Skip to main content

Day: 15 November 2011

Live: Sophie Barker @ Band on the Wall

Sophie Barker
Band on the Wall
24th October
1 star

Sophie Barker may not mean much to most people, but she has lent her vocals to both Zero 7 and Groove Armada. Even if you are unfamiliar with them, you will have heard Zero 7’s ‘In the Waiting Line’ on one soundtrack or another.

But before we get excited about putting a face to the voice, I must make it clear that this was a terrible gig. This music should not be played live. While it works brilliantly on a soundtrack, played live there’s no visual image or dialogue to stimulate our minds and all we have to look at is a woman, making some vague attempt to dance. For the most part, the music is not just boring, but actively bad. I’m sure they are accomplished musicians but the band’s backing tracks are so monotonous they sound like crap demos on those cheap little keyboards you had at school. This could perhaps be forgiven were her voice captivating and unique. But no; it is bland.

It was a strange affair with everyone sitting at tables, which didn’t help to hide the lack of enthusiasm. The crowd consisted entirely of mum and dad types except for a curious group of early 20-somethings at the back, which confused me; they were quite a trendy looking group, who seemed to fancy themselves as rather cool. So then, what were they doing here? Then again, you have to question why anyone was here at all.

The feeble climax came as the crowd cheered (an extravagant show of emotion for this bunch) after the first few bars of the aforementioned ‘In the Waiting Line’. For just a moment, I was excited too: A song I don’t thoroughly dislike! But no, 30 seconds into the track we were regretting those cheers and I was bored again.

 

Live: Patrick Wolf @ HMV Ritz

Patrick Wolf
The Ritz
26th October
4 stars

For all his cabaret-style performance and arty weirdness, Patrick Wolf is just a down-to-earth nice-guy. His over apologetic modesty is borderline ridiculous earlier on in the set when he debuts new track ‘Time of Year’, pausing during the introduction at least 3 times to insist that he’s going to “fuck it up”.

He is eager to please and obviously revels in the crowd’s adoration of him, but the love and respect is mutual tonight. Wolf repeatedly declares his love for Manchester and thanks us for having him and later he jumps offstage to makes his way through the crowd, greeting fans while still singing for almost an entire song. He is very chatty throughout, clumsily so, but it doesn’t ruin the set; his anecdotes and stories behind the songs bring us into his world and make for a more intimate experience.

He is convincing in his role of the ‘eccentric musical genius’, sitting down to play the harp and opting for a ukulele over a guitar. However, he avoids coming across as pretentious and appears not to take himself too seriously; it is like an excitable toddler, that he makes a spontaneous set list change in favour of a dance track, perhaps getting carried away with the lively atmosphere.

He shows a fondness for anything that sparkles, wearing what appear to be diamante ear plugs and later a glittering, gold top, however tonight it is all about the music and he skips his final costume change in order to play a few more songs, an arrangement he and the crowd both agree on. The critically acclaimed new album, Lupercalia, is positively upbeat and tracks such as ‘The Future’ and set closer ‘The City’ are already crowd favourites.  He renames ‘Bermondsey Street’ ‘Canal Street’ for the Manchester crowd, describing Bermondsey Street as a place where you can be anything you want to be, a notion the audience fervently applaud.

 

Just a phoney

“Typical”, I hear you say. “A girl moaning about guys, like we haven’t heard this one before.” I’m afraid that yes, it is all very predictable, but something I have been dying to get off my chest nevertheless.

The latest unfathomable creature to, as my Irish friend Jenny would say, ‘melt my head’, is ridiculously gorgeous.

Unfortunately, however, he is also ridiculously inept in the social skills department.

We have been on and off for a while and quite frankly, I give up. He refuses to communicate through what he calls ‘cyberspace’, failing to understand why I take this to offence.

Naturally, I feel like he is ignoring me and that not being a ‘texty person’ is code for “I’m not really that bothered about you.” Yet apparently, I am expected to gather that he does in fact like me.

As well as not speaking to me for days on end, he is unable to show me any affection in front of our friends, generally finding it difficult to do so unless he has consumed a fair amount of rum.

At first I quite liked the fact that he was shy and wanted to keep everything private. I was patient, really patient. Now I just want to strangle him. Or cry. Or both.

Of course the usual cure would be a night out with the girls. However, here I am faced with a slight problem – the problem being that every single one of them is loved up, with the exception of my two best friends from home. Unfortunately, they live in the faraway lands of Plymouth and Cardiff and so I am forced to wallow in self-pity.

If I actually meet someone decent before I am ninety, it will be a miracle! Rant over.

Live: Yann Tiersen @ Club Academy

Yann Tiersen
Club Academy
24th October
3 Stars

Like many I suspect, when I hear the name Yann Tiersen I immediately think of “that guy who did the Amelie soundtrack”.  But in fact, when you look beyond this connection with film soundtracks you begin to understand that Yann, a Brittany-born, classically-trained composer has a love for music that courses through every inch of his veins.

Tiersen has been sharpening his musical virtuosity since he was 4-years old when he first started playing piano. By his early teens, he had gained a place at several prestigious musical academies across France. This is why the humble basement setting of Club Academy is a somewhat unlikely venue for a man who is used to playing in theatres and concert halls.  However, the various orchestral sections that you might expect to find on stage have been replaced by a platter of pedals, synthesisers and samplers.  A standard 4 strong band completes the set up; drums, bass, lead guitar and keyboard.

From the first track ‘Till the End’, we are introduced to a backdrop of synthetic sound and a tranquil atmosphere is formed that would last the entire duration of the gig.  The crowd looks on with curious awe as the band rip through several tracks from Dust Lane (2010) and Skyline (2011), including ‘Fuck Me’, a track which Tiersen describes himself as his take on “a love song”.  It is from this point that the multi-instrumentalist comes into his own.  His piano and violin skills are showcased on ‘The Gutter’, ‘Amy’ and ‘Ashes’ respectively; at one point he even starts messing around with a melodica. However, the highlight of the night is without doubt an unexpected cover of Gary Numan’s ‘Cars’ where even the most static member of the audience is forced to bop along.

Tiersen is right in saying that Skyline is “a much more spacious record than anything he has done before”.  It is splattered with various distortions, textures and an obvious synthetic presence. As a live spectacle it is perfect for a couple of friends catching up over a few drinks, just don’t expect to be completely blown away.

I love it; I love it not

I have a love hate relationship with my degree. I can’t deny the fact that my allegiance swings between the two subject matters quicker than a moody teenager.

“I’ll apply for Literature AND Linguistics! It combines my two passions and well, I’m quite good at languages and reading loads”. Little did I know, I’d get to University and realise that, in actual fact, I’m not top of the class like I was back in A levels.

I started first year apprehensively: the literature appeared of easy grasp (apart from you Oronoko, I don’t like you) and I thought “I know a few of these titles, I should be fine!”

It became clearer as the year went on that indeed I had befriended Linguistics, developed my love for it and thus cheated on Literature quite openly. I’m sorry Literature.

Oh Linguistics. How I enjoyed knowing the distinction between dialectal differences in American English and British English. I even worked extra hard on learning the difference between diphthongs and monophthongs; knowing how to write the vowels in the phonetic alphabet and everything.

“This is great” I thought. “I’ll balance my degree so that Linguistics outweighs Literature. I have this down.”

I’m in second year now. I still study Literature and Linguistics.

I love my free choice module in Middle Eastern politics more than anything.

Interview: Real Estate

Thomas McMahon was on hand to meet Real Estate guitarist Matthew Mondaline as the New Jersey fivesome prepared for their gig at Salford’s Islington Mill.

TM: What’s it like returning to England for a second tour with the band?
MM: We like it, we’re very excited to play Manchester tonight then London tomorrow.

TM: A lot of people are saying the new album is cleaner and more focussed, was that a conscious decision by the band?

MM: Yeah, we wanted everything to be higher quality, which involved quite a lot of hard work in the studio.

TM: So was it a stereotypical ‘difficult second album’?

MM: Not quite, a lot of the songs were already written, plus we spent a long time between our first and second album.

TM: You’ve recently switched label from Woodsist to Domino, what inspired that move?

MM: Well, they offered us a really good record deal on a bigger label. Plus, they’re based in London which should mean we can play over here more often.

Live: Real Estate @ Islington Mill
October 24th
3 stars 

Real Estate’s apparently pre-anointed passage to the indie pantheon stumbled under the concrete ceiling of Salford’s Islington Mill after an underwhelming live performance. An enthusiastic audience, possibly enticed by a string of reviews lauding sophomore album Days, was left unconvinced by a string of passable psych-pop strumalongs.

The set started promisingly, with opener ‘Municipality’ showing the band’s technical proficiency and knack for crafting delicate melodies. Recent single, ‘It’s Real’, also proved a highlight, with the rhythm section playing tightly and with admirable energy. However, the set soon became bogged down in repetitive surf-influenced riffs, with lead singer Martin Courtney’s underpowered vocals often drowning in a swollen sea of feedback and reverb. The band’s spirited cover of Felt’s ‘Sunlight Bathed the Golden Glow’, meanwhile, merely highlighted the Americans’ poor lyrics in comparison to the Birmigham new wave outfit.

While every member of the band played with genuine skill, Real Estate nevertheless proved themselves to be a group which is easy to admire but hard to love. Throughout the set, the five-piece showed neither the earnest conviction of fellow New Jerseyans such as Titus Andronicus and Vivian Girls nor the pop sensibilities of superior beach bums such as Surfer Blood. As heads slowly nodded but feet remained fixed to the floor, this malaise was reflected in the crowd.

Real Estate – Municipality

E-Confessions

Like some of our readers, I’ve never personally asked God for his forgiveness, but recently I’ve come to realize that most of us, religious or not, seem to be indulging in some form of confession on a pretty regular basis.

A cup of tea with a housemate; a gossip down at the pub; a drunken phone call to an ex, we’re all just dying to reveal those intimate secrets. Perhaps we’ve done something we aren’t too proud of and want to get it off our chests, or maybe we just want someone to take our side, turn around and say “wait a minute, you are so in the right!”.

Many religions regard confession as a tool to absolve the wrongdoer of his sins, with Catholicism, so far, holding the monopoly on organized confessions in the form of the Sacrament of Penance.  Well, read on, because that’s all about to change.

Whatever the reason, if you need someone to share your sins with but don’t want to make the journey to church, worry not, there is a service just waiting for you; online confessions!

They’re the latest craze in digital religious practice, now you too can confess, repent, and be forgiven, all from the comfort of your own home. Just log on to your preferred site and get typing! They’ve seen everything, from love stories to sex addicts, poetry to death threats.

I even read one posted by a boy who couldn’t stop urinating in sinks (I’m not making this stuff up!).

The internet presents great new opportunities for religious practice, information exchange and now virtual DIY confessions. But what do the powers that be have to say about this new phenomenon?

There’s been some debate, but the consensus in the Catholic world is that the internet is great for providing spiritual guidance, but online confessions fall short of the mark. Without a priest present the sins can’t be truly absolved in the eyes of God, and as for privacy, the internet conjures up a whole host of other issues.

Well, even so, if you’ve been behaving badly and the telltale twinges of guilt are starting to gnaw away, why not check it out? If nothing else, you’ll get a chance to see what naughty things other people have been getting up to.

Who knows, you might end up feeling like a saint by comparison!

No rest for the wicked

Sleeping is a waste of time. I’ll allow the hermits amongst you to catch your breath…

Sleeping is to be done at night!

There’s nothing I hate more than pointless napping, especially the all-day kind. The majority of my fellow students find no issue in sleeping through most, if not all, of the daylight hours.

Don’t get me wrong, we all know that after a night out a drunken day slumber is a must to repair alcohol damage; but to go to bed in the middle of the day, wake up and then purposely resume sleep is a joke.

Not only is this a complete and utter waste of your life, anti-social, pointless and unhygienic (sleep breath should definitely be limited to mornings only) – it’s boring!

According to statistics the average person spends about a third of their life asleep. Why would you want to increase this, isn’t life short enough? I generally sympathise with anyone that feels that they have nothing worth remaining conscience for on a sunny day.

I would imagine that this pretty much applies to no-one but for those of you it does, you might start by leaving the house once in a while.

Please take my advice, stop the body to sheet fusion process now, get up and get out!

What ‘grinds my gears’: Being a skint student

What’s become a revelation to me in since coming to University is how much careless spending and wasting money eats away at my soul.

A slight over exaggeration there, I admit, but the competitive talk of comparing how far one person is in to their overdraft compared to the other, makes me choke on my own fury at their pretention and ignorance.

Nothing annoys me more than the bragging, concealed as a self-deprecating admittance, about how much someone has spent on a night-out or on clothes because of the allure of student discount.

Now, I’ve had my fair share of needless spending, but my attitude toward is one of shame for my willpower, and deep regret. Especially when the sad reality hits emerges after Reading Week you have blown much of your loan on miscellaneous things that you can’t seem to pinpoint when the dreaded phone call about budgeting comes from Mum and Dad.

It may be how alien or unusual it is to have to consider practical aspects in your spending that disables my ability to get my head around controlling my spending.

Only now I have the security of a little money coming in from, (shock-horror) a part-time job, that I’ve adopted an angry disposition to any topic of conversation involving over-drafts or superfluous spending.

And though I may seem like a bitter student complaining about the mere small-talk of others through this mouthful of Sainsbury’s 11p noodles, but over-spending has made me more adamant than ever that I will not ration my life at University—so I got a job to counteract my spending.

I suppose what annoys me the most is those who complain about the financial aspect of student life, and do nothing to help themselves. Grrr.

So before you trip over yourself to tell me how much you drunkenly withdrew from a cash point last night and haven’t seen since, hold back, and don’t bother; as I may tell you where to go, or worse– give you a pamphlet on financial planning and self control.

Live: Laura Marling

24th October 2011

Manchester Cathedral

8/10

Certain artists make the sort of music that demands grander surroundings than your typical grimy rock club, and if you’re familiar with any of Laura Marling’s work, you’ll know she’s among them. Thus, she arrives in Manchester tonight midway through a tour that has seen her playing exclusively in cathedrals, and fittingly too, this evening’s centuries-old setting proving the perfect environment for songs that belie Marling’s tender years, lyrically and musically.

The set leans heavily on last month’s new LP, A Creature I Don’t Know, with simmering opener ‘I Was Just a Card’ segueing surprisingly neatly into the experimental jazz-folk of ‘The Muse’, shuffling guitars and Americana-tinged vocals present and correct. The cathedral’s acoustics lend themselves particularly well to the chiming guitars of ‘Salinas’, whilst the dimly-lit gothic surroundings see set highlight ‘The Beast’ take on a life of its own, brilliantly underscored by menacing drums.

This is an intimate show for an artist who’s already attracted an avalanche of critical acclaim – including Mercury nominations and even a Brit award that had millions of Sun-reading X Factor fans scratching their heads and wondering “who?” – and Marling’s endearingly earnest persona, complete with giggling fits, lame jokes and an impossibly polite explanation of why she “doesn’t do encores”, certainly do nothing to detract from that feel. Perhaps the evening’s only disappointment is the lack of material from her finest record to date – only two tracks from last year’s marvellous I Speak Because I Can are aired – but it only serves to highlight Marling’s eagerness to try out brand-new material, with a couple of fresh tracks making the cut instead. With a work rate this diligent and songwriting talent that’s almost disconcertingly precocious, early critical suggestions that she is our generation’s Joni Mitchell are sounding less outlandish by the day.

Laura Marling – The Beast (live)

Laura Marling – Sophia

Girl crush

I think every girl has an infatuation with another member of the female sex.

My confession is that I have a massive girl crush on Natalie Portman. She is totally hot and amazing at what she does.

Her extra-curricular activities whilst studying for a Psychology degree at Harvard included filming the Star Wars prequels. She somehow manages to be a massive over achiever but still incredibly likeable. Natalie may look sweet and lovely in her new perfume adverts but she is a big lover of filthy hip hop, showing her funny side during a rap for Saturday Night live, showcasing some of her favourite swear words.

She also has a great sense of morality, refusing to wear Dior at the Oscars as she previously intended, after John Galliano made anti- Semitic slurs in a Paris cafe.

Natalie Portman: what’s not to love? I should hate her because she’s so amazing. Instead, I just want to be her.

E + N 4evr.

Live: Benjamin Leftwich @ Ruby Lounge

Benjamin Leftwich
Ruby Lounge
15 October
1 star

Benjamin Francis Leftwich is a commendable artist in a number of ways. He possesses a distinctive vocal, and is more than proficient playing the folk guitar. He’s even managed to survive being picked up and gushed over by the dramatically dull crowd of Radio 1 DJs, whose usual fare includes the likes of the consistently deplorable Jessie J and the laborious Ed Sheeran. It must be said that Leftwich is a cut above these artists, and is the sort of musician I really want to like. He’s talented, genuine and modest, just the sort of likeable chap who you’d be happy to see succeed. He’s worked well with experienced producer Ian Grimble (Manic Street Preachers, Travis, The Fall) to produce an album filled with lovely touches and subtle, unusual vocal harmonies.

However, many of the finer impressions left on me by the record were not present during Leftwich’s live show as he played without accompaniment, and laid bare in this manner it is evident that many of Leftwich’s songs are unremarkable. Halfway into his live show at the Ruby Lounge my interest is waning and I’m not entirely sure whether or not I’m listening to the same song that started 5 minutes ago or a new one altogether. It’s not that Leftwich’s songs are bad, it’s that standing alone they lack any sort of interesting distinction between one another. The harmonies and instrumentation present on the record should not have been dropped for the live show, and the performance leaves the flaws present in Leftwich’s song writing ability glaringly obvious. To add to the criticism, I’d also say it’s also a mistake to play your most successful song without amplification in a venue which is one half cosmopolitan bar, filled with people chatting. Leftwich’s album is good, but his live show is mediocre.

Live: Bon Iver @ Apollo

19th October 2011

Apollo

9/10

Given the tendency, in recent years, for an artist’s worst record to date to coincide with them successfully reaching a wider audience – Kings of Leon, Biffy Clyro and Dizzee Rascal are all culprits – it’s refreshing to see a new album that deservedly brings a band critical and commercial recognition.
Three years on from his last Manchester appearance, a low-key Academy 2 show in support of his debut, For Emma, Forever Ago, Justin Vernon tonight finds himself standing before a long-since-sold-out Apollo, flanked by an eight-piece backing band. Indeed, it’s June’s Bon Iver, Bon Iver that forms the crux of tonight’s set.

Opener ‘Perth’ sets the tone; lingering, delicate and hauntingly beautiful, it epitomises the tone of the new record. ‘Minnesota, WI’ and ‘Towers’ follow, and it’s here that the backing band are able to flex their musical muscles; the chiming guitars, swirling synths and striking percussion all make for a sumptuously-rich sonic template that’s recreated almost perfectly in the live arena. The evening’s biggest cheers, though, are reserved for the airing of material from Vernon’s 2008 debut, with back-to-back renditions of ‘Flume’ and ‘Creature Fear’ delivering a knockout blow; the arrangements may be slightly different now that such a talented array of musicians share the stage, but the sparse, yearning feel remains, to mesmerising effect. The gorgeous glow that set closer ‘Beth/Rest’ bathes the room in – Vernon’s remarkable voice distorted to the degree that it’s almost another instrument – is merely a warm up for a genuinely stunning encore. First, the acoustic guitar comes out for the obligatory performance of ‘Skinny Love’ – a heart-rendingly wistful love song much-imitated, but never rivalled – before the full band returns as a now-fully-standing crowd joins them on backing vocals for a blistering version of ‘The Wolves’ that ends in a maelstrom of noise – it might just be the sound of a band at the very top of their game.

Interview: Staind

Staind have been one of the few American bands that came to light at the same time as such acts like Limp Bizkit, KoЯn and Papa Roach and are able to shake off the ‘nu-metal’ stereotype and have success with music of another genre.

With a career spanning over 16 years, Staind released their seventh album earlier this year. Speaking to frontman and rhythm guitarist Aaron Lewis about the new album: “We were excited to put out some of the new music […] the fact that there was a buzz around some of the stuff that had been put out early, I was pretty excited to see what would happen.”

While this album is the first where each song on the album builds in heaviness, since Aaron now has a solo project for “the softer more melodic stuff he writes alone with his acoustic guitar”, there are no soft songs for older fans of songs such as ‘So Far Away’ and ‘Tangled Up In You’ as “they now have a new home in [his] solo project”.

Aaron expresses concern about older fans due to genre changes through Staind’s career. “There’s always that worry that you will lose fans somewhere along the way but I think we have successfully managed to retain a good bunch of them”. When asked if he could see the two projects of his coming together for a tour, he does not dismiss the idea but smiles saying, “you never know what could happen in the future”.

This tour is Staind’s first in the UK for over 2 years and the excitement can be clearly heard in his tone: “I look forward to being on this tour cycle a lot more than we have on past record cycles.” Due to supporting the new album, “five of the songs are off the new album and good mix of the rest”. Most artists normally have a few favourites to play live but surprisingly Aaron’s favourites are off the new album. “All the new stuff is my favourite to play right now [but] there are songs that we have to play. They are just the ones we can’t kick or escape from at this point.”

As some of the songs on the setlist tonight, they “have played thousands and thousands of times”, Aaron looks forward to the possibility of a support slot for Staind where “we could play off the new record and not worry about the older songs”.

Surprisingly, when asked what he sees as Staind’s greatest moment is not their first album or first Europe tour but something a little more humbling. “It would have to be a toss-up between playing USO shows over in Kuwait and reopening my daughters school which I took upon myself to fund”.

And Staind have no plans for the end yet. “You know, I’ve created a situation where I have two different avenues of expression and two different avenues of creativity, and they’re far enough apart in their likeness that they can exist together”. The good news for UK fans, is that Staind will be back in the festival season soon but which both Aaron and I don’t know fully yet. It has only been narrowed down to “either Download or Sonisphere…”

Sticks and Stones

This week John Terry has been accused of racially abusing QPR defender Anton Ferdinand during a televised Premier League match. It is not the first time he has allegedly used racist language on a football pitch:  in 2007 he was accused of calling Ledley King a “lippy black monkey”.

In protesting his innocence, the England captain used an impenetrable line of defence, one which left prosecution lawyers trembling in their brogues: “I used to play Sunday football with Ledley King”. The irony of this tenuous link was not lost on all, least of all by Wayne Bridge, who shared a dressing room with John Terry for 3 seasons as an adult before having an affair with his wife.

What it does show is a petulant, preposterous attitude and deluded attitude towards racism; that’s right John, let’s play the ‘how many black people do you know?’ game. Ron Atkinson signed a whole host of black players, shared a dressing room with and worked 6 out of 7 days in a week alongside black players before he called Marcel Desailly a “lazy nigger” on air. So, when the captain of the country’s football team yells at a player “black cunt”, it doesn’t matter how many of his childhood friends, or team mates, are black. In any case, it’s against the law.

It then came as a double blow for sportsmen (if you can call a golf caddy a sportsman) when Tiger Woods’s former caddy was accused of racial insensitivity. Given Ricky Gervais’s persistent use of “mong”, the last few weeks have re sparked a debate about the affect of words- be it racism, homophobia or discrimination toward disabled people.

For the sake of argument, let us pretend that Anton didn’t mind. Does this make it acceptable? Of course not. That’s like David Brent telling a racist joke and then pointing to Oliver, the ‘black character’ in The Office, saying “look, he doesn’t mind”.  The point is, if you make a malicious remark about someone about something someone has no control over- race, disabilities, sexual preference, it is wrong. It is also illegal if it is harassing or inciting hatred. Great work has been done to ‘stamp racism out’ of football. There is no room in the game- at any level- for what John Terry said.

This is not a tirade about the importance of political correctness to our world, and I really don’t like the condescending snobbery from many academics about the use of un-pc terms. If someone uses a term which is offensive to a certain group, then by all means tell them this term isn’t appropriate, but don’t patronise someone who is oblivious to the fact. The difference between Karl Pilkington, someone who perhaps made a few borderline-racist comments on X-FM in his early days and Ricky Gervais, who was repeatedly told that ‘Mong’ is an offensive insult to those suffering from Down’s Syndrome, is the malice in which it is said. In a typically aggressive defence and despite thousands of tweets sent to Gervais complaining, he preceded to use the word, intentionally winding people up by, for example tweeting “Good Monging”. This kind of behaviour isn’t against the law, but is repugnant at best. Pilkington on the other hand, was innocent in his vocabulary, oblivious to what is considered offensive.

There is a point to be made about words evolving from their original meaning though. I often refer to John Terry as synonyms of both male and female genitalia. I think this is a word which no longer carries the same connotations as it originally did. For example, I have no specific prejudice towards male masturbation, but I still have a partiality to call the aforementioned men by a term which describes this.

I think there is a balance to be struck between joke and malice. There is a freedom of speech point to be made- as a liberal democracy; we must allow people to say as they feel free, as long as it does not incite hatred. We may not like what they say, but they should be free to be idiots, no?

The realm of comedy also strikes interesting consequences for this. One of my favourite stand ups, Russell Peters, often makes jokes based around race or cultures. When he does so, it is usually at the expense of his own culture and is jovial and is not malicious at all. Indeed, I grew up in the most multicultural borough in the UK and everyone made jokes about each other’s cultures all the time. But it was never in a malicious, bullying way. We became completely desensitised to it and ended up just exaggerating stereotypes that people had. I’m not saying the way to prevent offending people is to use offensive terminology, but the witch hunts for any type of prejudice can in some cases perpetuate the stigma that the words/ideas have. Maybe there’s an intuitive difference, but I don’t think this is in any way comparable to a man who, on collecting an award, stands up at a Golf Ceremony and emphatically claims he’d love to “shove it up that black asshole”. Incidentally, asshole is quite a defendable insult.

So, while sticks and stones may break bones, words may actually hurt me, especially if those words lead to someone hurling sticks and or stones at me. The law is right and should be enforced- you cite hatred or harass someone because of something beyond their control, you’re arrested. Ultimately, those accused of overstepping the line seem to have one thing in common- they’re all a bunch of bankers. (Sorry City of London)

Live: Sonic Boom Six @ Moho Live

Sonic Boom Six
Moho Live
15th October

2 stars

Teenage ska-punk gets a bad rap. Unfortunately, through all their pseudo-political rallying, and ‘give yourselves a massive cheer’ hyping, Sonic Boom Six didn’t do much to dispel its reputation.
The night was kicked off with an unexpectedly anarchic and brilliant support set from local hardcore ska-punk hooligans Stand Out Riot, who made good Moho Live’s reputation for intense and intimate local gigs. The contagious enthusiasm and brutal confidence of lead singer and trombonist Francis Hunt translated to sheer hedonism in the crowd. In terms of a live experience, especially for a support band, it doesn’t get much better.

After such an intense warm-up act, it felt strange to be apparently the only one let down by SB6, who played an enthusiastic but unconvincing hour of angsty, forced and pretty unremarkable tunes in uniform ‘I Heart MCR’ t-shirts and trucker caps. As a quick look at the crowd makes clear, it is music made for teenagers, designed to be frustrated over at home, then cathartically screamed and fist-bumped to live.
Between distinctly average songs, their on-stage presence consisted of repeated and shameless self-promotion, lazy crowd-pleasing soundbites (there’s only so many times you can chant “sound of da police” without wanting to set fire to someone), and the odd manageably political outcry to get everyone all good and angry.
Despite all this, there is something to be said for the show. The introduction of each song sparked huge cheers of recognition, and letting the crowd choose from their back-catalogue was pretty well received. They’re not changing the world, but anything that gets a crowd as enthusiastic and damn-near reverent as this Moho Live crowd seemed to be must be doing something right.
In their final song ‘Back 2 Skool’, lead singer Laila K preaches “…soon I know you never leave the playground”, which was pretty unfortunately appropriate to a disappointing set.

Live: Rook and the Ravens @ Deaf Institute

Rook and the Ravens
Deaf Institute
22nd October

5 stars

Local alternative rock 5-piece, Rook and the Ravens, returned to Manchester on Saturday to launch their new EP and with an ever growing fan base across the UK and Ireland, the band played to a sold out audience of fans and friends at Deaf Institute.

After intimate performances from support acts The Quangos and John Ainsworth, Rook and the Ravens emerged to play a set of new and already well-loved material from their first album Sixteen Holes in Sixteen Souls. With the release of a brand new video ‘The Judge’ just prior to the gig, excitement and expectations were high.
Kicking off proceedings with new track ‘The Judge’, the audience were immediately introduced to a heavier sounding, angular classic rock riff, exhibiting the retro organ sound the band have embodied along with more traditional folk melodies. Playing favourites from their eclectic back-catalogue they managed to enrapture, with delicate acoustic numbers, as well as rocking out with articulate, high energy tracks like ‘Little Rib’.

After a rapturous reception, the band returned to play a 2-song encore, finishing the night with live favourite ‘Horses’. Humbled and appreciative, Rook and the Ravens are refreshingly genuine and original in their craft. Fashion and marketing opportunity tends to be more of an influence to whether new music is successful these days, but with the talent these guys posses there is some hope for us lot who miss the days of real rock bands.

Jon Richardson at The Lowry, 28th October 2011

Just being at The Lowry is a treat with its futuristic setting on The Quays, all a-glow in metallic wonder. Seeing Jon Richardson was an added bonus with his support act-come-flat mate making the opening act an absolute riot, a crackin’ evening well spent in the ever so classy establishment.

I’m sure Richardson’s support, Danny Buckler is simply wonderful when he’s not supporting his chum, but the familiarity between the two certainly had a relaxing effect on the audience creating an atmosphere of joviality that can only arise between pals.

Richardson’s comedy is of a gentler variety in comparison to the loud and vivacious Buckler, who flung himself about the stage illustrating the women of his previous abode. His heroic tale of rescuing a woman from a scrap with her other-half on the street, that swiftly morphed into said woman launching herself onto his back “like a scrunchy wearing gollum”.

By the middle of Richardson’s half of the evening Isimply wanted to envelope his strange little-self in a hug. His stand-up centred around his lack of luck with women and his obsessive compulsive behaviour.  When discussing a bit of lull in his sex-life he had casually lured the audience into believing, yes he had a bit of trouble with the lady-gender but not, you know EIGHT YEARS!

There are aspects of all stand-up gigs that will determinedly remain in your head as useless trivia for the rest of your days. The fact that Jon Richardson didn’t have sex for eight years is what I’ve taken from this particular jaunt. He was of course a brilliant wit and an all-round hoot, yet never-the-less, this is the fact that I intend to pass on to friend and foe a-like when Jon Richardson pops up in future.

Why Dale Farm Matters

This week judge Justice Edwards-Stuart scored victories for justice, humanity and common sense, as he granted the travellers camped at Dale Farm a week’s reprieve to fight their forced eviction.

The injunction protecting the travellers has been seen as an affront to the law by some; or at least this is the line taken by those who support the move to evict the residents of Dale Farm for what are perhaps other reasons. For those who take this position, ‘isn’t there equality under the law?’ is the question to ask.

But those who do so risk missing not only the obvious answer (‘no, there is not’; again and again the holders of political power escape punishment), but also the implications of this situation for British and European society.

Although others might paint it differently, I see Justice Edwards-Stuart’s ruling as a victory for both justice and common sense. The first of these is debatable, depending on your personal view and priorities – mine include, ‘not evicting the elderly and infirm from their homes, and children from the communities they know’, just in case you were wondering (this is an opinion piece after all). That such an act was first considered and then (temporarily, as of writing this) prevented, indicates both the highs and the lows that the British justice system is capable of.

Communities expand, it’s what happens and it’s to be expected. Seeing as the government is a) selling off masses of the green-belt land for housing and b) all about community according to those at the top, the decision to evict them – after ten years of living in the same place! – makes no sense according to our leaders’ own rhetoric. The inhumanity of doing this to our own citizens should be obvious.

These acts of intolerance against a group made vulnerable by their position on the outskirts of society should not be allowed by a civilised government, and it’s pleasing to know that there still exist counterbalances to the current punishing mood of the country, brought on by scandal, disorder and recession in this country and many others as we approach the middle of the second decade of this century. With the BNP recently making their presence felt in British politics, and a dramatic rise in the visibility of far-right movements across Europe and the USA in response to what seems to be general global unrest, the protection of vulnerable groups is more important than ever.

The argument of upholding the law is a hollow one – building without planning permission is often travellers’ only option when 90% of the time their applications for permission are turned down at the first hearing due to pressure from local campaign groups. And, unlike some, I do not forsee a general breakdown of law and order resulting if the travellers are allowed to remain – people respect the law when it makes sense or not at all, and I fail to see that planning laws are the bedrock of the stability of this country. Others, of course, may disagree – to them, evidently, planning laws trump human welfare. These people have been there for ten years in some cases, and some are elderly, others reportedly ill. But, if distressing the ill and elderly for the sake of planning laws seems like a reasonable move to you, I’d ask you to remember this: moving these people would result in the government being legally responsible for rehousing them. So, why bother at all?

I think the answer to this question is one which I haven’t really seen directly acknowledged – people do not like having travellers camped nearby. They are seen as undesirables, and this somewhat less savoury motivation is what I suspect has moved the local government to press ahead, letting it be known unofficially that the travellers, once evicted, would be ‘kept moving’, and refusing the offer of help from EU human rights officials (the latter will no doubt be seen as a fantastic defence of our independence by some). People see travellers as criminals; terms which are arguably racial slurs (like ‘pikies’, popularised by the film Snatch) are common fare. Whatever the facts regarding travellers and crime, the perception is undeniably there – but government policy should not be based on the prejudice of locals, but on pragmatism, justice, humanity, and rationality, on all of which points the eviction of these people fails. Indeed, the acts being contemplated cannot be justified, because they amount to a form of ethnic cleansing. If Dale Farm is a hotbed of crime, the solution is not to just shunt the unfortunate inhabitants off to another part of the country where they’ll receive the same treatment, but to improve the resources available for policing and education – just as it is for any other community in the country. To ‘move on’ a whole community for crimes committed by a few is tantamount to punishing children for the crimes you assume they’ll commit, and seen in this light it’s no better than the inhumane treatment meted out to other ethnic groups in times past (and unfortunately ongoing). It’s true that traveller communities do, or are seen to, behave outside the norm for British society, but it’s hard to see how the solution to that problem if it exists will be found by what is effectively punishment of an ethnic group who lack the ability to legally protect themselves which is enjoyed by our more conventional citizens.

Surely the sensible solution is to grant an amnesty in this case, given the length of stay which has been effectively ignored by the law up to this point, on the condition that there is no further expansion of the site for now?

Got a different opinion? Think I’m preaching to the choir? Let me know at [email protected]