Live Review: James Blake @ the Manchester Gorilla

Pic: Maanik Chadda, James Blake

Manchester Gorilla, UK - 06/12/12

James Blake treated an intimate Manchester crowd to intriguing new material and highlights from his self-titled debut album.

The sell-out crowd saw a steady, balanced set with moments of sadness and joy through Blake's spine-tingling falsetto voice and majestic use of his synths and keys.

He opened with dubstep bass-heavy track Air And Lack Thereof with a slick, addictive snare drum beat.

The haunting repeated lyrics in I Never Learnt To Share work with the extremely distorted synths to combust in a mind-blowing explosion of musical ecstasy.

Popular Feist cover, Limit To Your Love, soon follows to put the audience in a head-nodding state of contentment.

The beautiful Lindisfarne duo gelled elegantly along with Blake's effortless vocals, repeated drum beat and distorted guitar riff.

All senses are go when a James Blake fan hears the opening notes to CMYK. The R&B dance favourite samples the simple lyrics 'look I found her red coat' to lift the crowd into a gentle dubstep sway.

Engaging new songs were well received but they failed to challenge his past masterpieces.

The encore began with a build up to a perfectly sustained garage-influenced dubstep mix.

The Londoner ended confidently with strongest album track The Wilhelm Scream to provide the ideal climax to a blissful evening.

Blake's warm-up act, Lone, was pleasant, relaxing and distinctly average throughout. Uplifting at times, Matt Cutler's repetitive blend of drum and bass, 90s new rave and 80s synths was suitable background music to prepare for the real thing.

Although Blake may not have met the incredibly high standards of his studio recordings live, he has still proved that he can captivate an enchanted crowd on a cold December night.

The set list is below:

Air And Lack Thereof
I Never Learnt To Share
Our Dog Comes Back
Limit To Your Love
Lindisfarne
Over-Come
CMYK
Everyday I Ran Around The Park
(We're Going) To The Pub
Klavierwerke
Retro Clothes Shop
The Wilhelm Scream

Bon Iver touch the soft spot at Wembley

Bon Iver. Pic: rockzoom_de

Bon Iver @ Wembley Arena, London, UK - 08/11/12

There's only one Justin. And no, I don't mean the young boy who created an unwanted fever, or the one out of N'Sync who's post group era I did actually quite enjoy...or even the one who brought back the A-Team. I am of course talking about Justin Vernon, the inspirational lead of the most mesmerising group of the past few years, Bon Iver.

With immense help from his eight companions on stage, Vernon managed to captivate a sold-out Wembley Arena full of young bearded men who enjoyed the one night where they didn't have to convince people they're not growing it for Movember, but they are just naturally gifted at pulling off facial hair that unfortunately makes myself look quite threatening...

The heart-wrenching intro to Perth sent goosebumps racing to set the tone for what would undoubtedly become an unforgettable evening.

Thunderous lights, parallel to the explosive closing to the opening song, crashed down on the darkly lit stage.

The shredded hanging curtains and rows of small blue standing lights created a caved atmosphere to match their enclosed, earthy sounds.

Following the album set-up, the spectacular Minnesota brought us some intricately simple acoustic guitar playing with haunting falsetto harmonies while Vernon lullabies 'never gonna' break'.

The Grammy nominated Holocene was delivered to perfection. Every harmony and repeated brush of a snare left you hopelessly falling for all nine geniuses on stage.

Wash. provided the most simple, yet effective, Bon Iver opening. The two repeated chords formed the base, while the majestic strings and vocals alongside the train-like percussion allowed you to drop into your own magical world of unconditional bliss.

The compelling harmonic intro to Towers began the most impressively composed song by Bon Iver as the acapella vocals towards the end contrasted wonderfully with the complex climax.

Bon Iver. Pic: rockzoom_de

Vernon instantly befriended the audience once he stepped onto the stage and his awkward yet incredibly comfortable conversing only kept our eyes and ears glued.

Intriguing support act from Watford, The Staves, warmed up a chilled audience 

who waited graciously in anticipation.

The three sisters were clinical in their harmonies and created quite an atmosphere using only their daunting voices, an acoustic guitar and a ukelele.

The group joined Vernon on stage while the remainder of Bon Iver took a break to enjoy Re: Stacks performed as an impressive stripped down version.

You could have heard a pin drop in a fixated Wembley crowd. Groups of heads turned unexpectedly when a phone's record sound was heard by many...

The Staves left to a gracious applause while the mystical Flume amazed before Calgary linked into Beth/Rest for an unfortunate out-of-place 80s synth-heavy end to an otherwise unforgettable set.

Thankfully, to rid the worrying potential that we just experienced the poorest song to close the set, it didn't end there. The encore went straight into trademark song Skinny Love with thousands singing to 'my, my, my...'. Who would have thought that this lyric could join so many together to share an unlikely classic Wembley moment.

Vernon then surprisingly called for audience participation to sing 'what have I lost?' in a mind-blowing The Wolves (Act II and II). The silences were as vital as the increased speed of the strumming and the repeated harmonised vocals in a faultless rendition.

Although final song For Emma was pleasant, the set probably went on one song too many as Wolves would have been the perfect closer.

Nevertheless, the band from Wisconsin have travelled far since their HMV Hammersmith Apollo performance just one year ago.

The soft folk rockers tackled the mighty arena with few flaws and can all keep their dignity intact after a heroic and memorable night.

Live Review: The Crookes @ The Sugarmill, Hanley

The Sugarmill, Hanley, Staffordshire, UK - 02/11/12

The Crookes' George Waite. Pic: Maanik Chadda

Sheffield-based band The Crookes hit the stage at The Sugarmill in Hanley with an uplifting vibrancy in the air.

Stoke-on-Trent favourites Moral Panics and fellow South Yorkshire group Hey Sholay had set the tone with confident support.

The local rockers were playing their final show with bassist Charlie Maskrey and were determined not to disappoint with a chilling acapella ending to Voids and a passionate-as-always rendition of addictive riff-based song Move Your Feet.
 
Following their successful mosh-pit at the Hippy Horror Festival in Blythe Bridge last weekend, the boys enjoyed a calmer response from the crowd.

Although a risky shortened cover of LMFAO’s Party Rock Anthem was off-putting, they swiftly moved on to leave you with that typical Moral Panics uncontrollable urge to sing ‘and all the talking…’ in your head over and over again.

Hey Sholay impressed without ever really surprising. Their solid set was pleasant but never broke the boundaries they always seemed capable of going through.

They play a self-described “breed of psychedelic independent pop with a hint of the Northern Lights captured in a jam jar”.  That twinkle in the sky was slightly blurred, but was still there.
Liam Creamer’s stunning vocals were at the forefront of a wonderfully balanced performance which deservedly maintained the attention of many.

The band are supporting The Crookes for the following two weeks after becoming great friends and competitors.

Hey Sholay's Liam Creamer. Pic: Maanik Chadda

Keyboard player and guitarist for Hey Sholay, Liam Ward, said: “We used to see them in a pool hall and play with them and then they got us to play squash with them because they’re really big squash players.

“There’s a fierce rivalry,” he joked.

The Crookes’ Drummer Russell Bates was pleased to have them on the bill too.

“They’re bloody great and they’re top lads,” he said. “So we thought ‘let’s take them on tour’.”

Although the crowd were perhaps not as lively as those at some of the  recent European shows the headliners have played, The Crookes put on a fine display.

The four-piece caught the ears of the crowd with their catchy riffs and built-up guitar and drum combinations while George Waite’s effortless vocals captivated the audience, particularly during an acapella intro.

Particular audience highlights included Bloodshot Days and George’s hair thrashing over the microphone.

The most poignant moment of the night was at first the most confusing.

One by one The Crookes strolled down the steps to take centre stage of the dance floor to perform an appealing acoustic number.

All four sang harmonies while the surrounding crowd stared in awe, clapping along to its crescendo.

They also provided a consistency of electricity between band members and the ability to make enough fans rock lightly from front to back, and occasionally even from side to side.

Click below to see more images from the gig:

                              

Staffordshire talent showcased at Hippy Horror Festival

               

Staffordshire’s musical talent showcased its strength at the Hippy Horror Festival in Stoke-on-Trent this weekend (October 26-28).

On a weekend where the ice-cold weather only spurred people on, hundreds gathered to hear local acts at the Foxfield Railway in Blythe Bridge.

Hippy Hippy Shake Company owner, Richard Buxton, organised the extravaganza following the success of the Easter festival, Hippy Haze.

Stoke band Six Towns, recently nominated for MTV’s Brand New Unsigned Artist 2013, performed on the Saturday evening in striking skeleton costumes.

Bassist Matt Litherland said: “We played Hippy Haze back in April and it was cracking the first time Rich Buxton put it on.”

“We’re influenced by anything with guitars really; Kasabian, Oasis, Led Zeppelin. All the cliché ones,” said guitarist Simon Harry, “Rock ‘n’ roll is what we are.”

Moral Panics frontman Daniel Johnson. 
Pic: Maanik Chadda

Singer-songwriter Emilio Pinchi was also praised by his fellow acts.

The 18-year-old from Liverpool recently released his EP, Popular Myth and Conflict.

“We saw Emilio Pinchi and he was cracking,” said frontman Liam O’Brien, “for a guy who stands there on his own with an acoustic guitar it’s just fantastic.”

With drummer Josh Morris, the band will be at The Sugarmill in Hanley on November 15 as part of Radical’s Rising Presents.

The Get Alongs, The Control and The Rivalry headlined the festival on the Friday, Saturday and Sunday respectively.

Fans and acts were dressed to scare with their Halloween-themed costumes.

Dressed in bloody boiler suits, four-piece 3’s a Riot were preparing for their Saturday support set.

Lead vocalist Joe Tomasso said: “We played Hippy Haze earlier in the year and we were the main support to The Get Alongs, and now we’re main support to The Control.”

Guitarist Toby Simcock added: “I loved Emilio Pinchi’s set. The Motives were good, as well as The Control, Translucid and Fat Mess.”

Drummer Dan Thompson and bassist Dan Aydon make up the band that will perform at Sheffield’s O2 Academy on December 1.

Stoke rockers Moral Panics have been gathering plenty of attention lately and attracted the largest ‘mosh-pit’ of the festival at the time for their closing number.

“It was impressive,” said lead vocalist Daniel Johnson, “I saw quite a few people that I’d never seen before singing the words to old songs as well as new songs.”

Once they have headlined The Sugarmill on December 17, the band is set to record an album early next year.

The Hippy Hippy Shake Company sell milkshakes and smoothies in their Newcastle-under-Lyme and Hanley stores.

Moral Panics drummer Eden Longson said: “I must support his (Rich Buxton) business more than anybody else! Every time I go to Newcastle-under-Lyme I go to the Hippy Shake.”


                                 

Video by Sharna Swaby and photo slideshow by Jovi Mullen.

Q&A with Clock Opera's Dan Armstrong

Clock Opera's debut album Ways to Forget. Pic: clockopera.com

Clock Opera keyboard player Dan Armstrong caught up with Folkopops after the London band performed at Stoke-on-Trent’s Sugarmill on October 22. Guy Connelly (lead vocals, guitar, samples), Andy West (bass, guitar) and Che Albrighton (drums) make up the rest of Clock Opera.

Folkopops: How would you describe your music?

Dan Armstrong: Describing our music is difficult and failing to do so has led to some interesting attempts from other people. Putting those to one side, I would say something along the lines of intricate, energetic, euphoric, electronic humanity. Sorry.

Where do you get your influences from?

Personally I look for other realities that appeal to me and try to understand them. Terence McKenna would be a good example of that. Or Alan Watts. Whether or not such greatness has much effect on my life is another question. I hope so. Ultimately though, most influences are not gotten but force-fed. Adverts, patriotism, a corporate birth certificate; these things I did not pursue...I have the jingle for Curry Motors in my head. Any affect that has on the next song I write is entirely out of my hands.

What makes you tick? What makes you produce the music that you do?

In my view the most valuable thing an individual can do is explore and make sense of their own reality. It's the nearest thing you can get to truth. I believe making art of any kind is part of that process. The particular form your art takes is an attempt to express your reality.

You were brilliant supporting The Temper Trap in Camden, what was it like supporting the likes of high profile bands also including Maximo Park and Marina and the Diamonds?

Thank you. Sometimes supporting big acts is like being AFC Wimbledon playing away at Chelsea in the 3rd round of the FA Cup. You believe you have a better, more ethical club, that you enjoy it more, but the bank balances don't reflect that. Other times, you respect the opposition fully, lose on penalties and have a big bath together.

How do Moshi Moshi and Island Records support you career?

They are two separate institutions. I could give two answers of course but your question invites a side-step and I'm taking it.

How was it getting such positive reviews from the likes of The Guardian and having The Lost Buoys played as a background 2012 Olympic song? 

An interesting reality. The Lost Buoys video came out today. Take a look/listen.

Has everything so far hit you yet?

I try to run away before I get hit.

Have you played in Stoke before and are you looking forward to it?

We love performing our music and Stoke, as with Japan, will be no exception. A good friend of mine tells me he likes The Sugarmill as a venue and I trust his judgement.

Clock Opera's debut album Ways to Forget is out now. Visit their official website, Facebook and YouTube.

The Lost Buoys is set for release on November 5, watch the video below:

                

Cream of Staffordshire talent set for Hippy Horror Music Festival

Preparations for the 3-day festival have undergone,
Pic: Daniel Rowlands

The annual Hippy Horror Music Festival will feature a range of Staffordshire’s best musical talents across three days.

The festival, organised by the Hippy Hippy Shake Company, begins today and will end on Sunday evening (October 28) at Foxfield Railway in Blythe Bridge.

More than 40 local acts will be performing as part of the largest line-up of unsigned artists ever to perform at a single event locally.

Popular upcoming acts will include The Get Alongs, The Control, The Rivalry, and Six Towns, who were recently nominated for MTV Brand New Unsigned Act for 2013.

Managing director Richard Buxton, said: “The image of our milkshake bars has always been based around music-based icons and themes, so it made sense to get involved with the local music scene.”

The company has two shops, one in Hanley market in Stoke, and the other in Newcastle-under-Lyme town cetnre.

HippyHaze, a similar event that took place at Easter, proved a great success earlier in the year.

Richard added: “HippyHaze was a great success for us, so we decided to put Hippy Horror on in order to provide the younger community with something different to do at Halloween whilst supporting young musicians.”

Food and clothing stalls, face-painters and a bar will be available for fans to enjoy.

Festival-goers are encouraged to attend in Halloween fancy-dress.

Full weekend tickets can be purchased on the door for £28 whilst Saturday and Sunday tickets are available for £15. Friday day tickets are £7 and all include camping.

Check out the Facebook event for more details about the line-up.

Even Hitler never used profanities...

Courtesy of Leo Robinson, Rick Dobbing

Whether it was his arrogance and selfishness that led him to slam his acoustic guitar down and storm off, or his ignorance towards a rowdy audience member, the man who likened himself to Hitler did not end his set too pleased.

Dressed Like Wolves had gathered much anticipation ahead of their headline set in Stoke-on-Trent. I, for one, was looking forward to the dark, sultry sounds of Rick Dobbing's captivating voice and lo-fi indie compositions at the The Old Brown Jug pub.

Sat near the front with our pint glasses in hand, we were prepared to indulge in a night of chilled acoustic entertainment.

After little time, two upfront and talkative brothers had joined our table. Although apprehensive at first, we grew to love their company and soon bonded to form a pleasant companionship for the evening.

It seemed like the elder brother in particular had been drinking for longer in the day, and was in his own little world. Whereas the younger brother was very sure of himself and was quite vocal towards the performing acts; gathering many embarrassing looks from the other audience members.

Although louder than the musicians at times, the pair were never offensive and no malice was intended upon the performers. One musician, unfortunately, was not so sympathetic to their enjoyment being expressed so freely and vocally.

"I was just getting angry with that wanker to be honest."
Said Rick Dobbing.

A clearly talented young man, with a unique voice and chilling style, he also managed to create some sing-alongs with the two men. Unfortunately for him, the loud-mouthed brother was satirically singing the lyrics to songs he felt were being ripped off. As a Radiohead and Blink 182 fan, he was not impressed with such similar sounding songs, and wanted the band to know.

Throughout the set, questions were thrown at him and the strings on his guitar were tightening as the tension rose. To finish off a somewhat dramatic close to the set, the wannabe rock star stepped up from his stool, threw his acoustic on the ground and left for the smoking area, leaving a disjointed applause behind him.

Speaking to him after the show, I felt sympathetic towards his two band members who were left to clear up the mess. He didn't seem to mind though, as he knew his place:

“Well it is just me; everything about it. They're just there. They are my songs. To be honest, they don't really contribute anything in the way of that. I look at my songs and think, I want electric guitar and stuff because they're better instruments. It's not a collaborative thing.”

A modest man with a heart of gold.

It's all OK though, because “we have good banter and that; it's a good laugh,”

Asked, hypothetically, if he was in the Third Reich, and his band members were Goebbels and Goering, would he be Hitler, he responded with a likeness towards the dictator:

“Yeah, man. It's like when Leo (of support act Cult Party) had his friend play; it's his stuff and that's the way it is for me. They're sort of helping to fill the gaps, but it's your thing. I don't class it as being a proper band.”

I can't speak for Leo, but, at the time, these words brought an uncomfortably fidgety response from the Cult Party lead. The support act's spellbinding set was by far the musical highlight of the night and he was a true pleasure to talk to; far from having a likeness to a man comparable to Hitler.

Despite this egotistical frontman creating so much havoc, it was the beautiful words of the boisterous audience member's brother towards the end of the performance: “I know he's like this, but, you know, he's my brother and I love him.”

This lovable rogue's comforting drunken slur, heard from across the pub, was gratifying and welcomed. He was eccentric and opinionated, and perhaps the last person you would want in your audience – especially if you enjoy creating unoriginal music – but his brother didn't care, and he wouldn't have been anywhere else, with anyone else. And we agreed. Our shared hours spent talking and laughing afterwards were not wasted.