Issue 34 / June 2013

FREE
Issue 34
June 2013
Loved Ones by Robin Clewley
Loved Ones
Silent Sleep
Summer Festival
Guide
Sound City Review

Thursday 6th June
Johnny Sands Acoustic Caravan Club
The Furnace / 8pm-11pm / Free
–
Saturday 8th June
The Village
The Furnace / 12pm-2am / FREE
–
Thursday 13th June
Lights Out
The Furnace / 8pm-11pm / Free
–
Friday 14th June
LCD Soundsystem’s ‘Shut Up and Play the Hits’ Screening
with Lunar Modular, Abandon Silence & Discoteca Poca DJ’s
Camp / 9pm-2am / £10
–
Friday 14th to Sunday 16th June
The Liverpool Craft Beer Expo
For tickets & info please check: www.LiverpoolCraftBeerExpo.com
–
Thursday 20th June
Rockaoke (with live backing band)
Camp / 8pm-12am / Free
–
Friday 21st to Sunday 23rd June
Camp & Furnace First Birthday Weekender
–
Saturday 29th JUne
festival for bob featuring:
bill ryder jones, neville skelly, bird, dirty rivers + MORE
CAMP / 2pm – 11pm / £15
–
Every Wednesday in Camp
PLAY
The Big Screen Quiz / Retro Gaming / Ping Pong / Board Games /
Playlist Jukebox / Tournaments
Monday 3rd June
Never Records screening with That Fucking Tank & SJ Downes
Camp / 7:30pm / £4
–
FRIDAY 7TH JUNE
Evol and BBB present:
Fair Ohs plus support
8pm £7adv.
–
THURSDAY 13TH JUNE
BTWOS present:
NAAM, Mind Mountain & Big Naturals
8pm Doors £5
–
SATURDAY 15TH JUNE
Liverpool Philharmonic Present:
Skip ‘Little Axe’ McDonald
8pm Doors £10
–
FRIDAY 21ST JUNE
BTWOS present:
Electric Moon, Bilge Pump & Fortunatus
8pm Doors £5
–
Friday 28th June
OUTFIT plus guests
8pm / FREE SHOW
–
WEDNESDAY 3RD JULY
Liverpool Psych Fest presents:
Sic Alps & The Lucid Dream
8pm Doors £6
–
SATURDAY 13TH JULY
Thrashgig & Mutiny presents:
Trash Talk, SSS, Iron WItch & Super fast Girly Show
8pm Doors £9
DJs / Chefs / Mixologists
Music / Street-food / Cocktails
FOOD SLAM
FRIDAYS
Underground supper-party
Devour / Drink / Dance
–
19.00hrs – 02.00hrs
In The Furnace,
every Friday
Free entry
www.campandfurnace.com

Bido Lito! June 2013
3
Editorial
There seems to be a unanimous feeling that Liverpool Sound City reached a new summit in 2013,
and I must say that here at Bido Lito! towers we wholeheartedly agree. The most pleasing aspect
was the depth and dynamism within the line-up; one that managed to mix the emerging with the
iconic and the local with the international, a frenzied blend of styles, genres and perspectives.
Personally speaking, I’ve made little secret of my enthusiasm for Savages - I imagine everyone else
at the magazine is sick to the back teeth of me bleating on about them. I remember thinking after
writing my review of their Friday night performance “Am I over doing this; are they really this good?”
but in the cold, sober, milky mid-May light two weeks later, I still stand by every word.
The experience of producing a daily magazine was as rewarding and exhilarating as it was
completely knackering. I’m not really wired for 3am print deadlines (never mind when they run to
4.30am...sorry Peter!) but it is surprising what you can do on a diet of warm lager, Red Bull, crap
takeaway food and sheer adrenalin. The daily magazines would not happen if it were not for our
40+ weekend team of writers, photographers, sub editors, proofreaders, distributors, volunteers
and an embattled designer. A massive thank you to each of you. I’d also like to publicly thank
The Guardian, Sound City and our advertisers for
helping to make the project viable.
It probably hasn’t escaped your attention that
this edition of Bido Lito! magazine has Loved
Ones - a band I have long been a fan of - gracing
the front cover. Loved Ones came into being a
couple of months after the first edition of Bido
Lito! hit the streets, rising from the ashes of The
time at The Shipping Forecast and being completely blown away, before we invited them to
play at Inside Pages (our launch event proper) in September 2010. The group have at their core a
complexity of ideas beyond the reach of many of their peers, yet they manage to distill this into
engaging, infectious and layered pop music. It is a pleasure to have them on our cover in advance
of their debut LP landing at the end of June.
Looking back to last month, Bido Lito!’s Social Club at The Caledonia took on an unwanted added
significance, as it was announced on the morning of the show that the venue was to close. We’ve
become a touch thick-skinned in this city over the past couple of years when it comes to venue
closures, but the injustice around this case takes things to a new level. Laura King has spent over
two years repositioning the pub back at the heart of its community, creating a key hub and support
network for Liverpool’s jazz and roots scene in the process. With the prospect of having the pub
potentially sold from beneath her, losing her business and her home, without the opportunity
to make an offer on the building (it was never actually up for sale), oh, and with only a month’s
notice, it’s little wonder that a petition to save The Caledonia has quickly raised in excess of 3,000
signatures. At the time of going to press it looks like there may be some hope, with political
intervention and dialogue with the property developers underway. In the meantime, show your
support at #SaveTheCaledonia.
Lastly, I’d like to dedicate this issue to Huw from The Wild Eyes, his lovely girlfriend Emma, and
most importantly their brand-new baby girl Mabel McAvinchey Roberts, who was born on 2nd May.
We’re all thrilled for the three of you x.
Craig G Pennington / @BidoLito
Editor
Seal Cub Clubbing Club. I can still remember
Organised Chaos
seeing the band (then a two-piece) for the first
Features
6
8
10
12
14
16
LOVED ONES
SILENT SLEEP
SUMMER FESTIVAL GUIDE
TIZZY BAC
STEVE LEVINE
LIVERPOOL SOUND
CITY 2013 REVIEW
Regulars
4 NEWS
20
PREVIEWS/SHORTS
22
REVIEWS
Bido Lito!
Issue Thirty Four / June 2013
bidolito.co.uk
4th Floor, Mello Mello
40-42 Slater St
Liverpool L1 4BX
Editor
Craig G Pennington - info@bidolito.co.uk
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Christopher Torpey - reviews@bidolito.co.uk
Assistant Reviews Editor
Naters Philip - live@bidolito.co.uk
Online Editor
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Designer
Luke Avery - info@luke-avery.com
Proofreading
Debra Williams - debra@wordsanddeeds.co.uk
Intern
Becky Martin, Joshua Nevett
Words
Craig G Pennington, Christopher Torpey, Joshua Nevett,
Maurice Stewart, , Richard Lewis, Naters P, Mick Chrysalid,
Mike Doherty, Jack Graysmark, Steven Aston, Flossie
Easthope, John Wise, Pete Charles, Rob Syme, Alex
Holbourn, Gemma Montgomery, Nikhita Rigyveda, Mike
Townsend, Amy Minshull, Josh Potts, Clarry M, Tilly Sharp,
Laurie Cheeseman, Rob Dewis, Becky Martin
Photography, Illustration and Layout
Luke Avery, Robin Clewley, Keith Ainsworth, Gareth
Arrowsmith, Alex Wynne, Gaz Jones, Michael Sheerin, Adam
Edwards, Jack Thompson, Charlotte Patmore, Michelle
Roberts, Glyn Akroyd, Aaron McManus, Paula Parker
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The T
views expressed in Bido Lito! are those of the respective
contributors and do not necessarily reflect the opinions of the
magazine, its staff or the publishers. All rights reserved.

News
Astral Coast Wants You
Calling all musicians: Wirral’s premier new music festival ASTRAL COAST is set to return again on 20th July, offering the chance
for upcoming local artists to share the stage with some of the UK’s foremost acts. Following the success of last year’s inaugural
event, Astral Coast will once again set up home in the Floral Pavilion in the idyllic coastal town of New Brighton. To complement
this, Bido Lito! will also be helping to curate the Astral Coast Journey Project, a series of events and workshops designed to offer
advice to aspiring young musicians looking to kick-start their careers. astralcoast.co.uk
Switching On The Bulbs
Conceptual music quartet BULBS have announced they will launch their highly anticipated debut LP On at the Capstone Theatre
on Friday 21st June. The 12-track tapestry of electronic textures, speech samples, cyclical time signatures and prog melodicism will
be performed in its entirety, as the group aim to ‘switch listeners on like light bulbs’ to question conventional ideologies. If it’s
visual stimulations you’re after, then the hour-long performance will also feature the projection of an entrancing new film, which
has been specially created by artist Sonny Phillips to accompany the album. bulbsmusic.com
The New Music Network
This month sees the launch of the MERSEyRAIL SOUND STATION PRIzE, offering a fantastic opportunity to Merseyside’s emerging
musical talent with the chance to win a weekend of recording time at Tankfield Studios and a year of expert industry guidance.
To enter, artists need to film themselves performing an original song at one of ten upload locations at stations dotted across the
Merseyrail network, and then upload it to the Merseyrail Sound Station Facebook page. For more details of upload locations, and
to listen to the monthly podcasts with exclusive live sessions, go to merseyrailsoundstation.com
Poltergeist Release Debut LP
There’s plenty to keep your ears occupied this month as POLTERGEIST, the brainchild of Echo & The Bunnymen’s original and
former members Will Sergeant, Les Pattinson and Nick Kilroe, release their debut LP, your Mind Is A Box (Let Us Fill It With Wonder)
on
Monday 17th June. Described as an instrumental power trio, founding member Will Sergeant conceived the idea for the krautrockinfluenced
Poltergeist as a schoolboy in the 70s, and now his vision has finally come to the fore. Following this release, the threepiece
will embark on a four-date tour of the UK. For more information visit daspoltergeist.com
Beer Expo Brewing Up Nicely
Last month we brought you news of the inaugural LIVERPOOL CRAFT BEER EXPO set to take place at Camp & Furnace between
14th-16th June. Well, we’re pleased to announce that alongside Bido Lito!, we will have guest curated sessions from The Kazimier
Garden, The Caledonia and Mello Mello over the weekend, each bringing a selection of their favourite in-house artists to our Beer
Barrel Musical Bunker. Tickets for the Saturday evening session have already sold out and Friday evening, as well as Saturday and
Sunday daytime session tickets are selling fast. Make sure you get yours in advance via liverpoolcraftbeerexpo.com
Bido Lito! Dansette
Our pick of this month’s wax wonders…
Daft Punk
Random Access
Memories
COLUMBIA RECORDS
Enshrouded in enigma and cult fanfare, DAFT
PUNK’s Random Access Memories waxes
nostalgic in all of the right measures. Through
funky electro freak-outs (We’ve Only Just
Begun), and Pharrell-centric confessionals
of a hedonistic sex droid (Get Lucky), the
EDM-entrenched wheel of the discothèque
has been turned counter-clockwise, and Nile
Rodger’s footprints are all over it.
Death Masks
From A Distance
UNSIGNED
Bursting with heart swells traced straight
from the songbook of Porl Thomson,
From A Distance uses the nuances of
post-punk as a rough stencil and colours
in the voids with schmaltzy Morrisseyesque
vocalisation. There are shades
of ex-Coral axeman Bill Ryder-Jones
throughout, who steps in on production,
harnessing DEATH MASK’s potent angst
to create this delicate pop arrangement.
Beaches
She Beats
CHAPTER MUSIC
Travel Without A Hitch
COMPETITION!
Are you making an excursion to Primavera or Hideout for the sunny season? Or maybe you’re a tour manager with a to-do list of
accommodation and travel booking that’s eating away at you? WOAH! JUNKET are here to help: a brand new Liverpool-based travel,
planning and booking service which will take the boring bits off your hands. And, since they’re a nice bunch of folks, they don’t levy
any extra booking fees on top. What more could you want? With more than ten years of travel industry wisdom under their belts,
WOAH! Junket is the perfect one-stop shop for industry and music fans alike. woahjunket.com
Festival season is imminent - and with hundreds of music festivals vying for your attention in 2013, you’re probably wondering
which ones to take yourselves off to this year? Well help is at hand: this month Bido Lito! has teamed up with FELL FOOT SOUND
FESTIVAL to offer a special prize. Making its debut this year, Fell Foot Sound is an environmentally-mindful boutique festival based
in the idyllic forestry just off Lake Windermere, and will feature SKy LARKIN (pictured) as one of its headliners.
We’re giving one lucky winner the opportunity to get their mitts on two tickets for this year’s festival. To be in with a chance of
winning this fabulous prize, all you need to do is answer the following question:
In what national park is Lake Windermere? a) The Lake District b) The Brecon Beacons c) Exmoor
To enter, simply e-mail your answer to competition@bidolito.co.uk
by 9th June. All correct answers will be placed in a big pink hat, the winner selected
at random, and notified by email. Good luck!
She Beats, the sophomore LP from
Melbourne’s BEACHES, is a collection of
dusty guitar lines and metronomic squalls
that owes as much to the progenitor of
krautrock (Michael Rother of Kraftwerk)
as it does to the psych pop simplicity of
the 60s. Out Of Mind simmers in a sundrenched
canyon while Granite Snake
rumbles with an impassable motorik
beat. Get me to the beach.
Vampire Weekend
Modern Vampires
Of The City
XL RECORDINGS
Tarred as indie’s Ivy League pin-ups, ‘out
with the old and in with the new’ is the
mantra for VAMPIRE WEEKEND’s third
LP Modern Vampires Of The City, and it
appears to have cleared them of these
unfounded slurs. With a nod towards
the worldly refinements of Paul Simon’s
Graceland, surely this is a hallmark for
any coming of age betterment.
Gig Guide and Ticket Shop live at www.bidolito.co.uk

Sat 25th May • £17.50 adv
Sat 25th May • £6 adv
Wed 29th May • £15 adv
Thurs 30th May • £10 adv
Fri 31st May • £6 adv
Fri 7th Jun • £6 adv
Sat 8th Jun • £10.50 adv
Fri 14th Jun • £20 adv
Sat 15th Jun • £6 adv
Tues 18th Jun •
6pm
Fri 21st Jun • £5 adv
Sat 29th Jun • £9 adv
Mon 1st Jul • £12 adv
Fri 5th Jul • £8.50 adv
Sat 6th Jul • £10 adv
2pm
Thurs 11th Jul • £9.50 adv
Sat 13th Jul • £6 adv
Tues 16th Jul • £15 adv
Wed 17th Jul • £6 adv
Sat 17th Aug • £7.50 adv
Mon 9th Sep • £23 adv
Mon 23rd Sep • £8.50 adv
Tues 24th Sep • £15 adv
Tues 1st Oct • £14 adv • 8pm
Wed 2nd Oct • £16 adv
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Sun 13th Oct • £16 adv
Fri 18th Oct • £20 adv / £50 VIP
Sat 19th Oct • £10 adv
Tues 22nd Oct • £14 adv
Thurs 24th Oct • £15 adv
Sun 27th Oct • £18.50 adv
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Tues 29th Oct • £16 adv
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Thurs 19th Dec • £25 adv
Fri 10th Jan 2014 • £13 adv
Thurs 31st Oct • £12 adv
Sat 2nd Nov • £10 adv
8pm - 2am • over 18s only
Sat 8th Jun • £10.50 adv
Fri 14th Jun • £20 adv
Mon 9th Sep • £23 adv
Wed 2nd Oct • £16 adv

Bido Lito! June 2013
7
Loved Ones
Hiding Out In Hell With
The Merry Monarch
Words: Maurice Stewart / theviewfromthebooth.tumblr.com
Photography: Robin Clewley / @robinscamera
Considering the rapid rate at which we’ve been losing music
venues over the past couple of years, it could be very easy for
established bands to become blasé about home town shows.
Played there, done that, couldn’t sell the T-shirt. The members of
LOVED ONES are all veterans of the local circuit, having indulged
in the inter-band cross-pollination that Liverpool loves, like no
other city. However, as I accost Nik Glover (Lead Vocals/Guitar)
and Ben Shooter (Keys), minutes after “probably the best gig
we’ve ever done”, at the Anglican Cathedral in support of Noah &
the Whale, I’m struck by their refreshing levels of exuberance: “It’s
lovely to play somewhere that’s a bit special,” beams Nik. “We
try to make things very ambient, so it envelops the audience, and
this is the perfect environment to do that.”
2013 appears to be the perfect environment in which Loved
Ones can thrive. A full year after their beguiling mix of dreamy
pop and wistful folk helped them walk away with the inaugural
Get Into This Award, the quartet are finally ready to give us
what we’ve wanted since the quiet storm of Are you Hiding Out
In Hell? left us captivated some 18 months ago - an album to
really get our teeth into. The Merry Monarch will be with us this
summer, and I’m sure you’ll be as pleased as I am to find out
that it’s not a tribute to old Lizzie’s 51 years of service: “It’s not a
concept album!” laughs Glover. “I’ve just always wanted to call an
album The Merry Monarch. That name existed before Ben and Jay
(Freeman, Bass) joined. I like to get a title first and write an album
based around the imagery it provokes. I’ve already got a title for
the second album and we haven’t written any songs.”
The album that they have written has undergone many a facelift
from gestation to release. Originally consisting of only himself
and Rich Hurst (Drums), Glover recalls how the introduction of
Shooter and Freeman to the group opened up new potential
avenues: “We wrote a whole album, and then went back and
pretty much changed it all, except the first two singles [...Hell?
and Weekends Are Ours]. Adding the extra elements meant that
we could expand on our ideas in a way that wasn’t possible when
it was just the two of us.” While the ego of many songwriters
would make them reluctant to allow their bandmates the chance
to improve on their genius, Glover and Hurst were more than
happy to share the limelight: “It all happened naturally. When
myself and Jay began playing Nik and Rich’s songs live we wrote
extra parts, and over time they evolved,” explains Shooter. “We
started off at one point and have ended up in a very different
place, but now they feel ready.” It’s apparent they are just as ready
to share this record as we are to hear it.
One of our city’s most respected mavericks, Glover has an
innate ability to hold attention and dictate emotions, regardless
of whether he has a pen, keyboard or guitar in his hands. Previous
band The Seal Cub Clubbing Club (also featuring Freeman) came
tantalisingly close to ‘cracking it’, only to be hamstrung by record
company wrangling. Current label Baltic Sub Records - appropriately
based in the Baltic Triangle - is the brainchild of Anthony Pickthall,
known for his work promoting Liverpool’s Art Biennial. While only
a fledgling company (The Merry Monarch will be their first release)
it’s already clear to Glover that these are a much safer pair of
hands: “There’s no doubts about whether he trusts us and believes
in what we’re doing. He came to us as a fan, saying he knew we
had an album for release and he’d like to release it.”
Baltic Sub take an interesting approach to releasing records,
and one that we may see more and more of, especially among
the independents. The Merry Monarch will only be available on
vinyl, or digitally from the usual online outlets. It appears that the
compact disc is about to be consigned to history, a development
that won’t be mourned by Glover: “CDs are only used for promos
now, and even they end up on sale in Vinyl Exchange for a quid
two months later.”
While the death of the CD can be blamed on the sea-change in
our music consumption provided by the internet, it’s no surprise
that the carefully crafted vinyl has not only retained but enhanced
its appeal: “Everyone dabbles with both [vinyl and digital] these
days,” reasons Glover. “No-one walks around with CD Walkmans
anymore. This will be the first album I’ve released on vinyl for a
long time, and I’m really excited. It’ll be a double gatefold sleeve,
which is great because it gives us a chance to do something
special with the artwork. A lot of people really buy into a band
when they like them, and the artwork is a big part of that. But
we know that we need the digital release as well, if we want to
reach a lot of people.”
Loved Ones certainly deserve to reach a lot of people, although
as Shooter readily admits, coming to terms with no longer being
young men means that they aren’t willing to risk it all for world
domination: “Myself and Nik both have children on the way,
which means you can’t disappear off on tour for six months. After
the four or five shows we have lined up to promote the album,
it’s likely that we’ll be going into hibernation for a while.” you’d be
well advised to catch them while you can.
The Merry Monarch is released in June on Baltic Sub Records.
soundcloud.com/lovedones
Gig Guide and Ticket Shop live at www.bidolito.co.uk

Silent Sleep
(When You Wake) You’re Still In A Dream
Words: Richard Lewis
Photography: Keith Ainsworth / arkimages.co.uk
The project of singer-songwriter Chris McIntosh, SILENT SLEEP
have unveiled their highly accomplished debut album Walk Me
To The Sea; ten tracks of sumptuously arranged baroque pop
spiked with compellingly downbeat and caustic lyrics. Awash
with brass, strings and percussion, the band’s highly detailed orch
pop sound is brought to life onstage by eight musicians, led by
Chris on vocals and acoustic guitar. A veteran of Liverpool’s music
scene, piloting the much-admired 28 Costumes for most of the
2000s, when the band splintered in early 2010, Chris relocated to
Berlin to gain a fresh perspective on music, and life.
“The band had stopped and I realised throughout my
whole adult life I’d just done that band and I hadn’t really
done anything else. I wanted to do something different,” Chris
explains, sat in the neo-classical finery of The Vines. “The idea of
living away in a city where nobody knows you, I just took that
opportunity since I had no ties here. I didn’t move to Berlin to
write an album or anything like that [but] when I was there I
had a lot of time on my hands and I only had my acoustic guitar.
Inevitably I started writing singer-songwriter type songs which
I’d not really done before.”
Berlin’s fertile music scene meant ample opportunity to roadtest
material in front of receptive audiences. “As I started writing
these songs I started booking myself little gigs in cafés and in
basements. Tiny gigs with twenty people sat down, and loads of
candles. The great thing about Berlin is that I think it’s really easy
to get an alcohol licence and it’s very cheap to rent places so bars
just shoot up,” Chris enthuses. Despite this, however, the singer
found some aspects of the city wanting. “When I was moving,
everybody was telling me how great a city it is for music and
‘you’re gonna meet so many musicians’, and after about a year I
was like ‘where are all these crazy musicians?’ Everyone’s really
cool in Berlin and it was kind of intimidating, being on your own.
Some of them were like offensively cool,” Chris laughs, “and we
were on totally different wavelengths.”
Due to his new modus operandi, Chris began to mentally
Gig Guide and Ticket Shop live at www.bidolito.co.uk
sketch out the arrangements for each track after creating
the basic chord structure and vocal melody. “I had a lot of
time to let the songs grow and think in my head how I’d like
them to sound if I had whatever instruments I wanted to at
hand,” Chris explains. “When I came home I wanted to record
all these songs as an album and try and realise how they
sounded in my head.”
Moving back home meant that Chris also had the huge
plus of being able to take advantage of the near-spooky six
degrees of separation that exists between Liverpool musicians.
“I put on Facebook just as I was about to record the album,
‘does anybody know a trumpet player and a violin player?’ and
everyone replied ‘John Gibbons’, then someone else said ‘Elaine
Sykes plays violin’, so they were the first two people I emailed.”
With the tracks written and the players assembled, Chris chose
Pledge Music to raise funds for the sessions. The money was
raised within six weeks – half the allocated time – and then the
band were free to record the tracks in Whitewood Studios, with
go-to-guy du jour Rob Whitley as producer, whom Chris had
earmarked for the project from its conception
The arrangements on the record, with melody lines weaving
their way dextrously across the tracks, is one of Silent Sleep’s
hallmark elements. “A lot of it was planned meticulously and a
lot of it was made up on the spot,” Chris explains. “For me, that’s
the most enjoyable bit of songwriting, piecing it all together,
being spontaneous.” Housed in a handsome record sleeve (“The
only brief I gave the artist Fiona Osborne was that I wanted it to
look like the front cover of an old photo album”), the LP is only
available in a limited edition run of 250 vinyl copies.
Set against the lush instrumentation, as titles Liked Me
After All and We’ve Fallen Out Again starkly demonstrate, Silent
Sleep’s lyrics err towards the personal. “All the lyrics are pretty
autobiographical,” Chris states. “I’m no good at writing fantastical
lyrics. I can only go from what’s in my journal.” Another effect of
Chris’s move back to Merseyside was to influence his lyrics to
reflect his present environment, as On The Steps Of The Bombed
Out Church, Black Tide and Walk Me To The Sea amply prove.
Citing David Gedge, the leader of indie icons The Wedding
Present, as his biggest lyrical influence, Chris selects Arcade Fire
and Eels for providing musical inspiration. Similar to the two
North American acts, who prefer festival halls over arenas and
straight-up rock venues when performing live, Silent Sleep aim
to create music on the biggest canvas possible. “I’d love to play
The Royal Albert Hall or do a tour of Philharmonic Hall style
venues,” Chris nods. “It’ll only be eight musicians as opposed to
20. I’ll keep that for the bigger occasions.”
Indeed, Silent Sleep’s recent performance at The Black-E
has become one of the most lauded shows by a local artist
in months. Having already won the audience over with a
commanding performance, a spontaneous decision by the
songwriter to go off-script pushed the gig up a level.
“As soon as I saw that domed entrance [at The Black-E], my
first thought was ‘that would be amazing to play in’,’’ Chris grins.
“To be honest, it was only when I heard the nightmare stories
about a show there the night before with the sound going on
and off, I thought ‘if that starts happening to us I’ll get everyone
up there.’ Everything went fine but then I thought ‘I’ll do it for
the last one’. I wasn’t gonna do it [but] the gig seemed to be
going well and people were into it and I thought, ‘fuck it, I’ll do
it.’ We had the choir at the top of stairs with us.”
Completely unamplified but benefitting from the natural
acoustics, the resultant youTube footage captures the moment
for posterity. The song in question, On The Steps Of The Bombed
Out Church, is released towards the end of the month as Silent
Sleep’s next single with, as Chris puts it, a launch party “in a
fairly predictable venue” to mark the occasion.
On The Steps Of The Bombed Out Church is released on 24th June
Silent Sleep play The Bido Lito! Social Club on 20th June
silentsleep.bandcamp.com

BeauSoleil avec
Michael Doucet
support Chris Moreton
Friday 26 July 7.30pm £20, £26
Steve Riley
and the Playboys
Sunday 28 July 7.30pm £20, £26
AMERICANA
WEEKEND
Weekend ticket from £30
‘... mainlines the old
Delta blues and plugs
into the 21st Century’
Rufus
Wainwright
Monday 1 July
7.30pm £29.50-£50
Gretchen Steve Earle
Peters & The Dukes
Saturday Friday 31 9 March May
The 7.30pm Epstein £26, Theatre £34
7.30pm £19.50
Reginald
D Hunter
In the Midst of Crackers
Friday 14 June 8pm
£23, £29
An Intimate Evening with
Lucinda
Williams
Thursday 27 June
7.30pm £19.50-£29.50
Elvis Costello
& The Imposters!
Nasher
13 Revolvers Tour
Friday 12 April
Monday 10 June
8.30pm £12
8pm £37.50-£47.50
After 8
Dead
Belgian
Friday 14 June 8.30pm
Rodewald Suite £12
Jimmy Carr
Gagging Order
Saturday 13 July
8pm £25, £31
SOLD OUT
EXTRA DATE ADDED
Little
Ax’
SKIP
MCDONALD
FEATURING REMIXER
MATT ‘THE ASSEMBLY WORKER’
SMYTH ON LAPTOP & ELECTRONICS
SATURDAY 15
JUNE 8PM £10
BLADE FACTORY
AT CAMP & FURNACE
Box Office
0151 709 3789
liverpoolphil.com

10
Bido Lito!
June 2013
Words: Naters P / @natersp
Illustration: Gareth Arrowsmith
So there’s a severe lack of sun and you might still be rocking
your cold season togs, but we want to introduce you to a new
season that knows not of weather. It’s the season of music and
muddy Wellington boots, tents, warm lager and crazy costumes
– the scent of summer festivals is in the air. Bido Lito!’s Naters P
has been welcoming the new season by poking her nose through
the best of what’s on offer over the next few months. Whether it’s
right on Liverpool’s doorstep or a short road trip away, music is
the order of the day. Take THAT ‘summer’...
The Transmissions:
Live From
Jodrell Bank
6th July - 7th July & 30th August / Jodrell Bank, Cheshire
Bido Lito! Highlight: SIGUR RÓS
LIVE FROM JODRELL BANK returns with a triple header this year,
set at the stunning observatory in Cheshire, in the shadow of the
Lovell Telescope. The 6th July sees THE AUSTRALIAN PINK FLOyD
mark the 40th Anniversary of Dark Side Of The Moon. Could there
be a more perfect location?! Nary a day later NEW ORDER curate
a bill including THE WHIP and JOHNNy MARR, as well as their
own headline performance. Make sure you return to the Bank on
30th August for a live slice of SIGUR RÓS’ new album Kveikur, and
while that’s going on the centre invites you to get stuck into their
science workshop series, courtesy of the University of Manchester.
It’s all a part of the Jodrell experience. livefromjodrellbank.com
Africa Oyé
22nd – 23rd June / Sefton Park, Liverpool
Bido Lito! Highlight: MOKOOMBA
Refusing to get rained out and always free for all, AFRICA OyÉ
is a massive twenty-one years strong this summer. The festival
reaches far and wide with peer appreciation as Songlines have
nominated it as one of their top ten for 2013. Headlining this year
are MOKOOMBA, originally from zimbabwe, who have been named
as Africa’s most exciting band after their debut album Rising Tide
preceded a storming UK tour last year. Further immerse yourself
in African culture with the Oyé Village and Active zone which offer
food, arts, crafts, demonstrations and workshops. africaoye.com
Festival Number 6
13th – 15th September / Portmeirion
Bido Lito! Highlight: DAUGHTER
Portmeirion is a stunning Mediterranean-style village in Wales,
most famously serving as The Village in iconic 60s TV show, The
Prisoner. Last year it also become the home of ‘boutique’ FESTIVAL
NUMBER 6 and gave the regular festival circuit a run for its
money. Its pull remains plentiful this year, with the MANIC STREET
PREACHERS, DAUGHTER and Liverpool favourite DAN CROLL on
the bill. If you’d prefer a literary indulgence, the Faber and Faber
meets Caught By The River stage will prove a highlight again
in 2013. And if you’d rather not hole up in a tent, then keep it
boutique by booking yourself a room at the castle on site or in a
quirky wigwam. festivalnumber6.com
Fire In
The Mountain
31st May – 2nd June / Cwmnewidion
Isaf, Cnwch Coch, Aberystwyth
Bido Lito! Highlight: THE TURBANS
Beguiling headliners THE TURBANS are the pull of interest for
this festival. After cycling together through India, the band played
their first gig in Kathmandu and they bring their Gypsy-Turkish-
Celt-folk to a welcome home at FIRE IN THE MOUNTAIN. Fiercely
proud of their roots, the organisers will end the festival with Welsh
Culture Day. They’ll be showcasing the best of local Welsh talent
and hosting workshops in Welsh Music and Dance, before offering
the chance to round off your time with a Welsh Food Feast and
Cymru’s finest real ale. Lloniannau!. fireinthemountain.co.uk
Beacons
16th – 18th August / Heslaker Farm, Skipton
Bido Lito! Highlight: DRENGE
BEACONS Festival continue their fabulous form in presenting
a unique, well curated selection of artists, a welcome break
from the seemingly endless merry-go-round of mono-bills. GOLD
PANDA will be there, stroking you with his personal take on
electronica, joined on the line-up by Ninja Tune’s en vogue beat-
weaver BONOBO. MOON DUO and Leeds’ HOOKWORMS provide
much anticipation for those of a kaleidoscopic persuasion.
Ever the quirky, Beacons are keeping it prim and proper this
year with pop-up tearooms across the site, so if you like your
music with a side of Earl Grey and cupcakes, you’re in luck.
greetingsfrombeacons.com

Bido Lito! June 2013
11
Fell Foot Sound
26th-28th July / Lake Windermere, Cumbria
Bido Lito! Highlight: SKY LARKIN
Set in a beautiful woodland glade overlooking Lake
Windermere, FELL FOOT SOUND’s attraction lies in its
unrivalled location. If you’re a gentle giant then the
festival’s eco-friendly ethos will appeal as everything is
pieced together with painstaking consideration for the local
environment. Musically speaking, headliners SKy LARKIN
make a welcome return after a two-year sabbatical and
you can expect multi-instrumental mayhem from one-man
machine SWIMMING LESSONS. Liverpool representation
comes from THOMAS J SPEIGHT. This festival comes highly
recommended but you had better move fast, as there are
only a few hundred tickets on the go! fellfootsound.net
Kendal Calling
26th - 28th July / Lowther Deer Park, Lake District
Bido Lito! Highlight: PRIMAL SCREAM
This year’s KENDAL CALLING line-up is positively brimming,
from the legendary PRIMAL SCREAM, to newbies THE
GRAMOTONES. The now customary annual Scouse invasion
includes, THE TEA STREET BAND, EDGAR SUMMERTyME and
ALL WE ARE. you’ll certainly feel left out if you’re not there.
Being a natural amphitheatre, the main stage outdoor arena
is built to enjoy, so soak up the sounds under the trees by
day and be awed by the starlit performances at night. That
doesn’t tickle your fancy? Well maybe an outdoor house
party will, or some slam poetry, or the return of Tim
Burgess’ (AKA Tim Peaks) pop-up readings. Whatever you’ll
be doing, you’ll be doing lots of it, such are the possibilities
at Kendal. kendalcalling.co.uk
Green Man
15th – 18th August / Glanusk Park, Brecon Beacons
Bido Lito! Highlight: MIDLAKE
Family friendly and set in the mystical Black Mountains
of Wales, Green Man’s festival organisers invite you to take
an extended holiday with their seven-day ticket option.
you’ll find your gems in the line-up courtesy of BAND OF
HORSES, MIDLAKE, THE PASTELS and ever-decadent KINGS
OF CONVENIENCE. Bido Lito! favourites the ALLAH-LAS also
make the trip over for 2013. Expect the best in stand-up
comedy, with the positively hilarious ANGELA BARNES
on the bill, and watch science and nature collide in the
mysterious-sounding Einstein’s Garden. All of this set in the
mountains, surrounded by a river; if there isn’t something
for you here, there isn’t anywhere. greenman.net
Best Of The Rest...
If you like things intimate and touching on the spiritual then how
about heading to the END OF THE ROAD festival in North Dorset (30th
Aug – 1st Sept) which specialises in truly angelic music, courtesy of
GOLDEN FABLE and evening hymns from the local Cathedral. TRAMLINES
in Sheffield (19th – 21st July) are giving you the opportunity to keep
your carbon footprint down, (check out #notdriving) while also getting
in the crowd-pleasers, with LIANNE LA HAVAS confirmed to perform. Or
perhaps you’d like a trip away? Try DIMENSIONS festival in Croatia (5th
– 9th Sept), where you’ll catch MOUNT KIMBIE aboard a boat party, and
relax with a beer on the beach. Or, if you’re a good old homebody, just
nip over to Manchester for PARKLIFE (8th – 9th June) - with RUDIMENTAL,
DELPHIC and MELÉ on the bill it could be one of the most varied and
musically assaulting two days you’ll ever have.
Stay Local...
Our own city has more festivals than you can throw a wristband at this
year: X&y FESTIVAL is back (6th – 7th July) with DOG IS DEAD headlining
at the O2 Academy and local upstarts THE THESPIANS assaulting the
East Village Arts Club. Don’t fancy Kendal? Take to LIVERPOOL CALLING
(16th June) where BRITISH SEA POWER headline St Luke’s Bombed
Out Church - not forgetting hot local favourites OXyGEN THIEVES.
LIVERPOOL INTERNATIONAL MUSIC FESTIVAL (18th Aug – 22nd Aug) takes
the place of Mathew Street Festival this year and, as conductor VASILy
PETRENKO kicks things off in Sefton Park, we’re promised a whole new
side to the city’s musical heritage and future. Incorporated into the
weekend offer is SUMMERCAMP, set at Camp & Furnace in the Baltic
Triangle. Expect music, food and arts over two nights of performance
and revelry for nocturnal party animals this August Bank Holiday
weekend. Fancy some KRUNK FIESTA? Then get thee to the Kazimier
(22nd June) for 12 hours, 3 stages and 25 acts including the marvellous
DOGSHOW and WE ARE ANIMAL - mayhem assured. And you can’t forget
to round the season off with LIVERPOOL INTERNATIONAL FESTIVAL OF
PSyCHEDELIA (27th – 28th Sept); we recommend New york’s brooding
drone merchants PSyCHIC ILLS - and don’t forget about
local heroes CLINIC, fresh from their headline
appearance at Austin Psych Fest.

12
Bido Lito!
June 2013
TIZZY BAC
The
Empowering
Words: Joshua Nevett / @joshuanevett
Photography: Luke Avery / luke-avery.com
Sound Of A
Interesting and awesome facts about Taiwanese piano rock
The music of Taiwan reflects the rich and eclectic
group TIzzy BAC: they’re a household name in Taiwan; they’ve
culture of the Taiwanese populace, with many genres
New Taiwan
coined a brooding and gospel style of piano rock called “orchestra
such as Mandarin pop, folk, classical and heavy
grumbles” which sounds like Sgt. Pepper-era Beatles on an
metal reflecting their cosmopolitan society, and the
oriental-themed acid trip; oh, and their female lead singer Chen
Hui Ting has a strong anti-nuclear stance.
However, ignoring this writer’s momentary melt into effusive
fan-boydom, it can be said that what really sets Tizzy Bac apart
from most of the other bands that appeared on this year’s
Liverpool Sound City line-up is that, back in their country of origin,
the reality of them being blacklisted by China for over-zealously
complicated interplay between nationalisation and
globalisation. “We get a lot of different multicultures
from all over the world - from China, from
Japan, from Portugal, Spain - so I think in our
culture we are very open to everything,” nods
Tizzy Bac’s Hsu Che yu. But the assimilation
of western popular culture intertwined
1984.
I wrote
a song with
advocating the independence of their nation is all too real. “In
Taiwan, when we were kids, bad things might happen if you said
the wrong thing,” says Lin Chien yuan (Drums), one of the three
band members - Hsu Che yu (Bass) and the aforementioned Chen
with traditional Taiwanese values is
a prevalent reference point when
unravelling Echo’s amalgam of
scratchy indie-guitar lines and
Hui Ting (Vocals) are the other two. But “bad things” doesn’t even
taut, soaring melodies,
scratch the surface, and for those whom remain blissfully ignorant
and similarly with Tizzy
to the “bad things” to which he’s referring, here’s a brief synopsis.
Bac’s gothic piano-
For more than five centuries, the provincial state of Taiwan,
off the South Eastern coast of China, was fraught with crippling
warfare, political unrest, civil disorder and, not least, oppressive
social and cultural control. If you were part of the indigenous
populace that inhabits the island then, naturally, those
conditions were hard enough, but when you’re geographically
sandwiched in-between three of the world’s most belligerent and
temperamental Asian super powers, it was never going to be all
driven beguile. With
13 years’ experience
collectively since their
coincided formations
in the same college,
Tizzy Bac and Echo are
considered veterans
of the Taiwanese
smiles and sunshine. Taiwan was long embroiled in the throes of
Chinese civil war, so when Chiang Kai-Shek (leader of the defeated
music
However,
scene.
much
Republic of China nationalist party) fled to the island in 1949
and forcibly assumed territorial and political control, systematic
suppression became a reality for the indigenous population.
Hundreds of years of traditional Taiwanese culture was suddenly
suppressed and censored by the Kuomintang-led Republic of
China Government, and a prohibition on expressions of Taiwanese
of the enormous
influence
exerted by foreign
rule pre-dates even their
formative years.
After the liberation of
independence was enforced to brutal extremes. Thankfully, all
the Taiwanese political
of this ill-tempered puppetry has started to blow over since the
demise of the tyrannical Chiang Kai-Shek and, albeit that 98% of
the people living on the island have ethnic ties to China, Taiwan is
system in the mid-1980s, and
the removal of martial law, it
wasn’t long before Taiwan’s
now recognised as an independent democratic state by the wider
emancipation translated into
global community - just don’t say that too loudly.
Fast forward to the present: it’s day three at Liverpool Sound
City and Bido Lito! is surrounded by a fastidious entourage
of Taiwanese nationals at Parr Street Studios following a live
recording session with the mercurial Tizzy Bac. In a suitably
blundering fashion, we all pour into a nearby kitchen reeking
of mid-festival mania and multi-cultural confusion to muse over
the hardships of cultural oppression in Taiwan with Tizzy and the
three-piece rock band known as the psychedelic voice of Taiwan,
ECHO. So with the click and clack of cameras in tow, we dive
straight in. “We all love British music, and the most important
part of the reason why I chose music for my career is because
of the Beatles and Liverpool,” reveals Pochang Wu (Vocals) from
Echo, whose band’s leather-clad credo suggests that they’ve just
walked in straight from an audition for a post-WWII biker culture
period drama. He continues: “I bought my first record when I was
a kid; I loved the Brit-pop music of the 90s - Suede, The Verve - and
I also loved Bowie. In Taiwan, we also watch the Jools Holland
Show, so British culture is very attractive to us.”
music. “In the past twenty years a lot
of people have opened their eyes to a lot
of exciting music from all over the world,” says
Pochang Wu, of Echo, who tells us that there are now
over an estimated 4,000 bands in Taiwan expressing
themselves more openly through the medium of music.
He continues with unwavering enthusiasm: “In 2007, we
released our second album [Bastille Day], and we toured
around the island; we had about 100 concerts in that one
year. There’s been huge growth in the music scene recently,
we get a lot of music festivals and live venues around the
island and many bands [have] exploded.” The wave of consenting
nods that accompanies this assertion holds testament to this
notion, prompting us to delve a little deeper. When asked to what
extent Taiwanese culture has been influenced and oppressed
by Chinese rule, a subdued silence beckons and the tacit and
vehement sense of humour that makes Taiwanese people so
endearing subsides. The man who speaks first is sat crumpled in
the corner, eyes concealed behind his shades, “It [was around]
Gig Guide and Ticket Shop live at www.bidolito.co.uk
the
lyrics
‘go
west’,
we
even
had coverage
in
Rolling
Stone, I think.
At the time the
government
said
NO, no [don’t] go
west. And the song,
it just disappeared,”
says CEO of Riverside
Music Inc and
influential figure in
the Taiwanese indie
music scene, Geddy Lin:
the Taiwanese equivalent
of Tony Wilson. Elisa Lin, an
American-Taiwanese
singersongwriter,
interjects: “If you’re
an artist in Taiwan and you say
anything or perform any word that
implies that Taiwan is an independent
country as opposed to part of China, then
China blacklists you and you can’t go there.
That’s oppression right there.”
Take Russian feminist punk rock band Pussy Riot
for instance: two of their members were incarcerated
for publicly protesting against the Putin administration,
seriously undermining civil, nay, basic human rights. Or
Taiwanese heavy metal band ChthoniC who’ve been banned
in parts of China because of their support for the Taiwan
independence movement. This kind of oppression is alien
to us and we often take our freedom of speech and basic
human rights for granted in this country. So before you use
your cracked version of Photoshop to create another bolshie
meme about how David Cameron is leading our country into
economic meltdown on your cracked version of Photoshop,
take a minute to consider just how lucky you are. “We [will] still
fight for our rights, but right now we’re free to speak anything
we want here. So, I love my country,” quips Pochang Wu of Echo,
with a wry smile. And despite the language barriers, this meeting
of minds is proof that music plays a unique role in summoning
one’s identity and establishing a universal ethic of positivism. This
is the sound of empowerment.
tizzybac.com

14
Bido Lito!
June 2013
Devine Audio Intervention
Steve Levine Lands In Liverpool
Words: Mick Chrysalid
Illustration: Alex Wynne
Where do you start with a man who has already packed a fair
chunk of music history into an ongoing career? Should we pore
over his early engineering for The Clash or XTC, his key role in the
major global chart-topping adventures of Boy George’s Culture
Club, or the stories behind his relocation to the States to man the
desk recording none other than The Beach Boys? Such a CV could
cause a writer to wilt at the prospect of such an interview.
Thankfully, it’s much easier than feared when I meet STEVE
LEVINE, as we relax into a conversation about Ron and Russ Mael,
who made up the duo Sparks. “I was interviewing Sparks and
as a fan I’d done my research, but straightaway Ron Mael and I
got talking about a particular synth sound. Immediately the tech
camaraderie turned it into a lovely conversation,” remembers
Steve, as we chat over a cuppa in the Baltic Triangle. It’s this inner
tech geek trait that engineers and producers tend to share that
is key to the skills he has developed over an almost forty-year
career. Remarkably, it is producing and engineering that still
drives Steve: it’s pushing buttons that still pushes his buttons, so
to speak; the rest is just part of a fruitful past. Although a past that
has been rewarded with a Brit and a Grammy can’t be overlooked,
it’s the future he has his sights on.
We could get lost in tales of punk and New Romanticism, as
well as bonafide ones of music legends, but there is more to come
- and this is the intriguing aspect to the Steve Levine story, as he
begins a new chapter in his life. Steve is relocating to Liverpool to
open up a new studio next door to Unit 51 in the burgeoning Baltic
Triangle. Regularly making the trek from London to Liverpool to
years’ experience, he is an appropriate judge. “I have been
recording my whole life. I left school at 17, on the Friday. On the
Monday I was working as a tape op at CBS studios.”
This is where he cut his teeth: watching American producers
in the seventies making their way around a studio. Adding
this appetite for learning to his already technically schooled
background, he found himself more than comfortable with the
emergence of synthesizers and new technological developments
that were transforming how songs were built in the studio. “you
look at the end of glam rock - there was an absolute shift in
music. Not only changes with the type of bands but a massive
change in technologies, automated mixing, synthesizers. It was
such an exciting time.”
Steve’s own style developed into less of a lab coat approach to
engineering than a collaborative and involved level of producing.
He was tech-savvy in an age of revolutionary studio developments.
Programming a Lindrum, for example, suddenly became a niche
piece of knowledge in an era where acoustic drums were beginning
to be mixed with pre-programmed samples. This was one of the
many parts that made up Culture Club’s sound and one that he
pinpointed as a way forward for them. From the success of Culture
Club came the opportunity to produce The Beach Boys. “Bruce
Johnston of The Beach Boys was really good at encouraging me.
He took me to California where I saw American studios, American
equipment and an American way of doing things. The engineer
was very much involved in production.”
When considering the autonomy that Brian Wilson and the
rest of the band have had over production before and since, to
produce The Beach Boys is a CV addition to behold. If you ever get
the chance to hear Steve’s The Producers series for BBC 6Music
to prove an ongoing asset in his work, something the bands he
produces benefit from invaluably.
The quality of equipment with which he is kitting out his new
studio is of expected awesomeness, and too long to list, but
needless to say it is peppered with classic hardware as well as
digital essentials. But it is the ambience of the space on which
Steve is placing paramount importance: “Great performances
come with good atmosphere in the studio. There is no point in
having a good sound on the snare drum if the vibe isn’t there to
get a good performance.”
“People get hung-up on devices and kit sometimes and what
you should and should not use, but whatever it takes to get the
right end results is key to it all.” In an era where engineering
knowledge across many parts of industry in general is being lost,
possibly forever, Steve Levine’s insight should be treasured and
learned from in the audio field. He will prove a welcome addition
to our city’s musical landscape, and what better prize for one of the
bands at the Liverpool Music Awards than to go into his new studio
and absorb some of his acumen first hand? I’ll certainly be popping
in to pick up a tip or two. If it’s good enough for The Beach Boys...
tutor over recent years, he developed an affinity with the region
- a must for the hardcore producer as well as the layperson - do
and he speaks about this relationship with great enthusiasm. It is
not pass it up. It is clearly a project he enjoys, as he encourages
WIN A PLACE ON SAE's
this relationship that has led him to becoming one of the
listeners to “Play me the song you like then tell me what you like
ELECTRONIC MUSIC
judges at this year’s Liverpool
about it. Is it the tempo or is it panning or is it the
Music Awards. A role
signature guitar sound?” This is where Steve’s
PRODUCTION COURSE
he relishes. With
over
thirty
skills come into their own, as he can
unravel the inner workings
of a song’s production.
In the age of easy-to-goto
plug-ins and recording
Steve Levine has long been at the cutting edge of music
production, navigating the intersection between analogue
and digital recording techniques. With such inspiration in
mind, Bido Lito! have teamed up with SAE Liverpool to give an
programs, a band
emerging Liverpool producer the opportunity to develop their
or artist may get
skills with a FREE place on SAE’s Electronic Music Production
lost along the
Certificate course, commencing September 2013.
way - and often
do. Steve can
The course uses the latest production technology such
as Apple Logic Pro and Ableton Live to focuses students’
achieve
his
learning on the practical use of computer sequencing, MIDI
desired results
programming, samplers and synths, as well as hard-disc
quicker
than
recording within the creative context of music production.
most, with the
knowledge
With hands-on learning supported by one-to-one mentoring,
the part-time course allows a complete novice to quickly start
he
has
making music and evolve their skills over six months.
gained over
To be in with a chance of winning this brilliant prize, send a
such
an
link to your self-produced musical creations to competition@
extensive
career and it
is this level of
bidolito.co.uk. We will profile the five best entries on bidolito.
co.uk
during July and the winner will be announced in our
August issue. Good luck!
understanding
that
continues
liverpool.sae.edu
Gig Guide and Ticket Shop live at www.bidolito.co.uk

16
Bido Lito!
June 2013
Jetta
That was fun wasn’t it? Three days of sleep deprivation,
stumbling in and out of pop-up venues, and new music pouring
through your ears: a feast that can only be served up by
LIVERPOOL SOUND CITy. Favourite new bands were discovered,
unique moments were shared and many hangovers were
endured. The Bido Lito! team was out for all three nights to cover
the festival extensively, catching the greatest emerging talent the
city has to offer alongside some of the biggest names in music
today. In case you missed our daily magazines, here’s our
condensed version of events from this
year’s festival.
Words: Amy Minshull, Joshua Nevett, Richard Lewis,
Craig G Pennington, Josh Potts, Maurice Stewart,
Clarry M, Mike Townsend, Naters P, Tilly Sharp,
Mick Chrysalid, Laurie Cheeseman, Jack Graysmark,
Flossie Easthope, Rob Dewis & Becky Martin
Photography: Adam Edwards, Luke Avery, Michelle
Roberts, Keith Ainsworth, Charlotte Patmore,
Gaz Jones, Robin Clewley, Michael Sheerin
Noah And The Whale
Bastille
Stealing Sheep
Gig Guide and Ticket Shop live at www.bidolito.co.uk
Bastille
Beginning a theme for the evening, and indeed the
whole three days, there’s a crush building at the Duke Street
Garage to catch ALUNAGEORGE. The duo’s current single
Attracting Flies is the first highlight of the night, with vocalist
Aluna Francis, dressed entirely in silver leather, channelling
the wicked edge of Lily Allen over a killer synth riff and
providing the perfect insult to boot: “Everything you exhale
is attracting flies.” They round off with a beefed-up version
of mellow breakthrough single your Drums,
your Love
-
perhaps an odd choice when AlunaGeorge could have ended on
any number of their dancefloor highs.
Inter-band sibling links can often be a difficult stigma to shake
off: LOOM’s Tarik Badwan (brother of The Horrors’ Faris) seems to
be taking things in his stride though, as any familial links are
rendered inconsequential by Loom’s incomparable scuzzy fusion
of volatile punk grunge. Bleed On Me induces the kind of intensity
you might find in a maximum security prison.
In a similar fashion, PINS create an almighty noise at The
Shipping Forecast as the middle act in a noisy trio in succession
down in The Hold. The hype that’s been flung the band’s way
quickly seems more than justified as the four-piece - benefitting
from an excellent mix that allows their voices to climb clearly
above the angular guitar work - win over the faithful, and
several newcomers too.
With an aggressive glare and two fuck-off amps whacked up
to 11, DRENGE follow Pins on stage and succeed in ratcheting
up the intensity further still. Swathes of fans invade the stage
upon the introduction of Dogmeat, faces melding together like a
sweltering scrum of sardines stuck to a frying pan. Brothers Eoin
and Rory Loveless, riffed and ready with sordid guitar licks, steal
the early running with this ferocious attack.
It’s an altogether more sedate affair at the Anglican
Cathedral, with the stunning setting and encompassing
acoustics of the grand old building providing a different kind
of fireworks. By THE SEA and LOVED ONES each find some
resonance in the cacophonous space ahead of the arrival of
headliners NOAH & THE WHALE. Though there are lulls, due to
some of the band’s brand-new Springsteen-esque material, it
is still a delight for those congregated to hear and see Tom
Hobden’s violin in full flow on 5 years Time.
Sweaty, beardy and shirtless, and that was just the crowd
at IRON WITCH. The band’s metal drone can be heard fully two
streets away, cascading out of Screenadelica like a beacon of
darkness. Vocalist Chris Fane’s performance is the stuff of This
is Spinal Tap brilliance, even as the band falter through some
of their newer tracks. But that is lost on most of the crowd,
who leave with exactly the crazed smiles and sore necks that
they’d hoped for.
STEALING SHEEP’s performance at the Epstein Theatre is given
some impetus when they are joined onstage by the 12-strong
HARLEQUIN DyNAMITE MARCHING BAND for their last three songs
(their recent combined Record Store Day release A Real Clown
is the pinnacle of this collaboration). Another act who look set
to follow Stealing Sheep’s graceful rise to national darlings are
entertaining a different crowd over at Leaf. ALL WE ARE revel
in the relaxed atmosphere on offer here, contorting the space
into a grooving room of disco balls and hypnotic sounds. Their
infectious energy and the funky gloop of new single Utmost
Good ensure that enjoyment is inevitable.
The last time JETTA performed at Sound City she was providing
backing vocals for Paloma Faith. The feisty local lass is definitely
not playing second fiddle to anyone when she takes centre stage
at the Duke Street Garage, though: with a soaring voice which is
packed full of soul, Jetta’s emergence here is a mark in the sand.
Sound City 2014 headliner anyone?
The zanzibar continues its run of being Sound City’s most
consistently packed and sweaty venue this year, with crowds
piling through the door to catch SWIM DEEP and THE 1975. The
1975’s feel-good guitar anthems belie their simplicity by being
catchy traps that you can’t help but fall for. For a band set to
support The Rolling Stones this summer tonight’s performance
could be little more than a drop in the ocean for the band, but a
guiltily pleasing one nonetheless.
Finishing where the night began, the late night appearance of
BASTILLE at the Duke Street Garage sees a stampede of people
funnelling down to Wolstenholme Square. Dan Smith’s pop
maestros seem to have struck a chord, with the overwhelming
clamour to catch a glimpse of the band being quite intoxicating.
Drenge

Bido Lito! June 2013
17
Melody’s Echo Chamber
With a line-up that provides clash after clash, it
feels like a feat nearing impossiblity to get to see
everything you want tonight but, through some
frantic inter-venue sprinting, Bido Lito! manages it.
Trading his edgy electric guitar for a jangly acoustic
this evening, ED BLACK brings some much-wanted
summer shine to the cosy corners of Bold Street Coffee early
on, backed only by bass and simple percussion. In front of
a shifting backdrop of inner-city blues, the usual Ninetails
frontman sets down an early marker here, only to be equalled
by another local luminary, DAN CROLL. Dan would go on to woo
the same intimate crowd at Bold Street Coffee later, but his
sights are set on bigger prizes earlier in the night as he takes
to the Duke Street Garage stage. Rooted in the meeting ground
between twee folk rock inclinations and Nordic electronica, Dan
manages to marry the two to weave an extremely palatable
cohesion of modernistic songsmanship. Simply and impossibly
infectious, there aren’t many more adoring crowds tonight
besides this one. But then again…
At once oppressively melodic, abrasively tactile and
terrifyingly sexual, SAVAGES’ appearance at Liverpool Academy
Of Arts provides something of a realisation, for those lucky
enough to witness them, that we may have found rock music’s
next true icon. Dressed all in black, Jehnny Beth (Vocals)
mesmerises all in the path of her cutting gaze as she shrills
“don’t let the fuckers get you down”.
Similarly adored, Melody Prochet is an electrifying presence
as she sways beneath kaleidoscopic lighting at The Kazimier.
With her band MELODy’S ECHO CHAMBER, she breezes through
winsome, dream pop bohemia, delivering a fevered performance
that makes the downtime necessary and the freak-outs freakier.
Over at the Anglican Cathedral, THE WALKMEN are being
propelled through a white-hot burst of post-rock power by
drummer Matt Barrick, captivating and amazing in equal measure.
Never is this more evident than during The Rat: nine years later it
still doesn’t disappoint, the crowd joining Hamilton Leithauser in
hollering every word like it’s fighting for freedom.
Opening for The Walkmen, WAVE MACHINES venture through a
short set mixed with new and old hits that really show the band
at their best. Counting Birds and Wave If you’re Really There
are
high-level markers, but it’s undoubtedly Ill Fit that shows how far
this local four-piece have come, and how far they can still go yet.
BEST FRIENDS, a garage rock quartet from Sheffield, invade
The Kazimier with panache and the slightly dopey hedonism
that their lo-fi skater sound allows. Single Surf Bitches, with
its catchy, fuzzed-up hook, is a veritable slap in the face of the
audience, who are left with gleams of enthusiasm all over their
faces. What a nice surprise.
With catchy pop hooks and disco beats mixed in with falsetto
harmonies and lush, building ballads, EVERyTHING EVERyTHING
definitely aren’t the archetypal Manchester rock band, but that is
a very large part of their charm. Drawing heavily on latest album
Arc, the four-piece look confident and comfortable playing their
jittery oddities like Kemosabe to the packed-out warehouse of
the Liverpool Academy Of Arts.
Gracing the newly refurbished East Village Arts Club, BILL RyDER-
JONES shows that what he has succeeded at most sublimely
since his departure from guitar duties with The Coral is the role
of musical lone ranger. He Took you in His Arms, which sounds
so aching on record, becomes a marvellously sinister-sounding
Nick Cave-style ballad, far more engaging and profound than the
standard fare of sensitive heart-wringing singer-songwriters.
Back at the Duke Street Garage: “your eyes, they were cold,”
growls Archie Marshall, prompting whispers and nudges among
a reverent crowd, shocked by a voice deeper than The Grand
Canyon. KING KRULE has often been criticised for appearing
too affected, as his BRIT School past leaves him vulnerable
to accusations of insincerity. No one can accuse him of being
detached tonight though: the brash punk swagger of Strummer,
bluesy jangled guitars and hip hop vocal flow all work against
and with each other to create one of the most exhilarating
performances of the festival so far.
Not to be outdone, THEE OH SEES manage to live up to every
late night merchant’s dreams of rock ‘n’ roll debauchery when they
turn The Kazimier upside down. The San Franciscan party-makers
induce a hedonistic atmosphere in the venue with their thrashing
of psych-infused garage stompers, and it’s not long before various
crowd members are flailing shoulder-high and lost in a
whirlwind. Mind the lampshades
though, guys.
The Walkmen
Bill Ryder-Jones
Wave Machines
Dan Croll
Savages

18
Bido Lito! June 2013
Jazzhands
Egyptian Hip Hop
Outfit
Saturday is an electric affair. The Garage, The Kazimier and
the Liverpool Academy Of Arts host a wide range of electronic
acts, and one of the first to tip this balance are Mancunians
EGyPTIAN HIP HOP. There has been a definite buzz around the
band for a while now, and the success of their debut album
Good Don’t Sleep last year draws an impressively large crowd
to the makeshift venue. As the band make their way through the
set, the consistently complex basslines, psych guitars and disco
beats of songs such as Tobago all combine to create the right
kind of atmosphere for a joyous Saturday night, but kimono-clad
Alexander Hewett (Lead Vocals, Guitar, Keyboard) seems to be on
a completely different wavelength.
Across the square at The Garage, and pulling no punches, is
electronic pugilist Paul Fleming and his BALTIC FLEET. Shimmering
guitars climb upon animatronic ladders for Hunting Witches and
new single The Wilds, escalating them towards the stratosphere
where they meet a cinematic constellation of menacing synths,
before they land, like a lead balloon, firmly planted back on
the terra firma. “It’s great to be back in Liverpool playing Sound
City; it’s an honour and a pleasure,” effuses Fleming. No, no, the
pleasure is all ours.
Wolstenholme Square is once again the pounding, beating
heart of Sound City, and the Double Denim showcase at The
Kazimier is one of those critical mass focal points. London’s
BROLIN takes to the stage sporting a gold mask, and goes on to
exhibit an audacity that vastly juxtaposes his delicate and fragile
take on R&B. AMATEUR BEST’s Joe Flory has had a good year:
his debut record No Thrills came out last month to acclaim both
sides of the Atlantic, but, though there are some great songs
fighting to get out here, like the bubbling Ready for the Good
Life, it all falls a little flat.
Rounding off this Double Denim showcase, OUTFIT open
with the brooding Performance, which suffuses The Kazimier in
a sinister atmosphere of syncopated percussion and dissonant
chord changes. New songs House On Fire and Nothing Big finally
give the audience a beat to work with, but it’s one of their old
ones that provides the send-off: Two Islands is a fitting finale for
any set, its snarly and straightforward funk-fusion leaving us in
that perfect middle ground between life-affirming dancefloor
euphoria and introverted headphone bliss.
In between bouts of Taiwanese reggae at The Attic (MATzKA)
Gig Guide and Ticket Shop live at www.bidolito.co.uk
and electrified indie dance stabs from Poland (KAMP! at
MelloMello), the ravenous packs of Saturday revellers
have plenty to gorge on. Back in the Duke Street Garage,
DARKSTAR’s Aiden Whalley is hunkered over a smorgasbord
of futuristic equipment that is somewhat akin to the
Millennium Falcon’s control room. The London-based production
duo have accelerated far beyond the velocity of light speed,
honing their sound down to an intergalactic amalgam of vocalistled
dream pop and delicate electronica. If this performance is
anything to go by, they’re in for one hell of a bumpy ride.
Screenadelica is once again a thriving hub of depravity, led
by the effervescence of JAzzHANDS. Fresh from their exploits at
the John Peel World Cup, and largely still in full kit, the bonkers
six-piece group of noise rock exponents set the tempo for the
venue’s anything-goes attitude. BO NINGEN bring things full
circle when they cap off festivities late on, bringing a swell of
thrill-seekers to Screenadelica for one final tilt at the festival
high. It proves to be a worthwhile wait, as the quartet unleash a
tirade of punk thrashing that is mirrored by an eager crowd. How
could anyone sleep through that?...
Thank the Sound City gods for Olympics soundtrack providers
DELPHIC, who launch into the slick pop of Baiya and illuminate
the grey concrete of the Liverpool Academy of Arts for the finale
of the Red Bull Studios Official Closing Party stage. As Saturday
turns into Sunday, the room pulses with light and life as the band
breeze through a set of feel-good alternative rave. In closing track
Acolyte, Delphic succeed in creating that special feeling you only
ever get at festivals.
It’s no surprise that the biggest crowd seen yet at Sound City
has amassed in the inner sanctum of the Duke Street Garage, for
the imminent arrival of MOUNT KIMBIE. The duo have fleshed out
the jittery, sinewy textures of their seminal debut LP Crooks And
Lovers, so that they now transcend the post-everything electronic
musicology in their reformed agenda as dancefloor protagonists.
So, with beers swilling and hands clasped, Liverpool Sound City
bows out on a euphoric high note, soaked to the marrow with
the gloss of Mount Kimbie’s sonic atmospherics.
Go to bidolito.co.uk for further photo galleries and our live
sessions from Parr Street Studio during Sound City 2013
liverpoolsoundcity.co.uk
Baltic Fleet
Dexy’s
Laura J Martin

Al Al Al Al
o o o o sered sered sered
handpls! handpls! handpls! handpls!
A BEER BARREL
MUSICAL BUNKER
SOLD OUT

20
Bido Lito!
June 2013
Previews/Shorts
Edited by Richard Lewis
DAN HAYWOOD’S NEW HAWKS
Inspired by Americana legends
Lambchop, DAN HAyWOOD’S NEW
HAWKS visit the city in early June.
Spending much of last year touring
with The Tallest Man On Earth,
Haywood released his eponymous debut album in 2012, a sprawling 32-track affair that
was written over five years. It received excellent reviews, with Uncut calling it ‘a wild-eyed
mix of cosmic country and chamber folk......makes for a thrilling noise.’
Leaf / 6th June
SHUT UP AND PLAY THE HITS - LCD
SOUNDSYSTEM GIG SCREENING
Now Wave and Samizdat
team up for a special screening
of the documentary of LCD
SOUNDSySTEM’s final gig from
Madison Square Garden. Projected
onto Camp & Furnace’s vast screen and aided by full show production, the night promises
to be the nearest thing to being at the farewell show. Post-screening there will be live
music from LUNAR MODULAR and DJ sets from Mr Paul and Andrew Hill.
Camp & Furnace / 14th June
Making an impressive
Merseyside debut supporting
THE FRESH & ONLYS
Wooden Shjips at The Kazimier
back in 2010, US rockers THE FRESH
& ONLyS return to play East Village
Arts Club, with a more doe-eyed take on psych pop now in their repertoire. Mining a seam
of R.E.M. / Hüsker Dü-inspired American indie, the San Franciscan quintet are on the road in
support of last year’s Long Slow Dance LP.
East Village Arts Club / 13th June
10 Bands 10 Minutes... David Bowie
The evergreen 10 BANDS 10 MINUTES returns to The Kazimier with a corker of an event paying homage
to the iconic DAVID BOWIE. The biggest comeback in music this year (apologies to My Bloody Valentine), the
Dame celebrated his biggest year since 1983 with The Next Day entering the album chart at the summit. The
all-round excellence of the LP, skirmishes over youTube video bans, and genuine spaceboy Chris Hadfield
paying homage via a zero-gravity cover of Space Oddity, has kept Bowiemania well and truly stoked.
Given the vast catalogue of Bromley’s most famous son, there will be scores of hits and a guaranteed
smattering of curveballs thrown into proceedings as the participants scan his 26 albums for tracks to cover.
Confirmed to be Loving The Alien alongside event stalwarts MARRIED TO THE SEA, we can expect whirlwind
sets from THERESA STERN, CLANG BOOM STEAM, HARLEQUIN DyNAMITE MARCHING BAND, LOOSE MOOSE
STRING BAND, NADINE CARINA, HILARy & THE DEMOCRATS and Leeds-based heavy rockers HAWK EyES.
Following the live action GOLD SOUNDz DJs will be on hand to provide a slew of party-bangers into the
wee small hours. ziggy Stardust/The Thin White Duke/Jareth the Goblin King from Labyrinth fancy dress is of
course optional. All this for only a fiver: it’s the ideal Drive-In Saturday all told.
The Kazimier / 15th June
JAMES SKELLY AND
THE INTENDERS
A man who scarcely requires
an introduction, frontman of The
Coral JAMES SKELLy
strikes out on
his own with the first fruits of a
solo stint backed by The Intenders.
Following the announcement that the Wirral quintet were to go on a hiatus, all of the
group members have struck out on solo projects, and all lend a hand on the lead singer’s
debut LP Love Undercover.
O2 Academy / 8th June
WOLF ALICE
Generating a buzz with their
Elastica/The xx-inspired indie
rock, WOLF ALICE make their
first appearance in Liverpool this
month. Former touring partners
with Peace, the band won the support of BBC Radio 1 with Leaving you
last year, mixing
steely Americana folk and widescreen, woozy pop. The Madchester-via-Thames Valley
quartet, fronted by Ellie Roswell, are currently on the road in support of new single Bros.
The Shipping Forecast / 6th June
As an alternative to
Glastonbury, Camp & Furnace is
FESTIVAL FOR BOB
hosting a day-long festival of the
best homegrown musical talent
in aid of local musician Bob Picken,
who has recently been diagnosed with a rare form of cancer. Running from 2pm to
11pm, the event will feature performances from NEVILLE SKELLy, OWLS*, BIRD and BILL
RyDER-JONES (pictured), plus special guest DJ sets and acoustic performances.
Camp & Furnace / 29th June
Festivál Bombarda
By way of celebrating their first anniversary, the good folks of Fiesta Bombarda have decided to throw
a two-day shindig at the Williamson Tunnels. FESITVÁL BOMBARDA promises successive nights of suitably
riotous action and colour in typical Bombarda style, with rafts of music, art and summertime vibes in the air.
Friday features sets from afrobeat outfit DÉBRUIT, reggae from JERAMIAH FERRARI, gypsy folk courtesy
of HIGHFIELDS and LONG FINGER BANDITS, marching jazz from HARLEQUIN DyNAMITE MARCHING BAND,
alt folk act JOHNNy PANIC & THE FEVER and indie pop band THE VANDETTES. Spinning discs on the night
will be CARNIVALESQUE, PAINTÉ and PULP TROPICANA. In addition to the main attractions, fire dancers, an
African drum workshop, and the highly intriguing practice of fruit volleyball are all set to feature.
Saturday sees the festivities continuing, with dream pop big-hitters ALL WE ARE, cosmodelic afro
funk from UNITED VIBRATIONS, progressive rap from FIRE BENEATH THE SEA, alt. folk band GREAT PLAIN
SUNDANCE, soul singer ADy SULEIMAN and more (including very special guests TBA) slated to perform. A
newly-minted acoustic stage - with acts to be announced shortly - along with a BBQ and FIESTA PAINTERS
rounds the whole thing off. All for the ludicrously reasonable price of £4.50 per day or £8 for the weekend.
Now that’s how you start off the summer.
The Williamson Tunnels / 31st May - 1st June
Gig Guide and Ticket Shop live at www.bidolito.co.uk

22
Bido Lito!
June 2013
Reviews
Veronica Falls (Gaz Jones / @GJMPhoto)
VERONICA FALLS
Brilliant Colors - Double Echo - Mean Jean
Harvest Sun @ The Kazimier
Tonight heralds the highly anticipated
return of gloom pop quartet VERONICA FALLS,
following the release of their critically acclaimed
sophomore album Waiting For Something To
Happen. The assembled line-up on offer here
consists of a fresh mix of local talent and
Stateside imports, kicking off with MEAN JEAN
and DOUBLE ECHO. Lush female harmonies and
psych pop melodies ensue, with most of the
bands on tonight’s bill seeming to fit a similar
aesthetic and vein of music style. BRILLIANT
COLORS (yes, the American spelling) take to
the stage in front of a slightly bigger crowd,
full of people who wouldn’t look out of place
in Veronica Falls themselves. Telecaster twangs
and reverberating vocals swoon throughout the
venue, building up the atmosphere ready for the
headline act. Our headliners are assumedly big
fans of the band themselves, as their bassist
Marion Herbain watches on admirably in the
middle of the crowd.
As Veronica Falls now begin to shuffle
onstage the pace of things picks up a notch.
Set opener Tell Me showcases their Vaselinesesque
harmonic ability and chugging guitars
to fascinating effect. Clad in moody, vintagelooking
attire, the band seem to have added
the meandering tone of Tom Verlaine to their
sound, which adds a note of intrigue to the
early songs from Waiting For Something To
Happen. The band seem a little distracted
though, repeatedly asking the sound engineer
to make adjustments. With a sound as nuanced
as theirs, it must be a constant battle to find the
right balance, which serves to keep the band on
the hop with a critical ear cocked to the monitor.
Dampened vibes aside, they’re certainly on form.
Early singles and fan favourites Beachy Head
and Found Love In A Graveyard get a wilder
reception from the audience, with fans belting
out every word and dancing about in a postpunk
haze. Roxanne Clifford and James Hoare’s
intertwining riffs and melodies verge on the
frantic and aggressive, showing a different side
to Veronica Falls’ twee ‘indie pop’ reputation.
The newer songs sadly don’t match up to these
set highlights, however, acting as filler for
the duration of the set. Piling through a wellreceived
encore consisting of an interesting
cover of Roky Erickson’s Starry Eyes, Veronica
Falls abandon the stage as quickly as they
entered it. They stick around to sign copies of
CDs and LPs, now acting much more animated
than their inward-looking onstage personas.
Whilst remaining a great band rooted firmly
in the underground, their live set here leaves
us somewhat lacking in the excitement
department. Let’s hope we get to see them
again sometime soon, as we’re sure this is
a one-off.
John Wise / @John__Wise
HA HA TONKA
Tenements
MelloMello
Since 2007, MelloMello has played host
to some of the brightest musical talent from
Liverpool and beyond. Considering the recent
uncertainty of the much-loved venue’s future,
one feels an obligation to get down there and
enjoy it as much as possible. If that wasn’t
motivation enough in itself, then maybe the
absence of an entry fee would explain tonight’s
sizeable midweek turnout. Whatever the reason,
it’s certainly good to see.
Opening trio TENEMENTS start things off right
with their instantly likeable brand of guitar
pop. Their sound is impressively accomplished
- especially considering that the band formed
less than a year ago - and is delivered with a
real sense of confidence. Such is the quality
of their songwriting, their output can run the
gambit from the joyous upbeat jangle of When I
See Her Face to the wistful folk of Moon without
losing coherence. They wrap things up with a
strong cover of Love’s classic Alone Again Or,
and undoubtedly leave the stage with more
fans than they started with.
HA HA TONKA take the stage with an awareness
that most of the audience are unfamiliar with
their work. Where lesser bands would get
disheartened, the Missouri four-piece just see
more potential fans to win over, and their 21st
century take on Americana is indeed something
of an instant hit with this crowd. The four-way
vocal harmonies are an absolute delight to
listen to and, let’s face it, a good mandolin solo
Gig Guide and Ticket Shop live at www.bidolito.co.uk

ERICSLIVE.COM
0151 236 9994
9 Mathew Street
Liverpool L2 6RE
Tickets from Eric’s
(0151 236 9994) /
ticketmaster.co.uk
PEARL JAMMER (Tribute)
ARE YOU
EXPERIENCED (Jimi Hendrix Tribute)
DAN REED
PRIMITIVES
BLOW MONKEYS
KAZABIAN (Tribute)
HOT 8 BRASS BAND
SMITHS LTD (Tribute)
STONES (Tribute)
SECRET AFFAIR
TRANSMISSION (Joy Division Tribute)
EZIO (*Date Change)
JON ALLEN BAND
BON GIOVI (Tribute)
STATE OF QUO (Tribute)
THE BEAT
MONOCHROME SET
BIG BOY BLOATER
TOUCHSTONE / VON
HERTZEN BROTHERS
KINGS OF LYON (Tribute)
Fri 7th June
/
£5 Adv
Fri 14th June
/
£8 Adv
Thurs 20th June
/
£10 Adv
Sat 22nd June
/
£12 Adv
Sun 7th July
/
£16.50 Adv
Fri 19th July
/
£8 Adv
Sat 20th July
/
£15 Adv
Fri 26th July
/
£8 Adv
Fri 23rd Aug
/
£8 Adv
Fri 20th Sept
/
£15 Adv
Fri 27th Sept
/
£8 Adv
Sat 28th Sept
/
£10 Adv
Thurs 10th Oct
/
£8 Adv
Fri 11th Oct
/
£8 Adv
Fri 18th Oct
/
£8 Adv
Sat 19th Oct
/
£15 Adv
Wed 23rd Oct
/
£12.50 Adv
Thurs 24th Oct
/
£10 Adv
Sat 26th Oct
/
£12.50 Adv
Fri 15th Nov
/
£8 Adv

24
Bido Lito!
June 2013
Reviews
never hurt anyone. The musicianship of each
member is thoroughly impressive and they
are certainly not lacking in passion, as you’d
expect for a band that have spent the best
part of ten years on the road. Their experience
shines through tonight and it’s clear from the
start that we are in for a crisp, professional and
tight set. However, what they do lack in places
is focus. The band’s ambitious desire to straddle
the vast divide between Appalachian folk and
post-2000 garage rock is admirable, but not
always attainable, and as a result some of the
more indie-friendly tunes are easily forgettable.
While their direction seems unclear at times, it’s
reassuring that the Americana elements of their
sound are delivered with the utmost sincerity
and conviction. This is where Ha Ha Tonka really
shine, and you can’t help feeling that they might
be better off fully immersing themselves in their
traditional roots. Nowhere is this more obvious
than in their breathtaking performance of
Hangman, the band’s a cappella interpretation
of a centuries-old traditional folk song, which is
received with rapturous applause.
The band wrap things up with Usual Suspects,
a driving, sunny pop tune that Springsteen
himself would be proud of, which makes sure
everyone leaves happy. As enjoyable as they are,
it has to be said, Ha Ha Tonka are not going to
change the world. Their music won’t make you
want to burn anything down, start a movement
or dance naked in the street. But it will leave you
with a big fat smile on your face, and sometimes
that’s exactly what you want music to do.
ALT-J
Alex Holbourn
Princess Chelsea – Hundred Waters
Evol @ O2 Academy
Having being sold out for around six months
now, and showcasing 2012’s Mercury prize
winners ALT-J following the release of last year’s
An Awesome Wave, tonight’s proceedings at
the O2 are being talked about a fair bit, and
quite rightly so. The line-up for tonight kicks
off with some foreign talent, in the form of
electro pop New zealander PRINCESS CHELSEA
and Florida-based HUNDRED WATERS. Princess
Chelsea stirs up the rapidly increasing crowd
numbers with quirky electronica, consisting
of the seemingly bizarre use of castanets, a
xylophone and a triangle. As things calm down
a bit onstage, Hundred Waters launch into their
set. Continuing the electronic vibe, Björk-esque
vocals and skewed drum machines show a
band tinged with experimental artistry and a
wide range of musical ideas.
Backed tonight by a rather impressive lighting
rig, our headliners stride onstage, greeted by the
ecstatic, sold-out crowd. Intro provides waves of
intricate, needly guitar twanginess and dub pop
beats. This feels like a band going onto bigger
things: having enormously refined their live
sound, now Alt-J seem ready to step up to the
bigger venues. The swooning, Radiohead-like
melancholia of Tessellate and Something Good
offer even more of an insight into the creative
minds of Joe Newman (Vocals, Guitar) and co.
With the crowd singing along to almost every
line of every song, the atmosphere throughout
the room is worthy of silencing any naysayers
who questioned Alt-J’s Mercury win.
Layered vocal harmonies and obscure
sounding percussion lead towards the
latter stages of their hour-long set, with the
shimmering synth riffs of Dissolve Me and
a strange-sounding cover of their own Kylie
Minogue/Dr. Dre mash-up Slow Dre. The show
is feeling like it deserves two albums’ worth
of material to fully justify its surroundings,
with it being prone to lots of filler; such is the
case with the middle-of-the-road balladry of
Matilda. Evidently a big fan favourite, set closer
Breezeblocks gains the best reception of the
night from the crowd with its sing-along chorus
and melancholic synth, building up to the refrain
“Please don’t go, I’ll eat you whole”, with the
whole band in harmony. The crowd are wanting
more after their six-month wait, and are certainly
not disappointed with the band re-emerging to
the promise of “a couple more”. Hand-Made
and Taro provide a fitting end to a spectacular
offering from Alt-J this evening, with the band
clearly appreciative of the crowd’s adoration.
With fans raising their hands to replicate the
band’s adopted delta symbol, it’s clear that
the band have gained a fanbase that will live
long, as will surely be the case with their future
music ventures. Such was the clamour to be
here tonight, and the way the band are received
by the lucky ones present, it feels like it could
possibly be one of the last times we’ll get the
chance to see Alt-J in venues like this for quite
a while. The band clamber offstage to rapturous
applause: an awesome wave indeed, then.
John Wise / @John__Wise
Alt-J (Robin Clewley / @robinscamera)
Gig Guide and Ticket Shop live at www.bidolito.co.uk

KICK START
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17TH AUGUST 2013
11am -3pm
0151 255 1313 liverpool.sae.edu

26
Bido Lito!
June 2013
Reviews
Daughter (Robin Clewley / @robinscamera
DAUGHTER
Bear’s Den
Harvest Sun @ The Anglican Cathedral
As a sold-out crowd roll into the Anglican
Cathedral, anticipation ripples through its
hallowed halls; although these live events are on
the increase, they are still rare enough to make
them feel like a celebration. But as London trio
BEAR’S DEN take to the stage, there is nothing
in their expressions that suggests they are
nervous; in fact, their sonorous harmonies are
right on key. Tracks like Agape evoke a choir-like
quality quite fitting for the location, which lulls
the crowd into swaying to and fro.
They’re a talented bunch, none more so
than drummer Joey Haynes who balances
his percussion duties with guitar and bass,
depending on the track. Despite the rich tone
of the band’s material, each member remains
motionless, soaking up the calm ambience
throughout the set. yet, at times, the plodding
pace borders on dragging; there’s potential
for Bear’s Den to become more versatile, but
tonight’s set feels like it follows the soft folk
formula too rigidly.
In contrast, DAUGHTER carry the crowd
through from start to finish with their innovative
chamber folk. Igor Haefili’s occasional use of
a violin bow to deepen the tone of his guitar
shows that the band are easily capable of
challenging the stereotype of folk being stale
and clichéd. Elena Tonra’s timid vocals are
backed by Remi Aguilella’s drumming, soft even
at the most powerful rumble. It’s easy to make
comparisons to Bon Iver, yet the sound tonight
is sharper; sometimes bleak, sometimes blissful,
but always beautiful.
The Anglican Cathedral, an awe-inspiring venue
in itself, proves to be the perfect complement
to Daughter’s music. Despite feeling sporadic
at times, the Cathedral’s powerful acoustics
intensify the melodies, which glide over the
audience and flitter up to the rafters. Wistful
reminiscing on Amsterdam holds the crowd
enraptured, while fleeting jolts of energy in
recent single Human stimulate them, saving the
band from the same pitfall as Bear’s Den.
Tonra is a source of charm throughout the
set, her shy stammering in between songs
thoroughly endearing. But beneath the mousey
exterior, there are hints of stark emotion as
she laments “I want you so much, but I hate
your guts” on Landfill. yet the crowd, who hang
on to her every word, eventually force her to
reveal an overjoyed smile. As the band promise
to finish with a bang, a bewitching Home
borders on ethereal. Smoke engulfs the Well
as the band rise up; not just on a cloud literally,
they are simply overwhelmed at the ecstatic
response before them.
Over the west doors is a piece of neon
writing crafted by renowned artist Tracey Emin.
It reads “I felt you and I knew you loved me,”
and it’s hard to find a more fitting message for
tonight’s atmosphere. The crowd receive each
song with not just enthusiasm, but respect,
acting like a faithful congregation. Whether
you believe or not, tonight the Anglican
Cathedral has transformed a well-polished
set into something quite breathtaking. For
Daughter’s first performance in Liverpool, it’s
the perfect debut.
Jack Graysmark / @ZeppelinG1993
BONGRIPPER
Conan - Humanfly - Metro Manila
Aide - Swinelord - Horsebastard
Antipop @ The Kazimier
Tonight’s event at The Kazimier could have got
off to a better start. News that the venue’s PA
buckled during HORSEBASTARD’s set does not
bode well, especially considering the cumulative
volume of the acts on show.
Now imagine, if you will, picnicking on
strawberries and blancmange on a summer’s
day while bunny rabbits gambol close by. Well,
Manchester speed grind quartet SWINELORD are
the exact opposite of this. Vocalist Chris spends
the entire gig facing the stage and bellowing a
pant-wettingly scary tirade of depression and
self-loathing: “an endless cycle of pain, take my
fucking last breath, pass the time, past the pain.
I feel fucked.” Cheer up, lad. They’re easy fodder
for one tired old heckler who beseeches them
incessantly to “play a fast one”.
Keen to restart the Fun Machine, Antipop
have an ace up their sleeve in METRO MANILA
AIDE, who redefine the phrase ‘warm-up act’.
By the end of their set, cantankerous frontman
Saul Godman, with his uncanny ability to
engage every single member of his audience
with his over-familiar stage antics, has us
positively cooked. Ever the exhibitionist, and
spilling over with energy and self-deprecating
humour, he tears open his Hawaiian shirt to
reveal a black bra stuffed with items of fruit.
Metro’s new direction marks a segue into a
less technical, but ultimately more fun brand
of Aerosmith-esque hard rock, and sits neatly
beside older favourites such as Tao and The
Tree Of Material Manifestation with its familiar
one-word refrain “IMMORTALITy!”
Leeds jazz-metallers HUMANFLy
look
nervous. “you guys are gonna hate us,”
mumbles guitarist John Sutcliffe. He couldn’t
be more wrong. Humanfly lead us through
Gig Guide and Ticket Shop live at www.bidolito.co.uk

unitytheatre
@unitytheatre
NHS Drama
UK Premiere
Tue 28 & Thu 30 May | Drama
“a quite exquisite play”
Click Liverpool
Everyone has a story to tell about
the NHS. Meet a high dependency
nurse, the beating heart of your NHS.
£10 (£8 conc) | 8pm
Sat 25 May | Dancetheatre
Daphnis Kokkinos reveals the
stories, experiences and dreams
he shared with Pina Bausch in
a passionate and moving dance
theatre performance.
£10 (£8 conc) | 8pm
Wed 5 - Sat 8 Jun | Comedyhorrormusical
From the composer of Legally Blonde, this award-winning musical is
part B movie parody, part horror and full of comedy. Follow the Bat
Boy as he tries to find his place in the world and find acceptance from
the narrow minded townsfolk.
£12 - £10 (£10 - £8 conc) | 8pm
Sat 15 Jun | Familyshow
Where do dreams come from?
Who collects them for you?
Perfect for ages 5+ and filled
with music and songs, illusions
and catastrophic clowning!
£8 (£6 children) | 11:30am & 2:30pm
Featured show!
Tue 25 - Wed 26 Jun | Comedy
When the local doctor is found
murdered aboard a fishing boat, a
sleepy village is woken with a jolt.
Two sleuths armed only with
Agatha Christie novels and
Cluedo try to uncover the mystery.
£10 (£8 conc) | 8pm
Tue 18 - Sat 22 Jun | Drama
An epic global journey from 1959 to 2039 as one man tries to piece
together his identity. Written by Andrew Bovell (Strictly Ballroom).
£12 - £10 (£10 - £8 conc), £8 Tue Preview | 8pm
Wed 12 Jun | Drama
A girl with a camera returns home
to a war zone. British/Iraqi Dina
Mousawi journeys from Bradford
to Baghdad to offer a different
perspective on occupied Iraq.
£10 (£8 conc) | 8pm
Tue 23 & Wed 24 Jul | Comedy
Fosters Comedy Award nominee
James Acaster, John Robins,
Vikki Stone and Markus Birdman.
£8 per evening | 8pm
unitytheatreliverpool.co.uk
1 Hope Place (off Hope Street), Liverpool, L1 9BG
Funded by

Natalie McCool (Charlotte Patmore / charlottepatmore.blogspot.com)
a mesmerising, three-song progressive rock
odyssey. Drummer Dave Jones fuses pulsating
funk rhythms, jazzy ghost notes and galloping
rock beats to produce something so captivating
and intricate that it could easily be mistaken for
The Mars Volta. The ovation which erupts at the
end of their set is not the polite kind, it’s the
kind withheld for rare musical talent, and in this
case, it’s fully deserved.
Neon stalactites bathe CONAN in incandescent
light, but there’s nothing bright about their music.
The impossibly low rumbling notes remind us of
what we’ve really come for.
The vocal sustain on Battle In The Swamp
proves difficult for lead vocalist Jon Davis to
carry off live but by the end of the track heads
are nodding in furious unison with the coda. Two
new tracks are test-driven and the second, Gravity
Chasm, is particularly warmly received - both are
natural progressions from 2012’s Monnos: sludgy,
powerful and preposterously heavy.
BONGRIPPER look nothing like we expect them
to look. They’re somehow...preppier. However, their
clean-shaven and well-turned-out demeanour is
a complete red herring, for they play a dark and
heavy brand of stoner doom. A relatively incognito
bunch, they’re playing their first ever gig in the UK
tonight and, for a time, it shows, but the dispersal
of the crowd ultimately does nothing to affect a
performance which is tightly controlled at a slow
crawl, with chords as dark as Satan’s ass-crack.
Full marks again to Antipop - you owe us a soul
and a new set of eardrums.
Pete Charles
NATALIE McCOOL
The Picket
NATALIE McCOOL celebrates the release of
her debut, self-titled album in a candle-lit, calm
and relaxed atmosphere at The Picket. McCool’s
music has been inspired by greats such as Jeff
Buckley and hand-picked by some of the most
influential figures in radio (Steve Lamacq and
Tom Ravenscroft): only two weeks prior to the
album launch, Dermot O’Leary played Black Sun
on his BBC Radio 2 show, and tonight’s host is
BBC 6Music’s Chris Hawkins. Clearly an avid fan,
Hawkins shares his enthusiasm with the hushed
audience as he proudly points out that he
supports McCool’s music on his show, with her
songs regularly appearing on his playlists. Not
too shabby an accomplishment.
The crowd are clearly excited as they welcome
McCool and her seven-piece band to the stage.
Whistles and cheers cascade through the
warehouse space like an over-excited Mexican
wave. The set begins with the track America, which
instantly renders the audience silenced and
captivated. Having worked on the track with Paul
McCartney after winning a Master Class session
with him during her time at LIPA, America marks
one of the high points of McCool’s work to date.
Size zero steps out of her burgeoning repertoire
next, and lyrically explores the consciousness of
society, discussing how today’s fashion culture is
affecting our youth.
As the set continues, each song becomes
more extravagant in emotion, hopping between
heavy drums and Americana folk. At times the
music is stripped right back, with McCool’s vocals
soaring solo, emanating flurries of similarities
with Florence Welch. Enhancing the haunting
yet intriguing feelings of the moment, the whole
performance is accompanied by stunning visuals.
A woman is swimming deep within the ocean on
the screen overhead: her movement is slow, her
stare, gazing into the room, creating an intensely
cinematic experience, immersive and indulgent.
McCool’s all-time favourite band The Cocteau
Twins inspired the latest single from her album
Dust & Coal, which shares a personal story of
the very slow process of splitting up with an ex.

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30
Bido Lito!
June 2013
Reviews
Mystery Jets (Jack Thompson / m0nks.co.uk)
Using stars and moon imagery within its lyrics,
the metaphor represents two people being
abundantly different but helplessly drawn
together. Former Cocteau Twins bassist and Bella
Union founder Simon Raymonde evidently sees
how the track hums with undertones of these
inspirations, as he recently played Dust & Coal
on his Amazing Radio show.
McCool delivers a unique bonus track as
her lucky number 7. “Has anyone seen the
film Drive?” she asks the audience. The film’s
distinctive soundtrack inspired her very own
rendition of the track Nightcall by Kavinsky. An
addictive take on the film’s original, it was later
discovered and imitated by the winner of the
French version of Pop Idol, gaining McCool a
few new French followers.
The final track of the night from the selfconfessed
guitar fanatic is Thin Air, which
features none other than Suede’s Bernard
Butler playing lead on the album’s recorded
version. As well as combining her own Johnny
Marr-type influences, this parting shot goes to
prove the stature McCool stands in right now.
If her debut album needs any icing on the top,
then tonight is surely it.
Gemma Montgomery
MYSTERY JETS
The Dirty Rivers – The Razz – Sankofa
Evol @ East Village Arts Club
The impressive bill of acts on show here
tonight includes a largely homegrown pool of
talent, consisting of the type of bands that will
benefit most from playing these kinds of gigs
and gaining much deserved recognition. Fuzzy
garage rock types SANKOFA and THE RAzz are
tasked with getting things started at the venue
nice and early, and both receive a rousing
reception from the healthy numbers that are
ensconced for the early proceedings. Fivepiece
stalwarts of the Liverpool music scene
THE DIRTy RIVERS are up next. Their blend of
huge distortion, riffs and unprecedented stage
presence pays homage to the likes of Black
Rebel Motorcycle Club and even Sonic youth
in parts, and they play to a packed venue, with
many fans knowing every word.
Following the release of last year’s Radlands,
their fourth full-length effort to date, it feels like
MySTERy JETS have already toured it to death
(this is their third visit to the city in twelve
months). Not that this is a problem of course,
as the band get straight into the swing of
things by launching into set opener Someone
Purer. Released last year as the first single from
Radlands, the song builds up slowly to rapturous
reception from the now ecstatic crowd. Crunchy,
building guitars and drifting vocals from Blaine
Harrison and William Rees provide a sonic
backdrop that is unique to Mystery Jets, with
influences and imagery drawn from Deep South
American culture. Appearing on the album of the
same name, Serotonin, and subsequently Flash
A Hungry Smile, gains an even greater response
from tonight’s audience. Amongst the choppy,
twanging Fender guitars of Flash A Hungry
Smile is a subtle movement into an unforeseen
cover of Jet by Paul McCartney & Wings, one
that is lapped up by tonight’s very receptive
crowd. The band are on form, delivering a set
more than worthy of an opening night in one
of the city’s most exciting new venues. Largely
drawing upon their most recent album for most
of this set, other notable highlights are fan
favourites young Love
and Lost In Austin.
With smiles beaming all around, and shouts
of “Two Doors Down!” in the air, it’s evident
that an encore is required. Half In Love With
Elizabeth, and the requested Two Doors Down,
turn the room into a huge sing-along, as if it
might as well be 2008 all over again. Coming
to a close with the largely underrated Alice
Springs, Mystery Jets have gone about their
business with effortless talent and a feeling
that they really still enjoy playing live as much
as their fans enjoy watching them. A night that
has seen one of their finest performances in
Liverpool to date draws to an end, with the band
disappearing backstage to huge applause. Can
Liverpool get enough of Mystery Jets?
John Wise / @John__Wise
NHK’KOYXEN
Isocore - Bantam Lions
Deep Hedonia @ Blade Factory
Live electronic music has always been
accompanied by carefully pre-recorded visuals,
as, besides their capacity to complement the
ongoing soundscapes, their repetitiveness and
circular configuration is able to induce hypnotic
states. However, the collaborative force
here between the prodigious events group
Deep Hedonia and the stunningly gifted Jon
Barraclough of Drawing Paper, plus Madeleine
Gig Guide and Ticket Shop live at www.bidolito.co.uk

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Helping musicians of all ages and genres.
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NHK’koyxen (Glyn Akroyd)
Hall, Frances Disley and Dave Evans from The
Royal Standard, brings to life an ambitious and
extremely original A/V setup based on complex
live drawings and elaborate uses of cameras,
mirrors and turntables.
As BANTAM LIONS open the night, the visual
stratum of sketched projections beautifully
appears on beat with the thriving rhythmical
structure. Some very powerful and flawlessly
layered melodies are twisted together in order
to reach the highly authentic sound of Mike
Carney’s solo project. While people start to fill
the Blade Factory out of pure curiosity, the deep,
low kicks which can be heard on every crotchet
are reminiscent of some mid-90s deep house
or Detroit techno artists such as Moodymann
or Theo Parrish. Repetitive but groovy basslines
give a deeper and more minimalistic aura to the
compositions, which reach climaxes through the
medium of crispy claps and breezy synth lines.
Next on the line-up to continue the
experimental night is Upitup’s master ISOCORE
– an extremely proficient musician who expertly
weaves tech house rhythms with glitchy disco
samples. Tremendously progressive, Isocore’s
more abstract take shifts from either very low,
reverberating passages to certain dark breakcoreinfluenced
structures that contain peculiar IDM
elements. Adhering to a looser set of rules that
concern the aesthetics of the genre, his style is
very visually orientated as it stimulates solid
sonic densities and noisy sharp textures.
However, it is NHK’KOyXEN, aka Kouhey
Matsunga, who absolutely deserves the headline
position – having released twice on the iconic
experimental label PAN, his conceptual bass
melodies and repetitive beats elicit influences
of fast tempo and distorted hardcore techno.
Always pushing the boundaries of any genre
in which he appears to be operating, the drops
and frequent cadence shifts create a collective
labyrinth built-up on some heavily delayed minor
chords. Though quirky atonal textures are used
to convey richer themes, it is the manipulations
of the industrial sounds that really stand out in
the crowd – substantial use of sound effects like
echo, reverb or phasing create a certain futuristic
dub or techno feel which is sharply mirrored
by pervasive drones and abstract warping
elements.
This extraordinary collaboration between
two local creative forces proves how electronic
music has the capacity to produce graphic
reproductions of its own sounds. Intensely
exploring the dimmed boundaries of music as
a direct form of art, this fruitful sound-graphic
partnership can be considered to be a cultural
experiment which is instrumental in developing
kaleidoscopic adventures and psychedelic
journeys.
Nikhita Rigvveda / soundcloud.com/killotto
MOSCA
Last Magpie - Ben Pearce – Rich
Furness – Harry Sheehan
Abandon Silence @ The Kazimier
If you entered The Kazimier at 11:30pm the last
time Abandon Silence hosted proceedings there,
you would have walked into a densely-packed
room starting to loosen up to the sounds of Tom
Demac: but this time round, the place is almost
empty save for the promoters and associated
staff. Not a sliver of worry enters the brain,
however. Those who have left it too late to buy
an advance ticket are now competing to attract
the attention of those selling spares on the
event’s Facebook wall, highlighting the fact this
sold out days ago and a mass of revellers are no
doubt en route as we speak.
While many turn up too late to catch a decent
portion of RICH FURNESS and HARRy SHEEHAN’s
back-to-back set, BEN PEARCE, the man who
produced soulful afterparty standard What I
Might Do, is up at the stroke of midnight to
show everyone he has some other tracks they
might like. It is testament to the quality of his
set that it’s almost surprising when his signature
tune finally worms its way into the mix, a mass

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34
Bido Lito!
June 2013
Reviews
sing-along emanating from every corner of
the venue. One track you wouldn’t have put
money on hearing? How about Starlight by
The Supermen Lovers. It reached number 2
back in 2001 and it’s highly likely most people
here haven’t heard it since then. Playing it is a
masterstroke by Pearce, as it’s the kind of thing
that makes a set memorable and has people
recounting it months down the line.
As LAST MAGPIE takes things perhaps a notch
too low, it becomes apparent that an annoying
trend practised by a small minority seems to
have resurfaced lately. you’re not on a beach
guys, leave those sunglasses at home or face
quiet disapproval.
MOSCA has a reputation for eclecticism when
it comes to his DJ sets. He has an hour-and-a-half
to play with here and does not feel the need to
fill the time with productions of his own. New
age garage stomper Bax
is noticeably absent,
but instead the crowd are treated to everything
from Chicago house to East London eskibeat,
and the kind of bassline that put Sheffield on
the dance music map. It is a riotous set, of the
kind that pleases those who take an active
interest in a DJ’s selection, as well as those who
are simply here to have a good time.
As for tonight, the occasion further cements
the idea that Abandon Silence can make the
step-up to the bigger venues in town without
compromising on quality. Another encouraging
step forwards from an always impressive
collective.
Rob Syme
v
KUCKA
Faded Gold – Nadine Carina – Kala
Sirens #2 @ Drop the Dumbells
After a very successful first edition, Sirens #2
manages to gather together a great exhibition of
conceptual art, mashed up with skilful displays
of electronic music. As Jessica Doyle and Eliza-
Lee Farrington’s swirling visuals perfectly
complement the unearthly beats and vocals
that fill the main room at Drop the Dumbells,
it is the impressive list of artists – Amy Parker,
Trude Elisabeth Bekk, Syd Farrington and Emma
Kewley’s visionary art is all on display here – that
really makes the Sirens nights a lot more than
just a music event.
The first to come up on stage is the debuting,
darkly electronic duo, KALA, comprised of
Veslemoy Rustad Holseter and Purvi Trivedi.
Based on highly esoteric tribal beats which
bring to mind images of a cryptic shaman, the
darkwave soundscape is generated by alluring
vocals layered on top of instrumental passages,
laced with reverb. Embodying elements from a
wide array of electronic music sub-genres, Silver
Coloured Shore is a track that stands out with its
sparkling vocals and frequent, dramatic shifts.
Performed live in a very engaging manner, Kala’s
songs represent an eclectic fuse between light
synthetic chimes, air-piercing lamellophone
sounds and dark, ambient modulations that
have the capacity to intrigue.
NADINE CARINA is next on the bill to continue
the exclusively female line-up with yet another
outstanding live performance. Her renowned
innovative mixture of lo-fi instruments that range
from some whirring keys to traditional African
instruments, frames some extremely original,
experimental compositions. Highly repetitive at
times, Samaya is a beautifully constructed song
that has the power to burrow its way into one’s
by atmospheric electronic effects gathered
psyche and induce hypnagogic, surreal moods.
in a monotonous repetition that ratifies the
Importing Sóley’s live looping artistry and
post-rock influence of her pieces. As infinite
Cocorosie’s vocal techniques, Carina manages
atmospheres are reiterated, the breezy Mont-
to develop her own sound and distinctively
approach freak folk as a separate sub-genre.
Royal is a remarkably dreamy song that chimes
like something by M83. The colourful noise
The experimental electronic recital is
is beautifully refined by weightless scratchy
continued with the appearance of FADED
textures that are methodically controlled by a
GOLD, Stephanie Chew’s solo project – the
soft instrumental compositions, built on
mellow piano progressions, are accompanied
Kucka (Michael Sheerin / michaelsheerin.photoshelter.com)
deep heartbeat pulse in order to construct both
melancholic and uplifting harmonies.
Headlining the night, KUCKA’s music creates
Gig Guide and Ticket Shop live at www.bidolito.co.uk

SAT 25TH MAY
THE SMOKING HEARTS
FAT PHACE + BILLY LIAR + THE WASTERS
@ MAGUIRE’S, LIVERPOOL
SAT 1ST/SUN 2ND JUNE
PUNK AND SKA SUMMER WEEKEND
WONK UNIT + DEAD CITY RIOT + LUVDUMP
BOLSHY + OLD RADIO + HATED TIL PROVEN + BROKEN 3 WAYS
@ MELLO MELLO / PILGRIM, LIVERPOOL
FRI 7TH JUNE
SOUTHPORT
ACID DROP + RASTA 4 EYES + DROVES
@ MELLO MELLO, LIVERPOOL
FRI 15TH JUNE
THE DOMESTICS
REVENGE OF THE PSYCHOTRONIC MAN
JUST ADD MONSTERS + STUCK IN A RUT
@ MAGUIRE’S, LIVERPOOL
FRI 21ST JUNE
RANDOM HAND
THE STOPOUTS + ED ACHE
@ MELLO MELLO, LIVERPOOL
FRI 5TH JULY
EVIL BLIZZARD
ELMO AND THE STYX + THIRD THUMB + MINION
@ MELLO MELLO, LIVERPOOL
SAT 27TH JULY
AOS3
+ CAPTAIN HOTKNIVES
@ MELLO MELLO, LIVERPOOL
23-26 AUGUST
AUGUST BANK HOLIDAY
FRINGE FESTIVAL
@ VARIOUS VENUES
FRI 5TH OCTOBER
THE RESTARTS
BITEBACK + ROTPM + HATED TIL PROVEN + THE WASTERS
THE KAZIMIER, LIVERPOOL
WWW.ANTIPOPRECORDS.COM
SEETICKETS | TICKETMASTER | WEGOTTICKETS | BIDOLITO

36 Bido Lito!
June 2013
Reviews
a perfect contrast between deep anaesthetic
synth lines and lo-fi artificial rhythmical
structures. Her self-titled, debut EP represents
a unique collection that glimmers fictional
pathways through violent soundscapes –
Laura Jane Lowther’s haunting vocals and
frequently whispered murmurs distinctively
mirror the instrumental transitions. Rewind is
probably her most captivating composition as
its layers are based on dark and unpredictable
breaks, accompanied by transcendental
industrial glitches that take the audience into
strange dimensions of a collective mystical
consciousness.
Sirens seems to be developing into one of
Liverpool’s focal points when it comes to the
experimental synthesis of boundary-pushing
music and conceptual art. Another great
exhibition of talent that should be regretted by
those who missed it – make sure you don’t miss
the next offering.
Nikhita Rigvveda / soundcloud.com/killotto
PHOENIX FOUNDATION
Lawrence Arabia
Harvest Sun @ The Kazimier
LAWRENCE ARABIA starts us off tonight,
stripped-back and utterly confident in just the
company of a Fender. His first 20 minutes are
strangely dissonant: clipped neo-blues straddling
a croon that can sound overcooked, a few verses
suffocated by slow pacing. The Kiwi looks set
to score a particularly dark episode of Scooby
Doo until members of tonight’s headline act
stroll on to beef up I’ve Smoked Too Much and
other gems from his back catalogue. Maybe a
change in direction was inevitable, but the fuller
arrangements are a reminder that Lawrence
(real name James Milne) could add a little pep
to his dour persona.
Phoenix Foundation (Aaron McManus)
It’s hard to articulate how appealing THE
PHOENIX FOUNDATION are as a live prospect.
Whether jerking out buoyant riffs or awash
in techno, they successfully marry disparate
influences before spring-boarding over genre
Sat 8th June, 8:00pm.
Standard £21.50 Concession £19.50 No under 18s
Mon 10th to Sat 15th June.
Standard £20.00 - £24.00 Concession £18.00 - £22.00
BACK TO BROADWAY
Sun 23rd June, 7:30pm.
Standard £19.00 Concessions £17.00
Sat 29th June, 1:00pm & 4:00pm.
Sun 30th June, 10:00am & 1:00pm.
Standard £13.50 Concession £11.50 Family Ticket £45.00

I DESIGN
BIDO LITO!
// LUKE-AVERY.COM
// INFO@LUKE-AVERY.COM
// 07729 308307

completely. Taking to the stage with uniform
smiles, their fearlessness makes them all
the more potent. The Captain makes an early
appearance, unveiling how much has been
gained by sacrificing the muddy beats of old for
Chromatics-esque synth pop. This direct approach
chimes beautifully with Samuel Scott’s banter:
“It’s all about these dudes,” he says, pointing
to group of skinhead lads handing him beer
after beer. “Is this normal?” The crowd holler
back vague affirmation whilst the band plunges
into Buffalo, a key track of their eponymous
breakthrough album. Fun, tight and effortless,
Phoenix Foundation possess so many different
elements that their performance feels vital
and intuitive, not merely there for the sake of
a good time but thoroughly tailored to ensnare
even the sniffiest critics. Scott and Lucasz Buda’s
voices fly to the top of their registers. Richie
Singleton is a great drummer, propelling the set
along with distinctive jubilance. What’s really
bizarre is their sense of place regarding the
myriad polarities of the current British scene,
their ability to manage both the avant-garde
and the mundane, creating fascinating tension
between bouts of chill-out and euphoria. More
often than not, it is the latter that comes out
victorious, as an anthemic grace creeps into Pot
so slyly you’ve barely recognised the chorus
before it’s over.
Comparisons to Fleet Foxes or other melodic
folk peddlers go only so far; on tonight’s
merit, the band deserve to break out of every
pigeonhole, and look ready to stay ahead of the
pack when potential obscurity feeds that last
stab at the big time.
Josh Potts
BIG DADDY KANE
East Village Arts Club
As BIG DADDy KANE’s DJ warms the crowd
with shout outs of “Let me hear you!” and
“Liverpool, are you in the house?”, some pre-gig
enthusiasm starts to slip away. This pre-planned
nonsense, which will happen regardless of city
and regardless of venue or crowd noise, seems
to be pointless in this day and age. After all we
aren’t in an underground club in Queens in 1978
awaiting the arrival of The Furious Five; we are,
in fact, in the shiny new East Village Art Club in
Liverpool in 2013. The one thing that is constant,
however, is that we are awaiting a rap and hip
hop legend.
Having started off in the Juice Crew in 1986
alongside the equally legendary Biz Markie
and Marly Marl, Antonio Hardy, AKA Big Daddy
Kane, became a main player of rap’s fabled 86-
89 ‘golden age’, and a Grammy winner in the
process. Legend has it that the greatest rapper
from back in the day, Rakim, even turned down
a mic-to-mic challenge with him. He has kept
a low profile in recent years, with no album
since 1998 and only the odd guest appearance,
so the opportunity to see him in such intimate
surroundings is a great pleasure.
With such a legendary performer in town it
is no surprise that the venue is packed to the
rafters, and by the time the DJ finally introduces
Kane to the stage the enthusiasm has been
regained and every beat is nodded along. Each
break results in a mass of body movement,
although it has to be noted that Kane is dressed
in the most ‘un hip hop’ attire you could imagine
(it looks more like he’s just stepped out of the
changing rooms in Marks and Sparks). No bling
on show here tonight, folks!
Kane opens up with the furiously up-tempo
Nuff Respect, and on the second verse he rhymes
over the Sugarhill Gang’s Rappers Delight, then
fires straight into 1987 single Raw. He follows
this up with the stand out The Wrath Of Kane,
during which the rapper drops into his verse
from the 1986 Juice Crew classic The Symphony.
What a start: he has been on stage for all of
five minutes and already managed to fit in four
of the greatest hip hop numbers of all time. It’s
hard to conceive that this man is actually an
asthma sufferer, and the speed he is spitting
out his rhymes with such clarity and precision is
startling.
He goes on to play I Get The Job Done and
Smooth Operator from second album It’s A
Big Daddy Thing, before taking time out to pay
homage to his peers such as Biggie and MCA in
a specially-dedicated track, Reminisce. As he lets
his masterful rhymes do the talking it’s obvious
that this is proper hip hop. No need for fake
gangster poses, back up ‘crews’ or pimp jackets.
As he finishes with Aint No Half Steppin, Lean
On Me, and a monumental young Gifted And
Black, you’re reminded of just how many hits
this originator had. The Daddy for sure.
Steven Aston / gigslutz.co.uk
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Tickets currently on
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Ghosting Season
The Kazimier
Wolf Alice
The Shipping Forecast
Dan Haywood’s
New Hawks
Leaf
MONEY
Leaf
Blue Rose Code
MelloMello
British Sea
Power
St Luke’s Bombed Out
Church
Nancy Elizabeth
Leaf
Random Hand
MelloMello
Lambchop
The Kazimier
Festival For Bob
Camp & Furnace
Sic Alps
Blade Factory
X & Y Festival
Weekend Wristbands
Scott & Charlene’s
Wedding
The Shipping Forecast
Liverpool Psych
Fest 2013
Camp & Furnace
21/6
25/6
27/9
28/9
29/6
3/7
7/7
6-7/7
30/5
6/6
6/6
11/6
14/6
16/6
20/6
Big Daddy Kane (Paula Parker)
completely. Taking to the stage with uniform
smiles, their fearlessness makes them all
the more potent. The Captain
The Captain makes an early
appearance, unveiling how much has been
gained by sacrificing the muddy beats of old for
Chromatics-esque synth pop. This direct approach
chimes beautifully with Samuel Scott’s banter:
“It’s all about these dudes,” he says, pointing
to group of skinhead lads handing him beer
after beer. “Is this normal?” The crowd holler
back vague affirmation whilst the band plunges
into Buffalo, a key track of their eponymous
breakthrough album. Fun, tight and effortless,
Phoenix Foundation possess so many different
elements that their performance feels vital
and intuitive, not merely there for the sake of
a good time but thoroughly tailored to ensnare
even the sniffiest critics. Scott and Lucasz Buda’s
voices fly to the top of their registers. Richie
Singleton is a great drummer, propelling the set
along with distinctive jubilance. What’s really
bizarre is their sense of place regarding the
myriad polarities of the current British scene,
their ability to manage both the avant-garde
and the mundane, creating fascinating tension
between bouts of chill-out and euphoria. More
often than not, it is the latter that comes out
victorious, as an anthemic grace creeps into Pot
so slyly you’ve barely recognised the chorus
before it’s over.
Comparisons to Fleet Foxes or other melodic
folk peddlers go only so far; on tonight’s
merit, the band deserve to break out of every
pigeonhole, and look ready to stay ahead of the
pack when potential obscurity feeds that last
stab at the big time.
Josh Potts
BIG DADDY KANE
East Village Arts Club
As BIG DADDy KANE’s DJ warms the crowd
with shout outs of “Let me hear you!” and
“Liverpool, are you in the house?”, some pre-gig
enthusiasm starts to slip away. This pre-planned
nonsense, which will happen regardless of city
and regardless of venue or crowd noise, seems
to be pointless in this day and age. After all we
aren’t in an underground club in Queens in 1978
awaiting the arrival of The Furious Five; we are,
in fact, in the shiny new East Village Art Club in
Liverpool in 2013. The one thing that is constant,
however, is that we are awaiting a rap and hip
hop legend.
Having started off in the Juice Crew in 1986
alongside the equally legendary Biz Markie
and Marly Marl, Antonio Hardy, AKA Big Daddy
Kane, became a main player of rap’s fabled 86-
89 ‘golden age’, and a Grammy winner in the
process. Legend has it that the greatest rapper
from back in the day, Rakim, even turned down
a mic-to-mic challenge with him. He has kept
a low profile in recent years, with no album
since 1998 and only the odd guest appearance,
so the opportunity to see him in such intimate
surroundings is a great pleasure.
With such a legendary performer in town it
is no surprise that the venue is packed to the
rafters, and by the time the DJ finally introduces
Kane to the stage the enthusiasm has been
regained and every beat is nodded along. Each
break results in a mass of body movement,
although it has to be noted that Kane is dressed
in the most ‘un hip hop’ attire you could imagine
(it looks more like he’s just stepped out of the
changing rooms in Marks and Sparks). No bling
on show here tonight, folks!
Kane opens up with the furiously up-tempo
Nuff Respect
Nuff Respect, and on the second verse he rhymes
over the Sugarhill Gang’s Rappers Delight
Rappers Delight, then
fires straight into 1987 single Raw. He follows
this up with the stand out The Wrath Of Kane,
during which the rapper drops into his verse
from the 1986 Juice Crew classic The Symphony
The Symphony.
What a start: he has been on stage for all of
five minutes and already managed to fit in four
of the greatest hip hop numbers of all time. It’s
hard to conceive that this man is actually an
asthma sufferer, and the speed he is spitting
out his rhymes with such clarity and precision is
startling.
He goes on to play I Get The Job Done
I Get The Job Done and
Smooth Operator
Smooth Operator from second album It’s A
Big Daddy Thing
Big Daddy Thing, before taking time out to pay
homage to his peers such as Biggie and MCA in
a specially-dedicated track, Reminisce. As he lets
his masterful rhymes do the talking it’s obvious
that this is proper hip hop. No need for fake
gangster poses, back up ‘crews’ or pimp jackets.
As he finishes with Aint No Half Steppin, Lean
Aint No Half Steppin, Lean
On Me, and a monumental young Gifted And
oung Gifted And
young Gifted And
y
Black, you’re reminded of just how many hits
this originator had. The Daddy for sure.
Steven Aston / gigslutz.co.uk
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sale at bidolito.co.uk
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sale at bidolito.co.uk
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Ghosting Season
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Ghosting Season
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Ghosting Season
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Ghosting Season
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The Kazimier
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The Kazimier
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Wolf Alice
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Wolf Alice
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The Shipping Forecast
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The Shipping Forecast
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The Shipping Forecast
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Dan
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Dan
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Dan
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Haywood’s
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Haywood’s
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Haywood’s
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Dan Haywood’s
Dan
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Dan
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Haywood’s
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Dan
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Dan
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Haywood’s
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Dan
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New Hawks
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New Hawks
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New Hawks
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Leaf
MONEY
Leaf
Blue Rose Code
MelloMello
British Sea
Power
St Luke’s Bombed Out
Church
Nancy Elizabeth
Leaf
Random Hand
MelloMello
Lambchop
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Lambchop
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Lambchop
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The Kazimier
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The Kazimier
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Festival For Bob
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Festival For Bob
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Festival For Bob
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Camp & Furnace
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Camp & Furnace
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Camp & Furnace
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Sic Alps
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Sic Alps
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Sic Alps
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Blade Factory
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Blade Factory
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Blade Factory
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X & Y Festival
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X & Y Festival
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X & Y Festival
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Weekend Wristbands
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Weekend Wristbands
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Weekend Wristbands
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Scott & Charlene’s
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Scott & Charlene’s
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Scott & Charlene’s
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Wedding
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Wedding
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Wedding
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The Shipping Forecast
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The Shipping Forecast
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The Shipping Forecast
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Live
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Live
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Live
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rpool Psych
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rpool Psych
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rpool Psych
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Liverpool Psych
Live
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Live
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rpool Psych
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Live
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Live
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rpool Psych
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Live
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Fest 2013
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Fest 2013
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Fest 2013
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Camp & Furnace
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Camp & Furnace
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Camp & Furnace
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21/6
25/6
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27/9
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27/9
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28/9
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28/9
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29/6
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3/7
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3/7
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7/7
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7/7
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6-7/7
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6-7/7
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6-7/7
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30/5
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30/5
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6/6
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6/6
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6/6
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6/6
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11/6
14/6
16/6
20/6
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Big Daddy Kane (Paula Parker)