Issue 25 / August 2015

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August 2012 issue of Bido Lito! Featuring EDGAR SUMMERTYME, DOMINOES, JETHRO FOX, MILAPFEST and much more.

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Issue 25

August 2012

Edgar Summertyme by Mike Brits

Edgar Summertyme

Dominoes

Jethro Fox

Peace Mix

Milapfest


Monday-Thursday

08:00-00:00

-

Friday-Saturday

08:00-02:00

-

Sunday

08:00-23:00

FOOD

Monday-Saturday

08:00-20:00

-

Sunday

08:00-18:00

67 Greenland Street

Liverpool L1 0BY

Opposite Cain’s Brewery

in Liverpool’s Baltic Triangle

www.campandfurance.com


Bido Lito! August 2012 3

Editorial

The recent protests around the council’s proposed new busking legislation have left me with a slight dilemma.

We all know that cities are centres of expression, creativity and community, just as much as they are centres of

commerce, trade and tourism. We also all know how utterly central to Liverpool’s culture (and therefore also our

trade and tourism) music is. It’s what gives us our place in the world. Busking represents that culture at its most

primal, as much as it is the musician’s purest form of earning a crust. It is an integral part of our city’s psyche.

But, I challenge anyone of a musical persuasion who spends their days in our city centre, to argue that there

will not be the occasional busker (and they certainly aren’t the norm) who makes your blood boil: one who

plays with such a lack of skill, an utter disregard for phrasing and melody; one who consistently butchers their

collection of Beatles hits and Britpop anthems, wringing and contorting them within an inch of their life. This

person, more often than not, carries out their abomination with the assistance of a raucous Marshall combo,

blasting their butchery straight down windy side streets and across our main thoroughfares.

It infuriates me.

My personal frustrations aside, I can see an issue. If I run a business in the city centre and every single day,

some snotty-nosed, tone deaf ‘artist’ turns up with a guitar and a PA system and proceeds to pedal their racket

outside my door, not only causing me to consider gouging

out my own eyeballs, but also making my customers walk on

down the opposite side of the road, I’ve got a problem. The city

centre needs to be a place where people taking part in a range

of activities, including both culture and business, can co-exist.

And the creative community needs to understand that.

However, what this situation doesn’t need is more

legislation. Principally, how do you legislate on quality? I tell

you what, for a princely sum I’d gladly spend an afternoon in

a council chamber, vetting the starry-eyed hopefuls looking

to spend their Saturday afternoons screaming out Love Me

Do on Mathew Street. But we’d then be left with a Craig G

Pennington view of what our city should sound like. Me being asked to do that is incredibly unlikely (and I’d

suggest not advisable), but do we want a Councillor Mumby view of what the city should sound like? If we accept

that our city needs to be a forum for creativity, then we (begrudgingly) need to take the rough with the smooth

- it’s personal taste, after all. Perhaps we should ask a representative from the Biennial to inform the Council’s

graffiti removal department on the merits of one tag over another?

Yet again we have a situation where Liverpool City Council seeks to cure an issue that is aching for good oldfashioned

conversation with a legal framework. Don’t anybody be fooled that the proposed busking licence is

designed as a money-making scheme. It’s not. With council bureaucracy, the sums raised probably won’t even

cover the time of the civil servant drawing it up. What is needed is communication and dialogue. A conversation

between business owners and buskers as and when an issue arises. Old-fashioned common sense. If an

agreement cannot be reached between two sides, surely a situation can be mediated.

What is most important in all of this is the need for our community to retain the capacity for freedom of

expression and creativity in our city centre. We have seen a huge swathe of the city centre privatised with the

development of Liverpool ONE. This is an area now beyond the boundaries for buskers and street performers, save

for activities regulated by Liverpool ONE. The proposed legislation would effectively spread this situation across

the whole of the city centre - a sanitised and centrally-controlled form of expression. Is that what Liverpool stands

for? Is that what Liverpool was built on? Is that what we want our Liverpool to become?

Still, that dickhead on Church Street could at least turn his amp down.

Craig G Pennington

Editor

Features

6

EDGAR SUMMERTYME

8

JETHRO FOX

10

FESTEVOL

12

DOMINOES

14

MILAPFEST

16

PEACE MIX

Regulars

4 NEWS

18

PREVIEWS/SHORTS

20

REVIEWS

Bido Lito!

Issue Twenty Five / August 2012

bidolito.co.uk

4th Floor, Mello Mello

40-42 Slater St

Liverpool L1 4BX

Editor

Craig G Pennington - info@bidolito.co.uk

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Christopher Torpey -

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Assistant Reviews Editor

Naters Philip - live@bidolito.co.uk

Sub Editor

Mo Stewart - subeditor@bidolito.co.uk

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Debra Williams -

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Words

Craig G Pennington, Christopher Torpey,

Naters Philip, Mo Stewart, Jamie

Bowman, Richard Lewis, Clarry M, John

Still, Charlie Lashmar, Jonny Davis, Si

Finnerty, Mick Chrysalid, Matt Healy, Amy

Greir, Joshua Nevett, Adam Edwards

Photography, Illustration and Layout

Luke Avery, Mike Brits, Robin Clewley,

Ant Clausen, Keith Ainsworth, Horse,

Matthew Thomas, Jonathan Dawe, Darren

Aston, John Johnson, Rob Rossington,

Adam Edwards

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News

Esco Williams is the MOBO Unsung Hero

ESCO WILLIAMS is well on the path to hogging 2012 all for himself. On the back of nods from MTV and the GIT awards, and ahead

of his debut album dropping, he’s the inaugural winner of the MOBO Unsung award. After wowing crowds on the MOBO tour earlier

this year, Williams beat off competition from the seven other regional finalists for the prestigious award. He’ll be performing at this

year’s MOBO nominations party, and he’s itching to take the show by storm: “Simply attending and passing out some CDs can make

a wee impression, but I look forward to dropping a bomb on the stage.” London be warned. escowilliams.bandcamp.com

Bido Lito! Dansette

Our pick of this month’s wax wonders…

COMPETITION!

Much Ado About Busking

The word on the street is that Liverpool City Council is to enforce restrictions on where, when and what street performers can do in

Liverpool’s city centre. In response, there was a mass peaceful busking protest on Church St., in an attempt to show that permits need

not become mandatory. The protest was done in conjunction with Keep Streets Live who have orchestrated an online petition against

the restrictions, now numbering over 1,000 signatures. This has since instigated conversations of quality control over musicians on the

street: be a part of the conversation on Twitter by heading to #keepstreetslive, and sign the petition at keepstreetslive.com

Vasco Visit The Humble Market

Are you ready for a more Brazilian world? That’s one of the questions being posed by FACT’s current exhibition, THE HUMBLE MARKET:

TRADE SECRETS. The immersive experience allows you to take in the hustle and bustle of the Rio de Janeiro carnival from a Brazilian taxi,

contemplate the universe, and discover what happens when the impersonal automated voice on the telephone suddenly gets very personal.

Bido Lito! and FACT sent Liverpool math rock darlings Vasco Da Gama along to experience the Humble Market and invited local filmmaker

Jenny Collins along to document their experience. Make your way over to bidolito.co.uk where you can take in the results. fact.co.uk

#GetInGetOn At Liverpool Community College

A whole manner of events, uploads and freebies are all part of Liverpool Community College’s newly launched campaign #GetInGetOn.

Culminating in a two-week period of virtual open days - where the college will be answering prospective students’ questions live on

Twitter and Facebook. You’ll be able to find out loads about the college’s wealth of creative course opportunities through video updates

and interactive guides. Keep an eye out for your chance to win cash prizes, tickets to upcoming events and even an iPad. Bido Lito! have

also got in on the act, with The Mighty Mojo kneading together an exclusive #GetInGetOn mixtape for bidolito.co.uk

New Free To Access Music Courses

Calling all grassroots musicians in Merseyside! THE ROSCOE FOUNDATION is currently seeking applications for its 2012-13 Music

Development Programme which provides free to access music industry opportunities for local artists. The programme is a ground-breaking

project, which provides a diverse array of music industry workshops and studio days to talented grassroots musicians in Merseyside.

Successful applicants will be required to attend seven, one-hour workshops over a three-month period and will be provided with three free

studio days at Parr Street Studios to assist in the development of supporting grassroots musical excellence. roscoefoundation.org.uk

Liverpool Music Awards Nominations Coming To A Close

The Liverpool Music Awards are a platform for the entirety of the local music scene, here to honour musicians and all of those working

behind the scenes, in production, management and a variety of other crucial roles. The judging panel comprises members of some of the

most well respected Liverpool music institutions. The latest additions include: one of the LIPA founders, Mark Featherstone-Witty, Executive

Director of the Philharmonic Hall & Events, Simon Glinn, and Programme Director for Music Industry Studies at University Of Liverpool, Dr.

Mike Jones. The closing date for entries and nominations is Friday 17th August; for more details head to liverpoolmusicawards.com

Screenadelica has gone from strength to strength since its low-key inception in 2010, now pitching up at a variety

of international events throughout the year to showcase its ever-increasing array of prints and gig posters. We’re

used to seeing the artwork of Screenadelica’s curator Horse adorning the walls of our venues, to the extent that his

distinctive style has become a much-loved staple of our live music scene.

This month we have teamed up with Horse to offer you a pretty stunning prize: a limited edition, numbered screen

print of Horse’s poster commissioned for Flaming Lips’ appearance at this year’s Optimus Primavera Sound festival in

Porto. To win this extra special prize all you have to do is answer the following question:

Who is Flaming Lips’ lead singer and zorbing frontman?

a) Tommy Coyne b) Wayne Coyne c) Wayne Rooney

To enter, email your answer to competition@bidolito.co.uk by 16th August. All correct answers will be placed in a big

pink zorbing ball, the winner chosen at random and notified by email. Good luck!

Dirty Projectors

Swing Lo Magellan

DOMINO RECORDS

David Longstreth’s nostalgic submariners

are back, with a new album that sees them

flitting from one woozy retro influence to

the next in their usual dreamily compelling

way. Influences as far and wide as Neil

Young and The Beatles are mined and

woven subtly into the gear changes, that

seemingly only they and Animal Collective

can manage without seeming regressive.

Ariel Pink’s Haunted

Graffiti

Only In My Dreams

4AD

A staggering thirteen (official) albums

in and ARIEL PINK shows no signs of

abating. This cut, from upcoming record

Mature Themes, finds Mr Rosenberg in

usual lo-fi surfy mood, with xylophonic

flourishes and Byrdsy melodies providing

the chinks of light in the darkness. Hints

towards another winner are numerous,

and November’s Liverpool show can’t

come fast enough.

Tame Impala

Apocalypse Dreams

MODULAR

RECORDINGS

The familiar stamp of blissful blues-psych

shrouds this taster track from Aussie

space cadets TAME IMPALA, which would

suggest that their second full length

album Lonerism won’t be venturing

too far from Innerspeaker’s winning

template. The addition of keys meshes

neatly with Kevin Parker’s endless guitar

riffs, meaning we’re glad for these clouds

of reverb to be descending once more.

Donnie & Joe Emerson

Dreamin’ Wild

LIGHT IN THE ATTIC

RECORDS

Rock’n’roll farmers DONNIE AND JOE

EMERSON originally recorded this in the

late 70s, nearly bankrupting their Dad in

the process (he converted a barn for his

sons to record in). Fortunately prolific crate

diggers Light In The Attic have rescued

this from the scrap heap: witness Baby’s

country pop balladry and My Heart’s

grooving lament if you don’t believe.

Gig Guide and Ticket Shop live at www.bidolito.co.uk


Toots and the Maytals

+ Eat Your Greens DJs


Pearl Jem

(Europe’s Number 1 Tribute To Pearl Jam)


Tom Hingley

(The Beast Inside UK Tour)

+ Rory Mckee + The Brightsparks


Sue Denim


Nik Kershaw

And His Band


Then Jerico

Big Area Tour 2012


Maverick Sabre


Malefice

+ Silent Screams + Carcer City + Oceanis


Azealia Banks


Marina And

The Diamonds


Lianne La Havas


Mayday Parade

+ The Summer Set + Natives


Hawklords


Newton Faulkner


Reverend and

the Makers


Flux Pavilion

Standing On A Hill Tour


Bowling For Soup


Totally Enormous

Extinct Dinosaurs


Heaven 17

The Luxury Gap Tour


Space


The Wicked Whispers


Maximo Park


The Wedding Present

(Performing Seamonsters in full)


Gong ft. Daevid Allen

+ Here and Now

Sold Out

Frank Turner and

The Sleeping Souls


Levellers

+ Citizen Fish


The Rifles

(Acoustic)


Magnum


Electric Six

10th Anniversary Tour


Performing FIRE in its entirety


Rancid


Thin Lizzy


Dappy


Sleigh The UK 2012:

The Wonder Stuff, Pop Will Eat Itself,

Jesus Jones






Toots and the Maytals


Marina And

The Diamonds


Lianne La Havas


Space

facebook.com/o2academyliverpool

twitter.com/o2academylpool

youtube.com/o2academytv

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



Text APP to 62002 or scan here:

o2academyliverpool.co.uk


Bido Lito! August 2012 7

Edgar SummErtymE

Words: Jamie Bowman

Photography: Mike Brits

It seems apt that I meet EDGAR SUMMERTYME in a record shop.

Surrounded by stacks of vinyl, this most avid of collectors looks at

home as he leafs his way through the jazz section, excitedly telling

me about his latest discovery, South American band leader Gustav

Dudamel. If you wanted to be metaphorical, the image of the

music obsessive searching for the perfect tune is a neat summary

of this remarkable musician’s career. Through numerous bands,

line-ups, and solo records Edgar (who for much of his career has

operated under his birth name Jones but - like a Scouse version

of Kylie - no surname is required in his home town) has spent the

last 25 years seeking out a musical blueprint that has attempted

to meld his love of garage rock, soul, R’n’B and jazz.

With his new record Sense Of Harmony, this restless cult hero

may finally have come closer than ever before. “As long as I’m

setting a good example then I’m happy,” says the man whose

playing forms a unique link between Liverpool’s various scenes

and successes. From the Bunnymen to the Zutons via The Stairs

and Paul Weller, Jones has had a hand in some of the coolest

cuts and sharpest sounds to come out of the UK in the past two

decades and, thankfully for a man whose first release was called

Weed Bus, he’s come out of it with most of his memory intact.

“When I started writing I liked things like The Bodines and Echo

& The Bunnymen,” says Edgar, lighting the first of countless Silk

Cuts. “I was very lucky that I was taken under the wing of that

whole 80s Liverpool scene and by the time I was 18 I was playing

bass guitar for Ian McCulloch. Bands like The Lotus Eaters and

The Wild Swans helped me too but it was weird because back

then you seemed to get further on looks rather than ability. I was

a teenager who looked cool and they liked me even though I

couldn’t play.”

Despite his acceptance into the court of Liverpool’s crimson

kings, Jones was already forming a world outlook that was

singular, psychedelic and obsessed with the 60s, so much so that

his first band The Stairs would rival even contemporaries The La’s

for dedication to all things garage. “I was blinkered, young and

hot-headed,” he says. “I found the 80s pretty disgusting morally,

socially and musically. It was a time for new toys and forgetting

about your fellow man and when I started listening and buying

things like the Nuggets and Pebbles compilations from Probe, I

couldn’t help but be drawn into that look.”

Flying in the face of fashion, The Stairs ignored the ecstasyfuelled

baggy boom that consumed so many other bands from

the North West, donning instead the look, sound and spirit

of snotty US legends like The Chocolate Watch Band and The

Electric Prunes.

“Everything was based around the year 1966 rather than that

psychedelic Woodstock thing which came later,” explains Jones.

“It was like no other music existed apart from songs made in

that year but it was much harder work to be into something then.

There was a network of cool people and you either got to know

them or you didn’t; and you’d try and gather as much information

and knowledge as you could from things like record sleeves, but

it was those cool people who acted like a quality control, which is

something the internet can’t do.”

The Stairs released one wonderful album Mexican R ‘n’ B, in

mono, in 1992 before collapsing due to what Edgar describes as

“chaos”. “Ged (Lynn, the Stairs guitarist) kept leaving the group

and then rejoining and on the first day of our album sessions

Jason (Otty, harmonica player) walked out and went on holiday to

Europe after I’d shared out the publishing money. That’s what The

Stairs was like – it was volatile and has psychologically affected

the way I have been in bands ever since because I have this fear

people will go just when I need them.”

After The Stairs, Edgar followed the well-worn path of many a

talented Liverpudlian musician and joined Lee Mavers in The La’s,

an experience he describes as being “like National Service”. “Lee

would headhunt you, and we all had a go and did our bit for a

year,” he laughs. “I didn’t get Lee at his best but then I don’t think

many people did after about 1987. There just wasn’t a lot going on

and I was disappointed because I was looking forward to getting

my teeth into that band, but they didn’t want to get their teeth

into the world. You have to go to the world and not expect it to

come to you, especially if you’re not putting any records out.”

Solace came with a stint in Saint Etienne, an experience which

Edgar describes as “happy” because he was able to develop his love

of soul playing with a great band. “I didn’t mind being a sideman

as I had really started to respect those people,” he remembers. “In

Liverpool you had this thing about session musicians which was

a dirty word because of all the punk snobbery. People pretended

they didn’t own any Led Zep albums, and that lasted about 15

years. Music is still recovering from that and it wasn’t like it was

replaced by anything cool and from the streets – punk was more

a case of letting the morons have a go.”

Paul Weller (“a gent who was very kind to me”) was next on

Jones’s list of employers after he joined the Mod hero’s live band,

while he also had the time to play with another guitar legend

in the form of Johnny Marr. “That was amazing and it was just

me, Johnny and Zak Starkey playing in Johnny’s barn. It eventually

came out as The Healers but I had been replaced by then by the

bloke from Kula Shaker.”

Despite a burgeoning reputation as a go-to bass player for

anyone keen to recreate a sixties vibe, Jones was still determined

to explore his own path in a band of his own. “I never had that

idea that I’d be a star, which was maybe my trouble,” he admits.

“I’d like to be one now because I think I’d be a good example as

I have worked hard over a long period of time and I think people

should be inspired by that.”

Edgar’s next turn in the spotlight was with the Big Kids, a

group that collected a whole new set of Liverpudlian musicians

who would all play crucial roles in the city’s next wave of

success. “I wanted something that was healthy musically and

getting in Sean and Russ [later of The Zutons] and Howie Payne

[The Stands] helped me, as I wanted people who were open

to a different idea of what Liverpool was used to.” The band

gigged incessantly, with a storming residency at The Magnet,

and everything seemed in place for Edgar to take his rightful

place in a Britpop scene which had come around to his sixties

sensibility. But yet again a band would crumble when everything

was poised for take-off. “It was great watching Russ and Sean

develop as players and I was kind of glad when they formed the

Zutons because I had a bit of guilt about stopping them form

their own band with a bunch of other youngsters doing their

own thing. It was less hurtful than if they had been poached

by someone of my own ilk and it seemed right, but I still wish

they had told me!”

Another period of soul-searching followed as Edgar began to

formulate his idea of creating a group of musicians who would

emulate the great sixties session bands like the Wrecking Crew.

The plan would manifest itself in the form of The Joneses, a

musical collective who began to encompass Edgar’s love of jazz

and R’n’B in a glorious fashion, especially on the critical favourite

Soothing Music For Stray Cats album, which won fans as diverse

as Noel Gallagher and Daniel Radcliffe, as well as being voted by

NME as ‘The Best Album You’ve Never Heard’.

“We wanted a Dr John and Sly and the Family Stone vibe at

first and I also had the idea that we would start to back people

outside the group. The problem with that was that the rest of

the band didn’t have time for me anymore and when in a week

running up to a gig no one returned my calls, I just thought ‘well,

fuck you I’m off’. I regret it now because we had a gig lined up

that MOJO had organised and everyone who played at that gig

went on to play on Jools Holland and get a live following, which

would have been nice.”

Edgar’s response to The Joneses’ split was to go back to the

start and once again convene a three-piece called, err, Free Peace,

who played loud garage rock. But despite some blistering live

shows and a support slot with Oasis, Edgar was beginning to pay

the price for twenty years of stretching his distinctive vocals to

the limit. “I was over-confident with Free Peace and I wore my

voice into the ground. It was depressing. I couldn’t sing anymore

and we had to scrap the first album and work on material that I

could actually sing.”

To make matters worse Edgar was beginning to suffer from

a long-standing stomach complaint which soon became deadly

serious. “I became ill and ran out of money to bankroll the band

and it was becoming worse and worse. I ended up in hospital for

two weeks and lost two stone which, if you know me, I haven’t

got two stone to lose.”

The illness enabled Edgar to re-prioritise and after a brief spell

playing with ex-Zutons singer Dave McCabe, he retreated to his

Toxteth pad to record the demos for what was to become the

wonderful and rather moving Sense Of Harmony album. “I have

been trying to not eat things like sugar and dairy products and

now it’s all juice and vegetables,” says Edgar. “It’s my organic

calcium album! I had lots of time on my hands but I had to do

something lighter as I simply didn’t have the energy. The vocals

you hear have got a delicacy to them because I would record two

lines and then have to lie down, so there’s a fragility there to the

songs which maybe there hasn’t been before.”

Sense Of Harmony is indeed a beautiful yet triumphant album

that sees Edgar find a new voice for his undoubted talents. He’s

a survivor and we’re lucky to have him. “When I was young I was

stupid and easily led,” he says at the end of our interview. “If I had

had the success that maybe some people thought I deserved, I

don’t think I’d be sitting here now.”

the-viper-label.co.uk

Sense Of Harmony is released 16th August on The Viper Label

Gig Guide and Ticket Shop live at www.bidolito.co.uk


8

Bido Lito! August 2012

Jethro

Fox

Words: Clarry M

Photography: Robin Clewley

A slew of Liverpool Institute of Performing Arts (LIPA) born

bands have been seeping their way into the hearts and ears of

Liverpool’s burgeoning music scene of late. Singer and songwriter

JETHRO FOX is the latest LIPA luminary to do so, and with a

trickle of tunes being revealed at carefully picked moments, the

development of an engaging and expansive new pop sound is

unfolding under his expert guidance.

LIPA is a popular choice for many a budding young performer

and when the Colchester-born Jethro is asked what initially

attracted him to Liverpool, he admits that, “It was actually LIPA

or nothing. I just had my heart set on it”. Enticed equally by the

musical heritage the city exhales, it was an obvious choice, as

the close-knit musical community inside and outside of LIPA’s

walls has aided Jethro’s development. “It’s very collaborative. It’s

not really rivalry, it’s a time where people just help each other

and want to make good music together,” he points out, naming

grassroots projects and the DIY ethic of Liverpool’s promoters. For

a well-schooled musician in such a creative environment, Jethro

seems to have found the perfect breeding ground for his musical

endeavours in Liverpool.

“It’s a pretty young project, but it all started with the song

Before, which was about in the Autumn of last year,” Jethro

explains. Before, which begins with a tentative arrangement of

drumming and clattering hand claps, uses a strong, resounding

guitar riff, and lifting harmonies. Peaceful and forceful at the

same time, the hand claps and harmonies are certainly the song’s

anchor, a heavyweight soulful affair, edgy and perfectly structured.

As momentum gathered around the song, the equally awakening

Echo and In My Arms followed, and Jethro Fox was born: “I ended

up getting a band together, naturally I suppose, and moving

things on from there.”

Forming a live act to present to the world was the next logical

step. “When we started it felt quite ambitious,” claims Jethro,

Gig Guide and Ticket Shop live at www.bidolito.co.uk

as instilling a wealth of parts written by one person into a live

formula is bound to be. “Initially, the idea was very much to imitate

the sounds on the recordings as far as possible,” Jethro explains;

however “their own elements are shining out, like Fabian [Prynn]’s

drums - he’s got a personality in his drums”. Having recorded all

the harmonies himself, different voices were required live: “We’ve

got a Norwegian guy, Yurgen, who sings half the backing vocals.”

Transforming the recordings into a live presence has resulted in

different, unexpected elements, with a touch of personality.

Jethro’s music exudes a nostalgic quality, with lilting harmonies

and generous percussive intricacies. “I don’t quite know where

this whole 60s thing came from, but my parents were really

into that kind of music and would play stuff in the car.” Quoting

the Beach Boys and The Hollies as influences, alongside Arcade

Fire and Grizzly Bear, there is a clear love of expansive, graceful

sounds embedded in Jethro’s music: “That big, life-affirming

quality to it is something that really appeals to me.” Belonging

to the generation whose parents were so marked by 60s and

70s musical counterculture, Jethro is perhaps an example of a

generation’s tendency to indulge in the direct, yet subtle influence

of their parents’ record collections. And with the ever advancing

and occasionally baffling palette of new musical genres, a nod to

our musical forebears often brings us back down to earth.

This life-affirming quality also stretches to Jethro Fox’s clean

and well-polished production techniques. Working closely with

good friend and producer Tarek Musa, Jethro admits, “We can

be really honest with each other”. They enter into the recording

process with a clear vision, aiming for “the big sound, the close

harmonies, the big drums. But also, we wanted the Nordic aspects

to shine out and there’s a cleanness to it.”

A seemingly rather introverted song-writing process may

inevitably lead a musician to favour crafting their songs over

performing them, however, when Jethro is asked which he

prefers, he exclaims: “If you asked me before my first gig I would

have said the recording; then five minutes into the gig at the

Kazimier. . . it was fucking great.” For the brooding songwriter, live

performance could be daunting; especially as a front man. But

Jethro embraced this new role with a confident and humble stage

presence: “There was a good amount of people there and [it was]

really obvious to me within a couple of minutes that I massively

preferred doing that to recording.” Following their first live outing

at The Kazimier, the band played The Great Escape in Brighton, and

Liverpool’s Sound City festival. Claiming the latter as his personal

favourite, because “there were a few people singing along, which

was weird,” he tentatively concludes that “I don’t know when the

next time I’m going to be playing in a cathedral is,” making the

church venue at The Great Escape a one-off experience.

Jethro Fox’s gradual ascent into musical acknowledgement

recently escalated when the band performed a live session for

Steve Lamacq’s BBC 6music show. The BBC Introducing session

was held in the most famous of recording studios, Maida Vale.

“Some of my heroes recorded in that studio and it was surreal

and amazing.” Talking enthusiastically of Lamacq, Jethro reflects

that, “I used to listen to him when I was small. Those people

become larger than life, especially when they’re on the radio as

well; they’re these kind of mysterious voices.”

It seems that Jethro Fox has proven himself well worthy of

recognition beyond his LIPA birth, aided by carefully timed releases,

a sincere and excited outlook and a bagful of harmonies. With a

re-appropriation of all that’s good about 60s pop, in a clean and

vital form, Jethro Fox proves the 60s weren’t just for our parents.

Jethro Fox releases his debut single Blinding Light

on Tough

Love records on 20th August. An exclusive Obscenic Sessions video

will be streaming at bidolito.co.uk from 1st August.

jethrofox.tumblr.com


The Humble

Market:

Trade Secrets

Exhibition

Open until 26 August / FREE Entry

-

FACT, 88 Wood Street, L1 4DQ

fact.co.uk / 0151 707 4464


Bido Lito! August 2012

10

Gig Guide and Ticket Shop live at www.bidolito.co.uk

Fest Evol

We all love a festive garden party, but

once in a while one comes along that

makes all others look like sedate village

fêtes. On the

4th and 11th of August, over thirty of the best acts the North

West currently has to offer will appear across three stages at

the Kazimier under the banner of FESTEVOL GARDENS. Utilising

the venue’s brand new outdoor garden space as well as the

club’s celebrated indoor charms, a host of Liverpool’s finest

bands and artists will appear alongside guest DJs and special

one-off performances programmed by Evol for a double hit of

musical fireworks. With line-ups that are veritably dripping with

talent, the two events will mark a high point in August’s live

schedule, when our focus is usually trained on getting its sonic

kicks in muddy fields. As well as showcasing some of Liverpool’s

emerging acts (Death At Sea, The Wicked Whispers, Thunderbird

Gerard), the festival will host representatives from Manchester’s

current burgeoning crop of hipsters: the scintillating PINS

and Folks; and for those looking to things other than music

for satisfaction, the MelloMello BBQ will be

fired

and ready to provide sustenance;

with

a Screenadelica stall exhibiting a

range of

posters and prints of previous Evol

shows.

Looming large over the two

events are the FestEvol headliners:

CLINIC

and OUTFIT, who are among the region’s

most

inventive musical creators, and will

no

doubt provide a fitting finale to each of

the events. Charlie Lashmar caught up with

both of these headliners, as well as FestEvol

programmer Revo Ziganda, to talk about the

upcoming shows.

As a man with many projects on the boil simultaneously,

Revo’s bookings diary is rarely less than full. Around finalising

a great run of autumn shows and working on Sound City,

he has still had the time to plan these two heavyweight

FestEvol events, but he admits that it’s an idea that’s been

in the can for a while. “We planned one for the Masque

but it closed, so when the Kazimier boys started telling

me about their plans for their garden it made sense to do

it again as the venue is now perfect for it. The indoor

stage will stay as we know it, with the smoking

area becoming a disco and the garden housing

the outdoor stage under a pagoda.” Despite

dropping a few hints, the man behind Evol is

rather cagey when it comes

to talking about other plans up

his sleeve. “We’ve got a couple of

surprises on the 4th, and something

nice for the 11th, but we’re not telling yet.”

The all-day, one-venue format is one that’s popped up

in various guises in Liverpool, and it’s a formula that inevitably

leads to success, and invariably, iconic moments. One such

moment was Outfit’s breakout performance at Fiesta Obscenic

last year. Since then they’ve supported Ladytron, raked in a

smattering of accolades, and moved down to London for a year.

It’s a common move for bands now, and in the case of Outfit, it

was done to avoid any stagnation. As frontman Andrew Hunt puts

it, “London big, Liverpool small. Liverpool encouraging and fertile,

London motivating and competitive.” Any motivation has certainly

worked: with a new album in the can, they’ve just moved back

to Liverpool to record it. “The album is in pre-fab

stage,” says Hunt. “We’re just

building all the

walls and solid structures; the painting

and filling and vinyls

etc will be put

in over the summer.”

Not only that, but

they’ll be returning

to the Kazimier on the

second Saturday of

FestEvol (11th August).

“We played our first

and worst ever gig at

the Kazimier. I’m looking forward to proving

that we don’t suck.”

Fellow

FestEvol

headliners Clinic (4th August)

have

been

perennial undergrounders

for over

a decade,

and with their seventh album out this year,

it’s clear where their priorities lie: making good

music

rather than pursuing “elusive commercial success”.

Not that you would ever call them unsuccessful. They’ve toured

with Radiohead, Arcade Fire and supported The Shins this

year, but they shy away from the spotlight and hide, literally,

behind the surgical masks they wear onstage. They possess an

unmistakable sound, and like aforementioned touring buddies

Radiohead, every album progresses into new territories.

So, what gives them the drive to keep making new albums?

“Maybe because it’s impossible to perfect your ideas,” explains

the band’s vocalist Ade Blackburn. “That aim will always keep

you recording. Plus, discovering new types of music just makes

you look again at your own methods and ideas. Like The Sonar

Project - they’re my favourite band recently. They make quite

surreal sound collages.”

Clinic return to the Kazimier for FestEvol, where they threw their

Mass Freakout Festival in 2009: “It was

quite a bizarre

mixture of music, which the

Kazimier suited. It’s still a bit different and

more imaginative than most venues.”

Agreeing with the

general consensus amongst

Liverpool bands

that the Kazimier is setting

the bar for live

music in Liverpool, Ade is also

firm in his

assertion that “Coopers Pub is

still the most out there ‘venue’ in

the city for wired sounds!”

A city that can nurture such a breadth

of venues and live events deserves to get a bit

carried away with itself from time to time: FestEvol will

give you good reason to get carried away too.

FestEvol Gardens takes place

at The Kazimier on 4th and

11th August. Full line-up

and ticket details can

be found over at

bidolito.co.uk

Illustration: Horse

Bido Lito! August 2012

10

Gig Guide and Ticket Shop live at www.bidolito.co.uk

bidolito.co.uk

bidolito

We all love

We all love

We all love

We all love

a festive garden

a festive garden

a festive garden

a festive garden

a festive garden

a festive garden

a festive garden

a festive garden

a festive garden

a festive garden

a festive garden party, but

party,

but

party,

but

party,

but

party,

but

party,

but

party,

but

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once in a

once in a

once in a

once in a while one comes

while one comes

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while one comes

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while one comes along that

along

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that

makes all others look like sedate village

makes all others look like sedate village

makes all others look like sedate village

makes all others look like sedate village

makes all others look like sedate village

makes all others look like sedate village

makes all others look like sedate village

makes all others look like sedate village

makes all others look like sedate village

makes all others look like sedate village

makes all others look like sedate village

makes all others look like sedate village

makes all others look like sedate village

makes all others look like sedate village

makes all others look like sedate village

makes all others look like sedate village

makes all others look like sedate village

makes all others look like sedate village

makes all others look like sedate village

makes all others look like sedate village

fêtes. On the

fêtes. On the

fêtes. On the

fêtes. On the

fêtes. On the

fêtes. On the

fêtes. On the

fêtes. On the

fêtes. On the

fêtes. On the

fêtes. On the

fêtes. On the

4th and 11th of August, over thirty of the best acts the North

4th and 11th of August, over thirty of the best acts the North

4th and 11th of August, over thirty of the best acts the North

4th and 11th of August, over thirty of the best acts the North

4th and 11th of August, over thirty of the best acts the North

4th and 11th of August, over thirty of the best acts the North

4th and 11th of August, over thirty of the best acts the North

4th and 11th of August, over thirty of the best acts the North

4th and 11th of August, over thirty of the best acts the North

4th and 11th of August, over thirty of the best acts the North

4th and 11th of August, over thirty of the best acts the North

4th and 11th of August, over thirty of the best acts the North

4th and 11th of August, over thirty of the best acts the North

4th and 11th of August, over thirty of the best acts the North

4th and 11th of August, over thirty of the best acts the North

4th and 11th of August, over thirty of the best acts the North

4th and 11th of August, over thirty of the best acts the North

4th and 11th of August, over thirty of the best acts the North

4th and 11th of August, over thirty of the best acts the North

4th and 11th of August, over thirty of the best acts the North

4th and 11th of August, over thirty of the best acts the North

4th and 11th of August, over thirty of the best acts the North

4th and 11th of August, over thirty of the best acts the North

4th and 11th of August, over thirty of the best acts the North

4th and 11th of August, over thirty of the best acts the North

4th and 11th of August, over thirty of the best acts the North

4th and 11th of August, over thirty of the best acts the North

4th and 11th of August, over thirty of the best acts the North

West currently has to offer will appear across three stages at

West currently has to offer will appear across three stages at

West currently has to offer will appear across three stages at

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West currently has to offer will appear across three stages at

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West currently has to offer will appear across three stages at

West currently has to offer will appear across three stages at

West currently has to offer will appear across three stages at

West currently has to offer will appear across three stages at

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West currently has to offer will appear across three stages at

West currently has to offer will appear across three stages at

West currently has to offer will appear across three stages at

West currently has to offer will appear across three stages at

West currently has to offer will appear across three stages at

West currently has to offer will appear across three stages at

West currently has to offer will appear across three stages at

West currently has to offer will appear across three stages at

West currently has to offer will appear across three stages at

West currently has to offer will appear across three stages at

West currently has to offer will appear across three stages at

West currently has to offer will appear across three stages at

West currently has to offer will appear across three stages at

West currently has to offer will appear across three stages at

West currently has to offer will appear across three stages at

West currently has to offer will appear across three stages at

the Kazimier under the banner of FESTEVOL GARDENS. Utilising

the Kazimier under the banner of FESTEVOL GARDENS. Utilising

the Kazimier under the banner of FESTEVOL GARDENS. Utilising

the Kazimier under the banner of FESTEVOL GARDENS. Utilising

the Kazimier under the banner of FESTEVOL GARDENS. Utilising

the Kazimier under the banner of FESTEVOL GARDENS. Utilising

the Kazimier under the banner of FESTEVOL GARDENS. Utilising

the Kazimier under the banner of FESTEVOL GARDENS. Utilising

the Kazimier under the banner of FESTEVOL GARDENS. Utilising

the Kazimier under the banner of FESTEVOL GARDENS. Utilising

the Kazimier under the banner of FESTEVOL GARDENS. Utilising

the Kazimier under the banner of FESTEVOL GARDENS. Utilising

the Kazimier under the banner of FESTEVOL GARDENS. Utilising

the Kazimier under the banner of FESTEVOL GARDENS. Utilising

the Kazimier under the banner of FESTEVOL GARDENS. Utilising

the Kazimier under the banner of FESTEVOL GARDENS. Utilising

the Kazimier under the banner of FESTEVOL GARDENS. Utilising

the Kazimier under the banner of FESTEVOL GARDENS. Utilising

the Kazimier under the banner of FESTEVOL GARDENS. Utilising

the Kazimier under the banner of FESTEVOL GARDENS. Utilising

the Kazimier under the banner of FESTEVOL GARDENS. Utilising

the Kazimier under the banner of FESTEVOL GARDENS. Utilising

the Kazimier under the banner of FESTEVOL GARDENS. Utilising

the Kazimier under the banner of FESTEVOL GARDENS. Utilising

the Kazimier under the banner of FESTEVOL GARDENS. Utilising

the Kazimier under the banner of FESTEVOL GARDENS. Utilising

the Kazimier under the banner of FESTEVOL GARDENS. Utilising

the venue’s brand new outdoor garden space as well as the

the venue’s brand new outdoor garden space as well as the

the venue’s brand new outdoor garden space as well as the

the venue’s brand new outdoor garden space as well as the

the venue’s brand new outdoor garden space as well as the

the venue’s brand new outdoor garden space as well as the

the venue’s brand new outdoor garden space as well as the

the venue’s brand new outdoor garden space as well as the

the venue’s brand new outdoor garden space as well as the

the venue’s brand new outdoor garden space as well as the

the venue’s brand new outdoor garden space as well as the

the venue’s brand new outdoor garden space as well as the

the venue’s brand new outdoor garden space as well as the

the venue’s brand new outdoor garden space as well as the

the venue’s brand new outdoor garden space as well as the

the venue’s brand new outdoor garden space as well as the

the venue’s brand new outdoor garden space as well as the

the venue’s brand new outdoor garden space as well as the

the venue’s brand new outdoor garden space as well as the

the venue’s brand new outdoor garden space as well as the

the venue’s brand new outdoor garden space as well as the

the venue’s brand new outdoor garden space as well as the

the venue’s brand new outdoor garden space as well as the

the venue’s brand new outdoor garden space as well as the

the venue’s brand new outdoor garden space as well as the

the venue’s brand new outdoor garden space as well as the

the venue’s brand new outdoor garden space as well as the

the venue’s brand new outdoor garden space as well as the

the venue’s brand new outdoor garden space as well as the

the venue’s brand new outdoor garden space as well as the

the venue’s brand new outdoor garden space as well as the

the venue’s brand new outdoor garden space as well as the

the venue’s brand new outdoor garden space as well as the

the venue’s brand new outdoor garden space as well as the

club’s celebrated indoor charms, a host of Liverpool’s finest

club’s celebrated indoor charms, a host of Liverpool’s finest

club’s celebrated indoor charms, a host of Liverpool’s finest

club’s celebrated indoor charms, a host of Liverpool’s finest

club’s celebrated indoor charms, a host of Liverpool’s finest

club’s celebrated indoor charms, a host of Liverpool’s finest

club’s celebrated indoor charms, a host of Liverpool’s finest

club’s celebrated indoor charms, a host of Liverpool’s finest

club’s celebrated indoor charms, a host of Liverpool’s finest

club’s celebrated indoor charms, a host of Liverpool’s finest

club’s celebrated indoor charms, a host of Liverpool’s finest

club’s celebrated indoor charms, a host of Liverpool’s finest

club’s celebrated indoor charms, a host of Liverpool’s finest

club’s celebrated indoor charms, a host of Liverpool’s finest

club’s celebrated indoor charms, a host of Liverpool’s finest

club’s celebrated indoor charms, a host of Liverpool’s finest

bands and artists will appear alongside guest DJs and special

bands and artists will appear alongside guest DJs and special

bands and artists will appear alongside guest DJs and special

bands and artists will appear alongside guest DJs and special

bands and artists will appear alongside guest DJs and special

bands and artists will appear alongside guest DJs and special

bands and artists will appear alongside guest DJs and special

bands and artists will appear alongside guest DJs and special

bands and artists will appear alongside guest DJs and special

bands and artists will appear alongside guest DJs and special

bands and artists will appear alongside guest DJs and special

bands and artists will appear alongside guest DJs and special

bands and artists will appear alongside guest DJs and special

bands and artists will appear alongside guest DJs and special

bands and artists will appear alongside guest DJs and special

bands and artists will appear alongside guest DJs and special

bands and artists will appear alongside guest DJs and special

bands and artists will appear alongside guest DJs and special

bands and artists will appear alongside guest DJs and special

one-off performances programmed by Evol for a double hit of

one-off performances programmed by Evol for a double hit of

one-off performances programmed by Evol for a double hit of

one-off performances programmed by Evol for a double hit of

one-off performances programmed by Evol for a double hit of

one-off performances programmed by Evol for a double hit of

one-off performances programmed by Evol for a double hit of

one-off performances programmed by Evol for a double hit of

one-off performances programmed by Evol for a double hit of

one-off performances programmed by Evol for a double hit of

one-off performances programmed by Evol for a double hit of

one-off performances programmed by Evol for a double hit of

one-off performances programmed by Evol for a double hit of

one-off performances programmed by Evol for a double hit of

one-off performances programmed by Evol for a double hit of

one-off performances programmed by Evol for a double hit of

one-off performances programmed by Evol for a double hit of

one-off performances programmed by Evol for a double hit of

one-off performances programmed by Evol for a double hit of

one-off performances programmed by Evol for a double hit of

one-off performances programmed by Evol for a double hit of

one-off performances programmed by Evol for a double hit of

one-off performances programmed by Evol for a double hit of

one-off performances programmed by Evol for a double hit of

one-off performances programmed by Evol for a double hit of

one-off performances programmed by Evol for a double hit of

one-off performances programmed by Evol for a double hit of

one-off performances programmed by Evol for a double hit of

musical fireworks. With line-ups that are veritably dripping with

musical fireworks. With line-ups that are veritably dripping with

musical fireworks. With line-ups that are veritably dripping with

musical fireworks. With line-ups that are veritably dripping with

musical fireworks. With line-ups that are veritably dripping with

musical fireworks. With line-ups that are veritably dripping with

musical fireworks. With line-ups that are veritably dripping with

musical fireworks. With line-ups that are veritably dripping with

musical fireworks. With line-ups that are veritably dripping with

musical fireworks. With line-ups that are veritably dripping with

musical fireworks. With line-ups that are veritably dripping with

musical fireworks. With line-ups that are veritably dripping with

musical fireworks. With line-ups that are veritably dripping with

talent, the two events will mark a high point in August’s live

talent, the two events will mark a high point in August’s live

talent, the two events will mark a high point in August’s live

talent, the two events will mark a high point in August’s live

talent, the two events will mark a high point in August’s live

talent, the two events will mark a high point in August’s live

talent, the two events will mark a high point in August’s live

talent, the two events will mark a high point in August’s live

talent, the two events will mark a high point in August’s live

talent, the two events will mark a high point in August’s live

talent, the two events will mark a high point in August’s live

talent, the two events will mark a high point in August’s live

talent, the two events will mark a high point in August’s live

talent, the two events will mark a high point in August’s live

talent, the two events will mark a high point in August’s live

talent, the two events will mark a high point in August’s live

talent, the two events will mark a high point in August’s live

talent, the two events will mark a high point in August’s live

talent, the two events will mark a high point in August’s live

talent, the two events will mark a high point in August’s live

talent, the two events will mark a high point in August’s live

talent, the two events will mark a high point in August’s live

talent, the two events will mark a high point in August’s live

talent, the two events will mark a high point in August’s live

talent, the two events will mark a high point in August’s live

talent, the two events will mark a high point in August’s live

schedule, when our focus is usually trained on getting its sonic

schedule, when our focus is usually trained on getting its sonic

schedule, when our focus is usually trained on getting its sonic

schedule, when our focus is usually trained on getting its sonic

schedule, when our focus is usually trained on getting its sonic

schedule, when our focus is usually trained on getting its sonic

schedule, when our focus is usually trained on getting its sonic

schedule, when our focus is usually trained on getting its sonic

schedule, when our focus is usually trained on getting its sonic

schedule, when our focus is usually trained on getting its sonic

schedule, when our focus is usually trained on getting its sonic

schedule, when our focus is usually trained on getting its sonic

schedule, when our focus is usually trained on getting its sonic

schedule, when our focus is usually trained on getting its sonic

schedule, when our focus is usually trained on getting its sonic

schedule, when our focus is usually trained on getting its sonic

schedule, when our focus is usually trained on getting its sonic

schedule, when our focus is usually trained on getting its sonic

schedule, when our focus is usually trained on getting its sonic

schedule, when our focus is usually trained on getting its sonic

schedule, when our focus is usually trained on getting its sonic

schedule, when our focus is usually trained on getting its sonic

schedule, when our focus is usually trained on getting its sonic

kicks in muddy fields. As well as showcasing some of Liverpool’s

kicks in muddy fields. As well as showcasing some of Liverpool’s

kicks in muddy fields. As well as showcasing some of Liverpool’s

kicks in muddy fields. As well as showcasing some of Liverpool’s

kicks in muddy fields. As well as showcasing some of Liverpool’s

kicks in muddy fields. As well as showcasing some of Liverpool’s

kicks in muddy fields. As well as showcasing some of Liverpool’s

kicks in muddy fields. As well as showcasing some of Liverpool’s

kicks in muddy fields. As well as showcasing some of Liverpool’s

kicks in muddy fields. As well as showcasing some of Liverpool’s

kicks in muddy fields. As well as showcasing some of Liverpool’s

kicks in muddy fields. As well as showcasing some of Liverpool’s

kicks in muddy fields. As well as showcasing some of Liverpool’s

kicks in muddy fields. As well as showcasing some of Liverpool’s

kicks in muddy fields. As well as showcasing some of Liverpool’s

kicks in muddy fields. As well as showcasing some of Liverpool’s

kicks in muddy fields. As well as showcasing some of Liverpool’s

kicks in muddy fields. As well as showcasing some of Liverpool’s

kicks in muddy fields. As well as showcasing some of Liverpool’s

kicks in muddy fields. As well as showcasing some of Liverpool’s

kicks in muddy fields. As well as showcasing some of Liverpool’s

kicks in muddy fields. As well as showcasing some of Liverpool’s

kicks in muddy fields. As well as showcasing some of Liverpool’s

kicks in muddy fields. As well as showcasing some of Liverpool’s

kicks in muddy fields. As well as showcasing some of Liverpool’s

kicks in muddy fields. As well as showcasing some of Liverpool’s

kicks in muddy fields. As well as showcasing some of Liverpool’s

emerging acts (Death At Sea, The Wicked Whispers, Thunderbird

emerging acts (Death At Sea, The Wicked Whispers, Thunderbird

emerging acts (Death At Sea, The Wicked Whispers, Thunderbird

emerging acts (Death At Sea, The Wicked Whispers, Thunderbird

emerging acts (Death At Sea, The Wicked Whispers, Thunderbird

emerging acts (Death At Sea, The Wicked Whispers, Thunderbird

emerging acts (Death At Sea, The Wicked Whispers, Thunderbird

emerging acts (Death At Sea, The Wicked Whispers, Thunderbird

emerging acts (Death At Sea, The Wicked Whispers, Thunderbird

emerging acts (Death At Sea, The Wicked Whispers, Thunderbird

emerging acts (Death At Sea, The Wicked Whispers, Thunderbird

emerging acts (Death At Sea, The Wicked Whispers, Thunderbird

emerging acts (Death At Sea, The Wicked Whispers, Thunderbird

emerging acts (Death At Sea, The Wicked Whispers, Thunderbird

emerging acts (Death At Sea, The Wicked Whispers, Thunderbird

emerging acts (Death At Sea, The Wicked Whispers, Thunderbird

emerging acts (Death At Sea, The Wicked Whispers, Thunderbird

emerging acts (Death At Sea, The Wicked Whispers, Thunderbird

emerging acts (Death At Sea, The Wicked Whispers, Thunderbird

emerging acts (Death At Sea, The Wicked Whispers, Thunderbird

emerging acts (Death At Sea, The Wicked Whispers, Thunderbird

emerging acts (Death At Sea, The Wicked Whispers, Thunderbird

emerging acts (Death At Sea, The Wicked Whispers, Thunderbird

emerging acts (Death At Sea, The Wicked Whispers, Thunderbird

emerging acts (Death At Sea, The Wicked Whispers, Thunderbird

emerging acts (Death At Sea, The Wicked Whispers, Thunderbird

emerging acts (Death At Sea, The Wicked Whispers, Thunderbird

emerging acts (Death At Sea, The Wicked Whispers, Thunderbird

emerging acts (Death At Sea, The Wicked Whispers, Thunderbird

Gerard), the festival will host representatives from Manchester’s

Gerard), the festival will host representatives from Manchester’s

Gerard), the festival will host representatives from Manchester’s

Gerard), the festival will host representatives from Manchester’s

Gerard), the festival will host representatives from Manchester’s

Gerard), the festival will host representatives from Manchester’s

Gerard), the festival will host representatives from Manchester’s

Gerard), the festival will host representatives from Manchester’s

Gerard), the festival will host representatives from Manchester’s

Gerard), the festival will host representatives from Manchester’s

Gerard), the festival will host representatives from Manchester’s

Gerard), the festival will host representatives from Manchester’s

Gerard), the festival will host representatives from Manchester’s

Gerard), the festival will host representatives from Manchester’s

Gerard), the festival will host representatives from Manchester’s

Gerard), the festival will host representatives from Manchester’s

Gerard), the festival will host representatives from Manchester’s

Gerard), the festival will host representatives from Manchester’s

Gerard), the festival will host representatives from Manchester’s

Gerard), the festival will host representatives from Manchester’s

Gerard), the festival will host representatives from Manchester’s

Gerard), the festival will host representatives from Manchester’s

Gerard), the festival will host representatives from Manchester’s

Gerard), the festival will host representatives from Manchester’s

Gerard), the festival will host representatives from Manchester’s

Gerard), the festival will host representatives from Manchester’s

Gerard), the festival will host representatives from Manchester’s

Gerard), the festival will host representatives from Manchester’s

current burgeoning crop of hipsters: the scintillating PINS

current burgeoning crop of hipsters: the scintillating PINS

current burgeoning crop of hipsters: the scintillating PINS

current burgeoning crop of hipsters: the scintillating PINS

current burgeoning crop of hipsters: the scintillating PINS

current burgeoning crop of hipsters: the scintillating PINS

current burgeoning crop of hipsters: the scintillating PINS

current burgeoning crop of hipsters: the scintillating PINS

current burgeoning crop of hipsters: the scintillating PINS

current burgeoning crop of hipsters: the scintillating PINS

current burgeoning crop of hipsters: the scintillating PINS

current burgeoning crop of hipsters: the scintillating PINS

current burgeoning crop of hipsters: the scintillating PINS

current burgeoning crop of hipsters: the scintillating PINS

current burgeoning crop of hipsters: the scintillating PINS

current burgeoning crop of hipsters: the scintillating PINS

current burgeoning crop of hipsters: the scintillating PINS

current burgeoning crop of hipsters: the scintillating PINS

current burgeoning crop of hipsters: the scintillating PINS

current burgeoning crop of hipsters: the scintillating PINS

current burgeoning crop of hipsters: the scintillating PINS

current burgeoning crop of hipsters: the scintillating PINS

current burgeoning crop of hipsters: the scintillating PINS

current burgeoning crop of hipsters: the scintillating PINS

current burgeoning crop of hipsters: the scintillating PINS

current burgeoning crop of hipsters: the scintillating PINS

current burgeoning crop of hipsters: the scintillating PINS

current burgeoning crop of hipsters: the scintillating PINS

current burgeoning crop of hipsters: the scintillating PINS

and Folks; and for those looking to things other than music

and Folks; and for those looking to things other than music

and Folks; and for those looking to things other than music

and Folks; and for those looking to things other than music

and Folks; and for those looking to things other than music

and Folks; and for those looking to things other than music

and Folks; and for those looking to things other than music

and Folks; and for those looking to things other than music

and Folks; and for those looking to things other than music

and Folks; and for those looking to things other than music

and Folks; and for those looking to things other than music

and Folks; and for those looking to things other than music

and Folks; and for those looking to things other than music

and Folks; and for those looking to things other than music

and Folks; and for those looking to things other than music

and Folks; and for those looking to things other than music

and Folks; and for those looking to things other than music

and Folks; and for those looking to things other than music

and Folks; and for those looking to things other than music

for satisfaction, the MelloMello BBQ will be

for satisfaction, the MelloMello BBQ will be

for satisfaction, the MelloMello BBQ will be

for satisfaction, the MelloMello BBQ will be

for satisfaction, the MelloMello BBQ will be

for satisfaction, the MelloMello BBQ will be

for satisfaction, the MelloMello BBQ will be

for satisfaction, the MelloMello BBQ will be

for satisfaction, the MelloMello BBQ will be

for satisfaction, the MelloMello BBQ will be

for satisfaction, the MelloMello BBQ will be

for satisfaction, the MelloMello BBQ will be

for satisfaction, the MelloMello BBQ will be

fired

fired

and ready to provide sustenance;

and ready to provide sustenance;

and ready to provide sustenance;

and ready to provide sustenance;

and ready to provide sustenance;

and ready to provide sustenance;

and ready to provide sustenance;

and ready to provide sustenance;

and ready to provide sustenance;

and ready to provide sustenance;

and ready to provide sustenance;

and ready to provide sustenance;

and ready to provide sustenance;

and ready to provide sustenance;

and ready to provide sustenance;

with

a Screenadelica stall exhibiting a

a Screenadelica stall exhibiting a

a Screenadelica stall exhibiting a

a Screenadelica stall exhibiting a

a Screenadelica stall exhibiting a

a Screenadelica stall exhibiting a

a Screenadelica stall exhibiting a

a Screenadelica stall exhibiting a

a Screenadelica stall exhibiting a

a Screenadelica stall exhibiting a

range of

posters and prints of previous Evol

posters and prints of previous Evol

posters and prints of previous Evol

posters and prints of previous Evol

posters and prints of previous Evol

posters and prints of previous Evol

posters and prints of previous Evol

posters and prints of previous Evol

posters and prints of previous Evol

posters and prints of previous Evol

shows.

Looming large over the two

Looming large over the two

Looming large over the two

Looming large over the two

Looming large over the two

events are the FestEvol headliners:

events are the FestEvol headliners:

events are the FestEvol headliners:

events are the FestEvol headliners:

events are the FestEvol headliners:

CLINIC

and OUTFIT, who are among the region’s

and OUTFIT, who are among the region’s

most

inventive musical creators, and will

inventive musical creators, and will

inventive musical creators, and will

inventive musical creators, and will

inventive musical creators, and will

inventive musical creators, and will

no

doubt provide a fitting finale to each of

doubt provide a fitting finale to each of

doubt provide a fitting finale to each of

doubt provide a fitting finale to each of

the events.

the events. Charlie Lashmar

Charlie Lashmar caught up with

Charlie Lashmar caught up with

Charlie Lashmar

both of these headliners, as well as FestEvol

both of these headliners, as well as FestEvol

both of these headliners, as well as FestEvol

both of these headliners, as well as FestEvol

both of these headliners, as well as FestEvol

both of these headliners, as well as FestEvol

programmer Revo Ziganda, to talk about the

programmer Revo Ziganda, to talk about the

programmer Revo Ziganda, to talk about the

programmer Revo Ziganda, to talk about the

programmer Revo Ziganda, to talk about the

programmer Revo Ziganda, to talk about the

programmer Revo Ziganda, to talk about the

programmer Revo Ziganda, to talk about the

programmer Revo Ziganda, to talk about the

programmer Revo Ziganda, to talk about the

programmer Revo Ziganda, to talk about the

programmer Revo Ziganda, to talk about the

upcoming shows.

upcoming shows.

upcoming shows.

upcoming shows.

upcoming shows.

upcoming shows.

upcoming shows.

upcoming shows.

upcoming shows.

As a man with many projects on the boil simultaneously,

As a man with many projects on the boil simultaneously,

As a man with many projects on the boil simultaneously,

As a man with many projects on the boil simultaneously,

As a man with many projects on the boil simultaneously,

As a man with many projects on the boil simultaneously,

As a man with many projects on the boil simultaneously,

As a man with many projects on the boil simultaneously,

As a man with many projects on the boil simultaneously,

As a man with many projects on the boil simultaneously,

As a man with many projects on the boil simultaneously,

As a man with many projects on the boil simultaneously,

As a man with many projects on the boil simultaneously,

As a man with many projects on the boil simultaneously,

Revo’s bookings diary is rarely less than full. Around finalising

Revo’s bookings diary is rarely less than full. Around finalising

Revo’s bookings diary is rarely less than full. Around finalising

Revo’s bookings diary is rarely less than full. Around finalising

Revo’s bookings diary is rarely less than full. Around finalising

Revo’s bookings diary is rarely less than full. Around finalising

Revo’s bookings diary is rarely less than full. Around finalising

Revo’s bookings diary is rarely less than full. Around finalising

Revo’s bookings diary is rarely less than full. Around finalising

Revo’s bookings diary is rarely less than full. Around finalising

Revo’s bookings diary is rarely less than full. Around finalising

Revo’s bookings diary is rarely less than full. Around finalising

Revo’s bookings diary is rarely less than full. Around finalising

Revo’s bookings diary is rarely less than full. Around finalising

Revo’s bookings diary is rarely less than full. Around finalising

a great run of autumn shows and working on Sound City,

a great run of autumn shows and working on Sound City,

a great run of autumn shows and working on Sound City,

a great run of autumn shows and working on Sound City,

a great run of autumn shows and working on Sound City,

a great run of autumn shows and working on Sound City,

a great run of autumn shows and working on Sound City,

a great run of autumn shows and working on Sound City,

a great run of autumn shows and working on Sound City,

a great run of autumn shows and working on Sound City,

a great run of autumn shows and working on Sound City,

a great run of autumn shows and working on Sound City,

a great run of autumn shows and working on Sound City,

a great run of autumn shows and working on Sound City,

a great run of autumn shows and working on Sound City,

a great run of autumn shows and working on Sound City,

he has still had the time to plan these two heavyweight

he has still had the time to plan these two heavyweight

he has still had the time to plan these two heavyweight

he has still had the time to plan these two heavyweight

he has still had the time to plan these two heavyweight

he has still had the time to plan these two heavyweight

he has still had the time to plan these two heavyweight

he has still had the time to plan these two heavyweight

he has still had the time to plan these two heavyweight

he has still had the time to plan these two heavyweight

he has still had the time to plan these two heavyweight

he has still had the time to plan these two heavyweight

he has still had the time to plan these two heavyweight

he has still had the time to plan these two heavyweight

he has still had the time to plan these two heavyweight

he has still had the time to plan these two heavyweight

he has still had the time to plan these two heavyweight

FestEvol events, but he admits that it’s an idea that’s been

FestEvol events, but he admits that it’s an idea that’s been

FestEvol events, but he admits that it’s an idea that’s been

FestEvol events, but he admits that it’s an idea that’s been

FestEvol events, but he admits that it’s an idea that’s been

FestEvol events, but he admits that it’s an idea that’s been

FestEvol events, but he admits that it’s an idea that’s been

FestEvol events, but he admits that it’s an idea that’s been

FestEvol events, but he admits that it’s an idea that’s been

FestEvol events, but he admits that it’s an idea that’s been

in the can for a while. “We planned one for the Masque

in the can for a while. “We planned one for the Masque

in the can for a while. “We planned one for the Masque

in the can for a while. “We planned one for the Masque

in the can for a while. “We planned one for the Masque

in the can for a while. “We planned one for the Masque

in the can for a while. “We planned one for the Masque

in the can for a while. “We planned one for the Masque

in the can for a while. “We planned one for the Masque

in the can for a while. “We planned one for the Masque

in the can for a while. “We planned one for the Masque

in the can for a while. “We planned one for the Masque

in the can for a while. “We planned one for the Masque

but it closed, so when the Kazimier boys started telling

but it closed, so when the Kazimier boys started telling

but it closed, so when the Kazimier boys started telling

but it closed, so when the Kazimier boys started telling

but it closed, so when the Kazimier boys started telling

but it closed, so when the Kazimier boys started telling

but it closed, so when the Kazimier boys started telling

but it closed, so when the Kazimier boys started telling

but it closed, so when the Kazimier boys started telling

me about their plans for their garden it made sense to do

me about their plans for their garden it made sense to do

me about their plans for their garden it made sense to do

me about their plans for their garden it made sense to do

me about their plans for their garden it made sense to do

me about their plans for their garden it made sense to do

me about their plans for their garden it made sense to do

me about their plans for their garden it made sense to do

me about their plans for their garden it made sense to do

it again as the venue is now perfect for it. The indoor

it again as the venue is now perfect for it. The indoor

it again as the venue is now perfect for it. The indoor

it again as the venue is now perfect for it. The indoor

it again as the venue is now perfect for it. The indoor

it again as the venue is now perfect for it. The indoor

it again as the venue is now perfect for it. The indoor

it again as the venue is now perfect for it. The indoor

stage will stay as we know it, with the smoking

stage will stay as we know it, with the smoking

stage will stay as we know it, with the smoking

stage will stay as we know it, with the smoking

stage will stay as we know it, with the smoking

stage will stay as we know it, with the smoking

stage will stay as we know it, with the smoking

stage will stay as we know it, with the smoking

stage will stay as we know it, with the smoking

stage will stay as we know it, with the smoking

area becoming a disco and the garden housing

area becoming a disco and the garden housing

area becoming a disco and the garden housing

area becoming a disco and the garden housing

area becoming a disco and the garden housing

area becoming a disco and the garden housing

area becoming a disco and the garden housing

area becoming a disco and the garden housing

area becoming a disco and the garden housing

area becoming a disco and the garden housing

area becoming a disco and the garden housing

area becoming a disco and the garden housing

the outdoor stage under a pagoda.” Despite

the outdoor stage under a pagoda.” Despite

the outdoor stage under a pagoda.” Despite

the outdoor stage under a pagoda.” Despite

the outdoor stage under a pagoda.” Despite

the outdoor stage under a pagoda.” Despite

the outdoor stage under a pagoda.” Despite

dropping a few hints, the man behind Evol is

dropping a few hints, the man behind Evol is

dropping a few hints, the man behind Evol is

dropping a few hints, the man behind Evol is

dropping a few hints, the man behind Evol is

dropping a few hints, the man behind Evol is

dropping a few hints, the man behind Evol is

dropping a few hints, the man behind Evol is

dropping a few hints, the man behind Evol is

dropping a few hints, the man behind Evol is

rather cagey when it comes

rather cagey when it comes

rather cagey when it comes

rather cagey when it comes

to talking

to talking

to talking about other

about

other

about

other

about other plans up

his sleeve.

his sleeve.

“We’ve got a

“We’ve got a

“We’ve got a

couple of

couple of

surprises

surprises

on the 4th, and

on the 4th, and

on the 4th, and

on the 4th, and

on the 4th, and

something

something

nice for the 11th, but we’re not telling yet.”

nice for the 11th, but we’re not telling yet.”

nice for the 11th, but we’re not telling yet.”

nice for the 11th, but we’re not telling yet.”

nice for the 11th, but we’re not telling yet.”

The all-day, one-venue format is one that’s popped up

The all-day, one-venue format is one that’s popped up

The all-day, one-venue format is one that’s popped up

The all-day, one-venue format is one that’s popped up

The all-day, one-venue format is one that’s popped up

The all-day, one-venue format is one that’s popped up

The all-day, one-venue format is one that’s popped up

The all-day, one-venue format is one that’s popped up

The all-day, one-venue format is one that’s popped up

The all-day, one-venue format is one that’s popped up

The all-day, one-venue format is one that’s popped up

in various guises in Liverpool, and it’s a formula that inevitably

in various guises in Liverpool, and it’s a formula that inevitably

in various guises in Liverpool, and it’s a formula that inevitably

in various guises in Liverpool, and it’s a formula that inevitably

in various guises in Liverpool, and it’s a formula that inevitably

in various guises in Liverpool, and it’s a formula that inevitably

in various guises in Liverpool, and it’s a formula that inevitably

in various guises in Liverpool, and it’s a formula that inevitably

in various guises in Liverpool, and it’s a formula that inevitably

in various guises in Liverpool, and it’s a formula that inevitably

in various guises in Liverpool, and it’s a formula that inevitably

leads to success, and invariably, iconic moments. One such

leads to success, and invariably, iconic moments. One such

leads to success, and invariably, iconic moments. One such

leads to success, and invariably, iconic moments. One such

leads to success, and invariably, iconic moments. One such

leads to success, and invariably, iconic moments. One such

leads to success, and invariably, iconic moments. One such

leads to success, and invariably, iconic moments. One such

leads to success, and invariably, iconic moments. One such

leads to success, and invariably, iconic moments. One such

leads to success, and invariably, iconic moments. One such

leads to success, and invariably, iconic moments. One such

leads to success, and invariably, iconic moments. One such

leads to success, and invariably, iconic moments. One such

leads to success, and invariably, iconic moments. One such

leads to success, and invariably, iconic moments. One such

leads to success, and invariably, iconic moments. One such

moment was Outfit’s breakout performance at Fiesta Obscenic

moment was Outfit’s breakout performance at Fiesta Obscenic

moment was Outfit’s breakout performance at Fiesta Obscenic

moment was Outfit’s breakout performance at Fiesta Obscenic

moment was Outfit’s breakout performance at Fiesta Obscenic

moment was Outfit’s breakout performance at Fiesta Obscenic

moment was Outfit’s breakout performance at Fiesta Obscenic

moment was Outfit’s breakout performance at Fiesta Obscenic

moment was Outfit’s breakout performance at Fiesta Obscenic

moment was Outfit’s breakout performance at Fiesta Obscenic

moment was Outfit’s breakout performance at Fiesta Obscenic

moment was Outfit’s breakout performance at Fiesta Obscenic

moment was Outfit’s breakout performance at Fiesta Obscenic

moment was Outfit’s breakout performance at Fiesta Obscenic

moment was Outfit’s breakout performance at Fiesta Obscenic

moment was Outfit’s breakout performance at Fiesta Obscenic

last year. Since then they’ve supported Ladytron, raked in a

last year. Since then they’ve supported Ladytron, raked in a

last year. Since then they’ve supported Ladytron, raked in a

last year. Since then they’ve supported Ladytron, raked in a

last year. Since then they’ve supported Ladytron, raked in a

last year. Since then they’ve supported Ladytron, raked in a

last year. Since then they’ve supported Ladytron, raked in a

last year. Since then they’ve supported Ladytron, raked in a

last year. Since then they’ve supported Ladytron, raked in a

last year. Since then they’ve supported Ladytron, raked in a

last year. Since then they’ve supported Ladytron, raked in a

last year. Since then they’ve supported Ladytron, raked in a

last year. Since then they’ve supported Ladytron, raked in a

last year. Since then they’ve supported Ladytron, raked in a

last year. Since then they’ve supported Ladytron, raked in a

last year. Since then they’ve supported Ladytron, raked in a

smattering of accolades, and moved down to London for a year.

smattering of accolades, and moved down to London for a year.

smattering of accolades, and moved down to London for a year.

smattering of accolades, and moved down to London for a year.

smattering of accolades, and moved down to London for a year.

smattering of accolades, and moved down to London for a year.

smattering of accolades, and moved down to London for a year.

smattering of accolades, and moved down to London for a year.

smattering of accolades, and moved down to London for a year.

smattering of accolades, and moved down to London for a year.

smattering of accolades, and moved down to London for a year.

smattering of accolades, and moved down to London for a year.

smattering of accolades, and moved down to London for a year.

smattering of accolades, and moved down to London for a year.

smattering of accolades, and moved down to London for a year.

smattering of accolades, and moved down to London for a year.

smattering of accolades, and moved down to London for a year.

smattering of accolades, and moved down to London for a year.

smattering of accolades, and moved down to London for a year.

smattering of accolades, and moved down to London for a year.

smattering of accolades, and moved down to London for a year.

smattering of accolades, and moved down to London for a year.

smattering of accolades, and moved down to London for a year.

smattering of accolades, and moved down to London for a year.

smattering of accolades, and moved down to London for a year.

smattering of accolades, and moved down to London for a year.

smattering of accolades, and moved down to London for a year.

smattering of accolades, and moved down to London for a year.

smattering of accolades, and moved down to London for a year.

smattering of accolades, and moved down to London for a year.

It’s a common move for bands now, and in the case of Outfit, it

It’s a common move for bands now, and in the case of Outfit, it

It’s a common move for bands now, and in the case of Outfit, it

It’s a common move for bands now, and in the case of Outfit, it

It’s a common move for bands now, and in the case of Outfit, it

It’s a common move for bands now, and in the case of Outfit, it

It’s a common move for bands now, and in the case of Outfit, it

It’s a common move for bands now, and in the case of Outfit, it

It’s a common move for bands now, and in the case of Outfit, it

It’s a common move for bands now, and in the case of Outfit, it

It’s a common move for bands now, and in the case of Outfit, it

It’s a common move for bands now, and in the case of Outfit, it

It’s a common move for bands now, and in the case of Outfit, it

It’s a common move for bands now, and in the case of Outfit, it

It’s a common move for bands now, and in the case of Outfit, it

It’s a common move for bands now, and in the case of Outfit, it

It’s a common move for bands now, and in the case of Outfit, it

It’s a common move for bands now, and in the case of Outfit, it

It’s a common move for bands now, and in the case of Outfit, it

It’s a common move for bands now, and in the case of Outfit, it

It’s a common move for bands now, and in the case of Outfit, it

It’s a common move for bands now, and in the case of Outfit, it

It’s a common move for bands now, and in the case of Outfit, it

It’s a common move for bands now, and in the case of Outfit, it

It’s a common move for bands now, and in the case of Outfit, it

It’s a common move for bands now, and in the case of Outfit, it

It’s a common move for bands now, and in the case of Outfit, it

was done to avoid any stagnation. As frontman Andrew Hunt puts

was done to avoid any stagnation. As frontman Andrew Hunt puts

was done to avoid any stagnation. As frontman Andrew Hunt puts

was done to avoid any stagnation. As frontman Andrew Hunt puts

was done to avoid any stagnation. As frontman Andrew Hunt puts

was done to avoid any stagnation. As frontman Andrew Hunt puts

was done to avoid any stagnation. As frontman Andrew Hunt puts

was done to avoid any stagnation. As frontman Andrew Hunt puts

was done to avoid any stagnation. As frontman Andrew Hunt puts

was done to avoid any stagnation. As frontman Andrew Hunt puts

was done to avoid any stagnation. As frontman Andrew Hunt puts

was done to avoid any stagnation. As frontman Andrew Hunt puts

was done to avoid any stagnation. As frontman Andrew Hunt puts

was done to avoid any stagnation. As frontman Andrew Hunt puts

was done to avoid any stagnation. As frontman Andrew Hunt puts

was done to avoid any stagnation. As frontman Andrew Hunt puts

was done to avoid any stagnation. As frontman Andrew Hunt puts

was done to avoid any stagnation. As frontman Andrew Hunt puts

was done to avoid any stagnation. As frontman Andrew Hunt puts

was done to avoid any stagnation. As frontman Andrew Hunt puts

was done to avoid any stagnation. As frontman Andrew Hunt puts

it, “London big, Liverpool small. Liverpool encouraging and fertile,

it, “London big, Liverpool small. Liverpool encouraging and fertile,

it, “London big, Liverpool small. Liverpool encouraging and fertile,

it, “London big, Liverpool small. Liverpool encouraging and fertile,

it, “London big, Liverpool small. Liverpool encouraging and fertile,

it, “London big, Liverpool small. Liverpool encouraging and fertile,

it, “London big, Liverpool small. Liverpool encouraging and fertile,

it, “London big, Liverpool small. Liverpool encouraging and fertile,

it, “London big, Liverpool small. Liverpool encouraging and fertile,

it, “London big, Liverpool small. Liverpool encouraging and fertile,

it, “London big, Liverpool small. Liverpool encouraging and fertile,

it, “London big, Liverpool small. Liverpool encouraging and fertile,

it, “London big, Liverpool small. Liverpool encouraging and fertile,

it, “London big, Liverpool small. Liverpool encouraging and fertile,

it, “London big, Liverpool small. Liverpool encouraging and fertile,

it, “London big, Liverpool small. Liverpool encouraging and fertile,

it, “London big, Liverpool small. Liverpool encouraging and fertile,

it, “London big, Liverpool small. Liverpool encouraging and fertile,

it, “London big, Liverpool small. Liverpool encouraging and fertile,

it, “London big, Liverpool small. Liverpool encouraging and fertile,

it, “London big, Liverpool small. Liverpool encouraging and fertile,

it, “London big, Liverpool small. Liverpool encouraging and fertile,

London motivating and competitive.” Any motivation has certainly

London motivating and competitive.” Any motivation has certainly

London motivating and competitive.” Any motivation has certainly

London motivating and competitive.” Any motivation has certainly

London motivating and competitive.” Any motivation has certainly

London motivating and competitive.” Any motivation has certainly

London motivating and competitive.” Any motivation has certainly

London motivating and competitive.” Any motivation has certainly

London motivating and competitive.” Any motivation has certainly

London motivating and competitive.” Any motivation has certainly

London motivating and competitive.” Any motivation has certainly

London motivating and competitive.” Any motivation has certainly

London motivating and competitive.” Any motivation has certainly

London motivating and competitive.” Any motivation has certainly

London motivating and competitive.” Any motivation has certainly

London motivating and competitive.” Any motivation has certainly

London motivating and competitive.” Any motivation has certainly

London motivating and competitive.” Any motivation has certainly

London motivating and competitive.” Any motivation has certainly

London motivating and competitive.” Any motivation has certainly

London motivating and competitive.” Any motivation has certainly

London motivating and competitive.” Any motivation has certainly

London motivating and competitive.” Any motivation has certainly

London motivating and competitive.” Any motivation has certainly

London motivating and competitive.” Any motivation has certainly

London motivating and competitive.” Any motivation has certainly

London motivating and competitive.” Any motivation has certainly

London motivating and competitive.” Any motivation has certainly

London motivating and competitive.” Any motivation has certainly

worked: with a new album in the can, they’ve just moved back

worked: with a new album in the can, they’ve just moved back

worked: with a new album in the can, they’ve just moved back

worked: with a new album in the can, they’ve just moved back

worked: with a new album in the can, they’ve just moved back

worked: with a new album in the can, they’ve just moved back

worked: with a new album in the can, they’ve just moved back

worked: with a new album in the can, they’ve just moved back

worked: with a new album in the can, they’ve just moved back

worked: with a new album in the can, they’ve just moved back

worked: with a new album in the can, they’ve just moved back

worked: with a new album in the can, they’ve just moved back

worked: with a new album in the can, they’ve just moved back

worked: with a new album in the can, they’ve just moved back

worked: with a new album in the can, they’ve just moved back

worked: with a new album in the can, they’ve just moved back

worked: with a new album in the can, they’ve just moved back

worked: with a new album in the can, they’ve just moved back

worked: with a new album in the can, they’ve just moved back

worked: with a new album in the can, they’ve just moved back

to Liverpool to record it. “The album

to Liverpool to record it. “The album

to Liverpool to record it. “The album

to Liverpool to record it. “The album

to Liverpool to record it. “The album

to Liverpool to record it. “The album

to Liverpool to record it. “The album

to Liverpool to record it. “The album

to Liverpool to record it. “The album

to Liverpool to record it. “The album

to Liverpool to record it. “The album

to Liverpool to record it. “The album

to Liverpool to record it. “The album

to Liverpool to record it. “The album

to Liverpool to record it. “The album

to Liverpool to record it. “The album

to Liverpool to record it. “The album

to Liverpool to record it. “The album is in pre-fab

is in pre-fab

is in pre-fab

stage,” says Hunt. “We’re just

stage,” says Hunt. “We’re just

stage,” says Hunt. “We’re just

stage,” says Hunt. “We’re just

stage,” says Hunt. “We’re just

stage,” says Hunt. “We’re just

stage,” says Hunt. “We’re just

stage,” says Hunt. “We’re just

building all the

building all the

building all the

building all the

building all the

building all the

building all the

building all the

walls and solid structures;

walls and solid structures;

walls and solid structures;

walls and solid structures;

walls and solid structures;

walls and solid structures; the painting

the

painting

the

painting

the

painting

the

painting

and filling and vinyls

and filling and vinyls

and filling and vinyls

and filling and vinyls

and filling and vinyls

etc will be put

etc will be put

etc will be put

in over the summer.”

in over the summer.”

in over the summer.”

in over the summer.”

in over the summer.”

Not only that, but

Not only that, but

Not only that, but

Not only that, but

Not only that, but

they’ll be returning

they’ll be returning

they’ll be returning

they’ll be returning

they’ll be returning

they’ll be returning

to the Kazimier on the

to the Kazimier on the

to the Kazimier on the

second Saturday of

second Saturday of

second Saturday of

second Saturday of

FestEvol (11th August).

FestEvol (11th August).

FestEvol (11th August).

“We played our first

“We played our first

and worst ever gig at

and worst ever gig at

and worst ever gig at

the Kazimier. I’m looking

the Kazimier. I’m looking

the Kazimier. I’m looking

the Kazimier. I’m looking forward to proving

forward to proving

forward to proving

that we don’t suck.”

that we don’t suck.”

Fellow

FestEvol

Fellow

FestEvol

headliners Clinic (4th August)

headliners Clinic (4th August)

have

been

perennial underperennial

underperennial

underperennial

underperennial

underperennial

undergrounders

for over

grounders for over

grounders for over

grounders for over

grounders for over

a decade,

a decade,

a decade,

and with their seventh album out this year,

and with their seventh album out this year,

and with their seventh album out this year,

and with their seventh album out this year,

and with their seventh album out this year,

and with their seventh album out this year,

it’s clear where their priorities lie: making good

priorities lie: making good

priorities lie: making good

priorities lie: making good

priorities lie: making good

priorities lie: making good

music

rather

music

rather than pursuing “elusive commercial success”.

than pursuing “elusive commercial success”.

than pursuing “elusive commercial success”.

than pursuing “elusive commercial success”.

than pursuing “elusive commercial success”.

than pursuing “elusive commercial success”.

than pursuing “elusive commercial success”.

Not that you would ever call them unsuccessful. They’ve toured

Not that you would ever call them unsuccessful. They’ve toured

Not that you would ever call them unsuccessful. They’ve toured

Not that you would ever call them unsuccessful. They’ve toured

with Radiohead, Arcade Fire and supported The Shins this

with Radiohead, Arcade Fire and supported The Shins this

with Radiohead, Arcade Fire and supported The Shins this

with Radiohead, Arcade Fire and supported The Shins this

with Radiohead, Arcade Fire and supported The Shins this

with Radiohead, Arcade Fire and supported The Shins this

with Radiohead, Arcade Fire and supported The Shins this

with Radiohead, Arcade Fire and supported The Shins this

with Radiohead, Arcade Fire and supported The Shins this

with Radiohead, Arcade Fire and supported The Shins this

year, but they shy away from the spotlight and hide, literally,

year, but they shy away from the spotlight and hide, literally,

year, but they shy away from the spotlight and hide, literally,

year, but they shy away from the spotlight and hide, literally,

year, but they shy away from the spotlight and hide, literally,

year, but they shy away from the spotlight and hide, literally,

year, but they shy away from the spotlight and hide, literally,

year, but they shy away from the spotlight and hide, literally,

year, but they shy away from the spotlight and hide, literally,

year, but they shy away from the spotlight and hide, literally,

year, but they shy away from the spotlight and hide, literally,

year, but they shy away from the spotlight and hide, literally,

year, but they shy away from the spotlight and hide, literally,

year, but they shy away from the spotlight and hide, literally,

year, but they shy away from the spotlight and hide, literally,

year, but they shy away from the spotlight and hide, literally,

year, but they shy away from the spotlight and hide, literally,

year, but they shy away from the spotlight and hide, literally,

year, but they shy away from the spotlight and hide, literally,

behind the surgical masks they wear onstage. They possess an

behind the surgical masks they wear onstage. They possess an

behind the surgical masks they wear onstage. They possess an

behind the surgical masks they wear onstage. They possess an

behind the surgical masks they wear onstage. They possess an

unmistakable sound, and like aforementioned touring buddies

unmistakable sound, and like aforementioned touring buddies

unmistakable sound, and like aforementioned touring buddies

unmistakable sound, and like aforementioned touring buddies

unmistakable sound, and like aforementioned touring buddies

unmistakable sound, and like aforementioned touring buddies

unmistakable sound, and like aforementioned touring buddies

unmistakable sound, and like aforementioned touring buddies

unmistakable sound, and like aforementioned touring buddies

Radiohead, every album progresses into new territories.

Radiohead, every album progresses into new territories.

Radiohead, every album progresses into new territories.

Radiohead, every album progresses into new territories.

Radiohead, every album progresses into new territories.

Radiohead, every album progresses into new territories.

Radiohead, every album progresses into new territories.

So, what gives them the drive to keep making new albums?

So, what gives them the drive to keep making new albums?

So, what gives them the drive to keep making new albums?

So, what gives them the drive to keep making new albums?

“Maybe because it’s impossible to perfect your ideas,” explains

“Maybe because it’s impossible to perfect your ideas,” explains

“Maybe because it’s impossible to perfect your ideas,” explains

“Maybe because it’s impossible to perfect your ideas,” explains

“Maybe because it’s impossible to perfect your ideas,” explains

“Maybe because it’s impossible to perfect your ideas,” explains

“Maybe because it’s impossible to perfect your ideas,” explains

“Maybe because


12

Bido Lito! August 2012

DOMINOES’ THEORY

Adventures in psychedelic exploration

Words: Richard Lewis

Photography: Keith Ainsworth

‘Made in various locations, on various equipment, at various

times throughout 2006-2012, this is DOMINOES’ first album’, goes

the unassuming description of the collection of tracks that comprises

Gig Guide and Ticket Shop live at www.bidolito.co.uk

Dominoes’ debut LP The Elemental Suite. The music contained

therein amply demonstrates that promotional bluster isn’t

required to woo the listener; the album contains a treasure trove of

whimsical

Syd

Barrett

vocal melodies,

Basement

Tapes-era

Dylan

instrumentation

and

frazzled acid folk à la The

Flaming Lips.

Creator and sole permanent

member of Dominoes, Dominic

Lewington relocated to Liverpool from

West Yorkshire in the mid-1990s and became

a stalwart of the city’s music scene, joining a host

of bands. After initially starting out as a drummer,

Dom moved to rhythm guitar and found a berth in Pop

Levi’s fledgling backing band, The Emergencies.

Centred around the now defunct music/art space The Kif

located on Parr Street, the grass-roots venture was the birthplace

of scores of bands and saw the formation of long-lasting musical

alliances. As Pop Levi decamped to the States in 2006, Dom and

Luke ‘Lucky Beaches’ Muscatelli responded to the call and the group

took up residency in Los Angeles’ Echo Park district, along with

drummer Marius Simonsen. Both Dom and Levi also featured in


Bido Lito! August 2012 13

recently

re-activated

experimental

band

Zukanican

alongside Ged Lynn,

formerly of The Stairs.

“The first three songs on

there were recorded just before

I went to LA, I’ve recorded tons

of stuff, there’s four or five albums

worth,” Dom says of The Elemental

Suite’s evolution, while sipping coffee in

MelloMello. “I’d never contributed songs to

any of the groups I’d been in before, only my own

band The Hand Museum. Doing the whole Zukanican,

The Kif, Pop Levi thing instigated a massive creative

outpouring in me,” Dom explains. “There was a time when I

was writing two or three songs a week. Some of them are only

just starting to come out now.”

Working closely with producer and multi-instrumentalist Rhys

Jones, following the project’s lengthy gestation period Dom had

to be encouraged by friends and fellow musicians to let the songs

see the light of day. “A few friends had been saying ‘get me a copy

of that album’. I’ve always assumed nobody would like it,” Dom

shrugs modestly. “Johnny (Pop Levi) was saying to me ‘You need

to release it one way or another’. I had a plan for everything to be

called The Elemental Suite and keep doing different-sounding

EPs,” Dom says of the project, released through his own

imprint, Brown Shadow Records.

Dom has assembled an impressive cast of Liverpool

musicians, including the aforementioned Lucky

Beaches and Cubical drummer Mark Percy,

alongside the core of himself and Rhys; and,

despite the protracted recording sessions,

the tracks have a remarkably clear

stylistic thread running throughout

and click together seamlessly as

an album.

“I’d never really been

good with melody,” Dom

states,

somewhat

surprisingly given

the fluency of

the songs.

“It’s

quite

a

melodic album for me in

parts. It was a burst of a lot of

melodies coming out. Somebody

said to me it’s quite a daring album

and I suppose it is. I could have got

it perfect, done it all to a click track for

everything. I pretty much insisted on using one

guitar for all of it,” Dom notes of the rickety nylonstrung

guitar present on all the tracks.

A notable facet of the LP is Dom’s voice, able to adapt

whenever needed, sounding at times almost like additional

singers are present. The seen-it-all bluesman of Til My Day

Is Done is thrown into sharp relief by the light-headed vocal on

Trouble, which staggers along in a delightedly drunken haze like

The Flaming Lips having blown all of their money on booze only to

stumble out of the bar and find a $100 dollar bill on the sidewalk.

The collective of musicians who comprised The Elephant 6

Recording Company that went on to produce some of the best

music in the US independent sector in the 1990s is cited by Dom

as a model for how he likes to work. “With Elephant 6, guys like

Olivia Tremor Control and Neutral Milk Hotel were all in each

other’s bands. What I really liked about it was there was never

any sort of supergroup, everybody in the band contributed to this

one thing.” Relating this to how he works Dom explains, “There’ll

be people coming to a gig and I know they’ll be

coming along so I’ll just say ‘Why don’t you

play?’ They can practice with us for the two

days before, ‘cos I know they’ll learn the

songs easily. I want it to be as flexible

as possible.”

Of his current listening

habits Dom notes, “I’m still

predominantly searching

for psychedelia.” The

presence of a

reprise on the

LP of a key

track, the

desolate world-weary blues of Love Exists, is directly influenced by

a practice common to the genre. “I’d buy these 1960s psychedelic

albums and most of them seem to have some sort of reprise,

where it’ll be ten songs mixed together backwards on the album,”

Dom explains.

Elsewhere, revered US solo artist Bill Callahan is highlighted

as a prime influence, from the singer-songwriter’s celebrated

Apocalypse LP last year back to his murkily compelling early 90s

output as Smog, which largely defined what came to be known

as ‘lo-fi’.

With acclaimed local film maker Chiz Turnross working on the

first official Dominoes video, recently filmed out in the wilds

of Parkgate, and the band’s first gig scheduled for an ominous

Friday 13th (“It’ll be fine,” Dom smiles) activity has increased

exponentially for the songwriter of late. “There are demos that

I’d be happy releasing, they’re almost as good as The Elemental

Suite,” Dom says of his next move. “Bandcamp’s ideal for me; I

don’t really want to sign to a record label, I’m happy doing it for

myself, it’s so simple now. With the band getting good, I’m hoping

to keep this going as long as possible and get as many albums

out of it as I can.” Frankly, a hope shared by anyone who’s been

touched by The Elemental Suite.

dominoes.bandcamp.com

Gig Guide and Ticket Shop live at www.bidolito.co.uk


14

Bido Lito! August 2012

Words: John Still

Graphic: Luke Avery

Despite the weather pointing to the contrary, summer has

youngsters as well as their consistent, high-quality programmes

indeed arrived, bringing with it the traditional slew of festivals

and events. They’ve blended the best that India has to offer with a

across the country. Alongside the usual proponents of summer

format of presentation that is more consistent with the sensibility

frivolities, one of the major contributors to the festival line-up in

of music audiences in the UK.”

the city will be the events held by MILAPFEST, the UK’s largest

It’s the synthesis between the traditions of India with Western

Indian arts development trust. The company will be holding a

formatting that has been central to the success and longevity

series of events, the largest celebration of Indian music, dance

of Milapfest. The name itself is derived from the Sanskrit word

and entertainment of its kind in the country, and has built a

reputation as one of the cornerstones of

culture and entertainment in the city.

Now in its 27th year, Milapfest works

to promote Indian arts throughout the

UK, providing not only entertainment, but

education on the diversity of Indian culture.

The trust complements its work on education

and professional development in the Indian

arts with performances, commissions and

exhibitions demonstrating the richness of the

continent. This summer will be no exception, with a wide

multi-layered platform to showcase the talent of the subcontinent.

They’ve painstakingly cultivated a dedicated following for Indian

music – both through their educational outreach and work with

‘Milap’ meaning ‘to meet each other in friendship’, which provides

“Indian music has a meditative and

entertaining quality both at the same

time. All one needs to do is to come

with an open mind and let music do

the rest.” - Guarav Mazumdar

Running alongside the Discover Indian

Music programme, and highlighting some

of the aspects Anil speaks of, will be the

INDIKA FESTIVAL, a cornucopia of Indian entertainment, held at

the Capstone Theatre. The festival will open with an extravaganza

featuring two of the UK’s finest Indian youth orchestras, Samyo

and Tarang, and will consist of workshops, lectures and a variety

of dance and music performances. Conducting the Samyo

orchestra will be Guarav Mazumdar, renowned sitar player,

who learned his art under the tutelage of Ravi Shankar. While

unfamiliar instruments and differing scales and modes may be

daunting to some considering visiting Indika,

Guarav believes in the innate accessibility of

the music. “Indian music has a meditative

and entertaining quality both at the same

time, which is unique. All one needs to do is

to come with an open mind and let music do

the rest. Indian music in all forms and styles

attracts people from all walks of life and once

they are in it, they are there for life.”

Indika starts its eleven-day run on 12th

August, with the Music India Summer School opening

array of events being held in and around Hope University. With a

diverse line-up that includes lectures and dance performances,

naturally the eye of Bido Lito! turned to the musical events, which

will see some of the biggest names in the Indian scene making

appearances at performances and workshops in Liverpool. One

aspect of this will be the MUSIC INDIA SUMMER SCHOOL at

Hope’s Creative Campus. Combining lectures and workshops,

the idea is to offer insights (to both the experienced and the

uninitiated) into the world of Indian music. At the heart of the

summer school will be the Discovering Indian Music sessions, an

in-depth study of the composition and structure of Indian music,

starting with the fundamentals and exploring the complexities

of the diverse styles involved. The residential course offers a fully

immersive experience in Indian music, complete with evening

sessions from highly regarded Indian performers. One of these

performers is Anil Srinivasan, a classically trained pianist famed

for his synthesis of Western modes with traditional Indian vocals

in the Carnatic style. Having been involved with Milapfest for the

past three years, he explains the importance of the trust to the

dissemination of Indian music in the UK: “Milapfest has created a

a succinct summary of the core aims of the trust. In bridging

the cultural boundaries, the importance of knowledge can’t be

understated. In promoting a greater understanding of a culture

that, while still a minority, can count large communities throughout

Great Britain, Milapfest provides more than just entertainment.

The trust encourages not only enjoyment of the music on offer

but participation and understanding of the complexities and

cultural nuances which combine in the creation of Indian music,

a welcome insight into what constitutes a growing genre in the

Western world. Anil believes that the popularity of Indian music

has yet to reach its zenith: “I think Indian music has already come

a long way. From the heady 60s infusion of Pandit Ravi Shankar’s

sitar to the profusion of Bollywood/Indian film and film-inspired

music, I believe that there has been a coming of age. Music from

India has also come of age – there is a huge pool of talent in India

that is now more global in its outlook and yet in touch with their

traditions. They are not afraid to stretch the boundaries of their

musical expression and are happy to adopt a more eclectic and

experimental attitude towards music making. I sincerely believe

the best is yet to come.”

its doors on the 13th. Bido Lito! have no intention to be left out,

and taking part in the sessions and experiencing the insights on

behalf of the magazine will be Emily Lansley of local favourites

Stealing Sheep. We’ll be following her progress and reporting on

the sessions through bidolito.co.uk.

milapfest.com

Gig Guide and Ticket Shop live at www.bidolito.co.uk


Bido Lito Quarter Page_Layout 1 17/07/2012 16:59 Page 1

AFTER 8:

TOM PALEY

Wednesday 19

September £12

Classic Old-Time tunes from

the man who toured with

Woody Guthrie.

MARC

ALMOND

Saturday 22

September

£24.50, £30.50

Cult 80s pop troubadour

plays his hits and more.

JOHN

COOPER

CLARKE

Wednesday 10 October

£14.50-£23.50

Sparse, rapid-fire prose

from the punk-poet known

as The Bard of Salford.

AFTER 8:

EMILY PORTMAN

Thursday 20

September £12

‘One of the new British

folk scene’s most beguiling

presences’ Uncut Magazine.

STEWART

FRANCIS

Friday 28 September

£18.50, £24.50

‘A brilliant comic brain... this

stand-up cracks some of the

best one liners I've ever heard.’

The Guardian.

AFTER 8: THE SHEE

Wednesday 10 October £12

Astonishing instrumental prowess

from the all-girl folk band unafraid to

explore new

territory.

Box Office

0151 709 3789

liverpoolphil.com


16

Bido Lito! August 2012

Words: Mo Stewart

Photography: Ant Clausen

9th August 2011 brings back vivid memories. Horrified yet

transfixed, I watched as London began to tear itself apart. After

a quick call to my sister in Catford to check she was OK, I set off

for work. When my phone rang three hours later, dread turned

to confusion as my sister asked me: “Are YOU OK?” Minutes

later I peered through Heebie Jeebies’ window to see streams

of people running with TVs under their arms and scarves over

their faces. Suddenly the usual late night soundtrack of breaking

glass and raised voices carried considerably more venom than I’d

experienced in my previous seven years in the city. As I made my

way home, dodging bricks and burning cars, I feared for what the

aftermath would bring.

The aftermath in fact proved once again why I love Liverpool,

as anger turned into action and hundreds of volunteers grabbed

their brooms and set about repairing their communities. A year

on, and PEACE MIX are helping to turn that positive memory into

a legacy. The brainchild of Birkenhead-born Sandra Bhatia, the

Peace Mix Mic Relay will visit eleven cities across Britain affected

by the riots, and host musical showcases; aiming to promote not

only local talent and facilities, but the power of music to break

down the barriers of anger and mistrust between Britain and its

youth. More than a mere talent show, all of those involved get

the chance to record their own songs based around the theme

of peace, with the overall winner earning a support slot for the

finale at London’s Roundhouse Theatre on 28th August.

have fallen out of the mainstream educational system. “For a

lot of these kids, mainstream academia isn’t for them,” explains

Emily. “Music is what they relate to, how they express themselves

- it’s where they can see a viable and credible future.” However,

Emily leaves the kids in no doubt that it’s a future filled with hard

work. “We have to help them understand what it takes to make

it in the music industry. Both Sandra and ourselves were keen to

dismiss the idea of the X Factor generation that fame happens

overnight.”

For those involved with Peace Mix, the reward for all this work

was the opportunity to go into a recording studio with the likes

of newly crowned MOBO Unsigned Artist 2012 and Peace Mix

judge Esco Williams to create a peace-themed, crowd-sourced

collaboration track, along with young people from across the UK.

The track will be premiered at the Roundhouse, and released on

21st September, the International Day of Peace.

For Williams, getting involved was an easy decision. “During

the riots I was standing in my living room, thinking about how life

is going to get harder from here on out. The riots were undoing a

lot of the work my parents’ generation did to make things better

for us as a community. I come from a youth work background, and

my drummer James Dodds works at Liverpool Lighthouse. When

I was asked to be a judge I was well up for it.” However, like

the rest of us he’s keen to accentuate the positive: “I remember

admiring the courage and speed of the TAR (Toxteth Against the

The Liverpool leg produced no shortage of promising

performances. The self-assured showmanship of Callum McKenna

was particularly impressive, adopting the Plan B formula of

combining gritty raps with passionately sung, radio-friendly

choruses. Saira Kewley showed admirable courage and no little

talent in stepping up to the mic for the first time in over a year;

and eventual winner Vadane Robson - another who mixed rapping

and singing - defied logic as he unleashed a remarkably soulful

and mature voice for one so young. Vadane’s next step will be

the semi-finals at Cornwall’s Eden Project on 16th August, and a

chance to book that slot at the Roundhouse.

Whether or not Vadane is successful, Emily believes Peace

Mix has already had a positive outcome: “The kids have shown

a real sense of pride in their work that isn’t always evident in

mainstream education.” Despite the large elements of unhelpful

opportunists, she also understands the frustrations that drove a

lot of kids to riot. “A lot of young people feel they don’t have a

voice, and saw the riots as a way to make a statement, albeit

an unfortunately negative statement. All they hear in the press is

that there’s nothing for them. Projects like Peace Mix, while borne

out of negativity, have an intrinsically positive message - there are

opportunities out there.”

Esco Williams is proof that music can open doors to a

brighter future, but maintains there’s a lot of work to be done:

“Organisations like Positive Impact and Liverpool Lighthouse that

The venue for the Liverpool leg was Liverpool Lighthouse -

Riots) response, and how hard they fought to keep the peace.”

a church-led community centre based in Anfield. Lighthouse

Williams was on a performing arts course with community

volunteer Emily Howells believes they were the logical choice:

organisation Positive Impact at the age of thirteen, and knows

“Sandra Bhatia was looking for studio spaces accessible to young

the lasting positive impression projects such as Peace Mix can

people in areas of high social deprivation and disenfranchised

leave: “The biggest thing I’ve learned from my experience is that,

youth, and that’s exactly what Liverpool Lighthouse is all about”.

be it as a performer or a member of the audience, we just want

Liverpool Lighthouse have a long history of engaging

to be a part of something. With Peace Mix we got together and

disadvantaged kids in the Arts as a positive instrument for change.

made something happen. The young people I had the pleasure

Their Youth Connect programme offers classes from freestyling

of meeting and working with all got a chance to perform, learn,

to freerunning, and the Harmonize Academy provides an entire

develop and share their experiences. I would promote that every

Urban Arts curriculum to re-engage young people aged 13-18 who

second of every day.”

Gig Guide and Ticket Shop live at www.bidolito.co.uk

Peace Mix

Beats to clean UP the Wreckage

promote self cultivation, confidence building and provide training

working alongside projects like Peace Mix... that is the key to

making a substantial difference.”

While there are currently no plans for a Peace Mix 2013, Emily

hopes this is the start of an annual event. “I’d love to see it back

bigger and better. Hopefully the message next year won’t be

about the anniversary of the riots, but celebrating the success of

this year’s initiative.”

peacemix.co.uk

liverpoollighthouse.com


clinic.

the wicked whispers. death at

sea. *SPECIAL GUEST*.

sea. *SPECIAL GUEST*.

eva petersen. lovecraft. FOLKS. bad meds.

silent sleep. the sundowners. ticks. owls*.

the dirty rivers. the red suns. oxygen thieves.

the liberty vessels. hey carianne.

the razz. catfish & the bottlemen

djs: danny hunt & reuban wu(ladytron). blitzkreig

bob(liquidation). harvest sun djs. stevie law. joe

mckecknie. phil bakstad.

kirsten barry(dolls). joe mangone. bido lito djs.

outfit.

thunderbird gerard.

tea street band. *SPECIAL GUEST*.

sundrums. pins. muto leo.

married to the sea. carousel. the loud.

filter distortion. KUSANAGI. the temps.

mashemon. dass unser. statement haircut.

so sexual. broken

men. pixels.

djs: james rand. darren meshuggy.

ellis samizdat. mix nots. deep hedonia djs.

ever island djs. ticks dj set. ninetails dj set. fonetiks

av set. bido lito djs.


18

Bido Lito! August 2012

Previews/Shorts

Edited by Richard Lewis - middle8@bidolito.co.uk

ALPHA MALE TEA PARTY

Instrumental avant-rock threepiece

ALPHA MALE TEA PARTY head

up a bill including 72% MORRISSEY,

FALLS and ORGAN FREEMAN for

a mere 200 pence at MelloMello.

Following on from the release of their eponymous debut LP back in March, the show will be a

perfect opportunity for gig goers to witness their ‘Instrumentalrocktasm’ sound up close.

MelloMello - 1st August

VIC GODDARD

One of the original class of 76

punks, VIC GODARD returns to the

city for an intimate show at The

Zanzibar. With a setlist heavy on

his days with the legendary Subway

Sect, material from their 2010 reunion and his solo material will feature. Support comes from

THE LADYKILLERS in one of their final outings together.

The Zanzibar – 10th August

Something of an institution on

the city’s gig circuit, flying the flag

THE GO-GO CAGE PRESENTS…

over the summer for live music THE

GO-GO CAGE at The Cabin returns with

The Garage Punk Sound Clash Freakout!

on 4th August. The primitive garage-fuzz stomp of THE BRANDED and the hip-shaking grooves of

THE SEE NO EVILS feature along with resident DJs spinning vintage garage and psych floor fillers.

The Cabin – 4th August

Toots And The Maytals

One of the world’s best loved ska/reggae acts TOOTS AND THE MAYTALS take to the Academy’s stage

on 18th August. Almost fifty years since their debut album Never Grow Old was released, the group have

been led since their inception by band mainstay Frederick ‘Toots’ Hibbert. One of the founders of the

reggae genre and a huge part of its international success, the band were the first to use the term on

record (albeit spelt differently) in 1968 hit Do The Reggay.

Signed to the groundbreaking Island Records by label boss Chris Blackwell, the band had an international

hit in 1970 with 45 Monkey Man. Two years later the band featured in classic movie The Harder They Come

starring fellow icon Jimmy Cliff, which took the genre beyond Jamaica to an international audience and

gifted the world one of the best soundtracks of all time.

Later in the decade the band became firm favourites with the punk and Two-Tone movements with

The Clash covering Pressure Drop, and Monkey Man becoming a staple of The Specials’ catalogue (later

to be covered by Amy Winehouse). Splitting in 1982, The Maytals reformed in 1990 and have constantly

toured the globe since. The last decade has seen the band receive a Grammy nomination for their 2008 LP

Light Your Light and contribute a version of Radiohead’s Let Down to roots/reggae covers LP Radiodread.

Veritable living legends, their show is not be missed.

The Academy – 18th August

SEVERENTH

Continuing a run of excellent

metal gigs, The Lomax hosts

SEVERENTH in mid-August. Former

touring partners of Bring Me The

Horizon and Skindred, the band are

stalwarts of the gig and festival circuit over the past half-decade. A major coup for the support

act comes in the shape of Liverpool’s OCEANIS who released their debut EP back in April.

The Lomax – 15th August

DEER TICK

On the road around their

appearance at the End Of The

Road Festival, Rhode Island’s

finest DEER TICK roll into the city

at the close of August. Mining a rich

seam of alt-country and awarded major praise by Rolling Stone and Spin on their side of

the pond, this is one not to be missed. Superb support courtesy of BY THE SEA.

The Kazimier – 31st August

The top lads at Liverpool Fanzine

Boss Mag present this night of

ALEX JARMAY

REMEMBRANCE

NIGHT

celebration and remembrance for

Alex Jarmay who tragically passed

away the night before the Carling

Cup final. THE TEA STREET BAND, MARK FRITH, COLD SHOULDER and THE BLUE JAYS will come

together and join his family and friends in celebrating Alex’s life.

Studio 2 - 4th August

Scousers Calling

Continuing their close association with Liverpool by hosting some of the city’s finest bands on their

stages, this year finds a clutch of local groups treading the boards at KENDAL CALLING. 2012’s Lake Districtlocated

festival boasts an eclectic mix, headlined by the biggest act in UK hip hop Dizzee Rascal, festival

band par excellence James and indie-rock evergreens Maxïmo Park. The Merseyside contingent meanwhile

includes SOUND OF GUNS, THE TEA STREET BAND, THE HUMMINGBIRDS and THE CHEAP THRILLS.

Following on from their biggest UK show to date at the Academy, Sound Of Guns take to festival

stages armed with the heavy duty anthemic firepower of recent LP Angels And Enemies. Surefire rabblerousers

live, the stage set will doubtless give lead singer Andy Metcalfe ample opportunity to get in some

climbing practice (stage managers you have been warned).

Elsewhere, fast becoming favourites on the city’s live scene with their particular take on countryinfused

Merseybeat, The Hummingbirds take their well-honed live set up to the lakes. Winners of Sound

City Youth Live 2012 and holders of the title for youngest group on the entire bill over the weekend

meanwhile, indie-rockers The Cheap Thrills journey out for one of their first festival appearances

beyond the city.

Lowther Deer Park, The Lake District – 27th - 29th July

Gig Guide and Ticket Shop live at www.bidolito.co.uk


20

Bido Lito! August 2012

Reviews

DAMO SUZUKI & MUGSTAR

Mind Mountain – Cantaloupe

Behind The Wall Of Sleep &

Harvest Sun @ The Kazimier

As expected, the crowd tonight is a mixed

bunch, with the youth and future of Liverpool

music mingling with old Guinness-soaked

hippies. Nottingham based three-piece

CANTALOUPE are an interesting proposition,

melding jazz-fusion with galactic synth-prog

into something that is tricky to pin down but

wonderful to absorb. At times they sound like

video game session musicians taking the Sims’

loading music to its logical conclusion (which is

a very good thing). This side to them recalls the

glorious mulch and pomp of late 70s and early

80s fusionistas such as the Weather Report, Al

Di Meola and Yes. At other times they possess

the bite and urgency of the undoubtedly more

fashionable bands relevant to tonight’s theme:

Can, Cluster, Neu! etc. It is a glorious mixture

that is just as catchy as it is left of centre,

particularly the closer Splish which climaxes

with such a happy bassline that it is impossible

not to smile.

MIND MOUNTAIN sound exactly how one

would expect a band called Mind Mountain to

sound. With heavy jazz-rock drums underpinning

a wild, reverb-soaked guitar and repetitive

basslines, the trio play lengthy, riff-heavy, acidsoaked

jams following a lineage from Sabbath,

through Hawkwind to Kyuss and beyond. Spacerock,

desert-rock, whatever you label it this is

expansive stuff. If you let it wash over you - that

is, not to neglect the music but to soak it in - the

songs reward close attention, particularly in the

gloriously intricate yet loose-swinging drums.

Mind Mountain are excellent.

As vocalist for German band Can during

the most exciting three years of their career,

DAMO SUZUKI’s influence on modern music

is immeasurable. Can’s mechanized take on

psychedelia has been echoed by an infinite

number of bands, and their cut and paste studio

technique informed electronic music, as well as

being used to great effect by the likes of Brian

Eno with Talking Heads. There are few artists

whose psyche their sound hasn’t leaked into.

Since parting ways with Can, Suzuki has

set up the Damo Suzuki Network in which he

performs live improvisational music with local

musicians from across the globe, which tonight

brings him to the Kazimier to play with the

mighty MUGSTAR.

Mugstar have a nervous energy, all too

aware of the importance this moment holds for

them: Suzuki was involved in the inception of

a dozen genre variations that are the basis of

Mugstar’s DNA. The band begins with a slow,

locked-in groove; Suzuki joins in very quickly

and instantly finds interesting vocal rhythms

and cadences. The most surprising aspect of

this performance is how cohesive it is. Although

totally improvising, Suzuki’s use of repetition

provides a hook so strong that it seems planned,

crafted and honed. This is surely down to a great

deal of experience in improvisation and perhaps

a few key vocal tricks that he has developed to

guarantee quality. One hopes and presumes not.

In a trance, he sings gibberish; made up sounds

that appear remarkably similar to English words

lost in reverb and delay.

As the intensity increases, multi-instrumentalist

Peter Smyth becomes possessed and thrashes

Damo Suzuki (Jonathan Dawe)

his guitar and keyboard around, playing over his

head like Hendrix, wandering into the crowd and

even offering his guitar to an audience member

to jam with. He then proceeds to smash up his

keyboard stand in an act of semi-controlled rock

showmanship. Mildly contrived perhaps, but can

it ever not be in 2012? This doesn’t happen at

your normal Mugstar show, so why not now as

part of a one-off improvised piece with a living

legend? A special performance, leaving Mugstar

with another impressive notch on their bedpost.

Jonny Davis

AFRICA OYÉ

The Picket

With the rain doing its thing again, AFRICA

OYÉ’s landmark 20th anniversary festival is in

danger of being a washout. But a festival of this

magnitude doesn’t get through to its twentieth

year without being robust. So, having been

uprooted from Sefton Park (due to health and

safety reasons), a quick move across Liverpool

and back to its old haunt at The Picket means

that the show, for Saturday at least, can still go

on. Though intensely cramped at times due to the

sheer number of people present, partying inside

and out, you can’t grumble as the wholesome

music on offer mitigates any moving pains.

Quick thinking from the festival directors and

staff by securing the trio of Baltic Triangle indoor

venues (The Picket, Camp & Furnace and The

Blade Factory) are evidence of Festival Director

Paul Duhaney’s message: “It shows how we all

pull together in times of crisis in this city.”

Musically the venue change sees the original

Saturday line-up take to the stage at The Picket,

with DJs forming a peripheral party of their

own in The Blade Factory. JALIBA KUYATEH puts

the weekend’s troubles behind him and brings

some Gambian spirit to the day. Accompanied

by his entourage of usual suspects, the koraplaying

self-made artist goads the crowd with

his unique recipe of African blues and soul laced

with some pop whimsicalities. Following up,

crowd pleaser SAMBA MAPANGALA demonstrates

a much more conventional and expressive

musical approach, adding a continental flavour

to his frame of music. The brass and trebles

come as the expected uplift that finally brings

those Picket naysayers to their dancing feet; a

degree of freedom finally sweeps the crowd -

which, for me, typifies this festival. After a swift

wander to sample some of the festival’s pop-up

tents (primarily to the craft stalls and Ragga’s

for the Guinness punch), I was ready to watch

YAABA FUNK take the night one notch up. Their

funky range of afrobeats are loud, sincere, and

packed full of grooves and soul. The collective’s

all-encompassing approach makes them the

absolute standout artist of the night. The DELE

SOSIMI AFROBEAT ORCHESTRA come onstage

last to wrap up the night with their own

particular rootsy funkadelia. More like a family

Yabba Funk (Matthew Thomas)

Gig Guide and Ticket Shop live at www.bidolito.co.uk


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22 Bido Lito! August 2012

Reviews

on stage, the band collate all the emotions of

the day, switching between tempos, beats and

rhythms that demonstrate the true genius of

Dele Sosimi and the strong cohort of artists at

his side.

Though the artists, stall runners, chefs and

fans have been brilliant, a massive doff of the

cap must be made to the Oyé management

team, who behind the scenes lost a lot of sleep

so that Liverpool might have its special day once

more. Africa Oyé 2012 may be remembered as a

washout, but for those who were in The Picket

it will be seen as a special festival in which all

revellers felt comfortable enough to relax, chill

and enjoy themselves, even when the weather

threw all it had at us. The words “smashed it”

spring to mind.

Si Finnerty

CEREBRAL BALLZY

The Bendal Interlude – The Smoking

Hearts – Stereo Virgins

Evol & Bloody Shells @ The Kazimier

Making your Kazimier debut is nervewracking

at the best of times, but when it’s

supporting current East Coast hardcore kings

CEREBRAL BALLZY the pressure is really on.

Perhaps that explains the subdued start from

STEREO VIRGINS. It takes two or three songs for

frontwoman Rachel Alveston to grow into the

performance, and the set thus far is lacklustre.

Once Alveston warms up there is a marked

difference – the band’s confidence and the

set’s quality grow noticeably. There are good

QOTSA-esque riffs here, and combined with

the vocals Stereo Virgins sound like 2:54 put

through a Marshall Jackhammer. Yet their songs

occasionally overstay their welcome: either cut

in half or played twice as fast and Stereo Virgins

could excel.

Essex thrash-punks THE SMOKING HEARTS

are next, returning to Liverpool after an April

headline gig at the Shipping Forecast. They’re

The Smoking Hearts (Adam Edwards)

impressively drunk and impressively energetic,

with singer Ben Mills jumping from the stage

during first song Thrash B4 Gash. The Smoking

Hearts are loud and abrasive but with the right

amount of snap; a good, tight, punk band.

Despite the crowd still warming up, the band

flourish in this larger venue. An impressive

set concludes with all but the drummer in the

crowd – after Mills has already jumped from

the Kazimier’s balcony, naturally. They’ve done

British thrash proud and would not have looked

amiss as tonight’s headliners.

Main support is local lads THE BENDAL

INTERLUDE. Like a Scouse Pantera, they rumble

through a short set of grunge-metal tracks – but

it’s hard to really discern between most of the

songs and they tend to overrun. Ron Salmon

goes down well and the crowd maintains a

good atmosphere, culminating in a fat, topless

Scouser hugging the band on stage. This is the

Krazyhouse’s first floor in gig form.

Headliners Cerebral Ballzy may not have

expected to follow much tonight and it’s

evident that the crowd requires an element

of rejuvenation after The Bendal Interlude.

Regardless, singer Honor Titus and his band

come out with gusto – very loud, very fast gusto.

A lot of songs tonight have dragged but there’s

no danger of Ballzy making that mistake. Like

descendants of The Descendants, the set is

a blitzkrieg onslaught, most songs clocking

in at under a minute. Hardcore punk at this

speed is an acquired taste but it showcases

how tight the musicianship is – drummer Crazy

Abe in particular reminiscent of E. Honda with

drumsticks. The songs are indistinguishable but

those watching care not a jot – an energetic

crowd keeps pace with the band, moshing from

the word go. For his part, Titus gets involved –

sharing his microphone with a fortunate few

revellers and sharing his beer with one even

luckier. Although there’s interaction there seems

to be little engagement, and Titus seems jaded

throughout. It sounds ridiculous to describe a

singer who performs a few numbers perched


Reviews

Bido Lito! August 2012 23

atop the venue’s highest amplifier as going

through the motions, but Titus (and Ballzy by

proxy) feels a bit detached from the evening.

Perhaps the band’s live reputation has been

built up too much, or the earlier support has

raised the bar too high. Either way, it IS a good

gig – there’s just the nagging feeling it could

have been more.

Adam Edwards

JESCA HOOP

Mellowtone and Ceremony Concerts @ Leaf

It’s evident that this evening’s sweltering heat

hasn’t played too much part in JESCA HOOP’s

outfit selection: as she slyly emerges from

the back of a jam-packed Leaf crowd clad in a

military jacket stolen from Adam Ant’s wardrobe,

she coolly strides on to the stage with her trio of

accomplices and storms into the simply brilliant

Murder Of Birds. This absolute gem of a song

(which on record features Elbow’s Guy Garvey)

demonstrates Hoop’s mastery of melody, and

ability to effortlessly shift gears mid-song. After

some heart-wrenching harmonies in the verses,

the chorus skips into a gorgeous Celtic jig, which

she carries with minimal help from her threepiece

band (acoustic guitar flourishes aside).

The Manchester dwelling Californian

frequently alludes to her constricted youth. In

her own words, “I was raised Mormon ‘til I was

sixteen. Then I fucked off.” So when she croons,

“I have demons when I need them, don’t ask me

to show you they’re not supposed to be used on

you,” everyone believes her.

Where other artists might faff about between

songs, plug their merch or half-heartedly say

‘cheers’ a few times, Hoop aims a little higher:

she frequently uses the inter-song gaps to

recount lengthy and amusing anecdotes. Her

smoky American accent and sultry delivery, like

Mia Wallace over her home Tannoy system, has

everyone spellbound. Biggest smiles are saved

for the tale about smuggling some weed in a

Jesca Hoop (Rob Rossington)

jar of peanut butter to her mother (recently

diagnosed with cancer), and the ensuing

conversation with a 54-year-old taking illicit

drugs for the first time. It might seem strange to

dwell so much on the between-song banter, but

some of it takes longer than most of the songs,

to the extent that it feels as much a part of the

show as the songs themselves.

One thing that isn’t consistent however, is

the tone of the music. Third song, Feast Of The

Heart, has this whole krautrock thing going on,

which seems a little at odds with the lilting Joni

Mitchell cultivated jazz-folk-pop songs around it.

Whether or not this annoys you ultimately boils

down to taste, but fundamentally, the song isn’t

that great and it kind of just feels like it’s there

for the sake of a mood shift.

The accompaniment (drum samples and

acoustic guitar) are sparsely used, though

the backing vocals on Hospital combine with

delicious sibilance on the title word, providing

the perfect bulwark to Hoop’s shrill vocals.

Some of the mid-set songs start to drag a

little, her best songs serving to bookend the

set. As the darkly anthemic Tulip brings the

evening to a close, the audience make their

full appreciation felt by showing some genuine

love, and it’s not hard to see why. More please.

Charlie Lashmar

DAWES

Jonny Corndawg

Harvest Sun @ The Kazimier

After a brief and unwarranted apology for his

stage moniker (a nickname given to him as a kid)

JONNY CORNDAWG serves tonight’s crowd the

type of authentic American country music that

they don’t often get the chance to appreciate.

But his lyrics have a clever modern twist to them,

referencing caller IDs and contact lens solution

amongst lines about the blue Texan sky. Taylor

Goldsmith, of headliners DAWES, stands to his

right, providing dulcet electric guitar noodlings,


24

Bido Lito! August 2012

Reviews

A U G U S T 2 0 1 2

Saturday 4th - 4pm till 3am

FESTEVOL GARDENS part 1

(feat. Clinic, Eva Peterson, Wicked Whispers + More)

Sunday 5th

DEVIATION: SURREAL LIFE DRAWING

Sunday 5th 7pm

NICK MULVEY (PORTICO QUARTET) - FREE

Thursday 9th 8pm

FREE ROCK & ROLL

Saturday 11th - 4pm till 3am

FESTEVOL GARDENS part 2

(feat. Outfit, Thunderbird Gerard, Tea Street Band)

Sunday 12th - 10.30am till 12.30pm

SCREEN PRINTING WITH PAPER STENCILS

WORKSHOP

Saturday 18th- 12pm - 5pm

THE GREAT SUMMERTIME WHITE

ELEPHANT BAZAAR

Saturday 25th

BANK HOLIDAY KRUNK PARTY

Feat. Orchestra of Spheres (Australia)

Sunday 26th 6pm

DEAD HEDGE TRIO

WWW.GARDEN.THEKAZIMIER.CO.UK

Gig Guide and Ticket Shop live at www.bidolito.co.uk

and harmonies that perfectly accompany

Corndawg’s southern yelps.

By far the highlight is his cover of the Jimmy

Cousins song Stone Cold Daddy-Oh. Right arm

raised aloft like a preacher, he sings the whole

thing a capella to his now transfixed, seated

congregation. Chatter and heckles are far from

the minds of the rapt audience as this stunning

moment drifts by uninterrupted. For the last

three songs Corndawg is joined by the full

Dawes outfit and they finish with a three-part

a capella rendition of Silver Panty Liners, urging

the crowd “Not to kiss below the belt ‘til you

make a firm connection.” Wise words.

Having appeared in various permutations

with Mr Corndawg, the complete DAWES line-up

now stands in front of a surprisingly large and

receptive crowd. Apparently these Angelenos

have a bit of a cult following here, which isn’t

bad considering it’s their first ever show in

Liverpool. Like the country giants of old, they

excel at storytelling: on the brilliant Coming

Back To A Man, singer Taylor Goldsmith painfully

reminds us, “Some people were just meant to

be a memory… The way the scattered, ever busy

bright lights of a city might look off on a distant

mountain range.” That line is actually quite a

pertinent metaphor for the whole gig.

Everything about their music pines for an age

gone by, and though they try to bring a new

spark to a now undeniably saturated genre, they

fall a little short. It’s all just a bit rehashed. The

buzzing crowd at the Kazimier seems to disagree,

but Dawes are basically riding the last ripples of

the country folk revival started by Fleet Foxes in

2008. The fact that they used to be a post-punk

outfit until 2009, combined with their approach

to vocal harmony arrangements, makes you

Dawes (Matthew Thomas)

wonder if they didn’t all get together one day

and say, “Hey! That Seattle band are doin’ OK,

let’s get in on some of that!” Perhaps that’s a

tad harsh: their songs are in fact really good,

and they do attempt to play with the formula.

Fourth song Fire Away has a fiendish Albert

Hammond Jr-esque guitar solo that somehow

just works over everything, and they throw the

odd chord in every song that shouldn’t belong in

the genre but again, just fits. The electric piano

(expertly played by Tay Strathairn) sits sweetly

alongside Goldsmith’s guitar and Wylie Gelber’s

bass, and the song arrangements are tighter

than Neil Young’s vocal chords. In spite of the

nagging feeling that everyone’s indulging in

some sort of fetish for plaid, the four of them

are ridiculously gifted musicians, and they do

know how to perform. That Dawes round things

off with the audience bawling back the insanely

catchy chorus for When My Time Comes suggests

that they’ve got the balance just right.

KATE NASH

Shuga – Jon Jackson

Charlie Lashmar

The Zanzibar

KATE NASH’s Faster Pussy Cat Run Run tour

evidently spearheads her crusade to focus

attention on female writers and performers,

and to interest other young women in joining

them. Use of riotous guitars and piercing vocals

suggests she’s ready to shed the ‘girl next door’

image once and for all, with the question on

everyone’s lips being whether she’ll pull it off. If

die-hard fans are nervous about this unveiling of

grungy Kate, opening act JON JACKSON doesn’t


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26 Bido Lito! August 2012

Reviews

Kate Nash (John Johnson)

put their mind at ease. Failing to finish a single

song, initial encouragement from about forty

teenage girls soon subsides with the realization

that he’s merely wasting everyone’s time. The

final pulling of the plug pre-chorus during a Van

Morrison cover/murder is met with a universal

sigh of relief.

Fortunately, SHUGA swiftly take to the stage.

With warm hazy chords, the three-piece lace their

songs with call and response vocals, creating a

Velvet Underground/Jesus And Mary Chain feel,

only with more chaotic chord sequences. Overly

repetitious or tritely-rhymed lyrics sometimes

fall short, but the earthy raw tones of Stay Wild,

featuring only piano and vocals, feel really

intimate.

A re-enthused audience screams its adulation

as our headliner takes to the stage. What is

most startling at first is Nash’s appearance – the

wavy hair, cute pretty dresses and pink cheeks

have been replaced with dyed auburn hair with

a white streak, a psychedelic 60s dress and a

guitar heavily plastered with ‘rock’ band stickers.

She immediately launches into the grungy wall

of sound All Talk, with the all-female backing

band adding to the 60s pop ambience with their

sultry BVs. At times, there’s even something of

the Lulu about Nash, at odds with the grunge

mood when the muddiness is brazenly severed

by vocal shrills. Certain songs penned for the

new album, including You’re So Cool I’m So

Freaky and 3am, revert to typically Nash fourchord

melodies, with words drizzled ten-to-thedozen.

There are some pleasant surprises in the

set, however. Are You There Sweetheart?, comes

across as a bit of a shouty Moldy Peaches number,

marking a stark exit from the overproduced and

compressed sound of Nash’s old material. The

less Kate prattles, the more sophisticated she

seems, and the better she masters the mood

and takes control.

Standout track of the evening is Cherry

Picking, mixing a colourful Love is All sound

with indie-punk Rakes-like backing. Only

three tracks from former albums feature

tonight, including a complete reworking

of biggest hit Foundations, with fuzzed-up

guitars blending well with Nash’s staccato

enunciation; a coherent reinterpretation

of the back catalogue which helps to

demonstrate a greater maturity. A cover of an

obscure Canadian punk song, My Chinchilla,

demonstrates a dramatic change of influences

she’s picked up while writing in LA. Yet despite

this there’s plenty to suggest that she hasn’t

quite settled in at riot grrrl HQ just yet: her

female backing band are forced to wear black

T-shirts with pink heart stencils, and her songs

are still about girls, sweethearts and all the

cute lil’ things associated with the Kingdom

of Twee. That said, tonight has served as a

testing ground for Nash in trying to gauge

which songs make the grade and which need

more work. There are a surprising number


Reviews

Bido Lito! August 2012 27

of genuine nuggets, so let’s hope it’s those

songs that make the final cut.

Amy Greir

ITAL

Isocore

Deep Hedonia @ The Shipping Forecast

First and foremost music should be its own

reward. Is this an ideal? A cliché? Well, I think it’s a

truth. If this is so then the most rewarding music

should challenge itself, seeking out avenues that

have seldom been travelled. The narrow path of

nostalgia takes us to the same tried and tested

safe havens. ITAL’s Daniel Martin-McCormick,

previously of Black Eyes and Mi Ami, is mapping

out his own adventures and he’s gone off road.

Where Mi Ami was experimental, LA DIY disco

punk, Ital is DIY house for a new century. The

label he’s on (100% Silk) are chief proponents of

this boldness and, as such, the rest of their roster

makes for interesting listening. Deep Hedonia

also share something of this vision and, with

Hive providing visuals, Forest Swords spinning

tracks, and ISOCORE providing the warm-up,

it is a pity that there aren’t more punters here

to absorb it all. In fact, in an age where bogstandard

festivals are a rite of passage and ‘back

together for the money’ bands are everywhere, it

is actually quite fucking depressing.

Isocore’s techno bleeps and twisted, off-kilter

drums are constantly reshaped into swarms of

attacking wasps hovering over spilt jam: well,

it gets my head buzzing anyway. At times, on

the likes of Saintropie, you can almost hear the

strains of frequent Argento collaborators Goblin,

digitized for the new film age, with the visuals

emphasizing this whole cinematic glitchfest.

Ital (Darren Aston)

Now on to the main act, and Martin-

McCormick throws himself at his sequencers

and samplers, a full-on sweaty and hedonistic

wrecking ball. And he’s got a job on too as all

the intricacies of this music are played out at

his fingertips in plain sight: you definitely can’t

accuse him of just pressing play. Where Mi Ami

were a more anarchic version of The Rapture,

Ital is a more precise, original, slick and

varnished version of something else entirely.

What? I’m not quite sure, but I like it. Eighties

house is certainly an elemental part but used

in a ‘retrolicious’ way - a simple classification

of ‘dance music’ just doesn’t suffice. That’s

the beauty of new music you see, you can’t

quite put your finger on it. Categorisation isn’t

really that vital here anyway: listening and

absorbing is the key, soaking it all up and not

trying to pigeonhole the sounds. It’s not all

easy, but like an affecting film his set stays

with you long after you’ve left the venue. To

move music on we need to support original

musical pioneers and boundary pushers

such as Martin-McCormick, and to constantly

invest in something new, not stay away and

reconfirm our own prejudices. Ital’s Floridian

Void is a great place to start.

Mick Chrysalid

THE BIG HOUSE

The Flamin’ Mamies - Emily & The Faves

The Music Consortium @ The Kazimier

An early doors appearance by EMILY &

THE FAVES on the launch night for the debut

single by THE BIG HOUSE sees the Faves’

luminous psych-pop moulded into different

forms by a re-jigged band line-up. Not quite

Sat 22nd to

Sun 23rd September, 7:30pm.

CATFISH THERAPY

Fri 28th September, 8:00pm.

KATHRYN TICKELL

NORTHUMBRIAN VOICES

Fri 5th October, 8:00pm.

RALPH McTELL

AN ENGLISH HEARTBEAT

Sat 6th October, 8:00pm.

NEARLY DAN

REELIN’ IN THE YEARS TOUR

Sat 13th October, 8:00pm.

NICK HARPER

Sun 14th October, 8:00pm.

KARINE POLWART

Fri 2nd November, 8:00pm.

HOT CLUB OF COW TOWN

Sun 4th November, 8:00pm.

EASY STAR ALL-STARS

Sunday 11th November, 7:30pm.

GEORGIE FAME IN CONCERT

GEORGIE FAME & SONS

Wednesday 14th November, 8:00pm.

MATRACA BERG

Thursday 15th November, 8:00pm.

SAD CAFE

Friday 16th November, 8:00pm.

WOODY MANN

Saturday 17th November, 8:00pm.

BOBBY VALENTINO & B.J. COLE

STEELIN’ THE NIGHT AWAY WITH

SPECIAL GUESTS TOM DOUGHTY,

CHES & AL CHERRY

Sunday 18th November, 8:00pm.

THEA GILMORE

Thursday 22nd November, 8:00pm.

GALINA VALE

Friday 23rd November, 8:00pm.

NINE BELOW ZERO

Saturday 24th November, 8:00pm.

SHOW OF HANDS


28

Bido Lito! August 2012

Reviews

‘Unplugged with Emily’ but not far removed,

the alternative arrangements with only one

guitar present underline the melodic strength

of the Faves’ material. Future single Rain,

weaving its way through a stop-start structure

and intermittent banshee howls, along with

new song This Time, clearly indicate there

are plenty more gems to be mined from the

rich seam that the band tapped into on their

excellent debut LP.

“This is a song from 1925” must rank as

one of the more unusual introductions to a

song heard from The Kazimier’s stage this

year. When the band making the intro is THE

FLAMIN’ MAMIES however, it makes perfect

sense. With their songs led by ukulele and

banjo the glamorously attired all-female

quartet transport the venue back to an interwar

era of frantically-dancing society girls

and debonair gents on the ballroom floors

of the Adelphi Hotel’s Palm Court and The

Grafton Rooms.

Taking to the stage as an XL edition eight-piece,

headliners The Big House launch into a storming

rendition of new single Canyon Home In The

Sun. With the nucleus of Candie Payne and Paul

Molloy supplemented by a rhythm section and

a four-piece brass ensemble (including former

Zuton Abi Harding), the extra instrumentation

is expertly arranged. At the helm of the band,

Paul Molloy assuredly steers the players through

proceedings, the incredibly well-drilled troupe

capturing each nuance of the songs perfectly.

Pebble Lane, played early on and led by a

wistful Candie vocal, is a standout, the summery

acoustic arpeggio offset by the emotional

turmoil present in the lyrics of one of the darkest

tunes in the duo’s catalogue. Splicing the breezy

LA atmosphere of Rumours-era Fleetwood Mac

with the Laurel Canyon scene of a decade earlier

and infusing it with their own indelible boy/girl

harmonies, Lover,

Silver And Gold and Too Far

Gone all shine individually as brilliantly realised

pieces of West Coast folk/classic pop.

Parallel to these, covers of Gene Clarke’s

Here Without You and The Merseys’ Sorrow slot

seamlessly into the set, working well alongside

the original material. Demonstrating how easily

they can move back into stripped-down acoustic

mode, guitarist Dave Owen is welcomed to the

stage as the trio turn in a delicate rendition

of the Gram Parsons-esque Sweetheart as an

acoustic three-piece.

Concluding with a rousing take of

accompanying A-side Caught Up, with the

entire company back onstage, now numbering

ten, and Candie’s voice in impressive full flight,

the group are transformed into a stomping

Motown revue band. Drawing to a close after

ten songs, the entire sum of which appears to

have flown past in less than five minutes, the

players depart from the stage beaming smiles

all round, mirroring the audience’s reaction to

a dazzling show.

Richard Lewis

GOTTWOOD FESTIVAL

Seemingly cast adrift from civilisation, the

desolate surroundings of the idyllic Welsh

countryside are just enough to break from the

monotony of the everlasting A55 as we make

our belated arrival at GOTTWOOD FESTIVAL.

As nightfall draws in and we approach the

makeshift festival gates which stand between

us and a thriving community of bohemian

trailblazers, the steady hum of an unidentified

bassline resonates through the dense forest

ahead. Lumbering through the mountainous

evergreens you can’t help but take a step back

to admire the infinite beauty of this scenic

utopia. The festival grounds are truly a sight to

behold: envision an elaborate lucid dream, an

involuntary exploration into the outer reaches of

the subconscious. It’s a twisted hippy commune

and Gottwood captures this vibe and psychedelic

aesthetic with consummate aplomb.

After a thorough rub of the eyes and a quick

reality check it’s time to get stuck in to the

thick of it (perhaps all too literally now we’re

suitably caked in mud), and dance hall groove

wizard MOSCA’s appearance at the aptly named

Summer Of Wood stage is our first port of call.

Expertly amalgamating tediously labelled

genres in his collection, it’s nice to see a true

aficionado at work. Continually displaying his

enthusiasm for a wide range of turbulent UK

bassline, the inconsistent and volatile nature of

Mosca’s set is as unpredictable as it is worldly.

From techno and prog-house to the incessant

flutterings of hip hop, his freedom to interchange

his selection pays testament to his versatility as

a live performer. The unruly mass is captivated

and clearly itching for more.

A spot of exploration on day two reveals a

site littered with structures and artistry of all

shapes, sizes and colours. Gottwood’s site offers

a tremendous playground of visual delights and

tree-house architecture, whose form springs

from the very foundation of their tranquil

surroundings. With wanderings appeased, IFAN

DAFFYD and Saturday night’s dynamic headline

double act DISCLOSURE are the choice over at

The Stables. Sultry and progressive two-step

in between twitchy house archetypes was duly

expected from local Welsh wonder Ifan Daffyd; his

formidable use of diced vocal snippets (à la James

Blake) never fail to build an eerie atmosphere.

Unfortunately the overbearing heat created by

The Stables’ masses disappointingly detracts

from the intimacy of the affair as Disclosure take

the reins to uproarious adulation. The orgasmic

yelps of lush stable stormer What’s In Your Head

are enough to encourage spontaneous acts

of jubilation, its jaunty rhythm dictating bodyjacking

outbursts of self-expression.

The twilight hours see us trip in to The Walled

Garden, where Crosstown Rebels powerhouse

DINKY is at the helm of a monastery of visual

delight. Although she may have been dubbed

Gig Guide and Ticket Shop live at www.bidolito.co.uk


FESTIVAL HIGHLIGHTS

REFLECTIONS - 14 August, 7:30pm

Rakesh Chaurasia &

Shashank Subramaniam

Two of the leading bansuri players of the

Hindustani and Carnatic styles present a rare

jugalbandi performance.

CHENNAI TO COLOMBO - 15 August, 7:30pm

Hari Sivanesan & Dr. Deepti Omchery Bhalla

A journey through the musical traditions of

South India in this double-bill performance..

MORNING RAGA - 18 August, 8:00am

Rakesh Chaurasia

Bamboo flute virtuoso Rakesh Chaurasia

welcomes in the day with a traditional Hindustani

morning concert.

GLOBAL CARNATIC - 18 August, 7:30pm

Lalgudi GJR Krishnan, Anil Srinivasan &

Gaurav Mazumdar

A unique blend of Carnatic, Hindustani and

Western music traditions.

DEMYSTIFYING INDIAN MUSIC -

13-17 August, daily 4:30pm

Series of lecture-demonstration sessions devised

to explain and demonstrate some of the key

characteristics that form the basis of all Indian

classical music.

FREE ADMISSION

www.milapfest.com

Produced by

120716_indika_advert_bidoLito_100.indd 1 17/7/12 16:08:58


30

Bido Lito! August 2012

Reviews

Steeling Sheep (Matthew Thomas)

Dinky by name, this is in no way a shrewd

indication of the amplitude of her capabilities

behind the decks. She patiently cultivates an

acute tapestry of percussive funk entwined

with melodic drones in order to build a modern

symphony both moving and surreal.

Disheartened by the news that the mighty

Lake Stage is waterlogged and therefore

unredeemable, the remaining acts on day

three are allocated to the Boxford Caravan for

the remainder of the festival. Unmanageably

exhausted we decide to check out how

the WAXXX DJs are getting on. A sparse but

enthusiastic bunch of miscreants stand

in attendance for the Liverpool collective,

swaying in unison to what can only be

described as an innovative offshoot of

Balearic tech-house.

Gottwood’s intimate setting along

with its friendly community ethos is an

enlightening reprieve away from the

frivolous corporate shite rammed down our

throats by the so-called domineering festival

super powers. Maybe the thin mountainous

air has induced a feverish delirium, but

we say bring back the obscure, encourage

the creative, seize the freewheeling magic

of the boutique festival, and embrace the

weird and wonderful with an open mind

and an open heart. Gottwood Festival: two

unquestionable thumbs up.

STEALING SHEEP

Joshua Nevett

a.P.A.t.T. - By The Sea – White Bicycles – Silent

Sleep – Harlequin Dynamite Marching Band

everisland @ The Kazimier Garden

Gone are the days of choosing a line-up,

throwing together some posters and getting some

punters involved. While these are still essential

elements for promoters putting a night together,

2012 is arguably a far more challenging time for

music promoters than any other year, thus making

it essential that they both forge a unique identity

and pick up on what the public wants.

Everisland regularly tick all those boxes by

showcasing some of the best up and coming

musical talent in Liverpool, all whilst thinking

outside the box to create unique events that

bring a certain charm. Taking place in this

summer’s most charming summer space,

tonight’s Kazimier Garden Gathering opens in

typically visionary fashion with a 20-foot giraffe

puppet, fittingly accompanied by the jazz club

vibes of THE HARLEQUIN DYNAMITE MARCHING

BAND. A giraffe puppet proves not to be the

only thing to capture the audience’s fascination,

however, with creative agency The Wolf

Collective returning later in the evening with an

enchanting shadow-puppet show. Engrossing

in their own separate ways, both side orders to

the main dish mesh perfectly with the overall

ambience of the space, which is dressed to look

like some kind of madcap summer fête.

Following a crowd-arousing tropical house

set from probably one of the most exciting DJs

in Liverpool right about now (DJ Carla Clarkson),

the audience are treated to the delicate folkinspired

lullabies of SILENT SLEEP, and the

musical equivalent of sunshine courtesy of the

steel-drum led melodies of WHITE BICYCLES.

NME Radar stars and Wirral’s BY THE SEA

open the second instalment of the evening’s

proceedings with their shoegazey melodies,

jangling guitar patterns and reverbed vocals in

all encompassment of their name.

The night belongs to one band however, the

darlings of Liverpool music (and probably one

of the city’s hardest working bands) STEALING

SHEEP. Never have a headline band and a venue,

even event, been as well matched as these two,

with the band predictably pulling in the biggest

crowd of the evening. It’s impossible not to be

drawn in by Stealing Sheep’s charm, which is

embodied throughout their live set by the playful

smiles upon the girls’ faces. There’s always an

evident chemistry between Becky, Emily and

Lucy, which is enhanced further through their

ability to seamlessly switch lead vocal duties,

all while keeping on the same path.

The addition of members of The Harlequin

Dynamite Jazz Band providing extra percussion,

and, later on King Twit, is a welcome one and

whilst Stealing Sheep are perfectly capable

of creating a big enough sound on their own

accord, it makes the conflicting melodies the

trio use to reach a crescendo somewhat more

exciting. This addition is taken to a celebratory

extreme when Stealing Sheep are joined on

stage by their wide variety of collaborators and

friends for Shut Eye, the single that has been

picked up by the likes of Radio 1 and BBC 6Music

and therefore one that many of the audience

will have been waiting for. It’s a wait that doesn’t

prove disappointing, as the Shut Eye Choir add

a playful depth to the song that is obviously a

very special moment for fans of the band, and

probably quite a unique one to witness.

While a.P.A.t.T. scream and thrash through

some debauched late night antics, the air settles

on what has been an unmitigated success all

round, for band, venue and promoter. A good

night’s work.

Matt Healy

Gig Guide and Ticket Shop live at www.bidolito.co.uk


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