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Day: 8 December 2013

Album: Eska – Gatekeeper EP

It’s rare nowadays to hear a voice that strikes you immediately as something special.

Considering myself largely a disliker of modern-day folk, I was pleasantly surprised when I heard Eska’s EP and discovered that the essence of folk is still alive and well. Having collaborated alongside such household names as Grace Jones and Cinematic Orchestra in the past, it is hard to understand how Eska has avoided individual recognition for so long. However, bursting onto the scene with her first collection of own material, five tracks are all that is needed to showcase her talent for songwriting.

The first track on the album, the EP’s titled ‘Gatekeeper’, does just this through Eska’s use of vocal inflections and heartfelt melodies that embody her wide variety of influences from Psychedelic Rock to Soul and Electronica. Track ‘Red’ takes on a different direction. Incorporating experimental sounds and dissonant undertones, Eska adopts an effortless improvisatory style that showcases the sheer depth of her vocal range.

Stripping back the production, Arrogant Heart Part 1 and 2 consist only of Eska’s voice, a few backing vocals and guitar arpeggios. This sparsity elevates her lyrical writing above all else and most shows her ability to stand independent of instrumental backing.

Similarly, ‘She’s In The Flowers’ resembles ‘Gatekeeper’ in its use of intricate percussion rhythms to a climax and musical epiphany that returns to the spirit of such folk greats as Joni Mitchell. Moreover, it’s insertion between Arrogant Heart Part 1 and 2 on the EP reflects Eska’s ability to soar both on sparse arrangements and heavier production.

Eska has undoubtably a unique vocal style, but what truly distinguishes her as one to watch in 2014 is her approach to lyrical writing that is a breath of fresh sincerity in the Industry today.

Club: Triangular & Heavy Rain presents Jacques Greene

14th November

Odder Bar

7/10

As I walk into Odder Bar my ears are immediately treated to a slick mix of three certified bangers:  ‘Renegade Master (Special Request remix)’, Nu-Birth’s garage classic ‘Anytime’ and Armand Van Helden’s take on ‘Sugar Is Sweeter’. Quite a start to the night. Odder Bar dances accordingly as the resident DJ continues his all killer, no filler set right up until it’s time for headline act of the night, Jacques Greene.

Whilst billed as a ‘Live Audio Visual Set’, this doesn’t appear to be the case. There’s nothing unusually special about the visuals, and as Jacques Greene drops the likes of Drake’s ‘The Language’ into the mix it’s evident that this isn’t a live set – unless the rapper, and fellow countryman of Greene, is well hidden away in the booth. This doesn’t prove of detriment to the night however, and as Drake’s line “She just want to smoke and fuck I said ‘Girl, that’s all that we do’” fills the room it perfectly represents the hedonistic atmosphere Greene’s eclectic mix of tracks creates. A DJ set was the preferable outcome.

Yet Greene’s own tracks do prove to be high points of the set. His remix of one of the best pop songs of the year, Ciara’s ‘Body Party’, is a particular highlight with its euphoric synth chords and reverb soaked vocal loops. The latter also features heavily in the excellent How To Dress Well collaboration ‘On Your Side’, which sounds better than ever on Odder Bar’s Funktion One sound system. Greene proves himself to be as adept a DJ as he is a producer.

Interview: Gabby Young and Other Animals

Gabby Young, the self-invented artist who started her career before the age of 21 from her bedroom on her own label ‘Gift of the Gab records’ started out playing gigs here in our very own Manchester music scene, “I lived here for 7 months in Chorlton, my sister went to Manchester Met so I moved up here to be with her and started a funk band. I did quite a lot of open mics and got involved in the acoustic scene here.”

Originally planning to be an opera singer Gabby suddenly switched lanes into putting her own spin on her vocals, “I was going to train to be an opera singer and was wondering if it was the right thing for me as it’s such a heavy discipline. I’m quite a free spirit that likes to do things my own way, you can’t really change the notes when it comes to opera so I started writing my own music. It was very much inspired by Jeff Buckley because he has an operatic voice but he goes and does his own thing with it. His music is so original and still emotional.” She’s been compared to Florence and the Machine with the emotional and theatrical side of her voice but she says she adds a bit of a Jazz and a crazy Björk-y thing to it with really high solos. “I try and use my voice as more of an instrument than a vocal.”

Her 8 piece band includes a wide variety of instruments, “We’ve got the 5 piece tuba, violin, accordion, drums, guitar and I’m using some cool vocal loops. We also all play ukulele.” The band’s unusual sound falls into an invented genre, “We call our music Circus Swing because we never know how to explain it. It’s a bit of everything, a bit of jazz, folk, gypsy, world music elements and we rock out at times. It’s very theatrical and colourful and it will keep surprising people forever. Every album we’ve done gets more different and diverse – eclectic.” Their first album, We’re All In This Together, was funded by the fans through the band’s ‘Become and Animal’ page, for £12.50 you became a mole, £25 a bear and £65 a tiger. At this point their recognition took off followed by worldwide tours, “I see us being really serious from two years ago because that’s when we started world-wide touring. This year and looking at next year is kind of getting crazy busy.”

Gabby has also been compared to the likes of Lady Gaga with her theatrical appearances on stage: “I was a bit of a hippy and used to just wear baggy jeans and string vests, then one time I put on a dress and everyone thought I’d made a real effort and they started dressing up to my shows as well. It became like a fun costume party. People really let their hair down when they’re in costume, you step into a different character and I definitely do it to give me a real confidence to be more of me.”

They toured in the summer of 2010 at a variety of UK festivals, the favorite being Glastonbury, “Glastonbury is such an amazing festival to be a part of, it’s just like a different world. The whole time I was there I was just running around smiling, it was actually like a dream come true so that has a really big place in my heart. I love all festivals, even the small, boutique family ones. There’s a fantastic one called Croissant Neuf that we’ve been a part of for the past two years that’s really beautifully run – but Glastonbury’s the king and rightly so.”

The band have an interesting superstitious ritual they do before a show, “We do the proper cheesy hands in the middle and we go ‘That’ll do, that’ll do, that’ll do nicely!’ It came from a really cheesy dance tune I made up jokingly but it became our mantra, it’s very Madonna and embarrassing. When we have really bad gigs we’ll be like we didn’t do ‘That’ll do nicely’ – that was the reason – so we have to make sure we do it every time.”

She’s not one of those typical artists that go off the rails and have a rock and roll life style. She likes to kick back and have a homely lifestyle, “I’m tee-total and I’ve seen friends of mine get completely wrecked and after a few years they’re just burnt out and it’s really sad. I’m an early granny. I like knitting and things like that so I’m not very rock and roll.” I asked what her plan B would be if music didn’t work out, “If I was ever to lose my voice or if things went horribly wrong I’d love to do interior designing or be a gardener.”

Gabby is quite the workaholic but plans to kick back this Christmas, “It’s got to the point where I probably should have said no to a few things but I love doing everything and I’m one of those people that becomes a workaholic. I just want Christmas off so I can just eat loads and watch films and be with my family.”

You should check out their latest album The Band Called Out For More which came out last year.

Interview & Live: The Virginmarys

22nd November

Academy 2

7.5/10

The last ten years hasn’t seen many rock bands make a mark on the UK music scene with much noticeable success. However, fresh off winning ‘Best Breakthrough Act’ of the 2013 Classic Rock Awards and winding down a headlining tour, The Virginmarys may be the exception. The Macclesfield-based rock group played a sold out homecoming show in Manchester at the Academy 2, and I caught up with the band before their set to talk about their recently released debut album, the importance of live music and the best Travelodge they’ve ever stayed in (answer: York- “they had superior rugs”, lead vocalist Ally Dickaty explains).

The Virginmarys, who have been playing together since 2006 and pride themselves on being “the real deal” who have “done what [they’ve] always wanted… without fitting to any specific genre” released their debut full length Kings of Conflict this past year on Wind Up Records after recording four EPs in three years on their own. The band cites their previous DIY experience as the “only option” they had at the time. However, their time spent crafting their songs paid off when they were finally offered a record deal, as they were signed “for the album they had already created”, Dickaty explains, as opposed to being moulded into a specific type of image or group. He explains the necessity of “being in it for the right reason”, and when asked what piece of advice to give out to bands starting out, the whole band resoundingly emphasizes the need to “avoid TV talent… like the X Factor”. This commitment to authenticity resonates throughout the band, especially when it comes to their stress on live performances. Kings of Conflict was recorded completely live, and the band cites the extensive time they’ve spent on the road as essential to “capturing the live essence” that is so important to them. However, when it comes to the band’s favourite aspect of being on tour- “sausage rolls and red wine, definitely”, says Dickaty, and the rest of the band agrees.

The Virginmarys spent the summer touring America, concurring the experience was “mind-blowing [and] a great time”. They also have supported Queens of the Stone Age in Germany, which was “pretty awesome” drummer Danny Dolan divulges. It’s a step up from watching them perform live as a kid, apparently, which Dolan claims was “really disappointing”.

In the meantime, the band has been “writing loads”. But that doesn’t mean they won’t be appreciating their time off post-tour, which guitarist Matt Rose claims will entail “watching a lot of Game of Thrones and drinking a lot of alcohol”. So what can be expected out of their sophomore album? “Well, it’s going to be better than the first album”, says Dickaty. “There’s a tendency for progression within second albums and I’m sure we’ll do the same”. While it may not be featured on an album anytime soon, Dickaty talks about his hip-hop influences, citing the “poetry” in hip-hop lyricism as influential to his own writing.

The band is currently on tour with Vox Empire, a band they were referred to through their agent. “Their guitarist has only been in the band for two weeks”, Rose explains, “but you’d never know it. It’s been awesome watching them come together”. Vox Empire does indeed live up to Rose’s hype, playing a half hour set of solid, energized rock. The Virginmarys are understandably excited to play a homecoming show and the “positive vibes” they anticipate at such a gig live up to these expectations. Opening with ‘Portrait of Red’ and playing such favourite singles as ‘Just a Ride’ within the first few songs, they keep the crowd high-energy from the get-go. Rose as a drummer particularly steals the show- his precise and focused beats keep everyone from band members to gig-goers animated, and his skill as a drummer is obvious.

The Virginmarys have just put out a stripped down acoustic album, and therefore the lack of acoustic numbers selected to lighten up a set heavy with rock and roll is surprising. Dickaty says the choice to put out the acoustic version “has gone over really well”, and therefore the band’s preference to overlook pretty much anything acoustic in their live set seems to be an odd choice. However, all the members have stressed the importance of pure rock and roll, and if this is what The Virginmarys are going for, it’s impossible to admit that they don’t do it well. The shows ends with calls for an obvious encore (why bands pretend to leave the stage when they have yet to play their most famous single is something that remains unclear to me) of ‘Bang Bang Bang’, and the show ends with a fittingly resounding crash.

Live: Gary Numan

14th November

Academy 1

7/10

Upon entering the gig, one can’t help but notice two distinct sections of the crowd, those there for the old hits and those who are industrial/Gothic fans. Therefore, it would be a difficult task to strive to please all of the audience. But Numan doesn’t just conform to what we’d expect. The name of his new album Splinter (Songs from a Broken Mind) emerges onto an impressive set of screens amidst dark and heavy synths breaking into ‘I Am Dust’, the first single from the new album and it’s in the same vein as his more recent past releases with perhaps a slightly heavier feel.

The new material is intriguing with vast textures and thick guitars leading the band. However, it’s not until the oldie ‘Films’ is performed that the crowd becomes awakened. This is reflective of the whole performance; it’s firmly of his industrial era styling, with the odd 70s/80s classic. However it’s a formula that works, one may even say that it feels somewhat odd when an old song is performed, not because of the quality but because Numan has moved on. He’s is a pioneer of electronic music, one cannot expect him to stand still with a dated sound, although, I often found myself longing for the analogue vulnerability of a late 70s Moog synthesiser. Nonetheless, the core elements of Gary Numan remain in his music: foreboding synthesis with quavering staccato vocals. ‘The Calling’ has an immaculate string section which rounds off its industrial nature. “Lost” and “Love Hurt Bleed” are also stand-out tracks from the new album.

The crowd has to wait until the encore for ‘Cars’ and ‘Are ‘Friends’ Electric?’, which despite being encompassing sing-alongs, looked to be a matter of process for Numan, they’re by a different artistic personality. Numan has now found his true musical identity and it shines through in his performance.

Live: Fenech Soler / NYPC

15th November

Gorilla

8.5/10

Though the night was young and opening band Duologue just winding down their set, the excitement of the gathering crowd was palpable. By the time supporting band NYPC (formerly New Young Pony Club, who seem to be embracing the minimalist trend on their third album, paring down both their name and number of band members) took the stage, a large crowd had gathered, those in the front mere inches from the performers on stage. NYPC didn’t disappoint, performing a high-energy set of their danceable yet emotive dream pop, effectively setting the stage for headliners Fenech-Soler even as their set was cut a song short due to time constraints.

The collusion of the three bands performing proved an intelligent choice, effectively layering on higher and higher energy sets. Taking the stage with the new single ‘Last Forever’ off their recently released sophomore album Rituals, Fenech-Soler launched into a 14 song set list that managed to maintain the crowd’s liveliness and enthusiasm throughout. Lead vocalist Ben Duffy continually engaged with the crowd, and the whole band seemed deeply immersed in the performance, a sentiment that was infectious. Fenech-Soler mixed in strong visual elements that added to the vibe of the gig, such as the flash of impounded drums and colourful background lighting that provided an appropriate aesthetic to the electronic pop sound of the band. This didn’t distract from Duffy’s solid vocals that carried over the packed room.

In a lengthy set heavy with new tunes, Fenech-Soler’s ability to maintain the crowd’s interest was impressive. Rounding off the set with popular singles ‘Stop and Stare’ and ‘All I Know’, when the lights came back on there was the quality of the end of the night at a nightclub, when nobody is ready to stop dancing.

From The Vault: Queen – Sheer Heart Attack

EMI

Released 8th November 1974

Long before Freddie Mercury donned the ill-advised ‘tache and steered Queen into cheesy-pop waters, Sheer Heart Attack shocked the music world into the cardiac arrest its title suggests. Coming slap-bang in the middle of that holy trinity of albums, sandwiched between Queen II and A Night at the Opera, this is Queen at the height of their creative powers, when the record inner sleeves were still proudly emblazoned with “no synthesizers!” and their sound was all the better for it.

The fairground music opening may suggest otherwise, but ‘Brighton Rock’ wastes no time in establishing Queen’s stadium-rock credentials with a mouth-watering guitar interlude that’s as sweet as the song’s confectionary namesake. Often extended to fifteen minutes in their live shows, it’s a solo that could only ever be envisioned and performed by May and his wild mane of hair.

The sound is slightly more commercial rock than its predecessor, the fantastical Tolkien-esque ramble with fairies and ogres imbued with black and white symbolism, and ‘Killer Queen’ sees the band at their most accessible. Clocking in at three minutes, it combines May’s rich guitar riffs with the sumptuous harmonies that so define Queen’s sound, all underpinned with Mercury on grand piano. It was the band’s first real hit single, made all the more surprising by the fact it was about how “classy people can be whores as well”.

What makes Sheer Heart Attack such a complete album is the diversity in its sound. The theatrical rock of Queen II hasn’t been discarded completely; ‘In the Lap of the Gods’ kicks off with a screeching high-note followed by warm harmonies and soaring falsettos, all overlaid with dramatic stormy sound effects. Brief ditty ‘Misfire’ couldn’t be further from such an elaborate composition, but its bright melodies contrast perfectly with the aggression of ‘Flick of the Wrist’, a song that launches scathing attacks on the band’s former manager and provides acerbic comment on the industry as a whole: “Prostitute yourself he says, castrate your human pride / Sacrifice your leisure days, let me squeeze you till you’ve dried”. ‘In The Lap Of The Gods… Revisited’ closes the album in emphatic fashion with a powerful harmonic refrain and a cacophony of noise. It’s a fitting end to Sheer Heart Attack, a record worthy of its place in the pantheon of truly classic albums, which rightly appointed Queen into rock royalty.

Live: Ghostpoet

19th October

Deaf Institute

8/10

Understanding the unique blend of music that Obaro Ejimiwe, otherwise known as Ghostpoet, creates is often difficult. Sometimes grimy, usually dreamy, often melancholy and always, always achingly cool. Straight away, in the packed, darkened room at the top of the Deaf Institute, he proves it.

For the first timers in the sweaty crowd, it’s easy to be unsure of what to expect. Peanut Butter and Melancholy Blues and Some Say I So I Say Light are both albums that feature an understated quality which works wonderfully when listened to through headphones, on the bus, or to generally make mundane daily activities more exciting. Although it is this style that has made Ghostpoet’s music so successful in the last year or so, it creates a doubt about whether his live performance is going to be quite as riveting.

Reassurance arrives in the form of Ghostpoet strolling to the stage in a black hood, flanked by a small band, and kicking off the drama in seconds as he launches into a catalogue of songs from both of his albums. Shadows and red and blue lights flare up against the walls as the movements of the crowd slowly evolve from approving nods to full on dancing, right at the turning point that is the quirky beat of ‘Plastic Bag Brain’.

His music doesn’t only translate well, but is completely transformed into a mesmerising live performance, with signature echoing vocals and the ethereal choruses of ‘Survive It’ and ‘Meltdown’ provided by backing singer Clare Uchima. The chilled-out lament that is ‘Meltdown’ has a tender quality that would be particularly difficult to capture live, so it’s given a complete makeover- the keyboard gets turned down and the drum beats and emotion get turned up. The energetic atmosphere is infectious as once again, Ghostpoet smashes every expectation.

Live: San Cisco

16th October

The Deaf Institute

6/10

A mixture of of carefully made up teenage girls and boys cluster around the stage alongside what could be their middle aged Mums and Dads in anticipation to see San Cisco at The Deaf Institute tonight as the youthful indie-pop quartet near the end of the UK section of their European tour.

At their best San Cisco play a fun and lively set made up of their quickest, catchiest, and brightest singles such as ‘Golden Revolver’ and ‘Awkward’ which lead singer Jordi Davieson introduces as a song “about stalking” to cries of excitement from many of the word perfect crowd. Bathed in a cherry light, it’s easy to be won over by their cheeky smiles and banter, especially between Jordi and Scarlett. Yet their performance lacks edge and Scarlett’s vocals are occasionally out of tone, especially on opener ‘Lyall’ with its rollicking fun fair melodies.

Before the encore they play ‘Fred Astaire’ which could be an apt, mid-tempo, offhand finale to their coolly delivered set. They come back on to do their rendition of Daft Punk’s ‘Get Lucky’ and despite the excitement, there is an irony in a cover being the best received song of the night. Although, this is tempered slightly by the crowd’s fervour for the energetic riffs of ‘No Friends’ which they finish on.

They thank their support act Furs. Jordi tells the audience that they’ve sold out of merchandise so instead they’ll be hanging around after to meet fans. He leans forward to the crowd but draws back before they can touch him. Jordi praises the crowd “well done”. Like the jumping up and down on the sprung floor it’s all just a little too easy, nevertheless it’s fun.

Live: Young Kato / The Propellers

12th November

The Ruby Lounge

6.5/10

Young Kato, as well as supporting act the Propellers, are two young bands who have both nailed the niche on radio-friendly indie pop. Young Kato especially has been on the receiving end of much hype and exposure with singles such as ‘Drink, Dance, Play’ being highlighted on the Made in Chelsea soundtrack as well as recently headlining the first ‘Played in Chelsea’ gig in London. However, despite “up and coming” citations and much recent exposure, there was an unexpectedly small crowd at the Ruby Lounge where the bands performed.

Supporting act Propellers, whose infectious choruses of songs such as the band’s first single ‘Midnight Kiss’ and new single ‘Meow’ have won over many, were not helped by the fact that they played to a vaguely interested crowd rounding out under 30 people who were clearly there to see Young Kato, and there was an aura of ambivalence that could not be overcome. However, in some ways, their performance outshone that of Young Kato’s, who at times seemed like they were merely going through the motions, despite having several fairly well-established singles to draw upon. Tommy Wright, lead vocalist of the band, spoke afterwards about the theme of ‘celebration’ that has gone into the writing of his band’s songs, but an element of that was definitely missing.

However, in their relatively short time together the band have managed to procure some dedicated fans, as one woman was spotted with a tattoo of Young Kato lyrics (‘we drink and we dance and we dance and we play’)- “our first tattoo”, Wright cites. Both bands did make themselves accessible after playing and if nothing else, it’s clear their charisma, pretty-boy looks and down-to-earth attitudes coupled with an understanding of what makes pop songs work will continue to garner them fans.