ready, you’re going to need something to wake you up.