Issue 15 / September 2011

28
Bido Lito! September 2011
Reviews
of toes a-tapping and the enthusiasm
was potent, while Bankrupt Blues had
most in the audience on their feet,
with its sizzling lyrics and jangling
guitar riff seeping into the grounds of
the church. Commanding and on form,
it’s easy to see why they are a massive
crowd favourite.
As the afternoon started to spill
into the evening, PROFESSOR YAFFLE
were on hand to impart their folkdriven,
psychedelic pop sound. An
eccentric bunch with an array of
musical instruments, they produced
a beautiful sunshine-suffused groove,
combining intelligent lyrics and an
upbeat tempo. A hugely characteristic
band, they are haunting without
being morose and possess a dynamic
that made for relaxing listening in the
lengthening shadows.
Lisa O’Dea
CRYSTAL STILTS
Spectrals – Lucky Beaches
Static Gallery
On a night when two other venues
in Liverpool are hosting long sold-out
shows from acts at different ends of
the musical spectrum (Ed Sheeran
and Blondie), it is refreshing to be
faced with a well-thought-out line-up
and mix of music, each support act
complementing the main event.
LUCKY BEACHES is the hidden gem
of the current scene, and furthermore,
offer proof that the spirit of Lennon
can be put into song without
sounding clichéd or false. Opening
with a stomped-up version of the
wildly infectious Jenny Mo, crisp and
melodic recordings are delivered with
more of a crunch and bluster that is,
at first, surprising. Not fall-to-the-floor
shocker admittedly, but the delivery
carries more T. Rex about it than is
at first apparent in their recorded
material. This is not, as if it ever needs
to be said, a bad thing.
After a short recess, it’s the turn of
Leeds prospects, SPECTRALS. Overall
they deliver a set reliant on groove and
feeling rather than strong song and
melody. With elements of bands such as
New York Dolls and Black Lips coming
out in parts, they provide a welcome
introduction to tonight’s main event.
CRYSTAL STILTS wrap song-writing and
melodic principles of the Spector era in
a dark and cosmic psychedelic shroud.
JB Townsend’s guitar creates a howl
and distorted rumble that provides a
solid bed for vocalist Brad Hargett’s
(at times) thoroughly convincing Tom
Verlaine impression, and the result is
something darkly all-encompassing.
From the groove and shake of
the opening number, to the classic
pop of the Shangri-Las, hidden deep
beneath the fuzz and reverb on songs
such as the immaculate Precarious
Stair, Crystal Stilts’ influences shine
through. Rather than studying and
emulating too closely one sole era
or vantage point, different times and
genres are represented here each to
Crystal Stilts (Keith Ainsworth)
an even degree. There is as much New
Romanticism and Punk involved in
their sound and delivery as there is the
influence of The Ronnettes, Darlene
Love and The Crystals. The easiest
comparison to make in current times
is with The Horrors: both are purveyors
of repackaged retro sounds, while
avoiding many of the niche elements
and clichés which overcome all too
many of their peers.
At times tonight it can be argued
that Hargett’s effortless drone loses
elements of the melody which sets
them apart from these peers, many of
whom are cheap imitators. However,
the melody is designed to, on the
whole, play second fiddle to the overall
sound, which is clearly illustrated by
the fact that their recorded material
shares these values. Both Alight of
Night (2008) and In Love With Oblivion
(2011) are given sufficient airing tonight,
however it is the material from the
latter which provides the more constant
highlights. The song-writing on songs
such as Shake The Shackles, Sycamore
Tree and Blood Barons is simply better,
a fact which is not lost in live delivery.
Overall, first class psychedelia, and
a splendid example of a band on an
upward trajectory. A trajectory which
will hopefully ensure that it’s not
too long until they return to the city;
and which will give them top billing
when they do.
P.Lee
KENDAL CALLING
Lowther Deer Park, Cumbria
The sun is baking down, the deer
have been shooed away for the
weekend and another, now extended
capacity, Kendal Calling Festival rolls
onto the hills of Lowther Deer Park.
The first band we catch are KITTY,
DAISY & LEWIS; their vintage 50s rock
n roll family affair is given a ska twist,
courtesy of guest trumpet player
Eddie ‘Tan Tan’ Thornton. Recent
single Messing With My Life, with
its almost disco hook, goes to show
that there’s more to this group than
straight up Buddy Holly trad.
With a full band experience, HOUSE
OF PAIN seem comfortable with their
position of festival party novelty
act. And when they play that
song,
it completely goes off, the natural
amphitheatre setting of the main stage
proving a stunning spectacle as a mass
of 5,000 limbs contort in unison.
CHASE & STATUS on the other hand
confirm their status as the Status Quo
of Drum & Bass (thanks Sam!). These
are to Roni Size what Bonkers was to
Andrew Weatherall and provide hard
evidence of what happens when a
movement has reached its bloated,
commercial radio addled death.
NIGHT OF SEVENS’s Primal Scream
inspired scratchy bleeps and BJTM
drone, fused with singer Chopper’s
impressive presence, result in
something close to a Geordie Dead
Skeletons. These have been away for