Issue 73 / Dec 2016/Jan 2017

Reviews
Bido Lito! Dec 2016/Jan 2017
49
developed into a tight and confident trio,
playing cute, tuneful songs of surf-garage
goodness. Guitarist Henry bends and dips
and swirls, while singer Esme coolly plays
bass, oblivious to her bandmate’s antics,
drummer Sidonie supporting at the back. The
new Heavenly signees make everyone in the
room happy tonight.
Back in Soup Kitchen, SALTWATER SUN
are competent enough, but have all the
hallmarks of a band faithfully following all the
instructions on how to put a band together,
dutifully ticking each box. There is something
old before their time about them, but, alas,
the mature sound doesn’t quite suit us, so we
say hello to the Night & Day once again, where
blues singer and guitarist JOHN J PRESLEY,
despite his big voice, struggles to make
himself heard. Once the hubbub subsides,
Presley and his drummer seize their moment
and head into an ominous overture which
ironically refers to “when the rains come
down.” Presley’s vocal sounds as if it’s been
coaxed straight out of a Sergio Leone film
score, such that we half expect a bandolierwearing
Clint Eastwood to strut on stage and
pick up a bass.
To our disappointment, it’s one-in-one-out
at The Castle for CARO and the crowd don’t
seem the type to budge, so we head back to
Soup Kitchen where we find STRONG ASIAN
MOTHERS setting up. Without a guitar in
sight, we can’t help but wonder how they’ll
keep so much electronic gear in check. Co-lead
vocalist Amer’s confident theatrics contribute
to a sublime performance of electro-popfunk,
with standout tracks Out Of Love and
Stay Down deservedly receiving a roomful
of applause. A bit of a wildcard as far as
our evening’s concerned, but Strong Asian
Mothers have definitely made an impression,
especially if you’re after Prides with a bit more
aggression and a hint of the East.
Feeling invigorated, we head to Gulliver’s
to track down HER’S but instead end up on
the front row for THE PEARL HARTS. The south
London pair get straight down to it, tearing
through a ballsy set of post-grainy feedback.
Set opener The Chief is given a hero’s welcome,
with both attitude and sound reminiscent
of the incendiary Deap Vally. Vocalist Kirsty
somehow turns it up a notch for final tracks Hit
The Bottle and Blackblood, as drummer Sara
makes an attempt on the venue’s foundations,
even from upstairs.
Discover your new favourite band? Maybe,
just maybe, Off The Record confirmed
something we already knew.
Cath Bore and Will Lloyd
OMAR-S
Abandon Silence @ Invisible Wind Factory
From The Kazimier to Camp and Furnace,
Abandon Silence now make Invisible Wind
Factory its third home for a new electronic
music night entitled Echoes, and what better
way to launch it than with a colourful set
from Detroit’s OMAR-S. Making his firstever
appearance in Liverpool, the celebrated
producer of house and electronic music is
well known for transcending the modern-day
expectations of an artist. Omar can’t be found
on social media, self-releasing his music
through his own label, FXHE Records, but has
nevertheless built an acclaimed reputation
by having both an old-school and innovative
sound and technique. His unique and raw
musical identity is evident in his rich set, which
incorporates funk, soul, R&B and disco into his
deep house tracks.
On the Invisible Wind Factory’s raised
platform, engulfed in fiery red lights and
overlooking his tipsy 2am crowd, Omar engages
with his bouncing audience and graces the
night with an energising, slow-building
momentum. The simple and moody electronic
beats gradually evolve into triumphant overlays
and mixes that are uplifting and anthemic. He
begins by immediately bringing us to life with
a heavy, fast, pounding bassline that beats
in our veins and compels us to dance. This
thumping rhythm is mixed with an 80s-style
disco groove and soaring underlying vocals
honeyed over drum machines. The immense
venue suddenly shrinks down to an intimate
dancefloor, with Abandon Silence’s impressive
and surreal lighting installation hanging above;
an animated canopy seemingly brought to life
by sounds.
Although playing a traditional electronic set,
Omar continues to keep it fresh and creative.
Funky Motown undertones of female vocals are
heard beneath the repetitive house rhythms
and off-beat cymbals. His smooth transitions
allow for this fluid blending of sounds. All
the while, the installation above us presents
splashes of strobing colours and bizarre shapes
that morph to the music. Omar slows the
rhythm and the canvases go blank, but return
in the form of relaxing, firework-like bursts of
blue when he introduces a soulful, synthesised
saxophone. We have a quick breather before
the mechanical beat picks up again with
Omar’s own track, The Shit Baby. Again, a
typical deep house rhythm, but Omar keeps
us on our toes. It is overlaid with fast-paced
piano and trumpets that add an unexpected
salsa influence and South American vibe, but
complements the ongoing electronic beat of
the night. The installation again heightens
LONER NOISE PRESENTS:
A FESTIVAL FOR THE FREAKSCENE
THE WYTCHES / PART CHIMP
THE COSMIC DEAD / HECK
BLACKLISTERS / ELEVANT
22.04.2017
And Many More...
INVISIBLE WIND FACTORY
NORTH SHORE TROUBADOUR
DROP THE DUMBULLS
£10 Early Bird
£15 Discounted Advance
£20 Advance