Issue 74 / February 2017

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44 Bido Lito! <strong>February</strong> <strong>2017</strong> Reviews of Seal Cub Clubbing Club, with the help of new band mates has delighted audiences with their offbeat, ambitious and infectious sound, which has caught the imagination of the region. Drawing a crowd which encompasses nearly the whole room, the crowd watch, entranced by the group’s hypnotic stage presence as they create waves of sound spun through drum machines, pedals and pre-recorded tracks, which are only broken by intervals of small talk or a moment to fix the backing track. Having drifted in and out of the public’s conscious, the West Kirby group’s performance leaves us hungry for their album due in the coming months. Having suitably whet our appetite for more sonic explorations, the modest stars of the main act walk through the crowd with no sense of grandeur in the slightest. They finally find their way onstage with a couple of bottles of wine whilst they sound check as we gaze in anticipation, twitching with each twang of a string, each tap of a pedal. Set up, and raring to go the group spearhead along into a sound which engulfs the room, captivating the crowd with its sheer velocity and volume. The soaring guitars fly amongst the angelic vocals of Goswell which are only kept grounded by the drum beat. Between the epic post-rock soundscapes come electronic interludes of an almost 8-bit nature. The sheer drama and awe of the music is only stopped by a minute to change up pedals, check setup and have a quick swig of much overdue wine (after a no alcohol rule on their arena tour with Placebo). With a calm and friendly atmosphere, Minor Victories seem to have cracked the key to the ‘supergroup’: the need for it to come from a creative space and not one of necessity. Despite the obvious influence of their previous projects, Minor Victories seem to have created something brand new, innovative and truly hypnotising. It’s amazing and rare to see musicians of such prowess play such a small room. As it all comes to an end, the only criticism we can find is there’s simply not enough. The show’s not so much a minor victory but a major success, witnessed by a crowd that know how lucky they are. Matt Hogarth an indie-kid ape man. His physical style may be reminiscent of his baggy forefathers, but, within this warehouse monument to futurism, The Vryll Society are moving forward on the evolutionary scale of sound with archetypes Ian Brown, Richard Ashcroft and Tim Burgess falling further back on the linear timeline. The Vryll Society’s sound possesses a Northern soul that is much more trippy, experimental and likely to take you off the urban hymn book to higher planes of reality. With all this talk of creation it might be a good opportunity to tell you that the songs they are performing are sexy with a lysergic intelligence that renders the need for any time teleportal machine back to the 60s defunct – although such devices would look right at home in the Invisible Wind Factory’s space age surrounds. Their debut single, Deep Blue Skies is one such mellow stroke over the eyes of reality, combining dreamscapes and chords that both anchor the mind and create a sense of inner spaciousness. That is before our hypnotic journey is called back in by a drumbeat and the familiar call to funk of wakka-wakka guitar riffs to set the crowd dancing. Beautiful Faces progressively beats and strains before pausing every now and again for rhythm and euphoria. The Vryll Society are giving us a stylish yet experimental ride through psychedelia that frees itself, and the crowd, with its mix of polished spontaneity; the quality of each live song reflecting their daily practice. Michael Ellis leaves the stage at the end of the set, while his long-haired counterparts play on in a rolling instrumental of groove. Formerly called Dirty Rivers, The Vryll Society are a band that are beginning to reap the benefits of their development with Liverpool label Deltasonic and are undoubtedly on the path to higher planes of success. Sue Bennett / @sue_writes THE VRYLL SOCIETY EVOL @ Invisible Wind Factory Within the out-of-town metropolis of the Invisible Wind Factory, THE VRYLL SOCIETY are performing a mesmeric homecoming gig to their large and growing fan-base. Hot off the back of a UK tour with Blossoms, the lads arrive on stage with plenty of Scouse swagger and a highly-polished set of psychedelia. Lead singer Michael Ellis dances through the dry ice like The Vryll Society (John Johnson / johnjohnson-photography.com) bidolito.co.uk
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Page 1 and 2: FREE Issue 74 February 2017 The Ori
Page 3 and 4: WITH THOMO AND SHIMY (THIS IS ENGLA
Page 5 and 6: The UK’s museum of popular music
Page 7 and 8: Bido Lito! February 2017 7 THE GREA
Page 9 and 10: Bido Lito! February 2017 9 learning
Page 11 and 12: facebook.com/o2academyliverpool twi
Page 13 and 14: Bido Lito! February 2017 13 a game
Page 15 and 16: Bido Lito! February 2017 15 the cro
Page 17 and 18: Bido Lito! February 2017 17 The Ger
Page 19: Bido Lito! February 2017 19 Camp an
Page 22 and 23: 22 Bido Lito! February 2017 FEBRUAR
Page 24 and 25: FRI FRI FRI FRI FRI FRI SUN SUN SUN
Page 26 and 27: 26 Bido Lito! February 2017 Reviews
Page 28 and 29: entrance to the Caves of Kronia. Th
Page 36 and 37: the atkinson love folk festival —
Page 46 and 47: DIGGING A LITTLE DEEPER with Radio
Page 48: YOUSEF PRESENTS... SATURDAY 28TH JA

Issue 74 / February 2017

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