Issue 55 / May 2015

folk collective play a perfectly ambient set as
the night draws in; the warm vocal tones and
delicate instrumental tapestries create a scene
of serenity and peaceful attentiveness. Tracks
such as Submarine and Two Steps are definite
hits of the set. Black Mountain Lights deliver one
of the defining performances of the weekend.
Threshold Festival continues to prove
its worth, unfolding with characteristically
charming aplomb and cements its niche as a
festival celebrating our city's own musicians and
visual artists.
Chris Carr
Phil Morris / @mauricedesade
ALRIGHT THE CAPTAIN
Chiyoda Ku – Memory Of Elephants
Yeah Buddy! @ Maguire’s Pizza Bar
Intimacy is something often treasured by gig
attendees. The close-quarters of such shows
generate the greatest sense of inclusion, making
it feel like the hours spent checking every back
catalogue and B-side the band has put out does,
in reality, matter. Unfortunately, even for a venue
like Maguire’s, having a twelve-strong crowd,
including the bands themselves, appears to go
beyond this sort of notion. The operative word
is, thankfully, ‘appears’, as ALRIGHT THE CAPTAIN
show no sign of feigned interest or blunted
passion in a showing which well and truly
qualifies their Facebook bio of “we like making
noise wherever we can”. The qualification
must also stretch to both of tonight’s support
acts. Where Alright The Captain certainly boast
aesthetics which tie them into the general mathrock
environment, their support pertain to both
the post- and jazz-rock descriptors.
MEMORY OF ELEPHANTS bombard the sparse
crowd with rich, frenetic post-rock tunes, forging
soundscapes which are at times as serene as
they can be brutal, against which the clean, more
dance-y sound of CHIYODA KU reflect similar
off-beat sentiments, just spoken in a different
language. No sign of streams of latecomers,
yet neither is there any notion of becoming lost
in the space, as both bands exercise a sense
of energy and presence which works to fill the
room out rather nicely.
Moving a table out from the stage and decking
it with a synth and their trademark glowing skull,
lovingly known as Barbara, Alright The Captain
present their elaboration on the inclusive feeling
of the gig from the off. Guitarist Marty Toner and
bassist Todd Wood hop frenziedly around the
table, fuelled by their meaty, frenetic riffs and
indefatigable time changes. The energy sizzles
around the room, with Barbara’s bright orange
glow the nucleus for the unfolding animation.
Alright The Captain, however, are never less
than one-hundred percent focused. Hooded and
rarely static, Toner’s face is that of a man truly
lost in his work; he lives and breathes every note,
and it translates effectively. Baltirific and Honey
Badger are sure highlights, the latter of which is
willingly initiated by crowd contribution. Toaster
Mouse sees a leaning towards Mogwai territory
as Wood turns his hand to the synth, though it
lacks none of the urgency in either Toner and
Wood’s movements or the music they create.
Drawn tight by the glue of Jamie Cattermole’s
drums, it is a performance which is both furious
in its intent and equally unrelenting in its
delivery.
Indicative of both their skill and work ethic,
the satisfaction of seeing Alright The Captain
at work is barely diminished by the meagre
crowd. Masters in their field, the hectic nature
of most of their live shows may have been
dented somewhat, but the vigour and sense of
scope certainly isn’t. With Barbara as our beacon,
Alright The Captain take us by the hand and
direct us through each and every inspired riff
and drum beat. The fact there were fewer hands
certainly didn’t bother any of those assembled;
on the contrary, the personal tutorage made the
experience that bit more satisfying.
Ben Lynch / @benlynch07
DÉBRUIT
Brewski Beats
Afrocentrism @ Constellations
The entrance to The Observatory at
Constellations, with its Georgian window frames
and traditional, dark green paintwork, may look
like the Old Curiosity Shop but over the threshold
all is the epitome of urban/industrial chic – even
the heating units are throwing great, abstract
shapes. Reclaimed timber and candlelight
combine to provide a solid, minimal vibe. A
solitary Indian wall-hanging hints at the exoticism
of some of the music that The Observatory has
hosted in the resurgent Baltic Quarter of late. Their
calendar is choc-full of slightly leftfield acts, and
tonight’s headliner is no exception.
DÉBRUIT (Xavier Thomas) hails from the west
coast of France and is, along with so many of his
contemporaries, a musician, producer and DJ, a
musical alchemist mixing up a potent blend of
synth funk, hip hop, highlife and the Maghrebian
styles of North Africa.
After support DJs warm the growing crowd
to near Saharan standards, Debruit hits the
decks and the remaining spaces on the floor
are immediately filled. He goes straight into
a pulsing synth-led overture which would
not have been out of place in the early 80s
before a droning oud takes us into more exotic
territory. Some quick thinking and flexibility
by the staff sees the removal of tables and
benches, allowing for greater expression on the
dancefloor, and the extra space is immediately
utilised. Débruit’s website refers to a journey,
to musical exploration, his collaboration with
Alsarah is called Aljawal (The Traveller) and, as
we move from the sounds of the Mahgreb to the
more rapid-fire percussion and highlife guitars