Issue 46 / July 2014

FREE 

Issue 46 

July 2014 

Bombed Out Church by Keith Ainsworth 

Bombed Out 

Church 

Strange Collective 

UNKNWN 

Super Weird 

Substance

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Audio Production 

Enrolling Now for September 2014 

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liverpool.sae.edu 03330 112 315

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DOORS OPEN 8:00PM 

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HOSTED BY CHRIS HAWKINS (BBC 6 MUSIC) + 

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Bido Lito! July 2014 

5 

Editorial 

I love the World Cup. 

With its riot of colour, carnival atmosphere, pantomime theatrics and stench of corruption, it is, 

in many ways, the ultimate male soap opera. I have to admit that I’m completely hooked, and I’ve 

regressed to my eight-year-old self watching this tournament, clutching my Panini sticker album 

and berating the telly as another innocuous challenge results in a gymnastic series of tumbles and 

yelps. With all the strutting and preening and dramatic plot twists, this year’s World Cup makes for 

compulsive viewing, regardless of the actual football on show. There was a time when my footballing 

thirst could only be quenched by lollipops, Cruyff turns, scissor kicks and the glorious flow of tiki-taka 

(RIP); now, I need the full razzmatazz, the Big Show brought on by all the extracurricular factors. Give 

me MORE selfies with Angela Merkel!; MORE political protests and crowd invasions!; MORE vanishing 

spray!; LESS of those awful football boots (Adi and Rudi Dassler would not be impressed)!; MORE 

Super Eagles and Indomitable Lions!; EXTRA TIME on Blatter v Beckenbauer’s power tussle! Given 

that the whole spectacle is a million miles away from Tranmere v Newport County on a Tuesday 

night, it’s no wonder that I’m losing myself in 

it all. Not even the WWE can match up to the 

World Cup’s full-on sensory overload. 

The national anthems have had a blinder 

of a World Cup so far as well, with chests 

puffing out all over the place. There’s nothing 

quite like a good battle song, or a hymn about 

your country’s greatness and beautiful white 

mountains, to get the blood pumping. Singing 

Vanishing spray – market leading stain removal 

the anthem is the closest that our pampered 

and over-protected footballers come to a haka, and this year the anthem has become a pre-match 

battle in itself. Mexico tried their hardest to outdo Brazil, but not much can compete with 60,000 

voices bellowing out one of the world’s most uplifting anthems. Not even little old Neymar (all 

£71.5m of him) could cope with the outpouring of emotion that it brought forth, as a nation seemed 

to come together as one behind the team, and just for a moment put aside their political differences. 

It’s hard to see God Save The Queen having the same effect on Wayne Rooney. 

Back in the real world, it’s been a pretty hectic month for us. At the beginning of June we hopped 

over to the Netherlands for the first edition of Eindhoven Psych Lab, a scorching two-day festival of 

mind-bending psychedelic music. We had an utter blast, and on behalf of fellow psychonauts Paul 

Sullivan, Sam and Venya, Bernie Connor, Mugstar, Les Longhead, and the dozens of Liverpool natives 

who made the journey, we’d like to say a massive thanks to the team at De Effenaar for the show 

and their fantastic hospitality – I can’t wait for next year already! 

It was as I was dealing with my massive Psych Lab hangover – and also trembling at the imminence 

of another one, with the looming presence of Paddy’s stag do in Galway – that I wandered in to the 

Bombed Out Church. Stepping in to the peaceful grounds, it was like all the other noise in my head 

had been switched off, which allowed me to relax completely as the building’s custodian Ambrose 

Reynolds told me about his plans for the new St. Luke’s Conservation Trust. Later that same day, I 

walked past the Church and I could hear music and a clatter of sounds coming from the shell. This is 

the type of building that I want at the heart of a city: an oasis from the maddeningly hectic to-and-fro 

of daily life, and also a noisy hub that is proud to be heard, indicating to anyone who’ll listen that this 

is a place where stuff is made, not just a place where stuff happens. It’s one of the many reasons why 

I’ll be pledging to their Crowdfunder campaign to make sure that it stays open. I hope you do too. 

Christopher Torpey / @BidoLito 

Editor 

Features 

8 

10 

12 

14 

16 

BOMBED OUT CHURCH 

STRANGE COLLECTIVE 

UNKNWN 

HALF MOON RUN 

SUPER WEIRD 

SUBSTANCE 

Regulars 

6 NEWS 

18 

PREVIEWS/SHORTS 

20 

REVIEWS 

Bido Lito! 

Issue Forty Six / July 2014 

bidolito.co.uk 

4th Floor, Mello Mello, 40-42 Slater St, 

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News 

Liverpool Music Week Is 10 

With it having taken a breather in 2013, we’re delighted to welcome back the tenth edition of LIVERPOOL MUSIC WEEK this 

year, to warm up the long, cold wintry nights of October. And what a line-up they’ve amassed so far, with CARIBOU (pictured) 

kicking things off on 23rd October at Camp and Furnace. The same venue then sees a scintillating FOREST SWORDS-curated ATP 

event the following day, headlined by MOGWAI. 30th October sees the arch pop of WILD BEASTS take over Camp and Furnace, with 

Philly’s THE WAR ON DRUGS bringing some dreamy Americana to the O2 Academy on 4th November. liverpoolmusicweek.com 

Bido Lito! Dansette 

Our pick of this month’s wax wonders, 

as chosen by Bido Lito! 

photographer 

Adam Edwards... 

Thieves On The Loose 

OXYGEN THIEVES bring their gnarly, menacing sides to bear on their new EP, and it makes for a mightily impressive racket. We 

Found The Thieves, set to be the first release on the band’s own imprint, Secret House Records, finds the four-piece in an abrasive 

mood as they take a swipe at the world in front of their uncompromising glare. Elements of Pixies, Nirvana and The Wytches wrestle 

with each other in this fiery brew, which you can see live on 11th July at Sound Food and Drink for their EP launch night, which 

features Bido DJs on the 1s and 2s. soundcloud.com/oxygen-thieves 

Merseyrail Sound Station Prize 2014 

After a hugely successful debut in 2013, the MERSEYRAIL SOUND STATION PRIZE 2014 is now open, providing a fantastic opportunity 

for emerging local talent to get an invaluable leg-up in the music industry. The prize offers an artist the chance to benefit from 

twelve months of professional music industry mentoring and recording time, with a free year of Merseyrail train travel thrown in! 

Details of how to enter – as well as an exclusive live session with Hooton Tennis Club – can be found on the latest instalment of 

the Sound Station Podcast, available at merseyrailsoundstation.com 

Be One Percent In The City 

Co-founded by Liverpool musician Steve Pilgrim, BE ONE PERCENT is a network of individuals who commit to giving 1% of their 

income each month to help the world’s poorest people. The charity directs its support to organisations working to improve water 

and sanitation in some of the world’s poorest communities. In order to raise some much-needed funds for the charity, PAUL WELLER 

will play a special, intimate show at East Village Arts Club on Thursday 3rd July, as a one-off event in the middle of his UK tour. To 

find out more about the charity head to beonepercent.org 

SAE Open Day 

The SAE have been delivering creative media courses in sound engineering and music production since 1976, and on 19th July 

they will throw open the doors to their brand-new Liverpool campus for their latest open day. As well as audio production, courses 

are available in digital filmmaking, web development, 3D / interactive animation and games programming, and the open day is the 

perfect opportunity for you to get the facts and see for yourself their state-of-the-art facilities, meet lecturers and tutors as well as 

existing students. To sign up for the open day visit liverpool.sae.edu 

Bolshy And Proud 

COMPETITION! 

Having successfully exceeded their original goal on their Crowdfunder campaign, DIY seven-piece outfit BOLSHY have put the funds 

to good use in producing their debut EP Radical. Anarchic. Bolshy. Scouse. The EP is a fizzing slice of ska, punk, reggae and samba 

anthems that stick faithfully to their anti-capitalist, anti-discrimination ethics. In thirty days they raised £1885, £385 over their target. 

Regulars on the gigging circuit right across the North West, Bolshy recorded the tracks at Parr Street Studios thanks to development 

support from Merseyside Arts Foundation and Youth Music. Download the single Spaceman now at bolshy.bandcamp.com 

After a celebrated debut in 2013, LIVERPOOL CALLING returns on 26th July, sporting an impressive line-up. DEXTERS, D/R/U/G/S, 

TWISTED WHEEL and THE RIFLES (pictured) headed up an already strong bill across our favourite city centre venues, which is now 

bolstered by the surprise announcement of SPACE, JETTA and THE SUNDOWNERS at St. Luke’s Bombed Out Church. A plethora of 

local artists join in support and tickets are available for individual shows and also on a multi-venue wristband basis. 

We’ve managed to scoop a pair of wristbands to give away in this month’s competition, which may be yours if you 

successfully navigate this testing piece of trivia: 

What was the name of The Rifles’ 2006 debut LP? a) No Love Lost 

b) I Lost A Love c) Love Is Lost 

Any entries reached with the aid of Wikipedia will be discounted. To enter, just email your answer to competition@bidolito.co.uk by 18th July. All the 

correct answers will be placed around the edge of a pink Ouija board with the winner selected either via the demons of the occult, or by random, 

depending on your fix. Good luck! 

DZ Deathrays 

Black Rat 

I OH YOU 

Their first album was loud, brash and catchy 

as hell, and DZ DEATHRAYS' follow-up is 

loud, brash and catchy as hell. Menacing 

pop hooks galore are on show here, but 

hidden beneath dense enough noise to 

dissuade the casual listener – probably just 

how they like it. Black Rat is more eclectic 

than its predecessor but essentially this is 

more good noise for good times. 

Hamilton Leithauser 

Alexandra 

RIBBON MUSIC 

While most of us have barely begun to 

accept The Walkmen's "extended hiatus", 

their frontman HAMILTON LEITHAUSER has 

set about his solo career with first singe 

Alexandra – which sounds like a gloriously 

upbeat version of, well, The Walkmen. 

Driving and toe-tapping, it's no surprise 

it's co-written by Rostam Batmanglij of 

pop-rock maestros Vampire Weekend. 

Jack White 

Lazaretto 

THIRD MAN RECORDS 

In the wake of heavily White Stripesinfluenced 

bands like Royal Blood, JACK 

WHITE returns to out-Jack White them all. 

While White's trusty distortion pedal is 

very much in tow, it's not all fuzzy blues 

on Lazeratto – there are folk ballads and 

a big dollop of funk on show here too. 

There’s also a personal crackle to this 

record, no doubt brought about by his 

recent divorce. 

Parquet Courts 

Sunbathing Animal 

ROUGH TRADE 

Three albums in and PARQUET COURTS 

have learned to control themselves. 

Whereas past records have been glorious 

blurs, Sunbathing Animal boasts thirteen 

finely crafted individual tracks, and not 

all are balls-out heavy rock (though 

thankfully most of them are). The title 

track shows that the band know their 

trademark sound inside out, and that 

they’re not shy of showing it off. 

bidolito.co.uk

facebook.com/o2academyliverpool 

twitter.com/o2academylpool 

instagram.com/o2academyliverpool 

youtube.com/o2academytv 

Tues 1st Jul • £15 adv 

Heaven & Earth 

+ M.ill.ion 

Sat 5th Jul • £15 adv 

Bam Margera’s 

F**kface Unstoppable 

Tues 8th Jul • £18 adv 

Dropkick Murphys 

+ The Bots 

+ Blood Or Whiskey 

Sat 12th Jul • £6 adv 

Catalyst 

Mon 14th Jul • £7 adv 

Decade 

+ Scouts 

+ Pavilions 

+ Buckle Tongue 

Fri 18th Jul • £5 adv 

The Family Ruin 

+ Vices & Virtues 

Sun 20th Jul • £28.50 adv 

Steven Seagal’s 

Blues Band 

+ The Viper Kings 

Weds 23rd Jul • £12 adv 

Ron Pope 

+ Nick Howard 

+ Hannah Trigwell 

Fri 1st Aug • £13 adv 

The Blackout 

+ Pavilions 

+ Buckle Tongue 

Sat 2nd Aug • £14.50 adv 

Reel Big Fish 

+ The JellyCats 

+ Broken 3 Ways 

Thurs 28th Aug • £16.50 adv 

St. Vincent 

Sat 30th Aug • £7.50 adv 

Rescheduled show • original tickets valid 

The Connor 

Harris Launch 

Sat 30th Aug • £12.50 adv 

Mordred 

Sat 6th Sept • £10 adv 

Pearl Jem 

Thurs 11th Sept • £17 adv 

Jesus Jones 

Doubt Tour 

Fri 12th Sept • £10 adv 

Definitely Mightbe 

(Oasis Tribute) 

20 Year Celebration, performing 

Definitely Maybe in full 

followed by greatest hits 

Weds 1st Oct • £15 adv 

Wayne Hussey 

(The Mission) 

Sun 5th Oct • £15 adv 

Supersuckers 

Fri 10th Oct • £14 adv 

Kids In 

Glass Houses 

Sat 11th Oct • £10 adv 

Knotslip 

Thurs 16th Oct • £15 adv 

Clean Bandit 

Fri 17th Oct • £16 adv 

Hawklords 


The Carpet Crawlers 

Performing ‘Genesis - The Lamb 

Lies Down On Broadway’ 

- 40th Anniversary 


9pm - 3am • over 21s only 

Drome ft. Dream 

Frequency Live PA 

+ Trix vs X-Ray + MC Cyanide 

+ DJ Rob + MC Cutter + DJ Nibbs 

Thurs 30th Oct • £16 adv 

Haken 

+ Leprous 

+ Maschine 

Fri 31st Oct • £28.50 adv 

UB40 

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Gong 

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+ Heart Of A Coward 

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Band Of Skulls 

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Of Arthur Brown 

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UK Foo Fighters 

Fri 14th Nov • £10 adv 

Antarctic Monkeys 


8pm - 1am • over 18s only 

Quadrophenia Night 

+ Danny Mahon 

Weds 19th Nov • £18 adv 

T’Pau 

Thurs 20th Nov • £18.50 adv 

6pm 

Pop Punks Not Dead 

ft. New Found Glory 

+ The Story So Far 

+ Candy Hearts + Only Rivals 

Fri 21st Nov • £14 adv 

Absolute Bowie 

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The Smyths 

30th Anniversary of Hatful Of Hollow 

- the seminal album in its entirety 

Fri 28th Nov • £11.50 adv 

The Doors Alive 


The Hummingbirds 

Mon 1st Dec • £18.50 adv 


Professor Green 

Weds 3rd Dec • £15 adv 

Graham Bonnet 

Catch The Rainbow Tour 

Thurs 4th Dec • £12 adv 

Electric Six + The Usual Crowd 

Fri 5th Dec • £12 adv 

The Lancashire Hotpots 

+ The Bar-Steward Sons 

Of Val Doonican 

Sat 6th Dec • £15 adv 

Dreadzone 

Fri 19th Dec • £22.50 adv 


Fish A Moveable Feast Tour 2014 

Sat 20th Dec • £18 adv 

Cast 

Sat 14th Mar 2015 • £14 adv 

Whole Lotta Led 

Sun 20th July • £28.50 adv 

Steven Seagal’s 

Blues Band 

+ The Viper Kings 

Thurs 28th Aug • £16.50 adv 

St. Vincent 

Tues 4th Nov • £16.50 adv 

The War On Drugs 

+ Steve Gunn 

o2academyliverpool.co.uk 

11-13 Hotham Street, Liverpool L3 5UF • Doors 7pm unless stated 

Venue box office opening hours: Mon - Sat 11.30am - 5.30pm • No booking fee on cash transactions 

ticketweb.co.uk • seetickets.com • gigantic.com • ticketmaster.co.uk

8 

Bido Lito! 


Bombed 

Out Church 

I could never let you 

go, if only I had the 

chance to hold you... 

Words: Jack Graysmark / @ZeppelinG1993 

Photography: Keith Ainsworth / arkimages.co.uk 

When you're driving into the city via Princes Road, you can’t 

help but marvel at the number of churches that you pass by along 

the route. Regardless of whether or not religion is your cup of 

tea, it’s just one indicator of how many factors contribute to the 

bigger picture of Liverpool, a portrait that’s painted with dashes 

of different ideologies and attitudes. However, there is one 

religious structure that dwarfs every sight in the city centre, and 

it’s not either of the cathedrals. Coming down Hardman Street, 

it’s impossible not to notice St. Luke’s, more popularly known as 

the BOMBED OUT CHURCH, sticking out like a bruised and beaten 

thumb; a landmark, meeting place and symbol of defiance that 

refuses to crumble completely. 

As a central hub in the war effort, Liverpool was the most 

bombed location in Britain outside London. Just after midnight 

on 6th May 1941, an incendiary device delivered a devastating 

and gutting blow to St. Luke’s Church, nearly razing it to the 

ground. Deemed unsuitable for use, the derelict building was left 

dormant for half a century, given up to the elements. That was 

until Ambrose Reynolds and Urban Strawberry Lunch stepped in 

back in 2003. 

Starting with a yearly event to commemorate the building’s 

destruction, Urban Strawberry Lunch became artists in residence 

and licence holders of the council-owned property, putting on an 

extraordinary calendar of events, which continues to this day: the 

average week at St. Luke’s can feature a rock concert, a Catholic 

mass, a yoga class and physical theatre. All the while Ambrose 

has been working towards the upkeep of the church, stabilising 

it as a community hub and a memorial to the destruction caused 

during the Second World War. But all this could be for nothing. 

News came through in March that a bid had been tabled by 

property developers Signature Living, with plans to transform 

the building into a hotel and wedding venue. After initial uproar, 

and a supportive gesture from Yoko Ono, the noise around these 

plans seemed to die down, with Mayor Joe Anderson declaring 

that he wouldn’t sell the church “for flats or houses”. 

Following on from Urban Strawberry Lunch’s liquidation in April, 

St. Luke’s looked like it had suffered a further blow in June when it 

transpired that the church had had its live music licence drastically 

changed, to the point where the possibility of amplified music 

being played there was looking distinctly unlikely. Officially this 

bidolito.co.uk


9 

is due to noise complaints, but Ambrose remains sceptical. “This 

bloke from the council came in and he was quite adamant that 

we weren’t allowed any more amplified music. But he was very 

ambiguous about it – they didn’t give any details of who had made 

the complaints, and what about.” A spokesperson for Liverpool City 

Council clarified to us that they “have advised the licence holders 

of the difficulties and potential consequences of staging live music 

events at St Luke’s, given that it is open to the elements and has 

the potential to cause noise nuisances,” but that “any decision not 

to stage live music events at St Luke’s lies entirely with the licence 

holder, who has to consider whether a statutory noise nuisance is 

likely to be caused.” The council also clarified that “the main issue 

relating to live music at the church is that when similar events 

took place in 2013 we received a number of noise complaints from 

residents living in the immediate locality that the music was too 

loud and occurred at times when people wanted to sleep.” 

For a venue where live music and performance forms a large 

part of its programme, and especially with two large events, 

Liverpool Calling and Freeze’s Summer Sessions, booked in for 

July, this could present a pretty big stumbling block. “Usually, 

people come to me first,” Ambrose explains. “One time, a woman 

called me up because she couldn’t hear Coronation Street, so I 

turned it down a bit and the problem was solved.” 

Ashley True, who has hosted several events in the Church as part 

of KYC Management, is even more insistent about its importance 

as a live music venue. “I reckon about 60% of our crowds come 

because it’s in the Bombed Out Church. The atmosphere is like 

nothing else. We always flyer the neighbourhood before a show; 

usually we have to contact the Environmental Health Agency… a 

lot goes into it, and it’s not like it’s all the time.” 

Being able to see and hear what is going on from outside 

is key to the Church’s strategy in attracting punters, offering a 

sample before you enter. What’s more, St. Luke’s lies at a busy 

traffic junction in the heart of the city centre, where things are 

supposed to be bustling, vibrant and noisy. With the licence 

compromised – or at least under a lot of scrutiny – not only does 

the city lose a unique gigging space, but other events, such as the 

outdoor cinema, are potentially at risk. Ambrose heaves a sigh as 

he ponders the situation, but it’s not the lament of one about to 

bite the bullet, rather one who is doing his best to work within the 

situation. “Freeze have sold hundreds of tickets and they’re close 

to selling out, so the council haven’t done it by the book. It really is 

a blow to us as the big live events bring us in so much revenue.” 

It’s admirable that, instead of backing down, Ambrose is 

working within the council’s parameters. The team plan to utilise 

the courtyard’s acoustics to make it the city’s premier unplugged 

music venue, which would bring the overall programme in line 

with the quieter, more meditative sessions that the Bombed 

Out Church also offers. They also plan to expand the number of 

workshops the Church puts on as part of a new conservation trust 

initiative in partnership with the council, dedicated to expanding 

people’s skillsets and training-up apprentices. They have enough 

ideas to fill the rafters, all in line with maintaining the building’s 

original structure – though the roof certainly won’t be returning 

under their plans. 

To continue their work, a Crowdfunder campaign has been set 

up with an £18,000 target. That isn’t much in the grand scheme 

of things when you consider how this will be used to secure 

St. Luke’s as it currently operates. Half the money will be put 

towards repairs and maintenance, while the rest will be used to 

continue and expand the current activities within the Church. “It 

will work alongside the conservation trust we’re setting up with 

the council,” Ambrose explains. “We’ll be able to train people to 

use and maintain the space, so they can hand their skills on.” 

Furthermore, their aim is to set themselves up as a community 

interest company that gradually becomes self-sufficient and 

no longer needs the support of the council for the upkeep and 

maintenance of the building. 

Though keeping hold of the Church is sure to be an uphill 

struggle, Ambrose and his team have a strong base of public 

support: so far over 27,000 people have signed a ‘Save The 

Bombed Out Church’ e-petition, with Yoko One even taking to 

Twitter to show her support. It is hard to emphasise just how much 

St. Luke’s is imprinted on the city’s consciousness. Silent Sleep’s 

Chris McIntosh, who wrote his track Meet Me On The Steps Of The 

Bombed Out Church during a homesick episode in Berlin, was also 

keen to do his bit when he heard that the venue was under threat. 

In May he posted an idea online to film a video for his song in 

St. Luke’s, with the aim of showing it off as a great community 

space in the middle of a heaving city. The response he received 

was overwhelming, with hundreds cramming in on the day of the 

shoot, representing a cavalry of woodland creatures. “I’d been 

thinking about doing it for ages, and I was in the studio when I 

heard the news and it seemed the right time to do it,” McIntosh 

recalls. “Ambrose has done so much for it. He’s turned it from a 

shell of a building into a place where cool things happen.” 

McIntosh also hopes the video can do its bit in raising 

awareness about the cause. “It’s part of the city’s DNA,” he 

reasons. “I think it only hits you when people from outside the 

city ask you what it is. Initially you’re like ‘Oh, it’s the Bombed 

Out Church’ and you shrug it off, but the more you say it the more 

you realise it actually means something. We can combine the 

music video with the Crowdfunder campaign to contextualise it, 

so people understand the need to raise money so Ambrose can 

keep hold of the Church.” 

Ambrose remains remarkably positive about delivering the next 

stage of developing St. Luke’s, as the team work on dovetailing 

the Crowdfunder campaign with their new blueprint for running 

the Church as a CIC and keeping it as an open space in the city 

centre for people to drop in and create. “We’ve got some great 

incentives lined up for the campaign,” enthuses Ambrose. “We’re 

going to get our guy who does aerial photography to shoot each 

of the gargoyle’s faces, and you can have a photo which you can 

proudly show off as your own gargoyle.” 

Despite the liquidation of Urban Strawberry Lunch, Ambrose 

and his team maintain a strong sense of direction that underlines 

their determination to preserve the Church. St. Luke’s remains 

rooted in the city’s fabric – the stained glass hosts Liverpool’s 

oldest Liver Bird – and it is hard to imagine walking up Bold Street 

and not seeing it as it currently stands. “You can have a million 

hotels in Liverpool,” Ambrose reflects, “but there’s only one 

Bombed Out Church.” 

The power now lies with us. If we want our city centre to be 

a vibrant, creative, open and noisy hub, then we need to make 

sure that St. Luke’s stays open and accessible to all. Against all 

odds it has withstood a number of assaults: with our help it can 

withstand this one too. 

facebook.com/StLukesConservationTrust 

If you want to back the St. Luke’s Conservation 

Trust campaign you can pledge your support at 

crowdfunder.co.uk/Bombed-Out-Church 

Head to bidolito.co.uk to see an extended gallery of archive 

photos of St. Luke’s by Keith Ainsworth 

bidolito.co.uk

10 


STRANGE 

COLLECTIVE 

Words: Dave Tate 

Photography: Jack McVann / jackmcvann.net 

At a time when artists are becoming increasingly transparent, 

accessible and outspoken, subtlety, mystery and detachment 

are powerful and often under-utilised tools to stoke the flames 

of intrigue. When you’re forced to dredge through a torrent of 

inane posts it can be easy to lose sight of the real band amongst 

the assault of marketing hype. In the end it all blurs into one 

incomprehensible bubble. Like, share, retweet and repeat. 

Perhaps this is one of the reasons why STRANGE COLLECTIVE 

eschew a life of online commercialism. Choosing instead 

to spend their time honing their craft, this shadowy quartet 

have stomped confidently onto the Liverpool music scene 

unannounced, surprising all with their wild energy and tightas-a-snare-skin 

shows. By existing almost exclusively in the live 

arena, the band have become something of an enigma outside 

of these performances. Besides a fairly innocuous Facebook 

page announcing upcoming gigs, they have virtually no online 

presence: no Twitter account to get into petty arguments with 

pre-teens; no Instagram to post pictures of grotesquely overproportioned 

food; and no SoundCloud with which to spam every 

last corner of the internet. In today’s hyper-connected world, not 

just any band can rely on word of mouth. Then again, Strange 

Collective are not just any band. 

“At the moment our live performances 

are the most important thing to us. We 

want to be as good a live band as we can 

be first, then we can focus on recording 

the tracks. Right now it’s all about 

putting on the best show possible.” 

Always threatening to implode in a whirlwind of their own 

making, Strange Collective’s manic performances are causing 

increasingly bigger ripples. Somehow the band refuse to 

relent in the freewheeling ferocity with which they approach 

every live show, even if it sometimes feels like you’ve walked 

in on a practice-room jam. Held together by the lynchpin of 

their metronomic rhythm section, the twin guitars and vocals 

are free to explore the peripheral edges of the band’s own 

musical cosmos. If this all sounds too much, it's probably 

because you haven't been lucky enough to catch them yet. 

Despite the band’s relative infancy and lack of headline shows, 

their intuition and verve during recent support slots has seen 

them grace the lips of many regular Liverpool gig goers, and 

they are fast becoming the city’s best-kept secret (though it 

remains to be seen how long that secret will last). Where did 

they come from, how did they arrive in such remarkable form, 

and where are they going to next? All valid questions, but 

perhaps the wrong questions for this band: with a group as 

prodigious and full of intrigue as this we should be more than 

happy to let their music provide all the explanation needed. 

We should be focusing on what they are, here and now. After 

all, with their frenetic energy, fierce intensity and increasingly 

impressive live shows, here and now is right where Strange 

Collective want to be. 

“Nothing is ever forced, it’s not planned; 

it’s just what comes naturally to us. 

That's how we do it in the practice room, 

and that's what seems to work.” 

Having opened for Night Beats, Klaus Johann Grobe and King 

Kahn And The Shrines of late, it is perhaps unsurprising that the 

band are well known amongst those with a predilection for all 

things psych and garage, but to pin the band down to either 

would do their broad sonic palette a disservice. Their music, 

while definitely indulging in the more psychotropic ends of the 

spectrum, spans a breadth of influences from kraut to southern 

rock, in a thrilling melange that has echoes of Thee Oh Sees or the 

Black Lips’ wanton, sun-drenched riffery. Shedding the limitations 

of genre, the band feel free to explore their sound. By focusing 

on developing organically they are fast crafting their own sound, 

even if they're not quite sure what that is. If this seems a little 

rudderless, it’s because it occasionally is, and that’s what makes 

it so fucking exciting, but when you see the band in action it all 

makes perfect sense. For music as visceral, threatening and loud 

as theirs, there really is no substitute to being assaulted with 

every last wattage of their amps, and having your bones rattled 

by the thunderous bass. 

“We don’t know exactly where we’re 

going, but we’ve got ideas which no 

doubt will be brought to fruition.” 

When a band is so intent on crafting a fierce on-stage persona, 

would we really benefit all that much by peering behind the mask? 

As a spectator it certainly is interesting to follow the realisation 

of these ideas, without quite knowing which way the compass is 

pointing. Each show sees them grow in confidence, the crowds get 

bigger, and the responses become more impressed. With plenty 

of gigs in the coming months, including the mouth-watering lineup 

of Growlers, Fat White Family and Wytches, the band look set 

to chart an ever-increasing upwards trajectory. 

This spontaneous tendency has translated well into their live 

performances, where their cleverly formed songs often end in long, 

improvised noise sections. This is persistently one of the more 

interesting aspects of a Strange Collective show, and demonstrates 

not only the musical ability of the members, but also their symbiosis. 

Clearly they are a band who intuitively know how to play together. 

Though they are very much an act still in their infancy there seems 

to be a musical understanding between them, and this is evident 

from their mutual approach to both songwriting and performing. 

“Ideally we would like to have more songs to 

take into the studio, and we aren’t 100% on how 

we want to record them yet. We just want the 

live shows to blow people away. We’ve spoken 

about releasing a live record; the recordings 

are there so it’s always a possibility.” 

Up until now Strange Collective have been unburdened by 

expectations, and that is how it will remain. Plans remain vague, 

boundaries unset, with the band seemingly intent on placing 

no limitations on their own development. They’re not so much 

following the Yellow Brick Road as paving it before each boot 

crashes down on the surface. Whether the first thing they release 

is a live record or a studio album, it will be one that any music fan 

should be sure to keep an eye on. In the meantime, go and see 

these guys play. You won’t be disappointed. 

bidolito.co.uk

Words: Laurie Cheeseman / @lauriecheeseman 

Design: Sam Marshall / notknot.co.uk


13 

A mysterious, semi-anonymous producer with a guest vocalist 

drops some bedroom-produced tracks online, pegs them with the 

“post-dubstep” tag, and watches them spread like wildfire through 

the underground. It is a paradigm shift that we’ve become used 

to over the past few years, and welcomed in a world where we 

are subjected to information overload. UNKNWN are one of these 

producer-vocalist combos, and in an increasingly crowded scene 

they have managed to attract a lot of interest from blogs as well 

as bigger fish (Pitchfork, Annie Mac and Boiler Room); and, what’s 

more, they’ve put their own, fresh angle on things. Over the small 

but perfectly formed clutch of tracks released so far, UNKNWN’s 

aesthetic has progressed massively – from the ethereal garage of 

yore to something darker, with more than a small dose of early 

trip hop entering the heady fug. In the same week that Clash 

magazine featured their new single Devil, Bido Lito! caught up 

with the production half of the duo, Chris Hanna, to have a chat 

with him about life, the universe and everything in it. 

“We just wanted to push the boat out a little and try and make 

some stuff we hadn't tried before as well as trying to make 

something we thought sounded original, or not like something 

we've heard. Personally, we're really happy with [Devil]!” It’s a bullish 

opening from Hanna, who is joined by vocalist Gemma Dunleavy on 

the UNKNWN journey. Originality is one of their hallmarks, and one 

of the major things that helps UNKNWN stand out from a rather 

crowded marketplace is the use of live vocals on top of the pitchshifted 

vocals and 2-step rhythms that are somewhat de rigeur 

these days. And, unlike the current wave of vocal-led pop house 

flooding the charts, their use of minimally processed voices doesn’t 

feel like an attempt at accessibility; it’s a far more organic feeling. 

“It was definitely just a natural thing, me and Gemma collaborating. 

She happened to be living with a good friend of mine, and we just 

met through that. Then I found out she had an amazing voice and 

we just spoke about making something. Why not?” 

Blossoming from the type of one-off collaborations that occur 

every day in dance music, it appears that this union is developing 

into something more permanent, and that can only be a good 

thing, right? Hanna concurs: “After we released I Cry and played live 

together, it was just enjoyable and we felt it could be something 

we could really build and develop. It was definitely nice that it 

happened naturally, as it hasn't felt like we've tried to do a certain 

thing and stick to that; it all just sort of happened.” It was around 

this time that Unknown also became UNKNWN. “I think when it 

got to the point where this could actually be something I do for 

a living, changing the name and us becoming a duo was just like, 

new beginnings. Let's start fresh and work together – which has 

been great. I think the sound has become more interesting and 

varied, and has grown with myself and Gemma both still learning 

and trying new things. We're not ones for wanting things to go 

stale, and we're both pretty opinionated, so it can have its ups and 

downs, but we always reach a point where we're both satisfied.” 

Despite being based in Belfast, Chris is over in Liverpool regularly, 

where Gemma is based (she studies at LIPA). Being in touch with 

Liverpool’s nascent electronic scene has definitely helped nudge 

the UNKNWN narrative too. It’s only a small scene, but what 

we have is great – just look at GhostChant and The Cyclist, who 

both seem to share a collective approach. This is something with 

which Chris agrees: “It's definitely a great city for music, especially 

electronic. LIPA has some amazing people, and everyone is really 

open about helping each other with shows or set ups; it's like 

one big collective and people are constantly doing favours for 

each other - and everyone seems to be doing well.” Despite this, 

everyone occupies a different aesthetic space, a scene (if you can 

call it that) not unified by a defined sound. 

Nonetheless, location is clearly important to the music. “I 

think [that] being in Liverpool has definitely made me more 

open, with working with people, etc,” Chris explains. “When the 

whole Unknown thing started, I just liked doing things myself 

and keeping it that way, as I'm just quite picky, as you would be 

if it's your music. Then coming here and working with Gemma, 

and even other people, it's like everyone is just really creative and 

open about it.” More importantly, this drives everyone along to 

try out new things – one of the reasons they have progressed so 

much in such a short space of time. “There's no embarrassment 

to try something or holding back, which I think opened me up a 

bit more and helped me just work with other people a lot more 

freely. With regards to the actual sound, I think that's just the 

combination of what me and Gemma like, which has been quite 

varied, but we try not to become repetitive or fall into one ‘sound’ 

– if that doesn't sound completely pretentious.” 

This ability and willingness to experiment spills over into their 

live set-up, an arena where most electronic musicians fall down. 

Well, it is kind of hard to make a man (and sadly it is usually a man, 

but that is an argument for another time) hunched over a mass 

of wires and boxes look anything other than tedious. Chris and 

Gemma, however, circumvent this neatly – their live set at Abandon 

Silence’s fourth birthday bash was one of the day’s highlights. In 

Chris’ opinion, “Gemma has turned it into a proper live show, and 

she's the frontwoman. She has good experience working with 

people and organising a proper live show, as well as being a great 

performer, whereas I have more of a DJ background, so it's been 

a learning curve. We're actually working on a completely new live 

set that we'll be touring with at the end of summer. We've just felt 

like the time has come to step things up a bit.” 

Theirs is a sound that works equally well in the dark bowels 

of a club and in the sunnier climes of places like The Kazimier 

Garden, taking clear influences from outside the dance universe 

in the way artists like Mount Kimbie and Andrew Weatherall do. 

“It was a conscious decision to have our tracks split between the 

more clubbier, darker side of things, as well as the likes of BBY, 

which is more of a song in the traditional sense. We decided that 

we don't want to be a band playing songs, but would rather tread 

the line between the two elements – and maintaining the heart 

of the Unknown stuff when it started. It can be a tricky one; in the 

end, we just make what we like and what we think is cool. Only 

way to do it, really. Sometimes the track you least suspect goes 

down the best. It's unpredictable.” And, in an ouroboros kind of 

way, this is feeding back into how they think about music back 

in the production stage. “After playing more and talking about 

this new live set, we're going to be producing the music as we 

produce the live set. The two should go hand in hand. I've always 

been a production first guy, but it'll be nice try something new and 

develop an interesting show.” 

However, there is still one issue hanging over the conversation 

– that Burial-esque, fastidious sense of mystery that is so 

commonplace… “I'm not doing it anymore; it was more in the 

beginning. I just wanted people to listen to the tunes and enjoy 

[the vibe] merely because it sounded good, not because it was 

attached to a certain name.” Confidence, it seems has changed 

all that now. “Now I don't care, as people did seem to do that, 

and it was sweet. Now I just wanna make good music and play 

good shows. I'm actually not a shy person at all really, I'm quite 

loud. I'm definitely not one to be running off stage in a cloak and 

disappearing.” And off like that go UNKWN, back into the ether for 

the summer. Don’t be gone too long. 

unknwn.net 

Double A-side single Devil/BBY 

is released on Champion Sound 

Recordings on 7th July. 

bidolito.co.uk

14 

Bido Lito! 


Words: Josh Potts / @joshpjpotts 

A few days ago I came to the conclusion that, figuratively 

speaking, I’m near bursting point. Like those guys you sometimes 

find at work who wipe whatever greasy shit they eat on their 

break around the packaging three or four times to savour 

their addiction, the second quarter of 2014 has been an utterly 

gluttonous friend to Liverpool’s music fans: already we’ve had the 

camaraderie of Threshold, the glorious return of Sound City, and a 

steady stream of gigs sparing no effort in giving us thrills to gorge 

upon. More celebrations are on the way too, hopefully to match 

this heatwave we’re due; although they always say we’re meant 

to get the best or worst summers ever, usually supporting that 

classic British cynicism, the sense that no pattern can be trusted. 

So let’s avoid hyperbole and conclude that Liverpool’s vibrancy 

and creativity are intact, while secretly permitting ourselves 

excited whispers about the future, the developments and the 

city’s ever-growing draw for fresh-faced talent. The metaphorical 

stomach is expanding, and it feels delicious. 

As good an example as any of this is X&Y Festival, which sees 

another impossibly crammed day of gigging headlined by a band 

who are buzzing so hard you’ll be stung if you don’t catch them 

at this crucial stage in their career. But don’t tell HALF MOON RUN 

that: they prefer working in the dark, even though being open is 

their bread and butter. At least it is in terms of the biggest bloody 

open spaces possible, for their ability to handle arena and festival 

crowds is garnering unusually high praise from all corners of the 

critical concerto. By injecting folk music with indelible, restless 

atmospherics (likely to swing from maudlin to ecstatic in a 

heartbeat), the Canadian quartet know that experimentation is 

as important as security, along with taking stock of what they’ve 

accomplished. “Sometimes it’s a rush and we don’t get a chance to 

see or do anything,” explains guitarist and keyboard player Conner 

Molander, somewhat understating what has been an insane 

couple of years on the road. “To be honest, we really needed to 

slow it down for the sake of our longevity. This summer we’re 

playing some good shows but otherwise we’ve left ourselves a lot 

of time to work on being creative again… it’s why we do this.” 

Molander is just one arm of Half Moon Run’s dizzying 

instrumental juggling act. He still hasn’t stopped travelling, and 

phone troubles cut our interview short, leaving an extra day for me 

to think on the band’s ideology while I wait for his email to defy 

the perils of trans-Atlantic conversation. When it comes through, 

his answers seem quite guarded, unspecific, yet distractingly 

relevant and honest, and it’s obvious that he and his bandmates 

need time away from talking about themselves. Onstage, they 

share one another’s guitars, drumsticks and microphones with 

easy adaptability. Ditto the vocal harmonies that have become 

the group’s major talking point – unified against criticism, they are 

contemplating another kind of harmony before the world comes 

calling once again. “Right now I’m in a headspace that rejects any 

analysis of what people may think of the band. In fact, I think we’ve 

recently returned to a way of thinking about music that’s similar 

to the way we thought before we even signed a record deal: as a 

means of expression, of communication. It’s an escape; just one 

part of living a good life.” Considering the comparisons that have 

been thrown at Half Moon Run (Fleet Foxes, Local Natives and, 

for some bizarre reason, Radiohead) since their debut album Dark 

Eyes made a splash on the indie circuit in 2012, it’s hard to blame 

him for rejecting outside opinion. Hyperbole can be a bitch. 

“The whole [music industry] is really very non-musical,” says 

Molander, “and I’ve found it unhealthy to dwell on.” This contributed 

in part to co-members Issac Symonds, Devon Portielje, Dylan 

Phillips and himself hiring out a cabin in the Canadian wilderness, 

which he describes as “kind of a recovery time for us”, allowing 

them to avoid staring at the egotistical precipice yawning up 

to many who achieve early success. Their touring schedule has 

seen the Half Moon Run bus pitch up in places as far apart as 

Scandinavia, the Netherlands and Australia, mainly in support of 

some big names. However, playing second fiddle may well be a 

thing of the past, especially if the fertile history of their home 

is any indicator. Montréal, their base camp, is already notorious 

for its status as a breeding ground for creative innovation. Mac 

DeMarco, Purity Ring and Arcade Fire have capitalised on the 

city’s low cost of living and welcoming artistic infrastructure to 

set the bar for their respective genres, and here’s hoping that 

Molander et al displace tour mates Mumford And Sons as folk’s 

go-to rabble rousers. And since they’re bolder and more beatific, it 

could well happen. Stadium-sized fame and notoriety does bring 

its own problems though, and Conner admits that “insecurity or 

narcissism” are things to be wary of, perhaps understandably. 

However, for a band brought together by a Craigslist ad, the 

strength of their live act shows that Half Moon Run’s connection 

to truth without pretence is paramount and delicate, and totally 

reliant on self-belief. 

Good press has done its business too, mind. Full Circle gained 

huge exposure after soundtracking the Assassin’s Creed IV trailer, 

notching up over a million hits in 24 hours. NME named them the 

Buzz Kings of the M Is For Montréal festival a while back, while the 

Guardian’s Caroline Sullivan singled out No More Losing The War 

as an “exceptional” track on an album full of “gorgeous, velvety 

drama.” Ask Molander where the lyrics to that song originated 

(lines like “they caught her at Waterloo station, strung up on a 

Ferris wheel” are maddeningly oblique) and the answer is what 

I’ve come to expect: “It’s very difficult to describe our music in 

any way that doesn’t leave me feeling a bit sick to the stomach…” 

But this particular example is about 

someone, directly telling a 

story. “I guess what I’m trying to say is that all there is to know 

about the lyrics is present in the words themselves,” he goes on. 

“Any interpretation that someone may have is as valid and true 

as mine is!” 

Fair enough. It doesn’t matter if a little mystery is maintained 

– and there’ll be more in the guise of new songs, which Conner 

confirms X&Y will definitely witness. Make sure you’re there to 

mark Half Moon Run’s ascendancy, because they will be switching 

to a gallop very, very soon. 

halfmoonrun.com 

Half Moon Run headline X&Y Festival at Liverpool Guild Of 

Students on 11th July. 

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16 

Bido Lito! 


The classic tale of redemption is as old as man, but sometimes 

this love-struck little teenager,” Wilson notes. “All these little 

there’s a particular story that stands out from the rest. Bubbling 

characters – some of them just a word here and there – it’s like 

away below the radar, Paul ‘Kermit’ Leveridge’s triumphant return 

this cast of characters.” 

from the brink is as inspiring as they come and, thanks to SUPER 

However, to get to that stage Kermit needed a cathartic 

WEIRD SUBSTANCE, the brand-new multimedia label of DJ Greg 

release from his darker days. Launching his newly founded 

Wilson, this is a story that is far from reaching its denouement. 

Having worked with Kermit since the embryonic stages of 

Manchester’s hedonistic boom – putting the 

b-boy electro 

of 

Broken 

Glass 

down 

on 

record 

in 1984, and 

producing two criticallyacclaimed 

albums with 

the idiosyncratic, sociallyinformed 

Ruthless Rap 

Assassins in the early nineties 

– Wilson was always going to 

be involved in the contagious 

character’s return. 

Eager to find out more 

about the journey at the 

heart of Super Weird 

Substance’s 

creation, 

Bido 

Lito! 

sought out Greg Wilson in the sleepy 

surroundings of his hometown in 

New Brighton, and found a man who 

was eager to pick up the threads of this 

remarkable story. With the restrained 

confidence of a man on the verge of 

seeing through some unfinished business, 

Wilson recalls a conversation he had with 

Paul in one of the Rap Assassins’ last 

recording sessions. “It was a bleak time: 

Manchester was no longer Madchester 

it was Gunchester. [Kermit] was also 

sinking into a heroin addiction. I knew 

that, but he wasn’t admitting it. So it 

was a bit of an unreal situation, but in 

this moment there was a real clarity, 

and we were talking about the 

future and we were talking about 

this comic book album.” 

Perhaps predictably, the album 

never came to fruition and Kermit formed Black 

Grape with Shaun Ryder instead. “It was basically two 

junkies sat on a couch writing eyeball to eyeball, but they 

managed to come out with this magic,” explains Wilson. “It 

was during [this time] that he poisoned his blood system 

injecting with a dirty needle and contracted septicaemia and 

was basically at death’s door for a period.” After some major 

surgery as a result of the infection, Kermit needed time to 

regroup but took inspiration from the introspective period. “He’s 

like a man possessed in terms of his writing,” asserts Wilson. “This 

is somebody who’s understood from his own dark moments that 

this is it, this is his chance now. If this goes, it’s gone.” 

When Kermit brought his Blind Arcade project to Wilson 

about twelve months ago, it soon became clear that he had 

unknowingly adopted the comic book idea about which they 

once spoke. Blind Arcade Meets Super Weird Substance In The 

The poem is about his heroin addiction, and is read by Howard 

Morphogenetic Field – a mixtape of demos blended together 

Marks, who’s a friend of Kermit’s, and with that deep Welsh voice 

by Wilson, who has also peppered in a few edits, samples and 

[he] gives it gravitas.” 

effects – is the result of that. “In some tracks he can sound like 

Adopting a psychedelic aesthetic and Balearic sound, the 

this wise old soul who’s seen it all, and in another he’s like 

flagship mixtape harks back to past summers of love, and the fact 


Super Weird Substance label at a sixties-inspired “happening” 

at Manchester’s Dry Bar on 

SUPER WEIRD 

SUBSTANCE 

Ripples In The 

Morphogenetic Field 

Record 

Store 

Day, Wilson facilitated 

this catharsis through the 

release of Kermit’s poem Lies 

& Other Fools. “The idea of doing a 

poem as a 7” single was stupid really, it 

Words: Josh Ray / @Josh5446Ray 

Illustration: Illustration: Oliver Oliver Catherall Catherall / olivercatherall.co.uk 

olivercatherall.co.uk 

was like commercial suicide, but we didn’t 

do it [for commercial reasons],” explains Wilson. “It 

was a symbolic thing, to draw a line behind the past. 

that the second summer of love happened in Kermit’s hometown 

isn’t lost on Wilson. “These connections and synchronicities 

have been there throughout this project; we’re very aware of the 

symbolism of what we’re trying to do.” Given the fact that the 

graphic novel Watchmen made a huge impact on Kermit during 

his Rap Assassins days, the Super Weird Substance name – derived 

from a quantum physics theory championed by 

Alan Moore, which argues that “information 

is a super weird substance [that] underlies 

everything in the universe” – furthers these 

synchronicities. 

Though it’s clear to see that Blind Arcade have one 

foot in the past, they most certainly aren’t rooted 

there. With the dextrous robo funk bassmaker Luke 

‘Evermean’ EVM128 working alongside Kermit on 

production, Blind Arcade have their sights firmly set 

on the future, moving from warped versions 

of retrospective sounds to edgy 

electronica, animated by the 

incredible vocal work of BB James 

and telepathic Merseyside twins 

Katherine and Carmel Reynolds. 

Although they move through a 

mind-boggling amount of musical 

territory over the mixtape, there’s never 

any pretence in Blind Arcade’s work; 

what they’re making is above all else 

pop music – perhaps even a new wave 

of pop music. “What they’ve got on the 

surface is really accessible, fun, vibey, 

uplifting music,” explains Wilson. “But 

repeated plays will unveil layers of 

depth to it and you realise then 

that there’s a lot of life been lived 

in this. It’s a life thing, it’s about 

the world we live in now; it’s 

reflective of where we are.” 

Wilson is pensive in his 

stewardship of Super Weird 

Substance’s flagship project, allowing the 

mixtape to pick up momentum naturally. “That 

organic thing of spreading around the summer is 

really important,” he explains, “because those people 

that it connects with will hopefully be firm supporters of 

what you’re doing for a few years down the line because 

they feel that affinity [with it] and they become almost 

evangelical, spreading the word on your behalf.” 

Aside from a couple of festival appearances, Blind Arcade 

will stay quiet for most of the summer, letting the mixtape 

seep into the public consciousness gradually, paving the 

way for a tour in autumn. Super Weird Substance will also 

for the most part remain quiet. With a possible EP release for 

Kermit’s deeper, dubbier project with Ollie Miles (The Footprint), 

and maybe something with the Reynolds sisters, the label won’t 

be looking to add to the roster just yet. “It’s kind of set up in a 

friends and family type way at the minute. We’re not looking to 

go find anyone at this second,” Wilson adds. 

This slow but steady approach will almost certainly pay 

dividends as the movement really picks up steam, so get on 

board with Blind Arcade and Super Weird Substance now 

otherwise you’ll kick yourselves when they take off. 

Download Blind Arcade Meets Super Weird 

Substance In The Morphogenetic Field 

for free now from 

superweirdsubstance.com

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18 

Bido Lito! 


Previews/Shorts 

Edited by Richard Lewis 

GHOSTFACE KILLAH 

Following his sold-out show at 

the same venue three years ago, 

GHOSTFACE KILLAH makes his return 

to Wolstenholme Square. A pivotal 

presence in game-changing NYC hip 

hop crew the Wu Tang Clan, Ghostface has carved out an impressive solo career which spans 

ten albums, including last year’s acclaimed Twelve Reasons To Die. You’d better act quickly if 

you want to avoid being locked out of this one. 

The Kazimier / 14th July 

THE BRIAN JONESTOWN 

MASSACRE 

In their first trip to Merseyside 

this decade, legendary US psych 

rock troupe THE BRIAN JONESTOWN 

MASSACRE visit EVAC in support of 

superlative recent LP Revelation. One 

of the leading lights of psychedelia since their first appearance in the early 1990s, the group, 

led by mercurial founder Anton Newcombe, are known for their inspired and infamously 

unpredictable live shows. 

East Village Arts Club / 12th July 

Motion’s first event of the 

season sees the party move 

DINKY 

uptown as iconic Liverpool club The 

Magnet throws open its doors for 

an XL-proportioned night, headed up 

by Chilean house supremo Alejandra Iglesias, aka DINKY. Merseyside’s very own superstar 

turntablist JOHN HECKLE also appears alongside the Santiago-based producer, who released 

her fifth record on VisionQuest in June. 

The Magnet / 5th July 

Astral Coast 

Now in its third year and boasting its finest and most extensive line-up to date, ASTRAL COAST returns for 

2014. Showcasing the cream of Mersyside music, the event runs from 3pm until late at the Floral Pavilion 

in New Brighton on19th July. The headliner, aptly enough, is peninsula-dweller BILL RYDER-JONES (pictured), 

who is currently in the studio preparing the follow-up to his lauded debut LP A Bad Wind Blows In My Heart. 

Riding high on their self-titled debut LP, THE TEA STREET BAND bring their dancefloor-sating Balearic vibes 

across the Mersey; and, with their highly anticipated second album imminent, the luminous melodies and 

shoegazing textures of BY THE SEA are also welcomed to the Pavilion. 

And it gets better. BIRD are a band who are rapidly in the ascendancy: fresh from their debut UK headline 

tour in support of stunning debut LP My Fear And Me, the quartet feature alongside Domino Records signings 

WE ARE CATCHERS, who issued their critically applauded eponymous debut LP in March. Carlisle’s psych/ 

garage innovators THE LUCID DREAM, along with their Liverpudlian kindred spirits THE WILD EYES, bring 

their trebly guitar assaults to the party, while a special one-off collaboration for the event sees producers 

GHOSTCHANT and LÅPSLEY join forces. With several other acts and DJs as well, the day is a veritable feast for 

the ears – and what’s more the entire affair costs only a tenner. 

Floral Pavilion / 19th July 

THE JAYHAWKS 

Reformed with their late- 

1990s line-up, cult Americana/alt 

country pioneers THE JAYHAWKS 

call at The Kazimier in July. Circling 

the globe in support of classic album 

trilogy Sound Of Lies, Smile and Rainy Day Music – the latter of which is due for re-issue 

this Autumn – the band did much to shape US indie in the 80s and 90s, and have inspired 

countless groups since. 

The Kazimier / 21st July 

STEVEN SEAGAL’S 

BLUES BAND 

Whilst best known for battering 

bad guys in a succession of US 

action movies, STEVEN SEAGAL 

has developed a parallel career of 

singing the blues in tandem with his 

day job of kicking Hollywood villains in the head. On a pan-European tour fronting his 

blues band, the O2 Academy is bracing itself for an onslaught of guitar-shredding from 

the Aikido wizard. 

O2 Academy / 20th July 

Reviving the art of the vocal 

duo in their own inimitable style, 

MYRON & E 

MYRON & E are the latest big-hitters 

from the Stones Throw record label 

stable to wow the city this year. 

Having first locked horns while touring with fellow Bay Area residents Blackalicious, 

Myron Glasper and Eric ‘da Boss’ Cooke have honed their retro soul stylings in to an über 

slick live show. 

The Kazimier / 10th July 

Mellostock II 

Everyone likes a bit of recreational activity now and then, especially when it’s actually recreating 

something. Five years after its only other appearance (which was itself held in honour of Woodstock’s 

fortieth anniversary), MELLOSTOCK II returns to take over MelloMello in what can only be described as a 

multi-floor, three-day benderthon of music. 

Mellostock II hopes to bottle the local spirit that has supported the venue along the occasionally dicey 

road of Liverpool’s cultural resurgence, and the building is opening its doors completely, with a range of 

activities and a rather juicy line-up planned. The celebration will run across the first weekend of July, featuring 

stints by some of MelloMello’s frequent performers and promoters. DOGSHOW, LONG FINGER BANDITS, 

SEAWITCHES, PETE BENTHAM AND THE DINNER LADIES and JIMMY LIGHTFOOT have a longstanding affinity 

with the venue, which makes them perfect guests for main stage performances across the weekend. 

The basement space is set to be taken over by some Mello residents who are keen to show off every 

inch of the building. The DUNGEON DISCO will be presented by Upitup and Deep Hedonia, two platforms 

that consistently champion innovation and make for ideal party starters. And if you can’t work out that 

AARDVARK’S COAL DROP RAVE CAVE is a mini rave in the tiny coal drop basement space hosted by Aardvark, 

then you’re better off not bothering with it. Sunday also features a special version of the silent film nights, 

featuring a live soundtrack by enigmatic celestialist PADDY STEER (pictured). 

MelloMello / 4th – 6th July 

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20 

Bido Lito! 


Reviews 

Action Bronson (Jack Thompson / m0nks.co.uk) 

ACTION BRONSON 

Hawk House 

EVOL @ The Kazimier 

After sunny beginnings in The Kazimier 

Garden for the ACTION BRONSON barbeque, we 

make our way into the club for this evening’s 

performance; the huge crowd further evidencing 

Liverpool’s thirst for hip hop. The support act, 

London-based HAWK HOUSE, perform to a 

crowd that most headline bands would struggle 

to muster. The group are acutely tuned into the 

zeitgeist of urban music, spanning everything 

from the Boom-Bap revivalism of Joey Bada$$ 

to the hyper-futurism of FKA Twigs. Their subtle 

intellectualism and positive messages are 

perhaps an odd choice to be juxtaposed against 

the bombast of Action Bronson, but they clearly 

appeal to tonight’s crowd. 

Rap is a genre known for big personalities 

and Bronson is amongst the largest. His hubris 

and loveable ego only serve to enhance his 

already considerable physical stature. Backed 

by a 20ft mural of himself wrestling an alligator, 

he takes to the stage in a considerable state 

already. As he has some difficulty descending 

the stairs onto the stage, I have initial worries 

that he will be in no condition to perform. Of 

course Bronson, real name Arian Asllani, is 

probably extremely used to performing at all 

levels of inebriation, and he hits the ground 

running. Usually, being so familiar with the 

surroundings of The Kazimier, seeing artists 

perform here goes some way to shatter the 

illusory mystique of celebrity but Bronson 

is every inch the superstar he is on record. 

Performing songs from the recent Blue Chips 2, 

his exaggerated caricature of a rapper makes 

The Kazimier feel like the set for a Nelly video. 

Everything he does seems an anachronism. 

His homophobia, racism and sexism all hark 

back to the gangsta rap era but, perhaps being 

tempered by his larger-than-life personality, it 

almost seems like a parody and no one is in 

the mood to get too offended. This is in part 

thanks to Bronson's exemplary generosity. 

Laughing in the face of austerity and smoking 

bans, Bronson sprays champagne (cava, in all 

likelihood, but we'll err on the side of optimism) 

across the first two rows, whilst also passing 

out lit blunts, just to further enliven the already 

raucous atmosphere. It's difficult not to be 

swayed by his infectious personality – as the 

bouncer placed on stage to keep him in check 

finds out when invited for a dance. 

It would be easy to dismiss Bronson as merely 

a bit of fun, but underneath the comical veneer 

he proves to be an excellent rapper. His breadth 

of influence far outstretches his waistband, 

with luminaries Ghostface Killah to MF Doom 

showing influence on his flow. Lyrically too, his 

use of clever metaphors and intelligent turns 

of phrase impress, even if the subject matter 

rarely extends beyond the basic rap themes of 

women, drugs and self-promotion. 

By the time he jumps into the audience for 

a hair-metal interlude, the crowd are baying for 

more. As he returns to the stage for his encore, 

towel draped over his head like a boxer, I'm still 

blown away by his star power. It's only a short 

performance but I've enjoyed every minute. I'm 

certainly not the only one in the room hoping he 

stays true to his promise of coming back soon. 

Dave Tate 

HOT 8 BRASS BAND 

The Fire Beneath The Sea - Krar Collective 

Fiesta Bombarda @ The Anglican Cathedral 

Here’s a question for the Bombarda 

Collective: when you seem dead set on upping 

the ante every time you put on an event, how 

do you top celebrating your second birthday 

at the Anglican Cathedral? 

This house of God has seen an influx of music 

recently but none quite like the incredible 

KRAR COLLECTIVE. Emerging from the smoke 

beneath the domineering Gothic arch at the 

centre of the nave, talisman Temesgen Zeleke 

reveals the eponymous krar instrument: an 

Ethiopian six-string lyre he had to make from 

scratch no fewer than five times because 

his mother – fearful of her son entering an 

uncertain profession – kept destroying it. 

Joined by Grum Begashaw, knocking out 

an intricate beat on a set of kebero drums, 

Temesgen reveals the traditional Ethiopian 

instrument’s psychedelic tendencies. As the 

krar’s meandering melody slowly fills out, 

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5 July –26 October 

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#biennial2014 

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ART 

FILM 

TALKS 

MUSIC 

TOURS 

DEBATE 

EVENTS 

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Grum adds texture to the roots rhythm with 

a raspy bell and Genet Asefa enters the fray, 

her ethereal North African chants floating 

over the composition. 

After mesmerising them, the collective soon 

have the crowd dancing as the krar shows 

its versatility, oozing a deep, funky bassline. 

This time at the forefront of the track, Genet 

utilises her astounding vocal range and soon 

has the crowd clapping along without any 

cue. Out of nowhere, Addis Ababa’s answer to 

Bez bursts onto the scene and asks everyone 

to dance with him, causing chaos to ensue 

as he throws some serious shapes in an 

outrageous wig. 

THE FIRE BENEATH THE SEA keep the 

celebrations in full swing as Wraith Of The 

Woods and Barry Exanthematicus animate 

Captain Morgan’s raucous party rhythm with 

sharp bursts from their trumpet and sax. 

Doorag Jesus soon paves the way for Rojo Fyr 

Fox’s guitar solo with some deft scratching 

but steals the limelight again before placing 

it back on the emcees. Morgan’s broken beat 

accompanies Barkerchop’s rolling bassline 

as Armen Starfish, Terra Byte, the Gerbil and 

Llerraf Zafgir dextrously bounce their quirky 

quick-witted rhymes off each other. Adorned 

in an Indian headdress, Lady Lea provides 

balance, filling the gaps with a soft yet 

soulful chorus, clearly elated by the fiesta 

atmosphere permeating the formidable 

venue. 

It’s exactly the kind of atmosphere New 

Orleans’ HOT 8 BRASS BAND feel at home 

in. The suitably named Big Peter leads 

the band out and, with light bouncing off 

his enormous sousaphone, begins Rock 

With the Hot 8. Lil Sammy starts to tickle 

the snare around his neck before Swamp 

Thang clatters the crash atop his bellowing 

bass drum and the two move into a rideheavy 

rhythm. Terrell “Burger” Batiste leads 

the front row as they sing the chorus but 

soon he and Dr Rackle have picked up 

their trumpets and are adding vibrancy 

and dimension to the sousaphone’s deep 

groove. Readying their trombones, Edward 

Jackson, Gregory Veals and John Gilbert 

(who obviously missed the trip to the Deed 

Poll office) are on hand to further the point 

and there seems to be a strong correlation 

between the amount of brass in use and 

the dancing amongst the crowd. 

With songs seamlessly flowing into one 

another, the Hot 8 move from an intoxicating 

blend of swing jazz and roots reggae into 

the howling samba of Bingo Bango, before 

finishing on a fiery medley of Ghost Town 

and Sexual Healing. After that, it was no 

surprise to see their encore plummet into 

a mass stage invasion, possibly a first for 

the Cathedral, though the Sunday service is 

known to get quite lively. 

Josh Ray / @Josh5446Ray 

FUTURE ISLANDS 

Ed Shrader’s Music Beat 

Harvest Sun @ The Kazimier 

Many, myself included, have ruminated on 

the fickle nature of fame. How many times 

have some bands lingered in obscurity whilst 

others, ostensibly inferior, go on to find riches 

and fame beyond comprehension? Tonight’s 

Kazimier show provides ample food for further 

thought. Firstly why haven’t I, or anyone I ask, 

ever heard of ED SHRADER’S MUSIC BEAT? Their 

tongue-in-cheek, post-punk minimalism is an 

unexpected but hugely enjoyable delight. It is 

also worthy of consideration that, the last time 

FUTURE ISLANDS played in Liverpool, it was to 

a near non-existent crowd in the now nonexistent 

Korova. This fact is brought to light 

by lead singer Samuel T Herring, with only 

the slightest hint of self-satisfaction, as he 

gazes down on a sell-out crowd. The size and 

demographic of said audience speak volumes 

about the breadth of Future Island’s newfound 

fame. The room is buzzing with energy quite 

unlike anything I’ve experienced for a long 

time and it's understandable why. After a 

snowball of press from that now infamous 

Letterman performance, you could be forgiven 

for assuming a band of their stature would 

be interested in playing only the biggest of 

clubs in every city they hit. Because of the 

comparatively insular surroundings of The 

Kazimier, however, there is a palpable sense 

that everyone understands, and is excited 

by, the rare opportunity afforded to them by 

a booking they are unlikely to see again. This 

should itself say something about the attitude 

of the band. In spite of my initial misgivings 

that the excitement might have long since 

worn off and the band might, in the midst of 

their punishing touring schedule, be phoning 

it in, they perform every song with the vim, 

vigour and sincerity of a band happy to be 

on any stage. It doesn’t take long for the 

infectious energy of the room to vitalise the 

evening. It’s an energy that Herring is all too 

ready to feed on, exercising every last demon 

out of himself on stage. From the melodrama 

of his pre-song monologues to the physicality 

of his now infamous dance moves, he sheds 

every last ounce of composure and relishes a 

very public celebration of his idiosyncrasies. 

With each guttural roar and pound of his 

chest, he strikes the figure of a man striving 

to give more than his body will allow, willing 

himself to express something of which he is 

almost profoundly incapable. From the first 

song to the last, including set highlights Sun 

In The Morning and Back In The Tall Grass, the 

spirit rarely drops. This borderline aggressive 

energy is almost undoubtedly the reason 

Future Islands find themselves in the position 

they are today. It's as evident here as it is in 

the video that launched them to fame: the

Reviews 


23 

moment of realisation when the performance 

shifts from 'that guy with the funny dance' to a 

performer giving every last piece of himself to 

the baying audience. 

Dave Tate 

BO NINGEN 

Younghusband – The Scenes 

EVOL @ East Village Arts Club 

The ear-splitting clamour of BO NINGEN will 

tonight be echoing throughout an anticipative 

EVAC loft, as the Japanese psych-rockers make a 

much-welcomed return to the city. This sterling 

EVOL bill kicks off with THE SCENES, who 

superbly initiate tonight’s spectacle with an 

affray of swooning, Wild Beasts-esque indie-pop. 

The Finnish upstarts boast exceptional musical 

quality throughout their set, with interlacing 

guitar lines dwelling cautiously behind a 

whirlwind of vocal aptitude. 

YOUNGHUSBAND are a band continuously 

advancing from strength to strength; having 

recently gained support slots with newly 

reformed Slowdive and an appearance at 

this year’s Liverpool International Festival of 

Psychedelia, the band are surely living out every 

discerning shoegaze fan’s dream. The vivid, 

mesmeric resonance of Comets Crossed and Left 

Of The Rocks permeates intricately around the 

venue, with singer/guitarist Euan Hinshelwood’s 

vocal suited impeccably to the song structures: 

all high range, clarity and intrigue. Such 

effortless dynamism showcases Younghusband 

as a band who are far more than 90s guitar 

throwbacks, with debut album Dromes being 

exhibited to stunning effect throughout their 

set. Now storming through tracks such as the 

album’s title track and Wavelength, the band 

have unquestionably been on top of their game 

tonight. 

Bo Ningen (Keith Ainsworth / arkimages.co.uk) 

The Ningen mount the stage to bombard 

the eardrums of all in attendance. Furious, 

chaotic yet masterfully crafted jams begin to 

manifest initially in the form of Slider, a song 

freshly plucked from new album III. Explosive,

24 

Bido Lito! 


Reviews 

shifting paths of urgently euphoric acid-punk 

envelop the room as Bo Ningen cement their 

status as a truly astonishing and unique live 

band. The masses of black hair thrashing 

around the stage produce a somewhat 

seismic effect within a spectator; accompanied 

by suitably earth-trembling distortion and 

guitar swinging nothing short of instrument 

acrobatics. A fusion of shooting guitar bursts 

and accelerating vocals ensues on the colossal 

Henkan, showing a band at the very peak of 

their ability. Despite the majority of the lyrics 

being in Japanese, the band boast somewhat 

of a cult following in the UK and tonight has 

proved just why. Extreme, raucous and every 

bit engaging. 

John Wise / @John__Wise 


TOUMANI AND 

SIDIKI DIABATÉ 

Royal Liverpool Philharmonic @ St George’s Hall 

Opportunities to see performances by an 

artist considered to be at the pinnacle of 

their art form don't come around very often. 

When they do, it's all too often when you are 

hungover and/or sunburnt on the last day 

of a festival or perhaps way, way, way at the 

back of some mega-sized stadium. Very rarely 

is it possible to see an artist of the calibre 

and global renown of TOUMANI DIABATé in 

the intimate confines of St George’s Hall 

Concert Room, and there is an unmistakeable 

sense of excitement ahead of this evening’s 

performance. Diabaté's name may escape 

the average Radio 1 listener’s knowledge 

but those with even a cursory interest in 

world music will be instantly familiar with 

his long and illustrious career. Perhaps his 

most notable releases came in collaboration 

with late Malian guitarist Ali Farka Touré, but 

tonight’s performance is in aid of supporting 

his collaboration with his son SIDIKI. 

The 77th successive generation in the family 

or Kora Griot, Sidiki looks ready to take the 

mantle his father has worn so successfully, 

although Diabaté senior proves he can still 

stun and amaze with his dexterity and ease 

of playing. The familial element adds an extra 

layer of interest to tonight’s show and the 

subtlety in the performance extends beyond 

their musical ability and into the dynamic 

between father and son. In the nuances of 

each performer, from Toumani's pillowed 

seat to Sidiki's effects pedals, there is an 

unspoken narrative of cross-generational 

change. The father’s mastery is juxtaposed 

with the flair of his son. Sharing an almost 

telepathic bond, they communicate without 

ever speaking a word. Any indication that 

the younger Diabaté may be playing too fast 

takes little more than a sideways glance from 

his father to rein in, but with every piece of 

flair and virtuosic solo a proud smile spreads 

across the latter’s face. 

Their bond allows for a staggering level 

of intuition between them. Even at their 

fastest, they never stumble over each other’s 

playing or feel out of sync. There is something 

hypnotic about this precise rhythmic interplay 

between the instruments. The performers 

bathed in a deep red light, the sound of the 

strings bouncing around the hall… I begin to 

drift into a mesmerised state on more than 

a few occasions. To borrow an oft-used, but 

rarely sincere, cliché: I find myself getting lost 

in the music and the beautiful acoustics of 

such exceptional surroundings. It is the sort 

of performance that comes from musicians 

who have dedicated their whole lives to 

perfecting their instrument, as well as the 

weight of the some 70 generations of Kora 

players preceding them. 

The Magic Band (Mike Sheerin / michaelsheerin.photoshelter.com) 

CHAIN & THE GANG 

White Blacula - Theresa Stern 

EVOL @ The Kazimier 

Ian Svenonius has carved out a legendary 

reputation amongst certain musical circles. His 

output has included work with bands such as 

The Nation Of Ulysses, The Make-Up, Weird War 

and most recently CHAIN & THE GANG. As well 

as being an author and the host of TV show 

Soft Focus, this eclectic array of recordings has 

gained him a devoted fan-base in the US, and, 

importantly for tonight, in the UK as well. 

Svenonius’ disciples must be patient, however, 

as there are two support acts to come, the first 

of which are the particularly well-named sixpiece 

THERESA STERN. Their impressive display 

of off-kilter ballads enmeshed with charming 

cello parts and sumptuously layered guitar is 

Dave Tate 

met gratefully by the small, early-bird crowd 

and creates a distinctly laid-back ambience to 

accompany those first pre-headliner pints. 

Determined to shatter the aforementioned 

ambience, the equally well-named WHITE 

BLACULA emerge next, adorned in white makeup 

and funeral veils, to deliver one of the more 

bizarre and enthralling performances to have 

graced even The Kazimier stage. Sounding 

a bit like The B-52's and looking a lot like, 

well, vampires, they are all hooky basslines, 

Transylvanian synth and erratic, Frank Snyderesque 

vocals. Occult themes and rock music have 

long enjoyed a perhaps unsurprisingly satisfying 

symbiosis, and White Blacula's seductive take 

on this phenomenon is enough to make me 

long for the crypt (in a good way). Stopping 

short of suggesting a gig in the basement of the 

Metropolitan Cathedral, however, I am content 

to witness a similarly enlivening exhibition from 

the headline act. 

Continuing the night's theme of great band 

names, Chain & The Gang take to the stage like 

some glittering apparition, clad in shimmering, 

silver attire. Their fast-paced, scuzzy blues-rock 

with its DIY aesthetic is perhaps not in any way 

groundbreaking. However, it makes for one hell 

of a live show, and Svenonius's lyrical ramblings 

and anti-authoritarian musings give the songs 

a distinctiveness that would otherwise be 

lacking. Backed by an all-girl four-piece band, he 

swaggers and lunges his way across the stage, 

behaving something like the enthused bratchild 

of Mick Jagger and Iggy Pop. 

The set itself is blistering and entertaining, 

interspersed with political and somewhat ironic 

monologues that turn the songs into allegorical 

commentaries rather than trivial vehicles for 

garage rock. At times the audience are unsure 

of how to react to this, but for the most part 

they are enthusiastic and all too willing to be 

taken for the ride. Though spontaneity is a key 

element of the show, Svenonius' decades-long 

experience of live performance means that he 

knows how to work a room, so to speak. Any 

hesitant response from the crowd is not allowed 

to manifest into awkwardness and, though the 

message is clear, the band don’t take themselves 

too seriously; signing merchandise afterwards 

shows their obvious appreciation of the wellwishers 

– a sentiment that is whole-heartedly 

echoed by the throngs gathering to have a chat 

with the man himself. 

THE MAGIC BAND 

Eric's 

Alastair Dunn 

Captain Beefheart's legacy, like the man 

himself, is something that is incredibly difficult 

to sum up. There can be no doubt that his 

unique discography has inspired a plethora 

of musicians, and over the course of three 

decades he carved out an indelible place in 

music history. Though Beefheart cut his ties

C 

M 

Y 

CM 

MY 

CY 

CMY 

K

with THE MAGIC BAND rather acrimoniously, 

tonight they seem determined to do justice to 

their one-time leader. 

Dismissing the idea of a support act in 

favour of playing a longer show, The Magic 

Band emerge to a packed crowd in Eric's amidst 

thunderous applause. Unlike some depressing, 

money-grabbing ventures from other bands of 

the same period, in which there are no original 

members save for a roadie who once played 

maracas on a hidden track, The Magic Band 

feature two members from what could be 

referred to as the 'classic' line-up: John French 

on lead vocals and Rockette Mortan on bass. 

Their knowledge of and passion for the material, 

combined with the precision of the other, 

younger members, means the performance is 

both technically astute and enthusiastic. 

As expected the songs are long, complex and 

intricate; an exhilarating cacophony of blues, 

psychedelic rock and experimental jazz which 

is almost bewilderingly held together by the 

five musicians. At times the music is so delirious 

that it seems to defy the notion of orchestration, 

but when guitarist Denny Whalley matches one 

of French's saxophone solos note-for-note with 

his voice, the sheer delicacy in composition 

becomes clear. Though it was Beefheart who 

took all the credit for songwriting, it is well 

known that his band composed a lot of the 

music, and the delight they take in performing 

it seems to be testament to that fact. 

Nobody could ever call this easy listening 

and, though I love experimental music as much 

as anyone else, after an hour my concentration 

begins to wane. Though this probably doesn't 

apply to the rest of the audience, it is a welcome 

gesture when French declares there will be a 20- 

minute interlude so that fans can meet the band. 

These fans, it must be said, are a diverse bunch, 

ranging from those who may well have seen the 

original band back in the day to younger ones 

wanting to catch a glimpse of a legendary act. 

After the brief respite, and with signed vinyl 

in hand, the crowd once again swell around the 

small stage. The second half of the show is even 

more enthralling than the first, with plenty of 

bizarre time signatures and off-kilter bass solos 

to match French's committed display. Jumping 

between drums, sax and frontman duty, it is 

startling to witness how well he manages all 

three, and he has the Beefheart vocal delivery 

pretty much nailed, whilst adding his own 

unique inflections. 

Occasionally whilst watching the 

performance you have to remind yourself that 

this is not a tribute act, but a band consciously 

trying to expand on the output of a musical 

icon. Seemingly, to everyone present tonight, it 

is an observation that needs little re-affirming 

and, as the band leave the stage, it feels that 

we have not simply ridden a nostalgic wave but 

have experienced something that can push on 

into the future. 

Alastair Dunn 

EZRA FURMAN AND 

THE BOYFRIENDS 

Happyness 

HD Concerts @ East Village Arts Club 

Towards the end of his set, EZRA FURMAN 

offers his take on the city, pondering the effect of 

“living in the shadows of giants” before declaring 

“regardless of what you think of them, here’s one 

for the motherfuckers who don’t like my dress” 

and launching into a boisterous Tell ‘Em All To Go 

To Hell. It’s one of many inspired anecdotes that 

capture Furman’s schizophrenic stage presence, 

which lurches from one extreme to the next. You 

can wonder what has influenced this; you can 

even look for a meaning in his bold flowery dress 

and leather jacket combo. But it’s probably just 

because he wants to. 

HAPPYNESS’s take on the college rock sound 

has all the key character traits – dual vocalists, 

half-arsed banter in-between songs – but beneath 

the slacker haze of the Pavement-esque indie 

rock, there is a dry, sinister heart lurking beneath. 

Titles of tracks like Great Minds Think Alike, All 

Brains Taste The Same speak for themselves, 

equally intriguing and unsettling. Happiness 

for these Londoners is embracing your own 

distinctive melodic flair and pounding it into the 

audience’s consciousness, as guitarist/vocalist 

Benji Compston does on Whole New Shape with 

some frenetic hammer-on picking. 

The ferocious I Wanna Destroy Myself 

opens 

EZRA FURMAN AND THE BOYFRIENDS’ set at 

breakneck speed, as it does last year’s critically 

acclaimed album Day Of The Dog. In contrast to 

the crowd’s cautious stance before, everyone 

surges forward for the headliners, and it’s not 

hard to see why. Meek but endearing to look at, 

Furman is a truly enigmatic frontman. He doesn’t 

just embody the tone of each song, he pushes 

himself to the limit of the track’s emotions; a 

lustful gaze before Bad Man transforms into a 

stark, hollow stare, rasping each lyric. 

The ecstatic reception Furman receives only 

propels him forward, revelling in the role of 

entertainer. He uses this energy to power his 

engine while his associates try to keep up. The 

variety in his great, bubbling pot keeps the 

set fresh and invigorating; American Soil is a 

formidably sludgy number, a delightful contrast 

to the uplifting sing-along melody of My Zero. The 

Boyfriends bow out on the optimistic Anything 

Can Happen, the rousing punch from the blast 

of guitars after the quiet tinkering of piano keys 

feeling as familiar as an old friend. 

For a solo encore, Furman performs an acoustic 

version of The Harpoons’ track Wild Feeling; a 

slow contemplative number that showcases his 

ability to tap into the inner consciousness. Alone, 

he is suddenly vulnerable; an appropriate angle 

for the theme of alienation within the song. It’s 

fitting he finishes this way. Whatever moniker he 

performs under, his persona is so distinctively


27 

honest that you feel no one else can touch it. 

Every dog has his day, and that is certainly the 

case for Furman tonight. 

Jack Graysmark / @ZeppelinG1993 

THE VIPER ONE HUNDRED 

SPECTACULAR 

Mellowtone @ The Palm house 

It’s a scorcher of day; the sun is shining, pubs 

are overflowing, the grass looks a little greener, 

life is immensely sweet, and the folks at The 

Viper Label are on point for their 100th release 

celebration at the suitably tropical Palm House 

in Sefton Park. Never has the word ‘spectacular’ 

been so true to life: on arrival, guests are met by 

two women dressed as birds of prey, pretty much 

nailing the character as they dance and creep 

menacingly around. Masquerade masks are 

scattered over every tabletop; there’s a magician 

on form for awe-inspiring entertainment; guests 

are certainly in for more than a gig here. What 

better welcome than a free sequin-clad mask 

and the new Viper 100 CD?! The night could well 

end here and it will have been one to shout 

about, but, thankfully, there is more. 

The evening progresses in true Mellowtone 

fashion: a chilled-out and modestly, but 

unmistakably, cool affair. The host of all hosts, 

Dave Owen, is responsible for a hefty chunk 

of tonight’s magic, not only presenting but 

participating, and, as the sun sets through the 

greenhouse venue, he welcomes Lightning 

Seed MARTYN CAMPBELL, who starts the night 

off with three acoustic tunes. MATT BARTON of 

Tramp Attack and The Carers follows, playing 

some slowies and telling the audience to 

“try not to cry too much, it’s a party”, before 

continuing in a rockabilly style. Former Hokum 

Clone ROBBIE STEVENSON, with his adoringly 

humble nature, treats us to some not-sohumble 

Western blues and, as if the night could 

be more transcendent, the show-goer now 

resides in a desert soul trance. Pete Wilkinson 

Robbie Stevenson (Glyn Akroyd) 

– aka AVIATOR – is well received, as the former 

Cast member’s lap steel sparks much nerdy 

instrument chat over at my table. 

A raffle follows, with several decks of Beatles 

playing cards having been handed out upon 

arrival, and the winners receive generous stacks 

of Viper CDs, which are enviously eyed for the

28 Bido Lito! 


Reviews 

rest of the night by the not-so-lucky. This is 

(nearly) forgotten though when the main men 

themselves, MIKE BADGER and PAUL HEMMINGS, 

get up on stage for a few numbers, starting 

with a poignant shout-out to Deltasonic’s late 

founder Alan Wills, a nice touch to a celebratory 

night for the Liverpool music scene. To the whole 

venue’s joy, TOMMY SCOTT of Space joins Aviator 

on stage for a blinding performance of Female 

Of The Species, which inspires amazingly dodgy 

crowd vocals and dad-dance galore; it’s the 

family party to beat. 

The finale of the night is led by Edgar 

‘Summertyme’ Jones, oozing his trademark 

cool as he takes the stage with host Dave. Their 

faultless performance of THE STAIRS’ Weed Bus 

is the anthem of the night with baked bean 

tin maracas clad in ‘Viper’ printed paper being 

shaken by all. With guests merry from suninduced 

drinking, laden with souvenirs and 

willingly under the spell of Viper’s party-hosting 

artistry, the night is a celebration, a tribute, and 

a great credit to Liverpool music as a whole. 

Hannah McEvoy / @hanevoy 

SPEEDY ORTIZ 

Sugarmen - Serotonin - The Inkhearts 

EVOL @ The Shipping Forecast 

Tonight’s downscaling from the East Village 

Arts Club doesn’t feel like a demotion, rather a 

more in-tune approach to how music benefits 

from the right setting. SPEEDY ORTIZ’s debut 

in Liverpool is everything you expect: intimate, 

close, and, my God, loud. Back to two guitarists, 

the aggressive fuzz of their music is intense 

and astounding; if there was ever a record for 

Speedy Ortiz (Nathalie Candel / @nathaliepup) 

how deafening bands can be in the cramped 

confines of the Hold, then the Massachusetts 

noise rockers may have smashed it.

Making Liverpool 

sound great ... 

call: 0151 707 1050 

email: info@parrstreetstudios.com 

rs 

visit: parrstreetstudios.com 

Parr Street Studios: 33 – 45 Parr Street, Liverpool L1 4JN 

WED 

16th JUL 

8:00pm 

£19.50 

includes £1.00 

booking fee 

per ticket 

THU 

31st JUL 

8:00pm 

THU 

17th JUL 

8:00pm 

£23.50 


booking fee 

per ticket 

£21.00 


booking fee 

per ticket

30 

Bido Lito! 


Reviews 

DIGGING A LITTLE DEEPER 

with Dig Vinyl 

Bold Street’s latest wax junkies DIG VINYL know a thing or two about the weird and wonderful 

depths of people’s record collections, and each month they’ll be rifling through their racks and 

picking out four of their favourite in-stock records. Keep digging… 


PERE UBU 

THE MODERN DANCE LP 

Thirty-six years after its inception, The Modern Dance still 

sounds as jarring and radical as it must have done in 1978. Its 

influence is huge, and I'm sure that Martin Hannett's production 

of Joy Division's Unknown Pleasures nodded to it (the strange 

elevator noises, the industrial drones). 

PERE UBU take the fear of the modern world and transplant it 

into a different scenario, in which death is not physical but spiritual, not due to bombardment 

but to economic and social mechanisms. But what pervades the entire album (and sets it apart 

from almost any other) is the band's unique and infectious approach to rhythm. 

THE PRETTY THINGS 

S.F. SORROW 

S.F. Sorrow is one of the great lost albums of the era – it 

deserves to be ranked alongside Piper At The Gates Of Dawn 

and Sgt. Pepper – and belongs to a wider range of psychedelic 

classics such as Odessey & Oracle (The Zombies) and Younger 

Than Yesterday (The Byrds). 

As for the music itself, THE PRETTY THINGS had outdistanced 

the competition in terms of breadth, scope and vision. Eventually, the album found a smallish 

audience of psychedelic rock enthusiasts in the 90s and is now firmly established as one of the 

great albums of the original psychedelic era. 

THE DAVID 

ANOTHER DAY, ANOTHER LIFETIME 

Western beats, Eastern chants and the one and only ‘plasmatar’, 

an instrument invented by the group's composer Warren Hansen, 

gave THE DAVID one of the most distinctive sounds in the psych 

scene. The title track blends chant-like overtones with Western 

orchestration motifs, while other tracks are often characterised 

by driving rhythms played alongside oddly spaced melody 

lines. The album remains something of a lost classic, and manages to stay on the right side of 

saccharine due to some underlying garage moves from the band’s earlier days. 

DEEP PURPLE 

IN ROCK 

An explosion of guitar and cascading sparks, eventually settling 

into the serene sounds of an organ: so begins In Rock. This album 

deserves recognition for the way its stunning power, volume and 

energy completely blew away practically anything people had 

heard at the time. It is also Roger Glover's favourite DEEP PURPLE 

album. Standout track Child In Time, which is a ten-minute epic in 

the truest sense of the word, will convert you to classic rock in seconds. That is, if you weren't 

already hooked from the insane Speed King. 

Head to bidolito.co.uk to stream the latest Dig Vinyl Podcast, featuring a mixture of new, old 

and half-forgotten classics. 

Skelmersdale four-piece THE INKHEARTS are 

a bit more restrained with their no-nonsense 

indie pop. Their addiction to power chords lets 

them down a little, but there’s an endearing 

look in frontwoman Lauren Shaw’s eyes 

that can’t be avoided. Five-piece SEROTONIN 

follow them with their alluring goth psych 

amalgamation. Born from the embers of The 

Dirty Rivers, there’s plenty of potential here, 

particularly when frontman Mike Ellis is so 

animated onstage, suitably possessed by the 

band’s dark melodies. With his bandmates 

duly downcast all in black, it’s broody, sludgy 

and downright eerie. 

SUGARMEN are last in the local support 

band hat-trick, their raunchy hard rock oozing 

reverb. A constant fixture on the Liverpool 

gig circuit for some time now, each track 

is powered by their endless enthusiasm, 

summed up by a lead guitarist who mouths 

the words to every song. Closing number 

This Is My Life (And It’s Alright) draws on the 

“we’re all in this together” ethos, but it suits 

Sugarmen’s united front. It’s this energy and 

confidence that keeps the set sweet when the 

tracks occasionally falter. 

In contrast, Speedy Ortiz are relatively 

chilled throughout their set, but as the 

noise rarely relents from the scuzzy opener 

American Horror, the music is more than 

capable of speaking for itself. You can always 

turn the volume down when the band are on 

record but that isn’t an option in this setting. 

Though enthusiastic, the crowd’s cheers feel 

drained; they simply cannot match the size of 

the music that the band produce. However, 

Gary, a formidable number that swells verse 

by verse, keeps the Hold on edge, anticipating 

the moment it crashes into life. 

The downside to this is that Sadie Dupuis’ 

sharp and surreal lyrics are often drowned out. 

Such is the risk when your backdrop carries 

such force; Dupuis herself is somewhat selfcontained, 

caught in her own little world, 

while her casual matter-of-fact tone doesn’t 

make it any easier to catch her vocals. No 

Below works wonders in that sense as a 

slower, pondering number: as delicate as 

Speedy Ortiz will ever sound, it provides a 

welcome release as a relaxed sway-along 

towards the end. 

Intense it may be, but this is never down to 

pace. Mike Falcone’s drumming comes thick 

but never fast, and deep within the band’s 

peculiar dirge is a sense of direction. Just 

because it’s slacker doesn’t mean they lack 

the smarts. It’s harder to catch the intricacies 

with the overpowering fuzz, but it’s still a 

gripping onslaught. Finishing on the grimy 

divulge of Tiger Tank, it somehow balances 

a relaxed pace with threatening to grind 

your eardrums down to a pulp. If our ears 

don’t stop ringing, it will serve as a pleasant 

reminder of a great gig. 

Jack Graysmark / @ZeppelinG1993 

PULP: A FILM ABOUT LIFE, 

DEATH AND SUPERMARKETS 

Followed by Live Satellite Q&A 

Picturehouse @ FACT 

“It was alright” is, according to guitarist 

Steve Mackey, the highest declaration of 

praise in Sheffield. This is why his band PULP’s 

homecoming show, the last date of their 2012 

reunion tour, has to be extra special. But how 

can a place of such reserve give birth to not just 

one of the greatest bands and most extravagant 

frontmen of all time, but a roll call of era-defining 

pop bands? 

In the Q&A beamed directly from the city’s 

Documentary Festival, director Florian Habicht 

tells us that the band had warned him he would 

have to earn the people’s trust before he made 

his film, which is about the city of Sheffield as 

much as it is about Pulp. 

One thing we learn from this special 

showing of Pulp: A Film About Life, Death And 

Supermarkets is that eccentricity wins through 

in a place like Sheffield. From Habicht’s entrance 

into the City Hall for the film and festival’s 

opening, excited as a puppy, and making about 

as much sense, it’s clear the lovable Kiwi gained 

the Yorkshire folk’s trust with his childish charm 

and enthusiasm. 

Throughout the film we meet subtly and not 

so subtly eccentric characters on the streets of 

the Steel City: Josephine, the OAP who marginally 

preferred Pulp over Blur; Terry, the balding 

newspaper seller who, Habicht tells us, was 

the first citizen with whom he fell in love; and 

Bomar. Bomar, a young, cross-dressing musician, 

paints one of the most humorous and poignant 

pictures of his home city when he compares it 

to London, where he was once mugged twice in 

one night: “You do get mugged in Sheffield, but 

when you do it’s usually funny”. 

Autobiographical details are skimmed over 

in favour of a study of Pulp’s hometown, a 

place where few of the band live now but 

which has informed nearly all of Jarvis Cocker’s 

writing. In the Q&A hosted by Paul Morley, we 

are told that this was a conscious choice as 

details about such things as which members 

preceded the current line-up, what the 

motivation was behind certain tracks and what 

happened at the Michael Jackson Brit Awards 

performance are already out there, in books 

and online. Besides, Habicht “doesn’t like to 

do a lot of research”, preferring instead to drop 

into a city and fashion out a funny, informative 

and touching portrait. This is what the director 

did with previous film Love Story about New 

York, which is what alerted tonight’s subjects 

to his talents. 

It’s a perfect match: eccentricity catching 

imagination and creating something truly 

enjoyable and a time capsule for the ages. 

Sam Turner / @samturner1984

LIVERPOOL INTERNATIONAl 

FESTIVAL OF PSYCHEDELIA 

26 + 27 SEPTEMBER 2014 

Camp & Furnace / blade factory liverpool 

goat. WOODS. ALLAH-LAS. 

 

WHITE HILLS. SLEEPY SUN. 

ZOMBIE ZOMBIE. WOLF PEOPLE. 

CHRISTIAN BLAND & THE REVELATORS. 

AMEN DUNES. HILLS. GRUMBLING FUR. 

AL LOVER'S SACRED DRUGS. ANTHROPROPHH. 

 

 

 

QUILT. ORVAL CARLOS SIBELIUS. SEPTEMBER GIRLS. 

TRAAMS. SUDDEN DEATH OF STARS. TEETH OF THE SEA. 

THOUGHT FORMS. Satelliti. VAADAT CHARIGIM. 

THE VACANT LOTS. YOUNGHUSBAND. 

 

BONNACONS OF DOOM. 

GLASS MOTHS. HALF LOON. JIBOIA. 

HELLSHOVEL. IN ZAIRE. LES BIG BYRD. ONE UNIQUE SIGNAL. 

PURPLE HEART PARADE. PETE BASSMAN (Spacemen 3). 

 

 

ZENTRALHEIZUNG OF DEATH DES TODES (ZHOD). 

TRANSMISSIONS FROM THE OUTER REALMS PRESENTED BY 

FT. NOTHING IS DJs 

(CherryStones, Cage & Aviary, Little Dirty, Chris Reeder) 

THE CHIMES OF BIG BEN : richard norris. 

Justin Robertson. Bernie Connor. Richard Hector-Jones. 

 

SONIC CATHEDRAL 'PSYCH FOR 2 SORE EYES' LAUNCH HAPPENING. 

ADVENTURES AT THE OUTER REACHES: FILM PROGRAMME + 

SYMPOSIUM TRAVERSING GLOBAL PSYCHEDELIC OUTPOSTS 

PICCADILLY RECORDS WORLD OF PSYCHEDELIC WAX WONDERS. 

 

Plus...a myriad of cosmic audio voyages, installations and visual sensations. 

Full details and tickets at LIVERPOOLPSYCHFEST.COM

sat 28 june 7pm 14+ £6 adv 

pyro 

sat 28 june 10pm 18+ £8 adv 

circus: yousef (5 hour set) 

thurs 03 july 6.15pm 14+ SOLD OUT 

paul weller 

fri 11 july 7pm 14+ £18 adv 

the cribs 


hoodie ledbetter 

+ osaka punch + diamond days 

sat 12 july 7pm 14+ SOLD OUT 

the brian jonestown 

massacre 

mon 14 july 7pm 14+ £6 adv 

roam + light you up + as it is 


sodium frogs 

+ elephant and castle + just francis 

+ the traits + the central 

sat 19 july 7pm 14+ £6 adv 

lyra + bunkbed 

sun 20 july 7pm 14+ £11.50 adv 

twilight sad 

playing ‘14 autumns and 15 Winters’ in full 

sun 20 july 7pm 14+ £9 adv 

kevin devine 

weds 23 july 7pm 14+ £15 adv 

immortal technique 

state terrorism tour 

 

dj static. hosted by no fakin & aydoe 

tues 23 sept 7pm 14+ £8 adv 

darlia 

fri 26 sept 7pm 14+ £8 adv 

jaws 

sat 27 sept 7pm 14+ £6 adv 

arcane addiction 

thurs 02 oct 7pm 14+ £5 adv 

etches 

sat 04 oct 7pm 14+ £8 adv 

eliza and the bear 

mon 06 oct 7pm 14+ £8 adv 

blitz kids 

weds 08 oct 7pm 14+ £14 adv 

nell bryden 

tues 14 oct 7pm 14+ £12 adv 

wheatus 

weds 22 oct 7pm 14+ £9 adv 

billy lockett 

weds 05 nov 7pm 14+ £8 adv 

dexters 

sat 15 nov 7pm 14+ £10 adv 

coldplace 

coldplay tribute + knaves 

sat 21 feb 2015 12pm 14+ £15 adv 

lashout fest 

 

 

 

 

 

 

sat 26 july 10pm 18+ £20 adv 

circus 

 

 

 

thurs 31 july 7pm 14+ £15 adv 

andrew w.k. 

very special solo tour 

sat 16 aug 7pm 14+ £12.50 adv 

the midnight beast 

thurs 11 sept 7pm 14+ £15 adv 

the magic numbers 

follow us @artsclubhq and at 

facebook.com/mamaco.evartsclub 

90 seel street, liverpool l1 4bh 

tickets available from ticketmaster.co.uk or 0844 847 2472 (24hr) 

mamacolive.com/ 

eastvillageartsclub

Issue 46 / July 2014

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