Issue 29 / Dec 2012/Jan 2013
December 2012/January 2013 issue of Bido Lito! Featuring EVA PETERSEN, ORGAN FREEMAN, NON, MONSIEUR, CRAIG CHARLES and much more.
December 2012/January 2013 issue of Bido Lito! Featuring EVA PETERSEN, ORGAN FREEMAN, NON, MONSIEUR, CRAIG CHARLES and much more.
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<strong>Issue</strong> <strong>29</strong><br />
<strong>Dec</strong> <strong>2012</strong> / <strong>Jan</strong> <strong>2013</strong><br />
Eva Petersen by Brian Roberts<br />
Eva Petersen<br />
Organ Freeman<br />
Craig Charles<br />
Non, Monsieur<br />
Percy Gulliver’s
Bido Lito! <strong>Dec</strong> <strong>2012</strong> / <strong>Jan</strong> <strong>2013</strong> 3<br />
Editorial<br />
It was always, always going to happen. I write a sprawling ode to the devastating beauty of Tranmere’s<br />
start to the season in last month’s Editorial, I compare us to Barcelona and include an image of Ronnie Moore<br />
as Grand High Pontiff and...we get beat twice in a week. I really should learn to keep my fat mouth shut. Yet<br />
despite my best efforts, at the time of writing we are still top of League One. This is regardless of a run of four<br />
home games without a win and our wafer thin squad being predictably tested by injuries and suspensions.<br />
However, it seems this isn’t enough for a small section of Tranmere ‘supporters’ who decided to boo the team<br />
off after an admittedly underwhelming goalless draw with Walsall. Yes, you read that correctly. Six months ago<br />
we were rooted bottom of the league and the team were booed off, while top of the pile. I begrudgingly give<br />
the issue the acknowledgement of column inches, but such is the utter ludicrousness of the situation that I<br />
can’t help myself. This is somewhat akin to deriding Sir Isaac Newton after unearthing a botched mathematical<br />
equation in an early draft in his notebook. It really does make you wonder why on earth these people bother<br />
coming at all, and the really disappointing byproduct is the<br />
potentially toxic effect it has on the players and the coaching<br />
staff. We’re top of the league for fuck’s sake. Who goes to<br />
a gig, waiting for the band to be shit so they can heckle<br />
them? It really, really, really makes my blood boil. It’s a very<br />
small minority I know, but they should all be banned and<br />
publicly flogged. Stupid, stupid nob ‘eads. I’ve resorted to<br />
expletives...I must be wound up.<br />
Now I’ve got that out of my system, we can divert to a<br />
wholly more positive subject, The Borough Road Shuffle. We<br />
are constantly aware of how much of a central role music<br />
plays in defining places, times and cultures. As a supporter<br />
of a lower league football team, music plays an equally vital<br />
role in soundtracking the culture that surrounds the whole<br />
Nob ‘ead<br />
ritual of going the match. Music is as central to it all as any<br />
matchday folklore, or as any pair of Sambas. We’ve teamed up with the good, good people at the Tranmere<br />
Supporter’s Trust to create The Borough Road Shuffle, which will essentially be an ongoing series of gigs<br />
to bring together the large set of discerning Tranmere supporting musos, to celebrate Wirral’s new musical<br />
visionaries and also to throw support behind the trust’s campaign to bring Tranmere into fan ownership - an<br />
aim we firmly believe is the future of real, community led football.<br />
At Tranmere we have our very own outcast, indie (in the true sense of the word) heroes in Half Man Half<br />
Biscuit, who perfectly reflect the infectious, unfashionable oddness of our club. So, hosting our debut show at<br />
Cammell Lairds Social Club in Rock Ferry (also the name of the band’s ninth LP) was just too perfect to pass. For<br />
this first event - onto which we’ve bestowed the rather glorious, Biscuitian moniker, All I Want For Christmas<br />
Is A Dukla Prague Away Kit - we’ve somehow managed to convince Tranmere’s Welsh international keeper<br />
Owain Fon Williams to DJ, via digital video link up from the training ground. We shit you not. The technical<br />
practicalities admittedly still need some clarification, but don’t let cold hard logistics get in the way of a<br />
brilliant concept eh....(he says).<br />
We’ve a marvellous live bill in addition, as Wirral favourites BY THE SEA, THE LOUD and OXYGEN THIEVES are<br />
joined by BILL RYDER-JONES on the ones and twos. We’ve also a Terrace Grotto in store, with some of the best<br />
terrace brands and retailers peddling their wares. Music loving football nuts of any persuasion are welcome,<br />
just leave your boos (and booze for that matter - the bar does a cracking pint of mild) at the door.<br />
Merry Christmas n that...<br />
Craig G Pennington<br />
Editor<br />
Features<br />
6<br />
EVA PETERSEN<br />
8<br />
CRAIG CHARLES<br />
10<br />
ORGAN FREEMAN<br />
12<br />
14<br />
16<br />
18<br />
NON, MONSIEUR<br />
THE RAVEONETTES<br />
PERCY GULLIVER’S<br />
WONGA FROM THE WIRELESS<br />
Regulars<br />
4 NEWS<br />
20<br />
PREVIEWS/SHORTS<br />
22<br />
REVIEWS<br />
Bido Lito!<br />
<strong>Issue</strong> Twenty Nine / <strong>Dec</strong> <strong>2012</strong> / <strong>Jan</strong> <strong>2012</strong><br />
bidolito.co.uk<br />
4th Floor, Mello Mello<br />
40-42 Slater St<br />
Liverpool L1 4BX<br />
Editor<br />
Craig G Pennington - info@bidolito.co.uk<br />
Assistant Editor<br />
Christopher Torpey -<br />
reviews@bidolito.co.uk<br />
Assistant Reviews Editor<br />
Naters Philip - live@bidolito.co.uk<br />
Sub Editor<br />
Mo Stewart - subeditor@bidolito.co.uk<br />
Online Editor<br />
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Designer<br />
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debra@wordsanddeeds.co.uk<br />
Words<br />
Craig G Pennington, Christopher Torpey,<br />
Naters Philip., Mo Stewart, Jonny Davis,<br />
Amy Greir, Mike Townsend, Joshua<br />
Nevett, Richard Lewis, Jack Stanley,<br />
Jennifer Perkin, Lisa O’Dea, Rob Syme,<br />
Karl Fairhurst, Petricia Mogos<br />
Photography, Illustration and Layout<br />
Luke Avery, Brian Roberts, Graham Cheal,<br />
Keith Ainsworth, Robin Clewley, Gareth<br />
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Sheerin, Daniel O’Toole, Mike Brits<br />
Adverts<br />
To advertise please contact<br />
ads@bidolito.co.uk<br />
The CALM helpline is now open every evening from 5pm ‘til midnight, plus you can text us too,<br />
meaning you can get stuff off your chest, privately.<br />
Free, confidential and anonymous, we’ve been helping men on Merseyside sort their heads out<br />
since 2000. Get back to enjoying your life, call CALM...<br />
Call: 0800 58 58 58 or text: 07537 404717<br />
Start your first text “CALM2” We don’t charge for texts, but your network might.<br />
www.thecalmzone.net<br />
Text & helpline open every day of the year, 5pm – midnight.<br />
Calls are free from landlines, pay phones and selected mobile networks and will not show up on your phone bill.<br />
CALM is Charity reg. no. 1110621
News<br />
Do The Borough Road Shuffle<br />
Readers may be aware that Bido Lito! is something of a Tranmere outpost. Well, we’ve teamed up with the Tranmere Supporters<br />
Trust and their campaign to bring the club into fan ownership. THE BOROUGH ROAD SHUFFLE will bring together BY THE SEA, THE<br />
LOUD and OXYGEN THIEVES at Cammell Lairds Social Club (as per the classic Half Man Half Biscuit LP) for our first event. As a nod<br />
to Wirral’s indie finest, the show will be presented as ‘All I Want For Christmas Is A Dukla Prague Away Kit’. BILL RYDER-JONES will<br />
be spinning the 7”s alongside Tranmere’s Welsh international keeper OWAIN FON WILLIAMS. theboroughroadshuffle.tumblr.com<br />
Bido Lito! Dansette<br />
Our pick of this month’s wax wonders…<br />
COMPETITION!<br />
Noisy Table And The Ping Pong Challenge<br />
NOISY TABLE at FACT is a ping pong table with a difference. Created by artist Will Nash, the table is programmed with digital<br />
instruments and samples. The vibrations created when the ball hits the surface are turned into live sounds. Obviously we had to<br />
get our mitts on such a madcap project, hence the Bido Lito! Inter-Band Ping Pong Challenge! Eight artists including CLINIC, LOVED<br />
ONES, ORGAN FREEMAN and AFTERNAUT will play a knockout tournament during the two-month exhibition, and Clinic DJs will be<br />
spinning disks at the opening on 6th <strong>Dec</strong>ember.. fact.co.uk/projects/noisy-table<br />
CALM Goes Seven Days A Week<br />
Unfortunately, not everyone manages to embrace the child-like wonderment of Yuletide joy that Christmas can bring along. For<br />
some, the festive season can be a time of great isolation and anxiety. To alleviate this pressure Merseyside charity CALM (Campaign<br />
Against Living Miserably) is now offering a seven days a week helpline and text support service. To celebrate this expansion<br />
they’ve announced the acquisition of three new local ambassadors, MOBO Award winner ESCO WILLIAMS, prolific singer/songwriter<br />
STEPHEN LANGSTAFF and DJ/producer ANTON POWERS. For advice and support visit CALM at thecalmzone.net<br />
Winter Arts Market Returns<br />
Instead of stockpiling a forlorn rank of unwanted gifts this Christmas, why not head down to the largest arts and crafts market in<br />
Merseyside this <strong>Dec</strong>ember and bestow your loved ones with something truly original. On 8th and 9th <strong>Dec</strong>ember from 10am – 5pm<br />
St George’s Hall will host 150 artists and makers to offer shoppers the chance to buy homemade artwork and gifts to avoid those<br />
self-obliging wry smiles. With entry at £1.50 and fantastic live music curated by Mellowtone, ditch the gift vouchers and immerse<br />
yourself within a vibrant village of independent arts. To preview exhibitors visit winterartsmarket.com.<br />
Caledonia Christmas Single<br />
It wouldn’t be Christmas without a charity song or two. So, we’re pleased to bring you news that the lovely folks at the Caledonia<br />
have written and recorded a festive charity single of their very own, recorded at Sandhills Studio. All the tinsel wrapped proceeds<br />
are to be donated to the above mentioned charity CALM. Musicians involved include THE CUBICAL, PETE BENTHAM AND THE<br />
DINNERLADIES, LOOSE MOOSE STRING BAND and THE SPEAKEASY BOOTLEG BAND. Laura King, Landlady at the Caledonia, said of the<br />
project: “I love CALM and making money for charity at Christmas is boss.” For more info go to facebook.com/caledonialiverpool.<br />
The Sundowners Release Debut Single<br />
Extinguish those wintery blues with THE SUNDOWNERS and their airy assortment of dream pop as they launch their bracing<br />
new single, Hummingbird this month. Produced by The Coral’s James and Ian Skelly the record manages to distill the group’s<br />
effervescent Americana which is so infectious live and is set for release on Thin Skin Records on 3rd <strong>Dec</strong>ember. Having recently<br />
toured across the UK with rising starlet Ren Harvieu to great acclaim, the release marks the close of what has been a year of great<br />
progress for the group. You can check out their wistful, melting pot of a release at facebook.com/sundownersUK.<br />
For this month’s competition we have teamed up with the fine folk at Wirral based Fallen Industries Recording Studio & Rehearsal Rooms. As well as<br />
providing marvellous rehearsal spaces for local musicians and a brilliant in-house recording studio, Fallen also host a wide range of professional music<br />
education and training services, including individual and group lessons, workshops and arts award accredited courses which convert into UCAS university<br />
entry points. <strong>Jan</strong>uary can be a tight time on the band purse, so we’re pleased to offer a brilliant prize for the lucky winners of this month’s competition - a<br />
free weekly three hour rehearsal session for the whole of <strong>Jan</strong>uary!<br />
To be in with a chance of winning this brilliant prize, all you need to do is answer this question -<br />
Before being the home to Fallen Industries, the building in which the studios are housed was home to Champion, a company<br />
who were famous for making which car part?<br />
a) Tyres b) Brakes c) Spark Plugs<br />
To enter, email your answer to competition@bidolito.co.uk<br />
by 21st <strong>Dec</strong>ember. The entries will be placed into a large pink<br />
tombola, the winner chosen at random and notified by email. Good luck!<br />
Bos Angeles<br />
Taking Out The Trash<br />
TYE DIE TAPES<br />
BOS ANGELES’ wilfully lo-fi approach to<br />
recording is both their biggest appeal<br />
and their Achillees heel. The 21 tracks here<br />
comprise their first and last full-length<br />
release, with a beach surf via Joy Division<br />
snarl that places them as a British answer<br />
to Smith Westerns. Simultaneous rejoicing<br />
and mourning then for the passing of one<br />
of slackerdom’s best-monikered bands.<br />
Peaking Lights<br />
Lucifer In Dub<br />
WEIRD WORLD RECORDS<br />
This LA husband and wife duo confound<br />
listeners yet again as they give their<br />
calypso mish-mash of an album Lucifer<br />
a rub-a-dub scrub up, with Sonic Boom<br />
on mastering duties. Mr Kember ensures<br />
that the seductive and hypnotic bottom<br />
end wobbles stay on the danceable side<br />
of psychedelic, as perfectly distilled in<br />
the warmth of My Heart Dubs 4 U.<br />
The Family Monroe<br />
Hotel Room<br />
UNSIGNED<br />
Love, loss and longing are what make<br />
up this introductory set of navel-gazing<br />
ballads from Liverpool duo THE FAMILY<br />
MONROE. Managing to be both heartwarming<br />
and gut-wrenching at the same<br />
time, the quiet-quieter dynamics on<br />
Hotel Room, and lush string and guitar<br />
meshing on Let’s Go Live On The Moon,<br />
eke out a sliver of hope to cling on to<br />
amid the melancholia. Bruised hearts<br />
never sounded so good.<br />
The Cubical<br />
Arise Conglomerate<br />
HALFPENNY RECORDS<br />
Brass-led primal garage punk with soul<br />
is the order of the day here for THE<br />
CUBICAL’s third album, the majority of<br />
which was recorded in the analogue only<br />
Lightning Recorder Studios in Berlin. Dan<br />
Wilson’s gravelly voice is as tormented<br />
as ever, veering between Them and The<br />
Sonics on 1,2,3 Girl, and bar-room blues<br />
on Daily Grind. Scorching.<br />
Gig Guide and Ticket Shop live at www.bidolito.co.uk
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Words: Christopher Torpey<br />
Photos: Brian Roberts
Bido Lito! <strong>Dec</strong> <strong>2012</strong> / <strong>Jan</strong> <strong>2013</strong> 7<br />
Many moons have waxed and waned over Liverpool since EVA<br />
PETERSEN’s sultry vocals last graced a record, but the Huyton-born vocalist<br />
has not exactly been in hiding since her previous outfit The Little Flames<br />
disbanded five years ago. It is the lot of the chanteuse to be in search of<br />
the perfect setting for their vocal style, just the right band or line-up who<br />
provide the backdrop required to best showcase their talents, and Petersen<br />
has ventured down several of these avenues since going solo. But now she<br />
seems to have happened upon the right formula, one that has resulted in the<br />
release of her strident debut solo album Emerald Green Eyes on Porcupine<br />
Records. Though it has not been without trial and tribulation: as the lord of<br />
hellfire himself Arthur Brown remarked after witnessing Petersen support<br />
him for a live show, “that was great, but you need a baaaand.” Recalling<br />
this and many other similar scenarios, Petersen rolls her eyes as she drops<br />
Jewelled Moon is<br />
a signal of intent,<br />
entering on a<br />
wave of shifting<br />
guitars and<br />
bubbling synths<br />
in to her seat for our<br />
chat, and sighs, “If I<br />
had a pound for every<br />
time someone said<br />
that to me…”<br />
A stylish and<br />
glamorous<br />
figure,<br />
Eva Petersen meets<br />
up with us on her<br />
lunch break to talk<br />
about the five-year<br />
process of forming<br />
her debut album, yet<br />
she still manages to<br />
turn up looking like she’s just left a classic vintage fashion shoot. Talking<br />
quietly and with a certain modesty about how things have come together,<br />
Petersen’s eyes light up when we touch upon moments of real interest to<br />
her (70s Italian horror soundtracks and rare BBC sound FX). Those who have<br />
seen Petersen live over the past three or four years will get a shock upon<br />
listening to Emerald Green Eyes: gone are the blatant Velvets and retro<br />
stylings, and in comes a blast of surging electronic krautrock to add a muchneeded<br />
impetus, as well as a shifting theatrical canvas, to Petersen’s songs.<br />
It is perhaps not surprising to jump to Velvet Underground comparisons<br />
upon first hearing Petersen’s distinctive voice: deep, sultry and demure, it<br />
has more than a faint echo of Nico in its delivery and style (hence the wellplaced,<br />
ponderous cover of Femme Fatale). There is also something in there<br />
that recalls the thematic setting of Marlene Dietrich’s husky tones, with<br />
each syllable loaded with dramatic intent. It is easy to stick to the tried<br />
and tested formulas, as highlighted by the Nancy Sinatra-esque chamber<br />
pop of Candie Payne’s solo record I Wish I Could Have Loved You More,<br />
Liverpool’s latest great addition to the realm of the sultry female vocalist.<br />
By branching out in a new, up-tempo direction, Petersen has freed herself<br />
from these shackles, which is largely due to a serendipitous encounter<br />
with her newfound collaborator Will Sergeant.<br />
Not every chanteuse gets to find her muse, but it seems as though<br />
Petersen definitely has in Sergeant. Bonding over a mutual love of Neu!,<br />
Can and film soundtracks, Petersen soon found that the Bunnyman was<br />
on a similar wavelength to herself, and deemed that he’d be the perfect<br />
person to work with on the collection of songs she had written since<br />
going solo. “It’s very rare that, to have that connection,” she openly admits.<br />
“I’m very lucky.” That the record has had such a long gestation period is<br />
mainly due to the fact that the pair started collaborating so late in the<br />
day. Petersen: “He [Sergeant] was perfect for the album. I’d been doing<br />
stuff before with other people but when I met him we just clicked. Then<br />
I thought, ‘Right, this is the person I need to do my album with.’ So why<br />
rush it and do it half-hearted when you’ve met the right person?” Petersen<br />
took her batch of songs to Sergeant to re-work, and make them sound<br />
how she wanted, over a two-year period. Originally coming from a sound<br />
that was admittedly “a bit 60s”, the duo collaborated to give the songs an<br />
altogether different feel. This distinct new direction is apparent right from<br />
the attention grabbing opening onslaught of Jewelled Moon: the album’s<br />
lead track is a signal of intent, entering on a wave of shifting guitars and<br />
bubbling synths that hint at the electronically psychedelic pulses of Baltic<br />
Fleet’s Towers. Title track Emerald Green Eyes gets a similar treatment;<br />
with its Bond theme dynamics benefiting from Sergeant’s full weight of<br />
production it now boasts more of a dark insistence than the grandiosity<br />
of its former guises, yet still retains the strut that has always placed it as<br />
Petersen’s most accomplished song to date.<br />
In a compositional sense this was a real weight off Petersen’s shoulders,<br />
as she could now truly realise her goals for these songs through Sergeant.<br />
“Because I don’t play any instruments it was difficult [for me] to put it<br />
in the way I wanted it to sound,” she explains. Was this hard then, to<br />
relinquish control of your songs and pass them over to someone else?<br />
“No it was great,” comes the instant and unabashed reply. “I don’t have<br />
the tools to do it, and he does. I mean, he’s an amazing musician.” That<br />
must have required a certain amount of trust then? “Complete trust, yeah.<br />
I’d send over a song to him and say ‘Tales of the Unexpected.’ If I said that<br />
to someone else they wouldn’t get it. But Will didn’t say anything, he just<br />
took it on board and sent back Sunday Love Affair and got it spot on!”<br />
Sunday Love Affair is one of the simpler tracks on the album, dominated by<br />
Petersen’s deadpan vocal delivery and not as adorned with as many bells<br />
and whistles as the others. This really lends the record that air of classic<br />
spaghetti westerns that Petersen seemed to be aiming for. The strings and<br />
plucked guitars on Sunday Love Affair conjure up vivid scenes of old Sicily<br />
from The Godfather, or the bleached landscapes alluded to as a backdrop<br />
for Jack White and Danger Mouse’s Rome project.<br />
I’m intrigued by this connection the pair have, and I want to know<br />
more about how the songwriting process manifests itself if Petersen can’t<br />
express her vision for her songs via an instrument. “I hum melodies in to a<br />
Dictaphone,” she explains, “or in the past I’ve sung a song in to my phone,<br />
and then sent that to Will.” Though they seem to have made it succeed in<br />
this case, it does seem like it a pretty frustrating way to work. “Oh yeah it is,”<br />
comes the admission, but Petersen has other ways of realising her visions<br />
for her songs too. “I see writing these albums as like little films. Each song<br />
is like a chapter or scene of a film.” Take one sense away and another<br />
heightens: so, in this case it seems that Petersen’s inner eye has taken<br />
up the strain of her song composition. She presses on. “It’s storytelling as<br />
well, but it’s not reality. It’s a cinematic way of doing it. I always wanted to<br />
write a short film, and I wrote Emerald Green Eyes a long time ago, but all<br />
at once, like a continuous piece,<br />
or film.”<br />
This is an avenue I can quite<br />
easily see Petersen moving<br />
down, as she has designs on<br />
scoring her own soundtrack at<br />
some stage, but, “doing it the<br />
other way about, so doing a<br />
film without the visual, just the<br />
soundtrack.” Having already<br />
worked with animator John Davide on a short soundtrack, this could be a<br />
reality sooner rather than later, but for now Petersen’s attention is focused<br />
on playing live. Accompanied by Paul Duffy (The Coral) on guitar and Nick<br />
Kilroe (Echo & The Bunnymen) on drums, she admits that it’s a challenge to<br />
find that balance of replicating the “Eva and Will sound” on stage, but also<br />
bringing a fresh element to it. Again giving in to her innate theatricality,<br />
Petersen admits that one day she’d love to do a full-blown live show with<br />
Sergeant and a full band (“full-on masks and capes and visuals!”), but it’s<br />
one step at a time for the moment. It’s been five long years since Petersen<br />
has had a release to call her own, but she’s in no mood to rush it. I wonder<br />
if there was ever at any point during those five years where she worried<br />
she’d never get to this stage, holding her own record in her hands? The<br />
answer comes after only the briefest of pauses, accompanied with the<br />
smallest of laughs. “No! I always knew it would get done. But then, you<br />
don’t know until you meet the right person how it is going to happen. If<br />
you really love something it’s just a labour of love, isn’t it?”<br />
evapetersen.co.uk<br />
“If you really<br />
love something<br />
it’s a labour of<br />
love isn’t it?”<br />
Gig Guide and Ticket Shop live at www.bidolito.co.uk
8<br />
Bido Lito! <strong>Dec</strong> <strong>2012</strong> / <strong>Jan</strong> <strong>2013</strong><br />
There are times when working as a music journalist feels like<br />
anything but work. As I await a phone call from arguably the<br />
nation’s favourite Scouser, this is definitely one of those times.<br />
CRAIG CHARLES has been in the public consciousness for a quarter<br />
of a century, in a variety of guises - from cult TV to Corrie, poetry<br />
a new generation of fans: “We deal mainly with golden era black<br />
American music, but most of those guys are passing away or have<br />
passed away. For this album we concentrated on the response<br />
to that golden era here in the present. It’s no surprise that the<br />
two most successful artists of this century, Amy Winehouse and<br />
Out of this scene came a rare national success for black<br />
musicians from Liverpool, when The Real Thing topped the charts.<br />
Only The Christians have come close since, a fact Charles finds<br />
baffling: “It’s been a disgrace. In the 80s there were so many<br />
bands from Liverpool in the charts - Echo & The Bunnymen,<br />
to playing records.<br />
He’s the man<br />
Icicle Works, Teardrop Explodes, OMD,<br />
who educated this Kent teenager<br />
about real Liverpudlians, beyond<br />
the plastic stereotypes portrayed by<br />
Harry Enfield and Brookside.<br />
As presenter of BBC 6Music’s<br />
longest-running and most popular<br />
show - The Craig Charles Funk and<br />
Soul Show - Charles has been<br />
responsible for getting the Saturday<br />
night party started for over a decade<br />
now. After calming my fanboy nerves<br />
with a simple “How’s it goin?”, he<br />
reveals how the show’s success has<br />
taken him completely by surprise:<br />
“I thought it’d be this curious little<br />
niche programme on a niche station,<br />
but I didn’t care as it gave me the<br />
chance to play the records that I<br />
loved. It’s amazing how the audience<br />
has grown over the last ten years.<br />
When we started most of the 6Music<br />
output featured white boys with<br />
guitars, but we’ve been able to take<br />
it somewhere different.”<br />
To commemorate that growth,<br />
Charles is releasing a compilation, The<br />
Craig Charles Funk & Soul Club, out<br />
later this month on Freestyle Records.<br />
It’s an absolute gem of an album,<br />
guaranteed to ignite any dancefloor.<br />
Flock of Seagulls, and none of them<br />
were black. The talent was there but<br />
back then there wasn’t that much<br />
support. When the record companies<br />
were flocking to Liverpool with their<br />
chequebooks flapping they weren’t<br />
going down to the shabeens.” Charles<br />
has been a keen supporter of Liverpool<br />
talent, inviting the likes of 6toys onto<br />
his show for live sessions. “I’d love to<br />
help put Liverpool on the map. I’m a<br />
fan of Manukah, and I’m always on the<br />
lookout for more local acts.”<br />
A love for music has been a constant<br />
companion throughout Charles’ career.<br />
His first big break, as a performance<br />
poet, was jumping up on stage at a<br />
Teardrop Explodes concert to recite<br />
a less than complimentary poem<br />
about the lead singer. Since then he’s<br />
written songs for others as well as<br />
starting bands himself, including the<br />
fantastically named Craig Charles and<br />
the Beat Burglars, and Sons of Gordon<br />
Gekko. At the height of his Red Dwarf<br />
fame he even signed to legendary<br />
record label Acid Jazz. “I’ve always<br />
been involved in music, but I saw it<br />
as a bit of a hobby. There were a few<br />
times where it threatened to take over,<br />
Press play, start dancing.<br />
There’s<br />
but honestly I don’t see it as work. It’s<br />
a potent mix of classic tracks from<br />
the likes of The White Stripes, Rage<br />
Against the Machine and the Rolling<br />
like I’ve been invited to a party where I<br />
get to choose the music.”<br />
Right now Craig is busier than ever,<br />
Stones, energetically reworked;<br />
with a well-received new series of Red<br />
stalwarts of the UK funk scene like<br />
Lack of Afro and The Haggis Horns;<br />
and a selection of the brightest new<br />
talent from across the world, from<br />
Barcelona’s The Excitements to The<br />
Bamboos’ Aussie funk.<br />
Far from being the preserve of the<br />
old and backwards-looking, funk and<br />
soul is growing in popularity - a fact<br />
I see borne out on a weekly basis<br />
in my view from the booth of the<br />
dancefloors of Liverpool. There’s a<br />
Dwarf just off our screens as well his<br />
continued role in Coronation Street<br />
as loveable cabbie Lloyd. He’s also<br />
taking The Funk and Soul Show back<br />
on the road, after wowing the crowds<br />
at some of the UK’s biggest festivals<br />
over the past 18 months. Alongside<br />
his monthly residencies in Leeds and<br />
Manchester, there’ll be a UK Christmas<br />
tour in support of the album. Despite<br />
his celebrity status, Charles is adamant<br />
it’s the power of the music that keeps<br />
vibrancy and excitement in these 19<br />
the crowds coming: “People come to<br />
Words: Mo Stewart Illustration: Johanna Wilson<br />
tracks that’s sorely lacking elsewhere<br />
the Funk & Soul Club for the music.<br />
in the musical landscape. This second generation soul gives a tasty<br />
Adele, are both heavily influenced by classic soul.” As was a<br />
new flavour to a tried and trusted format - like sushi on a pizza.<br />
young Craig Charles, whose parents rocked to the sounds of the<br />
Charles’ hardest task was trimming the tracklist down: “I’ve got<br />
Temptations and Otis Redding, when all about them were still<br />
so many great records that I want to share. The album could have<br />
obsessed with mop tops: “My dad arrived in Liverpool in the late<br />
featured 19 other tunes and still been brilliant! What we wanted<br />
50s with a couple of quid in his pocket and a bag full of records.<br />
to do was recreate the feeling that you get from coming to one of<br />
Whether it was Ray Charles or Reverend Al Green, our house was<br />
our live club nights on a CD, but we didn’t want to put out a dead<br />
always alive with music. As I grew up and started going clubbing,<br />
album. Over 70% of the bands selected are still playing now, so<br />
I saw there was a thriving underground scene. While everyone<br />
people can still get out to a show and experience them live.”<br />
else was down at Eric’s or Brady’s I was down at the shabeens in<br />
That live element is a key component in bringing the funk to<br />
Liverpool 8 listening to P-funk and Parliament.”<br />
Gig Guide and Ticket Shop live at www.bidolito.co.uk<br />
We sell out wherever we go, but not because Dave Lister is the<br />
DJ. Celebrity DJs aren’t my bag, which is why I love 6Music. Our<br />
station is full of people like Jarvis (Cocker), Lauren (Laverne), Guy<br />
(Garvey) and Huey (Morgan) who are really passionate about their<br />
music, and the audiences really buzz off it.”<br />
The Craig Charles’ Funk & Soul Club is out on 26th November on<br />
Freestyle Records.<br />
Listen to The Craig Charles Funk and Soul show on BBC 6Music<br />
every Saturday from 6pm to 9pm.
Richard<br />
Hawley<br />
plus special guests<br />
Bellowhead<br />
ead<br />
Monday 25 February<br />
ry<br />
7.30pm £20-£27.50<br />
Monday 18 February<br />
ry<br />
7.30pm<br />
£22.50, £28.50<br />
Heritage<br />
Blues Orchestra<br />
Friday 1 February<br />
ry<br />
8pm £18.50, £24.50<br />
Richard<br />
Thompson<br />
Friday 1 March<br />
7.30pm £20-£30<br />
Robert Vincent<br />
& Peter Bruntnell<br />
Saturday 2 Februaryry<br />
8.30pm £12<br />
Sam Lee<br />
& Friends<br />
Thursday 21 March<br />
The Epstein Theatre<br />
7.30pm £16<br />
Amelia<br />
Curran &<br />
Anna<br />
Corcoran<br />
Friday 8 Februaryry<br />
8.30pm £12<br />
Edwyn<br />
Collins<br />
Saturday 20 April<br />
7.30pm £17.50, £23.50<br />
Ginger Baker’s<br />
Jazz Confusion<br />
Sunday 24 Februaryry<br />
7.30pm £17.50-£25.50<br />
Lau<br />
Saturday 20 April<br />
St George’s Hall<br />
Concert Room<br />
7.30pm £16.50<br />
Box Office<br />
fi<br />
0151 709 3789<br />
liverpoolphil.com
10<br />
Bido Lito! <strong>Dec</strong> <strong>2012</strong> / <strong>Jan</strong> <strong>2013</strong><br />
ORGAN FREEMAN<br />
Words: Mike Townsend<br />
Photography: Robin Clewley<br />
ORGAN FREEMAN are four young lads from The Wirral,<br />
comprising the unusual combination of two frontmen and two<br />
stand-up drummers. When asked to describe their sound, singer<br />
Luke Bather affectionately suggests that it is “music inspired<br />
by aliens”, which makes a surprising amount of sense if you’ve<br />
ever been to one of their shows, largely thanks to the influence<br />
of their fifth and most important member, an old Yamaha QY700<br />
MIDI Sequencer. Resisting the urge to describe it as out of this<br />
world, their unique style of frenetic, messy, synth-infused garage<br />
rock, delivered by two of the most excitable and yelping frontmen<br />
about, will certainly sound alien to most. With no recorded<br />
content online and almost no media interaction, Organ Freeman<br />
have somehow found themselves being one of the most talked<br />
about new bands in Liverpool.<br />
The genius is in the name. Puns, play on words, doubleentendres<br />
- keep ‘em coming. Describing its conception, cofrontman<br />
Simon Gabriel explains that they had a collection of<br />
organ-based puns to choose from and this was the “best of a bad<br />
bunch”, although with the other options including Pianu Reeves,<br />
Keyboard and Kel and Bruce Forsynth you might argue otherwise.<br />
The key thing, he adds, is that it creates a “lasting impression<br />
with their audience”, which is so important in today’s local music<br />
scenes. Gigs, especially at local level are becoming increasingly<br />
busy affairs. The wealth of local bands, local venues and local<br />
promoters has meant that the headliner/support act format has<br />
been usurped by more of a showcase with five or six bands on<br />
the bill, making it even harder to achieve any lasting exposure<br />
from gigging than ever before. “We wanted to make sure people<br />
could at least associate our performances, good or bad, with a<br />
name,” explains Simon as he laments the occasions on which<br />
he has seen a good band but can’t remember who they are. The<br />
danger is that with a name like this, correlations between how<br />
many people are talking about you and how many are listening<br />
can become dangerously skewed. Cerebral Ballzy, !!! (Chk Chk<br />
Chk), Danananakroyd, and Mumm-Ra have all fallen victim to this,<br />
disappointing with their first and second releases as the charm of<br />
their name eventually wears off and we all forget why we liked<br />
them in the first place. For now though, Organ Freeman’s moniker<br />
has acted as an invaluable tool for their guerrilla, word of mouth<br />
style promotion, giving them the platform to express themselves<br />
to ever wider and more eclectic audiences.<br />
Simon and Luke claim to have played Wheatus’ Teenage Dirtbag<br />
at every show they’ve ever done. At their show in Liverpool last<br />
month the song was the set closer and the audience screamed<br />
every word as if they had been waiting for it all evening.<br />
Wheatus covers, planned and prearranged matching outfits,<br />
and choreographed audience participation have all become<br />
synonymous with an Organ Freeman show. This very much stems<br />
from their early reputation as a ‘party band’, as their shows<br />
became more and more associated with alcohol-fuelled mayhem,<br />
a reputation Simon and the band are keen to move away from:<br />
“We got such a good response from being a positive, party based<br />
band early on, and some people can rely on that and continue<br />
to do that forever, but for us, that gets boring. We didn’t want to<br />
be expected to do something at all of our shows.” Simon and<br />
Luke go on to describe a time when a promoter enthusiastically<br />
booked them based on the premise that they would turn the<br />
show into a wild party, so in response they set up their stage as<br />
an office and played the songs at half speed and without any<br />
drums. Whilst you might argue that bands as new as this can’t<br />
afford to be so petulant, it’s nice to see a band sticking to a cause.<br />
For a new artist, reputations can be easy to earn and impossible<br />
to get rid of. Remember Be Your Own Pet? Weren’t they the ones<br />
who made themselves sick on stage at all their shows? Of course<br />
a reputation for putting on wild, fun shows is an admirable aim<br />
for many bands and even Simon admits that it has “served them<br />
well”, but something like that can so quickly be cheapened and<br />
turned into a gimmick as it starts to precede all discussion and<br />
surpass all their creative intentions. These days their shows are<br />
still the funnest and most exhilarating you’ll attend all year, but<br />
underpinning this is their desire to keep themselves and their<br />
audience moving forward. Playing with expectations perhaps<br />
more shrewdly than they might admit, they ensure that people<br />
are talking about them for the right, wrong, or indeed any reason<br />
at all. Because as soon as you stop becoming a talking point, then<br />
all the promotion in the world doesn’t mean a thing.<br />
This is what drives Organ Freeman, proving that doing things<br />
differently speaks for itself without the need to tell everyone<br />
about it. The standards to which we commend live performances<br />
are alarmingly low these days, and with Lady Gaga and Katy Perry<br />
et al bringing more and more extravagance to their shows, Organ<br />
Freeman recognise that audiences’ attention spans are getting<br />
shorter so shows must become more engaging. Luke even<br />
suggests that he and the band “often go to Taylor Swift and Ke$ha<br />
concerts and take notes.” I suspect that he is only half-joking, as<br />
he clarifies that the band ultimately aim to create a new form of<br />
“DIY Pop Music and performance”, challenging the expectations of<br />
their audience with a performance that engages both their ears<br />
and their eyes, making it memorable beyond how well the songs<br />
were performed or that prick who kept talking behind you.<br />
‘Oversaturation’ is a term that’s all too familiar with British<br />
independent music these days. I’m not suggesting that an artist<br />
can’t still excel based on some extraordinary songs, but if guitar<br />
music in Britain needs saving, it won’t be by a new three-chord<br />
chorus from The Vaccines. So perhaps an interesting and exciting<br />
live performance is what it takes to break out in <strong>2012</strong>, and with<br />
no songs even released yet, Organ Freeman can attribute their<br />
already impressive success to almost this alone.<br />
Simon reveals that the band have their long awaited first<br />
single recorded and ready to release in early <strong>2013</strong> with an album<br />
to follow. But their ambitions for the year remain firmly rooted<br />
in their live show, as they look to embrace bigger budgets and<br />
bigger ideas in an attempt to change how we feel about live<br />
performances. An ambitious aim it may be, but succeed or fail, the<br />
beauty lies in the attempt.<br />
facebook.com/TheOrganFreeman<br />
@TheOrganFreeman<br />
Gig Guide and Ticket Shop live at www.bidolito.co.uk
Bido Lito! <strong>Dec</strong> <strong>2012</strong> / <strong>Jan</strong> <strong>2013</strong> 11<br />
Gig Guide and Ticket Shop live at www.bidolito.co.uk
12<br />
Bido Lito! <strong>Dec</strong> <strong>2012</strong> / <strong>Jan</strong> <strong>2013</strong><br />
Words: Naters Philip<br />
Illustration: Graham Cheal<br />
In last month’s Bido Lito!<br />
Dansette column we waxed<br />
lyrical about one of our current<br />
favourite, and for now lesser known,<br />
Liverpool lovelies on the folk pop<br />
scene. This month,<br />
Naters<br />
Philip<br />
has<br />
the<br />
pleasure of roaming<br />
a<br />
comfortable<br />
word<br />
count<br />
and expanding<br />
into the world<br />
of adverbs in<br />
order to tempt<br />
you into loving<br />
NON, MONSIEUR<br />
as much as she<br />
does. This will be<br />
easy.<br />
Unlike many of our<br />
musical geniuses, Non,<br />
Monsieur are not intent on<br />
restricting themselves to the<br />
realms of obscurity at the<br />
point of contrition. Not a bit of<br />
it. When I meet Craig Lamb (Vocals,<br />
Percussion) and David Mooney (Guitar),<br />
clad in suits with pocket watches and hip<br />
flasks, they are keen to tell me everything<br />
about themselves, both as a band, and also<br />
as people. Naturally, trying to understand the<br />
characters behind the music is where I start and<br />
they’re the first band to genuinely shock me with an<br />
answer as Craig beams, “We’re radiographers.” Well of course.<br />
“This all started because we worked together, we actually<br />
listened to a lot of Crystal Castles and thought about doing<br />
some electro stuff but when we went for a jam we were going<br />
through a folky time with Jay Jay Pistolet and Simon & Garfunkel,<br />
so we decided to go with it!”<br />
Every exclamation mark is a true testament to Craig’s<br />
effervescent personality; he’s wonderfully excitable about, well<br />
everything and you’ll feel that seeping through when listening<br />
to the first song they recorded together, I Wish We Were Young.<br />
It’s impossible not to beam when listening to his tangents,<br />
and simultaneously it’s as easy to wonder how on earth they get<br />
any music written at all. Craig explains they practise regimentally<br />
and are complete perfectionists, “Those samples of Picturebook<br />
[the band’s new single] I sent you are so far from done – it nearly<br />
killed me to let you have them!”<br />
In fact the boys recently spent some time in the studio to<br />
record an EP, to give their old four-track machine a rest. But<br />
in the style of a true perfectionist Craig assures me that, “The<br />
engineer was bloody useless and they won’t let me mix the<br />
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tracks at all!” So back to their four-track<br />
they went to record If Only To Be With<br />
You. Another pretty little ditty with husky,<br />
stripped-back vocals and an antiquated<br />
quality to set them apart from other bands<br />
on the folk market.<br />
Folk pop might actually be the perfect<br />
phrase for these two, not only as musicians<br />
but as friends. Dave,<br />
who is as<br />
charmingly<br />
soft<br />
spoken as Craig is exuberant,<br />
seems a bit more folk than pop. As he’s the shy<br />
one I was interested to glean some more about his music<br />
background, and it seems that folk pop may actually be the<br />
antithesis of his usual music taste. He talks much of his love for<br />
Metallica (hey, someone has to) and classic rock favourites Thin<br />
Lizzy. He tells us, “I was in a band with the bassist out of The<br />
La’s – we didn’t have a name and we played one gig. It was more<br />
like Foo Fighters stuff and because of uni I wanted to put things<br />
on the back burner.” Which, by the sounds of it, was probably<br />
for the best.<br />
It’s a pesky necessity bands are faced with: The Name, and<br />
it was a problem plaguing our boys, too. So when I ask why<br />
French, Craig comes into his own: “Things just look sexy in<br />
French! English words are dead dull, I spent so much time on<br />
Babbel French, trying to come up with something that made<br />
sense. But honestly, Non, Monsieur sounds so much better than<br />
No, Mister – I’m a fan of the antiquity it has and I want that<br />
across all of the stuff we do with our music.”<br />
It’s a good enough reason as any, and sets their name apart from<br />
others on the current Liverpool music scene. But what of the folk<br />
genre: where do they<br />
sit<br />
within that? The boys explain that<br />
they see folk music as something quite<br />
individual, as Craig reels, “It’s a different thing:<br />
when you play acoustic instruments or go to an<br />
acoustic gig, you don’t see the same thing five times<br />
over, it<br />
isn’t like reggae or ska.” They herald Slow Club as one of their<br />
biggest folk influences: “That first album is delightful; it’s<br />
like two people just want to make nice songs together,<br />
which is so lovely.”<br />
And perhaps there’s something to that:<br />
do you have to be so damn artistically<br />
tortured in order to make excellent<br />
music, or is there room for a bit of nice?<br />
Surely, it doesn’t have to exclusively<br />
be a paradoxical experiment,<br />
perpetually lost up the arse of a<br />
character in Pan’s Labyrinth.<br />
Sometimes, it has to be<br />
okay for it to be as<br />
simple as, “I was<br />
listening to Jay Jay<br />
Pistolet’s Only To<br />
Be Young Again<br />
and<br />
thought<br />
the notion of it<br />
was really sweet<br />
and decided to rewrite<br />
the chorus, from<br />
my point of view.” Craig cites<br />
this as the creative process<br />
for I Wish We Were Young, and<br />
gives a nod to professional poet Mark<br />
Grist (@montygristo) as the fuel for this<br />
particular inspiration.<br />
All of their hard work and frustration over<br />
recording saw its first live outing at the start of November<br />
at Lime Street’s, The Head Of Steam. An interesting choice of<br />
venue for a first outing but the band assure me the night was<br />
faultless and, for a first gig, surprisingly well received.<br />
I can’t say I’m surprised though, Non, Monsieur’s songs are<br />
designed to chirp you up and actually leave you with little choice<br />
in the matter. Songs like I Wish We Were Young are the kind to<br />
grab everyone; even if you decide you hate it you’ll probably<br />
be caught listening to it on your own while your head does<br />
happy little bobs in time. Luckily you’ll get an opportunity to<br />
fall for their infectious energy and dulcet tones soon enough as<br />
they’re playing support for Admiral Fallow at The Kazimier on 4th<br />
<strong>Dec</strong>ember. Craig’s rocket-fuelled personality mixed with David’s<br />
‘Tim from The Office’ sense of humour leaves me to describe<br />
their music in one sentence: Non, Monsieur are like a relaxing<br />
Sunday afternoon, eating an entire bag of Skittles and washing<br />
them down with a bourbon whiskey. J’aime beaucoup.<br />
For a free download go to nonmonsieur.bandcamp.com<br />
@nonmonsieur
RAVE ON<br />
Words: Amy Greir<br />
THE RAVEONETTES is the project of Danish duo Sune Rose<br />
Wagner and Sharin Foo, and this year marks the tenth anniversary<br />
of the release of their debut EP Whip it On. Their latest album,<br />
Observator, sees them being reunited once again with producer<br />
Richard Gottehrer (known for his work with Blondie and The<br />
Go-Gos), who worked with them on their earlier 60s-girl-groupinspired<br />
LP Pretty in Black. Observator adds a darker, contemplative<br />
streak to the Raveonettes’ repertoire, using subtle delicacies of<br />
piano weaved into guitar riffs for good measure, but still throwing<br />
in that familiar 50s’ surf sound drizzled with noise. Following in<br />
the footsteps of Jim Morrison, the new album took the band to<br />
the legendary Sunset Sound Studios for recording. Whilst they<br />
found this experience inspiring, the band claims Observator did<br />
not become ‘The LA’ album. “It’s a collection of observations that<br />
occur in life...and life happens everywhere,” Sune tells me.<br />
Although he’s just moved to Los Angeles from New York City,<br />
and is still surrounded by boxes, I manage to grab Sune for a<br />
quick cross-Atlantic chat to find out more about the magic and<br />
meaning behind that Great Love Sound.<br />
Bido Lito!: We know you’ve spent a lot of your life in the States,<br />
but tell us about the Danish scene when you were growing up.<br />
Sune Rose Wagner: At the time there was a lot of good music<br />
in Denmark, and there were lots of bands who I was inspired by. I<br />
think that because I grew up in Sønderborg, a small town near the<br />
German border, I always had an urge to move outward and discover<br />
the world... So that was the driving force behind it all, really.<br />
BL!:<br />
Do you think you bring a particularly Danish stamp to your<br />
work? Did you come from a music background or were you seen<br />
as the breakaway child?<br />
SRW: [laughs] I didn’t grow up with music on my parents’ side,<br />
so I had to discover it myself. Being a child of the 70s and 80s I<br />
was introduced to hip hop music. I really fell in love with it and<br />
I’ve been in love with it ever since! After that I had to discover<br />
Gig Guide and Ticket Shop live at www.bidolito.co.uk<br />
more music. I went to the library and read a lot of books about<br />
music history. I stumbled upon a lot of music from the 50s and<br />
60s, and so I fell in love with that type of music as well.<br />
BL!:<br />
How much would you say you’ve been able to incorporate<br />
this love for hip hop into your music? Your third album Lust Lust<br />
Lust is pretty drum machine-heavy and uses a great mix of beats<br />
and noises.<br />
SRW: Yes I think we’ve always done that...we sample a lot of<br />
old records and use break beats, and then twist them around a<br />
little bit. I got a drum kit when I was five years old so I’ve always<br />
loved the whole drum part of music... Using samples you could<br />
always get the sound you wanted for each song so all the songs<br />
sounded different in their drum approach, I’ve always found that<br />
very appealing.<br />
BL!: Whatever the blend of genres, there always seems to be<br />
that recognisable thread of the ‘Raveonettes Sound’; your voices<br />
and use of harmonies are so distinct. But each album sounds<br />
unique at the same time. What do you think ties the albums<br />
together?<br />
SRW: We were always very much interested in all things<br />
electronic. People thought we were this garage sort of band who<br />
would only listen to a certain type of music, and that we always<br />
used instruments from a certain era, but it couldn’t be further<br />
from the truth. All our music was made on computers and used<br />
samples, even the guitars weren’t played with amplifiers, they<br />
were just played directly into the computer. So we were always<br />
much more electronic than most people think.<br />
BL!: On both Whip it On and Chain Gang of Love you wrote all<br />
the songs in a set key. What was the thinking behind that?<br />
SRW: I was experimenting with different guitar tunings at the<br />
time, and I found that tuning the low E string down to a B flat<br />
made a really nice sound. It was good to challenge yourself as<br />
a songwriter... It forced you to come up with something that was<br />
different from whatever everyone else was doing. So yes, I guess<br />
it was a conscious decision after I figured out what the key was!<br />
BL!:<br />
Did you have a clear idea of what you wanted to achieve<br />
with Observator?<br />
SRW: Not really, the new album was kind of open. We don’t<br />
make anything complicated. I was always in love with simple<br />
music, everything from Buddy Holly to Suicide to the Velvet<br />
Underground. You know Hank Williams made a legend for<br />
himself by just using three chords? And for that matter so did The<br />
Ramones. It seemed very honest and simple music and I always<br />
admired that.<br />
BL!: So, after releasing your sixth album are you tempted to<br />
get more into film?<br />
SRW: It’s something I’d like to explore, but these things take<br />
time. Now I’m in LA I’ve got many great contacts [for] film music;<br />
it’s definitely something I want to do more of. But The Raveonettes<br />
will always be my first love, no matter what I do on the side.<br />
BL!: You released a solo album in Danish a few years back,<br />
would you do another?<br />
SRW: I’d like to do another solo album, yeah. Maybe... a solo<br />
in English, something like that? Out in LA there won’t be as many<br />
distractions so I think I’ll be writing a lot more than I’m used to.<br />
BL!: As the ‘observator’, are there any bands out at the moment<br />
you’ve been keeping your eye on?<br />
SRW: Yeah, Savages. They’re four girls from London. They are<br />
very confrontational in their songwriting which is great and<br />
they’ve got the potential to be a really amazing band.<br />
The Raveonettes play Eric’s 5th <strong>Dec</strong>ember <strong>2012</strong><br />
theraveonettes.com
Bido Lito! <strong>Dec</strong> <strong>2012</strong> / <strong>Jan</strong> <strong>2013</strong> 17<br />
John Howard lands at Percy Gulliver’s<br />
Words: Jonny Davis<br />
Artwork: John Howard<br />
For some time now Gary ‘Horse’<br />
McGarvey has been the go to guy for<br />
gig posters in Liverpool and he has<br />
gradually become a formidable name<br />
nationally and internationally, taking<br />
his Screenadelica exhibitions around<br />
the world. In 2011 he opened a popup<br />
shop on Bold St named Percy<br />
Gulliver’s, showcasing his and others’<br />
work for sale to the curious. The<br />
collection was pleasantly surprising<br />
in its variety, quality and appeal to a<br />
wider audience but, alas, what pops<br />
up must pop down and Percy Gulliver’s<br />
vanished as quickly as it appeared.<br />
Horse is now back with renewed<br />
vigour to reopen Percy Gulliver’s. This<br />
time, for good. The dead space above<br />
the Shipping Forecast has been<br />
reformed to become a permanent<br />
home for this multicoloured venture.<br />
Horse hopes the venue will be a<br />
space where everybody will feel<br />
welcome to view, buy, socialise and<br />
learn. Far from an excuse to flog his<br />
own goods, Percy Gulliver’s features<br />
a wealth of poster art from artists<br />
across the globe, thus providing a<br />
delightful variety of work. One such<br />
featured artist is the Californian gigposter<br />
lifer JOHN HOWARD, who we<br />
managed to spend some time with<br />
recently in order to gain an insight<br />
into the working mind of one of the<br />
genre’s finest proponents.<br />
Even after years in the business,<br />
Howard is still acutely aware of<br />
the importance of spaces like Percy<br />
Gulliver’s. “I love that gig posters<br />
are being shown in galleries and<br />
exhibitions for the opportunity to take in a chunk of the<br />
work all at one time in person. I’m always blown away by the<br />
consistency of ingeniousness within the diversity of styles in<br />
the gig poster community. A few hot spots around the world<br />
like Percy Gulliver’s are instrumental in providing space for a<br />
scene like this to flourish.”<br />
Allowing for a range of artists’ work to be displayed<br />
simultaneously, the room will no doubt breed creativity through<br />
inspiration. With such a receptive arts crowd in Liverpool, Percy<br />
Gulliver’s is an essential catalyst for budding artists to forge<br />
their own path in visual art, whether it is music-related or<br />
otherwise. Howard hopes that these spaces do in fact offer a<br />
wider appeal.<br />
“On the ground, the awakening of an appreciation of poster<br />
art opens opportunities to connect with people and show work.<br />
I hope it inspires people to do something that means something<br />
to them personally, in whatever form it might take.”<br />
John Howard is well known in this field for his mind-melting<br />
psychedelic prints. But his work is more than<br />
just an acid trip for the sake of a high. Artists<br />
of all disciplines can learn a lot from his work<br />
ethic and methods, as he is a keen researcher<br />
of his subjects, putting in the leg-work to<br />
obtain a detailed understanding of the music.<br />
“I want to come at it in a way that is related<br />
to how the band thinks about their music, so I<br />
read interviews, and look up lyrics, but in the<br />
end it’s mostly a sonic thing.”<br />
Of course this drive must be backed up by<br />
skill and innovation, which John has in spades.<br />
His 3D posters are something to behold,<br />
pushing his LSD vision to its logical conclusion<br />
without losing sight of the main aim of a<br />
poster: to draw attention to the content.<br />
“I hope to create something that has<br />
the initial appeal of something much more<br />
minimalist, yet more to chew on should<br />
one choose to look further. The 3D prints<br />
exemplify that in that I try to make them<br />
work first as pictures without the 3D glasses,<br />
but if you choose to try them... welcome to<br />
my world.”<br />
John’s continued passion for his work is<br />
representative of this scene as a whole. As one<br />
of a very select number of art forms that form<br />
the axis of music and visual art, gig posters are<br />
far more than mere signposts to a venue; they<br />
are lovingly crafted artworks that use music<br />
as a gateway into a parallel visual dimension.<br />
They are music for the eyes masquerading as<br />
informative instruction. Each one may hold an<br />
album’s worth of stories to devour.<br />
Percy Gulliver’s, then, should be considered<br />
the equivalent of a brand new record shop; a<br />
trove of wares for the curious and a space for<br />
shared knowledge and discovery. For those<br />
seeking advice on delving into this inky world,<br />
I’ll leave you with these profundities, offered<br />
by John Howard: “I don’t know if this is a tip<br />
exactly, but I think you are going to be happy<br />
if you are coming from an honest place. Carve<br />
out your living elsewhere while you do what you believe in.<br />
Then, down the line you will come to a crossroads. Tell the devil<br />
to fuck off, as nicely as possible, and keep going. That’s basically<br />
my business plan.”<br />
Percy Gulliver’s is open now above The Shipping Forecast,<br />
Slater Street.<br />
percygullivers.com<br />
monkeyink.com<br />
Gig Guide and Ticket Shop live at www.bidolito.co.uk
18<br />
Bido Lito! <strong>Dec</strong> <strong>2012</strong> / <strong>Jan</strong> <strong>2013</strong><br />
£££’s Of Royalty Payments Go Unclaimed By Musicians Every Year in The UK.<br />
If you’re a band gigging in Liverpool, you should be receiving your share.<br />
with Peter and ask him to shed some light on this whole PRS and<br />
PPL business. Pay attention, it may just put a few quid<br />
in the band kitty...<br />
Bido Lito!:<br />
We hear all this talk about PRS<br />
and PPL and the fact that they play a really<br />
important role in musicians receiving much<br />
needed income. But, what is the difference<br />
between PPL and PRS?<br />
The Roscoe Foundation: Both PRS and<br />
PPL are UK based royalty collectors, in that<br />
they collect money on behalf of the people<br />
that they represent, which in this case we’re<br />
talking about is musicians and composers. The<br />
main difference between the two is which rights<br />
holder they represent. PPL represent the performers of a<br />
work (i.e. the musicians who actually play on a recorded<br />
piece of music) and PRS represent songwriters, composers<br />
and publishers. Broadcasters, including TV, radio and<br />
certain online platforms, venues and a whole range<br />
of business, pay these organisations a licence fee to<br />
be able to play music. That money is then distributed<br />
to the people who own those rights. Whilst they<br />
each represent different rights holders, both PRS<br />
and PPL work with the widest possible range of<br />
musicians, from emerging grassroots<br />
artists right through to established<br />
international artists. In other words,<br />
it’s well worth signing up even<br />
if you’re just starting out.<br />
BL!:<br />
Is it possible for a new<br />
local artist with no traditional-<br />
Words: Craig G Pennington<br />
Illustration: Gareth Arrowsmith<br />
style record deal, who may be putting out their music themselves<br />
and getting bits of airplay, to get paid through PRS and PPL?<br />
TRF: Absolutely. There seems to be a bit of mythology with<br />
band and/or any other third parties such as a record label. What<br />
grass roots bands starting out may do is make a decision to<br />
keep all the PRS and PPL income within the band, to cover costs<br />
At the start of November, Bido Lito! took part in an afternoon of<br />
workshops for local musicians as part of the Wirral International<br />
Guitar Festival Of Great Britain. The sessions were an opportunity<br />
for emerging artists to hear from music industry professionals<br />
about various aspects of this murky business in which musicians<br />
find themselves. The event was a real success, but we couldn’t<br />
help but think of the thousands of local musicians who weren’t<br />
there and missed out on some really valuable pieces of advice.<br />
One of the main discussion points that came up during the<br />
sessions was that of PRS and PPL, and the idea that large sums of<br />
royalty money each year go unclaimed, mainly because musicians<br />
- particularly grassroots emerging artists - don’t actually realise<br />
that they’re entitled to payments. Yes, it may sound like we’re<br />
pulling your leg, but even completely independent local artists are<br />
entitled to royalty payments when their music is broadcast, even<br />
on particularly modest platforms, and also when they play live.<br />
regards to having to be signed or professionally represented to<br />
tap into PRS and PPL revenue. This certainly isn’t the case, and<br />
really anybody can sign up online. The rate of pay varies with<br />
regards to which station your receive airplay on, though generally<br />
speaking the more mainstream a station the bigger the royalty.<br />
A song being played on BBC Radio 1 is about £70, to give you<br />
an example, which is then shared out between a publisher,<br />
songwriter, etc, according to the contract that is in place. But even<br />
if you don’t have a publisher, you can sign up as the rights holder<br />
yourself, meaning you’ll receive the whole lot; and even local BBC<br />
radio pays a reasonable fee for each play. Over the course of a<br />
year, it soon starts to add up.<br />
BL!: How about in the situation where the singer in a<br />
band may write all the songs. Does that mean<br />
that only the singer gets paid?<br />
of recording, getting to gigs, rehearsal costs, etc, irrespective of<br />
which member of the band is personally entitled to which stream<br />
of income. Obviously, once record deals and larger organisations<br />
come along things will change, but the money can be a really vital<br />
source of income during the early days.<br />
BL!: Do artists also get paid royalties for performing live?<br />
TRF: Yes, yes and yes. Live music venues are license fee payers<br />
and it’s these monies which are collected and re-distributed to<br />
artists. How much depends entirely on the gig itself but any money<br />
that an artist is entitled to is paid in addition to any performance<br />
fee from the promoter or ticket commission. All the main local<br />
venues are registered, so those shows you play at O2 Academy,<br />
The Kazimier, Eric’s, The Zanzibar, etc, could all be earning you<br />
additional money. If you play an average of a gig a week over<br />
the course of the year at venues across the UK, that will add up<br />
Alongside Bido Lito! at the event was Peter Shilton from The<br />
TRF: Everyone will still get paid, but<br />
to a healthy chunk of cash come the end of the year.<br />
Roscoe Foundation, a Liverpool based organisation who work probably not as much as the main writer. If your<br />
directly with local artists to help them develop their understanding singer is credited as the writer then she or<br />
BL!: OK, sound, we’re convinced. So what do bands need to<br />
of the music business and give them the necessary tools and<br />
advice to progress their music careers. We decided to catch up<br />
he will be entitled to a bigger pie, as they will be<br />
slice of the<br />
registered<br />
do? And is it best to sign up direct with PPL and PRS or go through<br />
an agency to do the leg-work?<br />
Gig Guide and Ticket Shop live at www.bidolito.co.uk<br />
as the composer<br />
through<br />
TRF: Both PRS and PPL have online registration services which<br />
PRS. Everyone who plays<br />
anybody can use to sign up and it’s really easy to do. Joining<br />
on the tracks,<br />
however, will<br />
PPL is free and there’s a small charge for joining PRS for writers,<br />
be entitled to their<br />
cut of the PPL<br />
but really when you look at what you’re missing out on by not<br />
income. How big a<br />
slice depends<br />
being a member, it’s a no brainer. Alternatively, folk may wish<br />
on<br />
the agreement<br />
to use the services of a specialist agency who do this work on<br />
with<br />
the<br />
your behalf but take a cut of the revenue they collect. There are<br />
rest<br />
of<br />
the<br />
some benefits of signing up with agencies, such as them being<br />
able to backdate royalty claims and having associated expertise<br />
with synchronisation and various other services. Locally, Sentric<br />
do a great job. But, it is easy to sign direct with PRS and PPL<br />
independently. The choice to go DIY or use an agency is for the<br />
artists to make.<br />
BL!:<br />
So, where does The Roscoe Foundation fit in to<br />
all this?<br />
TRF: Throughout <strong>2012</strong> we’ve been working with a range<br />
of grassroots musicians as part of a music development<br />
programme funded by Arts Council England and Youth Music.<br />
The artists involved have been given a range of support, but<br />
part of it is some guidance with regard to copyright, PRS<br />
and PPL. We’re looking to repeat the programme again next<br />
year, so interested artists reading this who would like to<br />
get involved please feel free to check out our website<br />
around spring next year for details on our future work.<br />
For more information and to sign up to PPL<br />
and PRS you can visit their respective websites at<br />
ppluk.com and prsformusic.com.<br />
For the latest information on their<br />
upcoming projects, keep tuned in to<br />
roscoefoundation.org.uk
20<br />
Bido Lito! <strong>Dec</strong> <strong>2012</strong> / <strong>Jan</strong> <strong>2013</strong><br />
Previews/Shorts<br />
Edited by Richard Lewis - middle8@bidolito.co.uk<br />
ALLAH-LAS<br />
Harvest Sun round off the year<br />
with their own Christmas party<br />
headlined by the critically lauded<br />
LA quartet ALLAH-LAS. Splicing the<br />
Stones’ swagger with the melodicism<br />
of Love, the date is part of the Californian’s first tour of these Isles. Support includes the<br />
much-hyped TEMPLES recently signed to Heavenly and expected to make waves next year.<br />
Leaf - 12th <strong>Dec</strong>ember<br />
DEEP HEDONIA PRESENT ARK01<br />
Rounding off a successful<br />
debut year in style, promoters<br />
Deep Hedonia launch a new regular<br />
night at Drop the Dumbells Gallery.<br />
Billed as ‘An Exposition of Liverpool<br />
Electronica’, the series of shows aims to give greater exposure to the rich seam of electronic<br />
music currently being mined in the city. Headlined by HEATSICK and YOLA FATOUSH, the<br />
support bill features seven of the city’s premier underground electronic acts.<br />
Drop the Dumbells – 7th <strong>Dec</strong>ember<br />
On the road to plug LP Sweet<br />
Sour that landed back in February,<br />
BAND OF SKULLS<br />
BAND OF SKULLS’ upward trajectory<br />
continues with the disc gaining the<br />
three-piece attention on the other<br />
side of the pond. Touring partners with Muse and their presence at Lollapalooza <strong>2012</strong> should<br />
guarantee an impressive turnout. Strong support comes in the shape of FOLKS.<br />
O2 Academy – 1st <strong>Dec</strong>ember<br />
Stealing Sheep<br />
After an incredible year that has seen their debut LP Into The Diamond Sun garlanded with critical<br />
praise, STEALING SHEEP have effortlessly steamrolled their way into the national consciousness. Having<br />
seemingly performed at almost every festival across Europe they now return to more familiar territory to<br />
play at The Kazimier on 14th <strong>Dec</strong>ember.<br />
Described as a Homecoming Christmas Party, the trio aptly play at the venue where it pretty much<br />
all started for them when they scored impressive early support slots two years ago. This date follows a<br />
year of almost non-stop on the road activity for the trio, including a recent stint supporting Mercury Prize<br />
winners Alt-J last month.<br />
Also appearing on the extended Christmas line-up are former Bido Lito! cover stars, BARBEROS, who<br />
bring their uncompromising percussive brutality to proceedings, ensuring there’s no shortage of skincrawling<br />
deviancy from the spandex crusaders. Ambient avant gardeists EX-EASTER ISLAND HEAD appear<br />
as main support, using abstract rhythmic discordance and a shifty blanket of shimmering guitars to<br />
ensure formidable disorientation. The foreboding dirges of THE LEFT HAND are sure to go down a treat as<br />
well, as they infuse psychedelia with their heavy sense of dread.<br />
The three-piece are promising a “no-holds-barred extravaganza of a party utlizing the whole venue.”<br />
Beyond doubt a full-capacity gig; interested parties are best advised to secure tickets post-haste.<br />
The Kazimier - 14th <strong>Dec</strong>ember<br />
CHRIS DIFFORD<br />
Most famous for his work with<br />
Squeeze, CHRIS DIFFORD returns<br />
to The Brink for another intimate<br />
performance, following last year’s<br />
well-received show. Difford is open<br />
about the problems he faced with alcohol during his late 1970s success and is a keen<br />
supporter of the vibrant social enterprise. At a mere £10 - which includes your lunch - this is<br />
not to be missed.<br />
The Brink - 10th <strong>Dec</strong>ember (1pm)<br />
DIRT BOX DISCO<br />
In truly bad taste, but sporting<br />
perfect harmonies, Spunk Volcano<br />
leads his band of giant babies in<br />
balaclavas through fifty shades of<br />
wrong. We’re reliably informed that<br />
DIRT BOX DISCO make Kunt And The Gang look and sound like a broken Gameboy operated by<br />
Frank Gallagher. If that’s even half true, we’ll be set for an interesting evening.<br />
MelloMello - 26th <strong>Jan</strong>uary<br />
Now into their third decade<br />
THE SMITH QUARTET remain at new<br />
THE SMITH QUARTET<br />
music’s leading edge, championing<br />
the works of the world’s most<br />
celebrated composers. For this<br />
concert, two new compositions have been commissioned from Liverpool-based composers<br />
Ian Percy and Matthew Fairclough, which combine string quartet with live electronics.<br />
Capstone Theatre - 3rd <strong>Dec</strong>ember<br />
Martha Reeves & The Vandellas<br />
When it comes to defining the essence of Motown you can argue over your Marvelettes and your<br />
Supremes, but no-one really comes as close to embodying the soul spirit of Detroit quite like Martha<br />
LaVaille. As MARTHA REEVES, and backed with THE VANDELLAS, she topped the charts and became a global<br />
icon during the 1960s, really putting Motor City’s ‘Hitsville USA’ headquarters on the map with a succession<br />
of hits that are now everyday staples. Anyone who claims not to have danced along to Nowhere To Run,<br />
Jimmy Mack, or the legendary Dancing In The Street truly hasn’t properly set foot on a dancefloor before.<br />
In recent years, Reeves has repaid the city that made her a star by serving on the Detroit City Council<br />
for a four-year stint, but now the 71 year-old is hitting the road again with the Vandellas, showing that<br />
“the voice of young America” is still as vibrant today as it was in her 60s pomp. Coming four days before<br />
Christmas, you can extend your enjoyment of this show by opting for a festive pre-event meal at Matinee<br />
Idol on Castle Street too.<br />
Our very own Jamie Bowman was fortunate enough to catch a few moments with Martha ahead<br />
of this show, and you can read the fruits of his conversation with the voice of a generation over at<br />
bidolito.co.uk<br />
now.<br />
Erics – 21st <strong>Dec</strong>ember<br />
Gig Guide and Ticket Shop live at www.bidolito.co.uk
22<br />
Bido Lito! <strong>Dec</strong> <strong>2012</strong> / <strong>Jan</strong> <strong>2013</strong><br />
Reviews<br />
These are the kinds of shows that this venue<br />
excels at: a winning combination of promoter<br />
muscle, venue versatility and, most importantly,<br />
an artist who defies categorisation.<br />
Jonny Davis<br />
SUBMOTION ORCHESTRA<br />
Cornelia<br />
Eric’s<br />
ARIEL PINK’S<br />
HAUNTED GRAFFITI<br />
Geneva Jacuzzi<br />
Evol @ The Kazimier<br />
GENEVA JACUZZI is Ariel Pink’s girlfriend, which<br />
is without doubt the most deserved reason for<br />
her being in attendance tonight. That and her<br />
camera trickery (we’ll come to that later). It’s<br />
not that she is devoid of talent as her robotic<br />
synth pop songs offer a plethora of quirky hooks<br />
that a young Ariel would be proud of himself.<br />
It is the performance that grates. Beginning<br />
her performance criminally late and dressed<br />
as an undead toy soldier, she wraps herself in<br />
a plastic sheet suspended from the ceiling and<br />
gradually forces her way out onto the stage, all<br />
the while singing along to a backing track. It is<br />
a performance that is not sane enough to be<br />
taken seriously yet not quite wacky enough to<br />
stimulate any senses, and leaves you wondering<br />
who is to gain from such an arrangement? Not<br />
us, that’s for sure.<br />
Fortunately, Geneva Jacuzzi’s lack of<br />
instruments means that the changeover time is<br />
short and ARIEL PINK’s group of misfits bumble<br />
on stage in good time. Ariel delivers the first few<br />
songs from the raised ledge behind the stage<br />
into a live-feed camera which projects his face<br />
onto a screen behind the band. The simplistic<br />
brilliance of this act already demonstrates<br />
the artistic difference between Ariel and his<br />
girlfriend. The visual splendour that this basic<br />
set-up provides is greater than the sum of its<br />
parts. It offers a new perspective on some of<br />
the shorter, quirkier sleaze pop ditties that are<br />
at times difficult to get behind on record (think<br />
Kinski Assasin and Symphony Of The Nymph).<br />
Fairy lights, rudimentary camera FX and Ariel’s<br />
karaoke stage presence contextualize this<br />
side of his music by giving an insight into his<br />
kaleidoscopic LA mindset.<br />
When he does grace the stage with his<br />
presence, he is greeted with genuine warmth<br />
from a surprisingly varied crowd of psych<br />
Scousers, Pitchfork hipsters and everyone inbetween.<br />
His benevolent and childlike talking<br />
voice endears people to him, especially on<br />
new album Mature Themes’ lead single Only<br />
Ariel Pink’s Haunted Graffiti (Marie Hazelwood)<br />
In My Dreams. With Ariel now front and centre,<br />
Geneva picks up the camera and films band and<br />
audience through a series of deforming filters<br />
creating a sizzling rainbow of downtown neon<br />
that cascades over the room. The compelling<br />
stage presence of Ariel begins to take a<br />
backseat to the mesmerising haze of retinalicking,<br />
stroke-inducing live film. The music at<br />
times becomes a soundtrack to be heard but<br />
not actively listened to, while you soak in the<br />
sugar-rich chromatic overload.<br />
Crooked stairwells, reverberant fixtures and<br />
the faint aroma of an outmoded post-punk<br />
sub-culture are all attributes that still linger<br />
around the sunken passages of the venue<br />
formally known as Eric’s Club. The sound system<br />
installation in this subterranean space, though,<br />
is more akin to the bass weighted wobbles<br />
that the headstrong rabble of youngsters in<br />
attendance are acutely familiar with. Game on.<br />
Support act CORNELIA initially seems as<br />
self-assured as any within her leftfield realm<br />
of discombobulated, dub-hinted synth pop.<br />
She’s an unmatched female solo act yielding<br />
an armoury of spectral synths paired with wispy<br />
vocals, slight and fine-grained in her projection.<br />
Flickering between rash experimental flurries<br />
of ambience and wholesome moments of<br />
esoteric melody, there’s an intriguing undertone<br />
to her exploits that’s difficult to pinpoint. She<br />
possesses all the attributes of a pop-primed<br />
fledgling, but the whole arrangement seems<br />
almost contrived and, in truth, slightly forced, as<br />
if beckoning wisps in to the limelight has taken<br />
precedence. However, something seems to be<br />
working and, after all, she was a participant<br />
Submotion Orchestra (Mike Sheerin)<br />
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24 Bido Lito! <strong>Dec</strong> <strong>2012</strong> / <strong>Jan</strong> <strong>2013</strong><br />
Reviews<br />
in the first season of Swedish Idol - just some<br />
food for thought. Latest single Stormy Weather<br />
is underpinned by a sugar-coated, jaunty funk<br />
line but her cumbersome lyrics and un-defined<br />
vocal range fail to capture the imagination, yet<br />
the more experimental side of her repertoire is<br />
warmly received.<br />
Soon after, a stage shrouded in gloom<br />
and dread is inconspicuously occupied by<br />
the instrumental proficiency of SUBMOTION<br />
ORCHESTRA and their immersive environment<br />
of alluring crescendo. The twinkling hum of<br />
a crawling piano escalates in tandem with<br />
counterbalanced drum patterns as sharp, staccato<br />
honks of trumpet wade in for Intro, the first track<br />
from new album Fragments. Watching eyes are<br />
suddenly focused on Ruby Wood (Vocals), as she<br />
struts to the stage with tremendous elegance.<br />
A lush vision of majestic beauty, her sensuous<br />
vocal shrills are enough to make your heart<br />
melt and your eyes bulge with overstimulation.<br />
A melodious cacophony unfolds for Sunshine<br />
as Wood’s ethereal tones emit the soulful<br />
tranquillity of an Ibizan sunset a la Café Del Mar,<br />
onlookers looking on suitably engulfed. What’s<br />
most impressive about Submotion Orchestra is<br />
that they fuse an amalgamation of genres and<br />
instruments to cultivate an expansive blanket<br />
of acid-jazz, percussive garage and, dare I say,<br />
introspective shades of dubstep. As spotlights<br />
vaguely illuminate the seven-piece ensemble,<br />
Wood unexpectedly vacates the stage as<br />
the band jettison their placid blends for an<br />
turbulent outbreak of bass-heavy, instrumental<br />
improvisation. A subtle sway of harmony makes<br />
way for a swell of boisterous jerks as keyboardist<br />
Taz Modi goes off on uncontrollable tangents<br />
of euphoria. The slow groove is soon resumed<br />
upon the introduction of Finest Hour though, as<br />
smooth and seductive vocals cascade behind a<br />
hypnotic explosion of drums. After leaving the<br />
stage for a short-lived intermission, they return<br />
with crowd pleasing favourite It’s Not Me It’s<br />
You, a track which epitomises their capacity<br />
for diversity. With an eclectic and intensive<br />
sprawling soundscape of mellow jams and<br />
instrumental digressions, Submotion Orchestra<br />
provide a rare middle ground between the<br />
pensive and the rapturous.<br />
CLINIC<br />
Clinic (Keith Ainsworth)<br />
Joshua Nevett<br />
The Production Line @ Static Factory<br />
After a hiatus of almost a year as a venue<br />
for hosting live music events, Static Gallery<br />
re-opened its doors to punters after its forced<br />
cessation under the authority of Liverpool City<br />
Council. In an on-going struggle to safe-guard<br />
Liverpool’s cultural heritage, Static is currently<br />
embroiled in an ambiguous backlash of red<br />
tape and restrictive orders. With licensing<br />
issues, planning discrepancies and a noise<br />
abatement order to boot, Static foreman Paul<br />
Sullivan has been continually forced to think<br />
outside the proverbial box. When it eventually<br />
came to the fore that the Council’s Planning<br />
Enforcement Division deemed Static a ‘light<br />
industrial factory’ with no planning consent<br />
to run as a gallery, studio or a social space, an<br />
astute loop hole was identified. With renewed<br />
transparency, Static Gallery ripped the glut of<br />
red tape into decorative tatters and made way<br />
for Static Factory, a newly attributed industrial<br />
space for creative assembly line production.<br />
What better way to inaugurate Static Factory<br />
into the Liverpool music circuit than by hosting<br />
a live installation co-curated by Liverpool’s<br />
deranged post-punk revivalists CLINIC?<br />
The premise behind the project is that of a<br />
production line broken down into four stages<br />
of basic manufacture. It begins with Clinic<br />
performing the world premiere of their latest<br />
album, Free Reign. Analogue tape machines<br />
then record the gig in its entirety. Operatives<br />
then unload and package the cassette tapes<br />
into branded packages for consumers (lots of<br />
arty types) to buy for the nominal fee of three<br />
gold coins at the factory shop, following the<br />
Gig Guide and Ticket Shop live at www.bidolito.co.uk
Reviews<br />
Bido Lito! <strong>Dec</strong> <strong>2012</strong> / <strong>Jan</strong> <strong>2013</strong><br />
Liverpool’s International Arts Venue 25<br />
Forthcoming Events & Liverpool Jazz Festival <strong>2013</strong><br />
For full listings visit www.thecapstonetheatre.com<br />
The Smith Quartet<br />
Monday 3rd <strong>Dec</strong>ember<br />
7.30pm<br />
£10 (£5 students)<br />
Chilly Gonzales<br />
Wednesday 5th <strong>Dec</strong>ember<br />
8pm<br />
£13<br />
Fallen Fruit<br />
Thursday 6th <strong>Dec</strong>ember<br />
7.30pm<br />
£10 (£5 conc)<br />
Joe Stilgoe<br />
Friday 8th February<br />
7.30pm<br />
£12.50<br />
Ethan Johns<br />
Wednesday 13th February<br />
7.30pm<br />
£10<br />
Juan Martin Flamenco<br />
Dance Ensemble<br />
Sunday 17th February<br />
7.30pm<br />
£17.50<br />
Roller Trio<br />
Thursday 28th February<br />
7.30pm<br />
£12.50*<br />
Led Bib<br />
Friday 1st March<br />
7.30pm<br />
£12.50*<br />
Robert Mitchell<br />
Saturday 2nd March<br />
2pm<br />
£10*<br />
Kit Downes Quintet<br />
Saturday 2nd March<br />
7.30pm<br />
£12.50*<br />
Denys Baptiste’s<br />
Triumvirate<br />
Sunday 3rd March<br />
3pm<br />
£12.50*<br />
Courtney Pine House of<br />
Legends<br />
Sunday 3rd March<br />
8pm<br />
£17.50*<br />
*Free when you buy a Liverpool International Jazz Festival Pass.<br />
Venue Information:<br />
The Capstone Theatre, 17 Shaw Street, Liverpool L6 1HP.<br />
Tel: 0151 <strong>29</strong>1 3578 E-mail: creative@hope.ac.uk<br />
Further information and tickets available at www.thecapstonetheatre.com<br />
Box Office: TicketQuarter, Merseytravel Travel Centre, Queen Square, Liverpool L1 1RG.<br />
Tel: 0844 8000 410 Web: www.ticketquarter.co.uk
26 Bido Lito! <strong>Dec</strong> <strong>2012</strong> / <strong>Jan</strong> <strong>2013</strong><br />
Reviews<br />
conclusion of the gig. Pretty clever, eh? Supply<br />
and demand, analogue versus digital - there are<br />
plenty of overriding themes to muse over. In<br />
truth, it becomes hard to pay them any attention<br />
at all with impending dirges of apocalyptic<br />
organ reverberating around the factory floor.<br />
Aesthetically, Clinic are a rather daunting<br />
prospect, and paired with their discordant,<br />
transportive guile, they’re a difficult package to<br />
digest. Garbed in medical scrubs and surgical<br />
masks, Clinic’s notoriously unconventional<br />
tendency to adopt an unnervingly sinister<br />
appearance has become the subject of myth<br />
and disputation. Static becomes reminiscent of<br />
an operating theatre with Ade Blackburn (Vocals)<br />
performing a musical lobotomy of psychiatric<br />
stimulation aided by his whimsical male nurse<br />
interns. Surreal drones of ethereal samples<br />
are tamed by neatly arranged sequences of<br />
a staid guitar line as they perform their latest<br />
single Miss You. Then the conceptual rumbling<br />
of I.P.C. Subeditors Dictate Our Youth reminds<br />
consumers of their earlier hypnotic brawn, Ade’s<br />
twisted melodic grumbles looming behind a<br />
perpetual kick drum. While production operatives<br />
frantically twist knobs and fumble cassette tapes<br />
across the assembly line, Clinic shuffle around<br />
the performance area, interchanging roles<br />
within their unrefined panorama of versatility.<br />
Regardless of the soft airy-pop inflections<br />
they undertook for their 2010 acoustically-led<br />
album Bubblegum, they’ve managed to retain<br />
their sordid, unbecoming disposition, which is<br />
noticeable as they drift into Cosmic Radiation for<br />
an interstellar jam, littered with seamless funk<br />
and experimental wah wah fuzz. You is a slowly<br />
off-kilter freak show of haunting grooves, while<br />
the sputtering vocals of Cement Mixer moan<br />
with a jaunty haste. From compact pockets<br />
of synth-laden dread and whimsy to whirring<br />
soundscapes of discombobulated electro-punk,<br />
Clinic continue to squirm through the cracks to<br />
weave an elaborate patchwork of eclecticism.<br />
Although Static’s future as a venue for hosting<br />
live music still remains opaque, one thing is<br />
The Wicked Whispers (Keith Ainsworth)<br />
clear, Clinic’s inherently strange disposition still<br />
induces an extraordinarily, spine-chilling quiver.<br />
Joshua Nevett<br />
THE WICKED WHISPERS<br />
The Sundowners - Edgar Summertyme<br />
O2 Academy 2<br />
On a bill that assembles like-minded<br />
Americana-inspired acts for the launch of<br />
Dandelion Eyes, THE WICKED WHISPERS’ debut<br />
45, first up EDGAR SUMMERTYME is brilliantly<br />
placed to begin an evening of US-Liverpool<br />
cultural exchange.<br />
Building on the warm reception that greeted<br />
his critically garlanded Sense Of Harmony LP, the<br />
former Stairs man is in especially good voice,<br />
hollering his way through an impassioned set.<br />
Appearing solo after recent outings with full<br />
band in tow, his allotted time strips his songs<br />
down to their raw delta blues essence.<br />
A group likely to give Rock Family Trees<br />
historian Pete Frame severe cramp when<br />
mapping out their connections to fellow<br />
Merseyside bands, THE SUNDOWNERS’ twelvestring<br />
guitar shimmer is in rude health live.<br />
A composite of Los Angeles’ sounds from times<br />
past, the unified vocals of Hummingbird marks<br />
the peak of their Byrds/Fleetwood Mac inspired<br />
mélange. With 70s-era ‘Mac now back in vogue<br />
after several years of being unfairly maligned,<br />
the Wirral band’s emergence is especially<br />
fortuitous: co-lead vocalist Fiona Skelly whirls<br />
around her mic stand replete in a black shawl<br />
and tambourine and maracas in hand, a dead<br />
ringer for Rumours-era Stevie Nicks.<br />
After a teasing wait THE WICKED WHISPERS<br />
emerge from the shadows and set their spiralling<br />
psych pop in motion in front of a near-capacity<br />
crowd. Beginning with the uptempo stomp of<br />
Odessey Mile, the ‘Whispers boast a deeper live<br />
sound, the rhythm section combining to propel<br />
the songs forward with greater force.<br />
With Ste Penn’s cascading Vox Continental<br />
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happy <strong>2013</strong>
organ riffs framing Mike Murphy’s whimsical<br />
vocals, Toby Virgo’s bass pushed up in the mix<br />
lends the band a vintage RnB spark redolent<br />
of Motown. Retro? Undoubtedly, the quintet<br />
certainly don’t claim to be anything other. Their<br />
exacting mixture of pastoral English psych-folk<br />
melodies with US garage rock instrumentation is<br />
carried off with such aplomb, however, that such<br />
reservations are rendered void.<br />
After his memorable appearance at the<br />
Liverpool Psych Fest a few weeks back, mysterious<br />
perma-rabbit mask wearing Odrah Zackor puts in a<br />
fleeting appearance at the rear of the stage during<br />
set highlight Dandelion Eyes, holding up placards<br />
like Dylan in the video for Subterranean Homesick<br />
Blues via Lewis Carroll. Another guest, this time<br />
musical, appears as former The Big House/current<br />
Ren Harvieu guitarist Paul Molloy joins the band<br />
to add refracted FX to Amanda Lavender, the twominute<br />
psych pop sliver turned into an impressive<br />
mini-epic with the additional layers.<br />
The best moment is saved until almost the<br />
very end as the penultimate song in the set<br />
Chronological Astronaut edges the ensemble<br />
into full-blown astral voyage territory. Returning<br />
to earth following the extended, improvised<br />
coda and an audience-sating encore, the band’s<br />
consummate melding of vintage psychedelic<br />
sounds continues to impress.<br />
JOSEPHINE FOSTER<br />
Richard Lewis<br />
The City Walls – Pip Mountjoy – Nadine Carina<br />
Harvest Sun @ Leaf<br />
Those who brave the elements getting to Leaf<br />
tonight are greeted by a warming evening of folk<br />
and Americana, kick-started by the diminutive<br />
NADINE CARINA, whose looped guitars and<br />
recorded samples have the handful of early<br />
birds mesmerised. Despite the odd mistake<br />
and profuse apology, the crowd remain onside<br />
and urge her on with handclaps and hugely<br />
appreciative applause. As the crowd continues<br />
to grow, PIP MOUNTJOY then takes her place at<br />
centre stage. Opting to ignore her set list and<br />
play (almost exclusively) new songs, her set,<br />
along with her sometimes nervous on-stage<br />
chat, perfectly suits the intimate nature of the<br />
evening. The undoubted highlight of her set is a<br />
cover of Bon Iver’s Skinny Love, which Mountjoy<br />
makes her own with her distinctive voice, and<br />
ukulele accompaniment.<br />
By the time two-fifths of local favourites THE<br />
CITY WALLS have taken to the stage, interest from<br />
the crowd appears to be falling. Regardless of<br />
the reaction from the crowd, and the occasional<br />
tuning issue, the stripped-back set from The City<br />
Walls begins to win people back round. By the<br />
time they wrap up their set with the upbeat Wild<br />
Flowers, almost everyone in attendance has<br />
shunned their conversations and phones in favour<br />
of giving them their unwavering attention.<br />
JOSEPHINE FOSTER and her band are greeted<br />
with a warm reaction as they humbly shuffle on<br />
stage, and the delicate Americana harmonies of<br />
set opener Waterfall indicates that her set is to<br />
lean heavily on new album Blood Rushing, and<br />
will be all the better for it. It’s left to the title<br />
track from this album to offer the undoubted<br />
highpoint of the set: beginning with just an<br />
acoustic guitar and Foster’s breathtaking and<br />
instantly recognisable voice. This is a feature of<br />
Foster’s performance tonight, as her trademark<br />
operatic range is often reined in by Foster until<br />
it is unleashed at the perfect moment, and<br />
with devastating beauty. Another side of Blood<br />
Rushing is displayed on the track Panorama Wide,<br />
as the crowd is treated to the Hispanic guitars<br />
of the album for the first time. When combined<br />
with haunting violins and Foster’s unique voice,<br />
these Hispanic tones offer a strange mixture for<br />
the crowd, but a mixture that is enthusiastically<br />
appreciated nonetheless as a warming tonic to<br />
the harsh winds outside.<br />
TRIOVD<br />
Tempest<br />
Jack Stanley<br />
The Kazimier<br />
Experimental jazz is a divisive genre and highly<br />
susceptible to emperor’s new clothes syndrome.<br />
It can seem at times with jazz, as with expensive<br />
wine, that you have to check with an aficionado:<br />
“Is this actually any good?”Certainly TRIOVD have<br />
received accolades from people who know about<br />
jazz – both MOJO and Jazzwise gave them album<br />
of the year back in 2009. But seeing as Bido Lito!<br />
is not a specialist jazz mag we can only offer our<br />
opinion based on the tools we are given – our<br />
own ears. And tonight, the emperor is starkers.<br />
The Kazimier has transformed itself beautifully<br />
into a Parisian-style wine bar, with mood lighting,<br />
incense and tables set up on the dance floor.<br />
There may be only a scattering of people in for<br />
tonight’s relatively niche entertainment, but it’s<br />
hats off to the venue yet again for being ever<br />
brave and experimental. First there is a screening<br />
of a short film RHAPSODY FOR CLARINET AND<br />
WHEELCHAIR BASKETBALL TEAM, a Bluecoatfunded<br />
project that artfully uses the musical<br />
rhythms of the game to dramatic effect. It’s a<br />
clever mood piece, working with repetitive black<br />
and white shots against climaxing clarinet.<br />
TEMPEST are a Manchester flute trio, and while<br />
we’ll admit to never having seen a flute trio before,<br />
we’ll go out on a limb and say they’re a flute<br />
trio with a difference. The three elegant young<br />
ladies explore the possibilities of the instrument,<br />
ranging from the classical (a beautiful Debussy),<br />
to the unconventional (flute beatboxing and<br />
drumming), and even the recognisable (Flight<br />
Of The Bumblebee). While the trio are incredibly<br />
poised and clearly extremely gifted musicians,<br />
however, and even though they utilise a range of<br />
different flutes, there really is only so much flute<br />
a person can listen to.
30 Bido Lito! <strong>Dec</strong> <strong>2012</strong> / <strong>Jan</strong> <strong>2013</strong><br />
Reviews<br />
So as the wine flows and a few more<br />
people wearing chunky cardigans wander in,<br />
experimental jazzters trioVD take the stage. If<br />
there was a Venn diagram to explain trioVD in<br />
terms of mainstream music, at even their most<br />
listener-friendly they would be overlapping<br />
only at the most insanely wacky moments of<br />
Mr Bungle, Battles or Mogwai. These guys piss<br />
all over such pedestrian concepts as ‘lyrics’,<br />
‘chorus’, ‘melody’ or even ‘time signature’. There<br />
are clicks, hisses, squawks, and lots of seemingly<br />
random bursts of sound; the saxophonist uses<br />
his knee to play and at one point the drummer<br />
has ditched his sticks to play with his hands.<br />
Experimental, yes; improv, yes; but we’re not<br />
sure - is this even jazz? We never considered<br />
ourselves conventional when it comes to music,<br />
but on the odd occasion that the trio relinquish<br />
the disjointed noises and hit on a repeated<br />
groove tonight, it’s as comforting as a warm<br />
mug of tea. We want to take that groove home,<br />
love it, nurture it, stroke its hair.<br />
But alas, those moments are fleeting, and for<br />
the most part it’s just really…challenging. And that’s<br />
their point: conventional boundaries don’t really<br />
exist for this outfit, and sometimes it’s refreshing<br />
to have those well-accustomed boundaries<br />
removed, to open up all the avenues of musical<br />
possibility. Oh and the band’s name comes from<br />
the fact that they formed on Valentine’s Day by<br />
the way – why, what were you thinking?<br />
Jennifer Perkin<br />
FANTASTIC MR FOX<br />
Ninetails - Throwing Snow<br />
Constellation @ HAUS<br />
35-39 Greenland Street, next to the CUC and<br />
across the road from Camp & Furnace, now<br />
has new tenants and a new name. The Waxxx<br />
crew have taken over the previously empty<br />
warehouse space, named it HAUS, and are back<br />
in the Baltic Triangle for the foreseeable future<br />
after short-term stays in various city centre<br />
Fantastic Mr Fox (Matthew Ball)<br />
locations. Tonight marks the first Constellation<br />
event, a new club night curated by Everisland,<br />
Waxxx and Aperture. Headlined by FANTASTIC<br />
MR FOX, the Manchester-based DJ/producer<br />
who dropped a number of highly-rated releases<br />
a few years back and toured extensively with<br />
The xx before seemingly dropping off the map.<br />
After his widely lauded San’en EP was released<br />
in June, he’s been busy re-establishing himself<br />
across the UK with a swell of activity and tonight<br />
makes his Liverpool debut alongside THROWING<br />
SNOW and the usual suspects that form the<br />
cream of the city’s DJ talent.<br />
Upon entering, Constellation #001 looks<br />
fantastic – the darkness of the cavernous space<br />
lit by visuals and projections provided by those<br />
involved with the Enclosure exhibition that is<br />
currently in residence at HAUS. The event also<br />
acts as a launch night for NINETAILS’ new EP Slept<br />
& Did Not Sleep. It is interesting to note that<br />
dance music is often associated with feelings<br />
of euphoria, but Ninetails arguably provide<br />
those vibes more so than any of the electronic<br />
acts that feature later tonight. The blissed-out,<br />
atmospheric sound of Maybe We and set-closer<br />
Rawdon Fever serve as perfect soundtracks to the<br />
surrounding visuals, and though the audience is<br />
subdued and sparse at this early hour, those in<br />
attendance are spellbound. The band are as tight<br />
as you’d expect any so-called ‘math’ leaning<br />
outfit to be and, though they undoubtedly<br />
possess a technical ability you would associate<br />
with the genre tag, focus on melody and song<br />
over virtuosity and showboating.<br />
Fantastic Mr Fox is another one of those DJ/<br />
producers destined to be burdened with those<br />
desperate tags ‘future garage’ and ‘post-dubstep’<br />
though he has an instantly recognisable sound<br />
on record that sets him apart from most of<br />
his peers. It is a shame that more of his own<br />
material is absent on this occasion, the peaktime<br />
set largely focusing on a cocktail of heavy<br />
hitters from the last couple of years. The abrasive<br />
synth-stabs of Thunder Bay by Glaswegian beat-<br />
Alan Paine<br />
Barracuta<br />
Barbour ToKiTo<br />
Barbour<br />
Carhartt<br />
Common People<br />
Dockers<br />
Edwin Japan<br />
Farah Vintage<br />
Fjallraven<br />
Folk Clothing<br />
Folk Shoes<br />
Han Kjobenhavn<br />
Herschel Supply Co<br />
Gloverall<br />
Grenson<br />
Natural Selection<br />
Norse Projects<br />
Nudie Jeans Co<br />
Oliver Spencer<br />
Penfield<br />
Red Wing Shoes<br />
Sandqvist<br />
Sperry Topsider<br />
Suit Denmark<br />
Sunspel<br />
Superga<br />
Universal Works<br />
Wolsey<br />
YMC
Reviews<br />
Bido Lito! <strong>Dec</strong> <strong>2012</strong> / <strong>Jan</strong> <strong>2013</strong> 31<br />
maker Hudson Mohawke elicit the biggest<br />
response, measured by volume of drink spilt as<br />
the crowd bounces in unison. His most recent<br />
release Power is a highlight of the set, a standalone<br />
single which aims for the dancefloor more<br />
than any of his previous efforts. Though featuring<br />
Fantastic Mr Fox’s signature synths and melodies,<br />
it is driven by a deep rolling bassline, the kind of<br />
which has been inescapable this year.<br />
Though it is a shame that Throwing Snow’s<br />
earlier set of darkly atmospheric bass music<br />
doesn’t fall on more ears, Constellation provides<br />
a welcome alternative to the heavyweight<br />
bookings of Chibuku that will see it return for<br />
#002, #003, and many more besides.<br />
Rob Syme<br />
EUGENE McGUINNESS<br />
Coves - The Dirty Rivers<br />
Evol @ O2 Academy<br />
Support for EUGENE McGUINNESS tonight<br />
comes in the form of the youthful exuberance<br />
of THE DIRTY RIVERS, a five-piece rock band with<br />
moody riffs, catchy hooks and unapologetic<br />
lyrics. Following them are COVES, who specialise<br />
in trippy, drowsy pop tones that seduce us<br />
with smoky tendrils before jarring us out of a<br />
daydream with visceral slices of jagged noise.<br />
The honeyed vocals of Beck Wood are the<br />
perfect accompaniment to noisy beats, and a<br />
sultry version of Chris Isaak’s Wicked Game is an<br />
unexpected highlight.<br />
When the ever impeccably dressed Eugene<br />
McGuinness takes to the stage, he is received<br />
warmly and launches into Harlequinade, a<br />
hyperactive, impossibly catchy piece of pop rock.<br />
McGuinness is visibly inspired by the sixties,<br />
from his slick quiff and tailored threads, down<br />
to spy film elements within his music. Frenetic<br />
observations delivered in a high-paced stream<br />
of consciousness is a recurring theme, whilst<br />
Eugine McGuinness (Robin Clewley)<br />
others include the over-stimulating lyrics in<br />
more than one track referring to self-pleasure.<br />
Carnal desires aside, McGuinness delivers a<br />
polished performance, hitting his stride with<br />
the superb Sugarplum, an energetic, electro pop<br />
song that has the crowd moving with its bouncy<br />
beats. Lion is received predictably well with its<br />
predatory bassline and innovative breaks, but<br />
it is Moscow State Circus that is an unexpected<br />
highlight. Taken from his 2008 eponymous<br />
debut album, it is up-tempo and whimsical<br />
and emphasises the directional shift in music<br />
between his debut and his current album.<br />
Excellent vocals and surfy basslines ensure<br />
that the majority of the songs on Invitation To<br />
The Voyage are of a high standard but there are<br />
times, although rare, that McGuinness seems<br />
to flounder slightly and sink under the weight<br />
of some of his tracks. Shotgun is an absolute<br />
gem and triumphs over the rest of the album.<br />
A formidable bass behind stormy lyrics - an ode<br />
to a mischievously dark relationship where he is<br />
left battered and bruised but cares not. Fusing<br />
a flurry of horns, electro and rasping guitars,<br />
Shotgun is dramatic and anthemic.<br />
Perhaps one of McGuinness’ greatest talents<br />
is his ability to story tell through the bizarre<br />
medium of comedy noir metaphors. He is the<br />
voice of a stylised youth and although this<br />
performance is more modest than previous<br />
outings, his talent is undeniable. Long may the<br />
voyage continue.<br />
TAFFY<br />
Lisa O’Dea<br />
Young Times – Baby Brave And The Love Bites<br />
ROPE @ The Compass<br />
The Compass is a great little pub and a<br />
welcome addition to the limited options for<br />
live music in Chester, and since opening up<br />
just a few months ago they’ve demonstrated<br />
Out<br />
Now evapetersen.co.uk<br />
also available on<br />
iTunes
32 Bido Lito! <strong>Dec</strong> <strong>2012</strong> / <strong>Jan</strong> <strong>2013</strong><br />
Reviews<br />
a commitment to interesting bookings (see Bo<br />
Ningen and DZ Deathrays).<br />
It feels like a bit of a love-in tonight, with<br />
most of the crowd comprising band members<br />
and their friends. Chester, not the edgiest of<br />
places, is a fitting spot to see BABY BRAVE AND<br />
THE LOVE BITES, who in their bio unashamedly<br />
use words like ‘adorable’, ‘earnest’ and ‘ukulele’.<br />
You get the idea. In fairness, this deliberately<br />
twee fivesome create the kind of sunny<br />
handclap pop that some people really do lap<br />
up. We just don’t particularly want to be friends<br />
with those people.<br />
Next up is the pop rock of YOUNG TIMES,<br />
and here everything gets a little bit schoolband-competition.<br />
They are indeed very<br />
youthful, but that’s not really an excuse for<br />
self-consciousness so palpable it’s awkward,<br />
and band members who sound like they’re all<br />
playing different songs at the same time. Which<br />
is a shame because the young lady out front<br />
has a gorgeous voice, and given the chance and<br />
a better band would no doubt shine.<br />
TAFFY may technically be a four-piece from<br />
Japan, but really they are from England circa<br />
1995, the heady days of horizontal stripes,<br />
feedback and learning how to use an MP3. And<br />
this revisiting of Britpop, when delivered with<br />
such skill and enthusiasm, is no bad thing at all.<br />
They are a fun band to watch – the drummer has<br />
the most loveable grin you’ve ever seen – and<br />
singer Iris has the kind of voice you just want to<br />
hear more of, smooth and husky with more than<br />
a touch of the Kim Deals (which is pretty much<br />
the highest order of compliment going). With the<br />
members having played in various Tokyo bands<br />
before coalescing in Taffy, there’s a feeling of a<br />
meeting of kindred spirits, and their slickness<br />
belies their newness. There’s no doubting they’re<br />
deft songwriters but a criticism would be that<br />
there are no real surprises, everything is where<br />
it belongs, and the only time they change tack is<br />
when they go a little bit 1960s psychedelic.<br />
This is their first UK tour but the sense tonight<br />
is they would be welcome back any time. With<br />
their fuzzy pop rock they do that rare thing of<br />
transcending the nostalgia and making it sound<br />
fresh; no small feat. We dash to the unfairly early<br />
last train to Liverpool with a heavy heart – even<br />
though we know the end of the gig would have<br />
been more of the same, we sure as hell would<br />
have liked to have seen it.<br />
Jennifer Perkin<br />
NORTH BY NORTH WEST<br />
Someone Else Presents @ Liverpool Olympia<br />
“Is there a fight on tonight?” asks the cabbie,<br />
highlighting that, indeed, boxing haunt The<br />
Olympia is an unconventional choice of venue<br />
for tonight’s showcase of local talent. Cavernous<br />
grand venue or not though, NORTH BY NORTH<br />
WEST is a fantastic way to snapshot what’s<br />
going on in the city, and resists summing up<br />
with a pithy line. It’s a mixed bag tonight.<br />
DEAD DUKES are the first band we catch, and<br />
unfortunately the first of many bands who invite<br />
comparisons to other bands rather than forge<br />
their own sounds. In this case it’s The Cribs, and<br />
more overwhelmingly the Kooks - mostly due to<br />
the lovely vocals and jauntiness they share with<br />
said Brightonians. At this point the timid audience<br />
is still hanging back, but as the beers kick in and<br />
THE LOUD arrive things start creeping forward.<br />
The Loud peddle a distinct brand of 70s glam<br />
and wear their influences proudly (hello, Slade!).<br />
Where currently the 80s seems to be the most<br />
commonly mined decade their sound does stand<br />
out, albeit the delivery feels a tad understated.<br />
So far things have been nice but it’s not until<br />
BROKEN MEN get onstage that we feel like we<br />
should be feeling – excited. With the exception<br />
of THE HUMMINGBIRDS, they are the only band<br />
The Tea Street Band (Marie Hazelwood)<br />
of the night that really perform as a unit, albeit in<br />
an entirely different way, and they carry a spark<br />
and energy that we see so little of tonight. The<br />
band look sharp, and more than a little pissed<br />
off, and play a very American style of hard-edged<br />
indie that brings to mind such diverse bands as<br />
The Walkmen, Cold War Kids and Kings Of Leon<br />
(back when they were good). The video for recent<br />
single Oversold can be found kicking about on<br />
the net but doesn’t do justice to the inspired,<br />
memorable show we see tonight – we can’t wait<br />
to see where these guys go next.<br />
COLD SHOULDER are incredibly talented in<br />
your more classic rock sense, and while they<br />
couldn’t be faulted on musicianship there are<br />
no hair-standing-on-end, let alone pulse-raising<br />
moments here. A class act nonetheless. Now for<br />
The Hummingbirds, purveyors of spectacularly<br />
commercial sounding acoustic country/folk that<br />
on one hand flies the Liverpool flag high (see<br />
SUBSOUND, FINGER LICKIN MANAGEMENT AND INSTANT NT VIBES PRESENTS<br />
AN EVENING WITH<br />
SATURDAY AY<br />
2ND FEBRUARY <strong>2013</strong><br />
@ HI-FI, SEEL STREET, T,<br />
LIVERPOOL<br />
FOLLOW US ON<br />
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tune Back in Liverpool) and on the other hand<br />
sounds more like the product of Midwest USA<br />
via the English countryside. The five-piece have<br />
nailed their image and target market, and are<br />
moulded to within an inch of themselves; you<br />
can imagine the memo about band uniform<br />
reading something like, “pastels, linen and<br />
light-coloured denim only. Waistcoats, braces<br />
and flat caps optional.”<br />
Then it’s BY THE SEA, who are probably the<br />
most ‘now’ sounding band of the line-up, and<br />
certainly the moodiest. While we fumble around<br />
for words like ‘shoegaze’ and ‘dreamy’, they’ve<br />
helpfully described themselves as ‘escape pop’ -<br />
file them with Beach House. While some of their<br />
subtlety is lost in the vast venue tonight, as<br />
their growing popularity attests, they definitely<br />
have something, and warrant checking out<br />
somewhere intimate. It would probably help if<br />
you were wearing something American Apparel<br />
when you go.<br />
And since the theme of the night has been<br />
bucketloads of talent, not a lot of innovation,<br />
THE TEA STREET BAND are the perfect headliners<br />
for a room full of punters who are by now ready<br />
to dance. Their explicit aim is to bring the sound<br />
and spirit of acid house to those who weren’t<br />
there the first time round and, going by the<br />
fairly ecstatic response tonight, they’re filling a<br />
gap in the market and then some.<br />
A great idea, and yet more a great night out<br />
(and we haven’t even mentioned the after party),<br />
here’s hoping for a NXNW <strong>2013</strong>.<br />
Jennifer Perkin<br />
COSMO JARVIS<br />
Mad Dog Mcrea – The Robin Pierce Band<br />
MelloMello<br />
Things have definitely gone beyond control<br />
for COSMO JARVIS after his biggest single, Gay<br />
Pirates, went viral this time last year. Still just<br />
23, the British singer has managed to keep<br />
himself busy by pursuing a plethora of artistic<br />
endeavours since he gave up on school when<br />
he was only 16. It could have been so easy<br />
for him to have settled for just producing and<br />
directing videos or composing addictive songs<br />
but instead he chose to do them all. It is that<br />
hugely dynamic fusion that makes him the<br />
complete artist, so hard to find these days.<br />
Coming to Liverpool to promote his newest<br />
album, Think Bigger, Jarvis manages to gather<br />
quite a number of impatient, loyal fans at<br />
MelloMello; a venue which despite battling<br />
closure once again proves to be able to<br />
generate the usual incredibly intimate and<br />
warm atmosphere. The support is granted<br />
by two folk bands that tend to transcend the<br />
traditional aesthetics of the genre. Both MAD<br />
DOG MCREA, a group that combine an unusual<br />
rock sound with elements of gypsy jazz and<br />
Celtic folk, and the acoustic trio that go by the<br />
name of THE ROBIN PIERCE BAND, make wellcrafted<br />
music, hence the splendid connection<br />
they have with the audience.<br />
For his third outing in Liverpool, Cosmo starts<br />
off with a relatively controversial song, Sure As<br />
Cosmo Jarvis (Daniel O’Toole)
Sat 2nd February, 8:00pm.<br />
FAIRPORT<br />
CONVENTION<br />
Fri 8th February, 8:00pm.<br />
KELLY JOE PHELPS<br />
BROTHER SINNER &<br />
THE WHALE TOUR<br />
Sat 9th February, 7:30pm.<br />
LIVERPOOL MOZART<br />
ORCHESTRA<br />
Fri 15th February, 7:30pm.<br />
RICHARD DIGANCE<br />
Sat 16th February, 8:00pm.<br />
MIDGE URE<br />
Sun 17th February, 2:30pm.<br />
THE ELEPHANT<br />
BRIDESMAID<br />
Thu 21st February, 7:30pm.<br />
BARBARA NICE IS<br />
MRS. NICE<br />
STARRING PHOENIX NIGHTS’<br />
JANICE CONNOLLY<br />
Sat 23rd February, 8:00pm.<br />
ZOE LYONS:<br />
POPUP COMIC<br />
Thu 28th February, 7:30pm.<br />
FLORAL JAZZ NIGHT<br />
MARLENE VER PLANCK<br />
Sat 16th March, 7:30pm.<br />
DAVE SPIKEY<br />
WORDS DON’T COME EASY TOUR<br />
Wed 20th March, 7:30pm.<br />
BLACK BOX THEATRE COMPANY<br />
OTHELLO<br />
Sat 23rd March, 7:30pm.<br />
LIVERPOOL MOZART<br />
ORCHESTRA
36 Bido Lito! <strong>Dec</strong> <strong>2012</strong> / <strong>Jan</strong> <strong>2013</strong><br />
Reviews<br />
Hell Not Jesus. Looking extremely comfortable<br />
on stage, as if he’s been doing this for his entire<br />
life, his first song represents a bold approach<br />
towards a slightly touchy issue. Stylistically, it<br />
confirms the artist’s own refusal to be defined<br />
as a part of a specific genre.<br />
Love This – his most recent single – is a<br />
more upbeat piece, highlighted by one of the<br />
catchiest choruses that can be heard on the<br />
current market. The echoing refrain, based on an<br />
extremely danceable bassline, is shaping into a<br />
genuine radio-friendly tune.<br />
Assisted by two fellow musicians, Harry<br />
Meads on percussion and Harry Mackaill on bass<br />
and backing vocals, Jarvis carries on with what<br />
seems to be a witty love declaration, ingeniously<br />
interpreted in the form of a dulcet tune called<br />
She Doesn’t Mind. The simple reggae-inspired<br />
rhythm plucked on an electric guitar is mirrored<br />
by the complexity of his creativity; it might take a<br />
while for the audience to understand the actual<br />
meaning behind the lyrical content. Conversely,<br />
this is a song that brings a different substance<br />
to his own style by mixing ska elements with<br />
power pop that weirdly brings about an early<br />
2000s Weezer, or Mando Diao sound.<br />
However, the highlight of the night is the<br />
appearance of Mad Dog Mcrea’s members onto<br />
the stage for an ad-hoc jam which includes Gay<br />
Pirates, the provocative song that probably<br />
deserves its current hype. Demonstrating his<br />
glowing ability for writing verses, Jarvis’ Gay<br />
Pirates is in fact an observation of the ongoing<br />
stereotypes as he makes an inspirational point<br />
within existent social issues. Emphasized by<br />
his grainy voice, this slice is based on multiple<br />
build-ups and simple chord progressions played<br />
on a mandolin.<br />
Receiving public praise from the likes of<br />
Brian Eno and Stephen Fry, Cosmo Jarvis still<br />
has to pay the price for his unconventional<br />
and uncompromising approach. Intelligent and<br />
talented, he still lacks a certain something to go<br />
mainstream.<br />
CLOCK OPERA<br />
Bright Light Bright Light<br />
Petricia Mogos<br />
Evol @ The Kazimier<br />
London-based Welsh singer BRIGHT LIGHT<br />
BRIGHT LIGHT is so bad that it’s almost<br />
existential. Rod Thomas, the talent and pretty<br />
face behind the name, comes across as quite<br />
possibly the nicest man in music. Which makes<br />
it all the more unfortunate that his particular<br />
brand of outrageously clichéd dance pop, which<br />
may as well be written from the pre-programmed<br />
songs you get on a keyboard, is so karaoke it<br />
actually causes wincing. To his credit though,<br />
Thomas, along with his keys man and drummer,<br />
actually do manage to get some of the more<br />
lubricated in the crowd to loosen their limbs.<br />
Clock Opera (Mike Brits)<br />
While we can’t abide his pulsating Eurotrash, or<br />
his X-Factor-style emphatic hand gesturing, he<br />
gets full credit for coaxing a euphoric few into<br />
a bonafide dance-off. At least they’re having fun.<br />
This is where our revulsion turns philosophical –<br />
has this man taken the concept of cheesy so far<br />
that he’s actually reclaimed it?<br />
And to sounds of ticking and tocking arrive<br />
CLOCK OPERA, wound up and ready to go. Guy<br />
Connelly, the driving force behind the band,<br />
is nothing if not ambitious and, since having<br />
fronted The Fallout Trust and The Corrections,<br />
has also made a name for himself as a remixer<br />
of the likes of The Drums, Feist and Everything<br />
Everything. Clock Opera is a fully fledged fourpiece<br />
now, with Connelly, who is luxuriant of<br />
beard and hair, up the front whacking some kind<br />
of electronic box with a drumstick and grooving<br />
to his own beat.<br />
There’s a lot going on here: experimental<br />
percussion, samples, falsetto vocals and<br />
above all crescendoing drama. At times there’s<br />
a suggestion of Caribou, an occasional flash<br />
of Afrobeat, and on track Man Made there’s a<br />
bit of Talking Heads. But ultimately it adds up<br />
to not a lot.<br />
The excitable crowd are getting a bit stadium<br />
rock as girls at the front are actually reaching<br />
out to touch Connelly’s hand, but fan of the<br />
evening award goes to Sergei, who we are<br />
told has come all the way from Latvia tonight.<br />
Single Once And For All is dedicated to him,<br />
and is followed by similarly emptily anthemic<br />
Belongings, but it’s not until evening highlight<br />
Lesson No.7 that we start to think there might<br />
be something interesting going on. What<br />
so much of the time can sound overblown<br />
somehow gels here - it’s dark, it’s powerful and<br />
it’s a cracking tune. Alas, it may be their only<br />
one, as encore Fail Better reminds us what they<br />
ultimately are: uninteresting.<br />
LAZY HABITS<br />
Manukah<br />
Jennifer Perkin<br />
The Kazimier<br />
I have goosebumps. A night of rap and jazz<br />
fusion is imminent and I can imagine throngs<br />
of people absorbing every brass-led beat LAZY<br />
HABITS have to offer. So I’m surprised to see so<br />
few turn up to see these wordsmiths in action. It<br />
is Friday night, right?<br />
Even the dim lights of the Kazimier can’t<br />
hide the absence of the cult following this<br />
band has acquired over the last five years. It’s<br />
a real shame as this Hackney eight-piece hip<br />
hop collective are something special, having<br />
already smashed sets at Glastonbury and<br />
Bestival, and big venues such as Shepherd’s<br />
Bush Empire and KOKO. I can’t say I’m<br />
Gig Guide and Ticket Shop live at www.bidolito.co.uk
disappointed though, as the support act take<br />
to the stage and promise an intimate gig.<br />
Seamlessly blending elements of hip hop,<br />
funk and nu-soul, Liverpool’s own MANUKAH<br />
bounce with an infectious groove of horns and<br />
drums, while smooth guitar and keys balance the<br />
set perfectly. For those who aren’t familiar with<br />
these up-and-coming heavyweights, Hypnotise<br />
best introduces Lauren Spink’s soaring vocals,<br />
which have the attitude and jazz stylings that<br />
are in the same vein as Jill Scott.<br />
Not content to leave the crowd floored<br />
by the set which features a cover of Erykah<br />
Badu’s Apple Tree, Manukah also unleash the<br />
aptly named crowd pleaser, Big Tasty Riffs. The<br />
sidesteppers of the venue struggle to search<br />
for more expressive shapes to pull that justly<br />
convey how blissfully heavy this tune is.<br />
Headliners Lazy Habits are on next, looking<br />
rather dapper in their white shirt and clipped<br />
tie combo as they promote their eponymously<br />
titled debut album. The track Memory Bank, with<br />
its unapologetic sci-fi references to Philip K. Dick<br />
and Doctor Who, has slick rhymes and a smooth<br />
brass section that exposes their New Orleans<br />
‘ragtime’ jazz influence but also their firm grip<br />
on modern British culture.<br />
We’re all moving in unison to the swing of<br />
the horns on The Road. MC Skin Horse leads<br />
the articulated, gritty verses and MC Lazy<br />
provides a catchy, metaphorical chorus. The two<br />
complement each other well, switching positions<br />
on stage and bringing a fluidity to proceedings.<br />
The group take a pause before their next track<br />
to tell us what we were told about the nursery<br />
rhyme Jack and Jill is but a lie, before smashing<br />
into Even Out, a storytelling masterpiece that<br />
uncovers how piece-of-work Jill steals Jack’s<br />
crown. Highlight of the night is definitely their<br />
latest single, The Bulletin, entering with a tense<br />
staccato style trumpet and a sing-along chorus<br />
that makes this well-produced piece irresistible.<br />
This group may have had a small crowd<br />
to play to this time around, but none of the<br />
frenetic energy, groove and lyrical rhythmics<br />
were compromised. They say old habits die hard,<br />
but it seems Lazy Habits won’t be abandoned<br />
anytime soon either.<br />
Karl Fairhurst<br />
LUCY ROSE<br />
Peter Roe<br />
Ceremony Concerts @ The Kazimier<br />
Sifting through a venue rammed with<br />
prepubescent teeny boppers wailing in inaudible<br />
high pitch shrieks of elation usually comes with<br />
the territory of a High School Musical stage show.<br />
Tonight the Kazimier has taken on a similarly<br />
juvenile aesthetic; the floundering, girly angst<br />
is almost tangible as keen younglings tactically<br />
position themselves at coveted vantage points.<br />
Solo acoustic soul man PETER ROE is perched<br />
on stage to provide an early evening entrée for<br />
this dedicated rabble.<br />
An unassuming chap,<br />
Roe seems humble with a friendly and warm<br />
demeanour, but perhaps all a bit too nice.<br />
Clearly an accomplished guitarist, he plucks his<br />
way through a drawn-out sequence of intricate<br />
arpeggios occasionally complemented by<br />
intermittent strums of fuzzy distortion. Latest<br />
single Strange Kind Of Mystery is pensive but<br />
impassioned, with shades of Jose Gonzalez<br />
and tuneful folk inflections. Although his<br />
cumbersome lyrics fall flat at times, failing<br />
to blend with his soothing melodies, there’s<br />
definitely passion behind those desperate tones;<br />
however, it lacks the fundamental substance to<br />
underpin the talent he has with the instrument<br />
in his hands.<br />
With supporting act foreplay at an end, it<br />
suddenly becomes an all-or-nothing contest<br />
to occupy the front row. Outbursts of screams<br />
suddenly explode as the petite figure of LUCY ROSE<br />
emerges from behind the drawn curtains that<br />
engulf the width of the stage. Without delay her<br />
supporting band take their positions and launch<br />
straight into a subdued rendition of First, initially<br />
seeming a little taken aback by the sheer volume<br />
of avid Lucy Rose aficionados in attendance.<br />
Is she provocative? Probably not, but Rose<br />
is endearing, inviting you into her bubble of<br />
folk-scented mourning that wraps you in a cosy<br />
blanket. There’s a moment of self-languish and<br />
retrospective woe for Shiver, as the foul stench<br />
of a tender relationship gone sour leaves a<br />
twinkle in the eyes of every lovelorn victim.<br />
Place has its chirpier, more uplifting moments,<br />
cantering along at a mid-tempo, while Scar has<br />
that homely touch, where Rose’s delicate vocals<br />
are at once wholesome, deft and brittle.<br />
The gloomy overtones present throughout the<br />
duration of her set are somehow inexplicably<br />
moreish. There’s even more heartfelt gooiness<br />
for Middle Of The Bed as staccato keys build to<br />
collapse into a sturdy kick drum and super-fans<br />
clap along in unison, mouthing every lyric with a<br />
worryingly clinical level of accuracy. Rose seems<br />
as shocked as anyone with the amount of overzealous<br />
crowd participation: being vigorously<br />
heckled by a swarm of heady riff-raff is something<br />
she’s obviously not accustomed to.<br />
Her latest single Bikes is the crowning<br />
centrepiece. The acoustic guitar sighs once more<br />
with a soft compassion as her breathy tones<br />
are complemented by subtle flurries of gentle<br />
electronic guitar. She discreetly shuffles off<br />
stage to another wave of high frequency shrieks,<br />
politely reminding audience members to come<br />
and purchase her home-made tea and jam from<br />
the back of their van. Although at times her lyrical<br />
content comes across as strained, cluttered and<br />
slightly befuddled, Rose is cute and quirky and<br />
possesses all the attributes of a primed folk<br />
pop revivalist. With a little nudge in the right<br />
direction there could be something gritty and<br />
sinister bubbling under the surface, if only she<br />
can penetrate that sugar-coated outer shell.<br />
Joshua Nevett<br />
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Tickets currently on sale at bidolito.co.uk<br />
Plump DJs<br />
Hi-Fi<br />
Metrofest<br />
The Lomax<br />
Admiral Fallow<br />
The Kazimier<br />
Chilly Gonzales<br />
The Capstone Theatre<br />
Allah-Las<br />
Leaf<br />
Stealing Sheep Christmas Homecoming Party<br />
The Kazimier<br />
Antipop’s Fuck Xmas<br />
MelloMello<br />
The Borough Road Shuffle w/ By The Sea<br />
Cammell Lairds Social Club<br />
Neck Deep<br />
The Shipping Forecast<br />
Wave Machines<br />
The Kazimier<br />
Local Natives<br />
The Kazimier<br />
Mazes<br />
Camp & Furnace<br />
Stornoway<br />
The Kazimier<br />
Wild Nothing<br />
The Kazimier<br />
Liverpool Sound City <strong>2013</strong><br />
3-Day Wristbands<br />
bidolito.co.uk<br />
Comprehensive gig listings can be found on the Gig Guide /gig-guide<br />
Full ticket listings can be found on the Ticket Shop /ticket-shop<br />
22/12<br />
1/2<br />
12/2<br />
22/2<br />
11/3<br />
18/3<br />
2-4/5<br />
1/12<br />
1-2/12<br />
4/12<br />
5/12<br />
12/12<br />
14/12<br />
14/12<br />
15/12<br />
disappointed though, as the support act take<br />
to the stage and promise an intimate gig.<br />
Seamlessly blending elements of hip hop,<br />
funk and nu-soul, Liverpool’s own MANUKAH<br />
bounce with an infectious groove of horns and<br />
drums, while smooth guitar and keys balance the<br />
set perfectly. For those who aren’t familiar with<br />
these up-and-coming heavyweights, Hypnotise<br />
Hypnotise<br />
best introduces Lauren Spink’s soaring vocals,<br />
which have the attitude and jazz stylings that<br />
are in the same vein as Jill Scott.<br />
Not content to leave the crowd floored<br />
by the set which features a cover of Erykah<br />
Badu’s Apple Tree,<br />
Apple Tree, Manukah also unleash the<br />
aptly named crowd pleaser, Big Tasty Riffs<br />
Big Tasty Riffs. The<br />
sidesteppers of the venue struggle to search<br />
for more expressive shapes to pull that justly<br />
convey how blissfully heavy this tune is.<br />
Headliners Lazy Habits are on next, looking<br />
rather dapper in their white shirt and clipped<br />
tie combo as they promote their eponymously<br />
titled debut album. The track Memory Bank<br />
Memory Bank, with<br />
its unapologetic sci-fi references to Philip K. Dick<br />
and Doctor Who, has slick rhymes and a smooth<br />
brass section that exposes their New Orleans<br />
‘ragtime’ jazz influence but also their firm grip<br />
on modern British culture.<br />
We’re all moving in unison to the swing of<br />
the horns on The Road. MC Skin Horse leads<br />
the articulated, gritty verses and MC Lazy<br />
provides a catchy, metaphorical chorus. The two<br />
complement each other well, switching positions<br />
on stage and bringing a fluidity to proceedings.<br />
The group take a pause before their next track<br />
to tell us what we were told about the nursery<br />
rhyme Jack and Jill is but a lie, before smashing<br />
into Even Out, a storytelling masterpiece that<br />
uncovers how piece-of-work Jill steals Jack’s<br />
crown. Highlight of the night is definitely their<br />
latest single, The Bulletin, entering with a tense<br />
staccato style trumpet and a sing-along chorus<br />
that makes this well-produced piece irresistible.<br />
This group may have had a small crowd<br />
to play to this time around, but none of the<br />
frenetic energy, groove and lyrical rhythmics<br />
were compromised. They say old habits die hard,<br />
but it seems Lazy Habits won’t be abandoned<br />
anytime soon either.<br />
Karl Fairhurst<br />
LUCY ROSE<br />
Peter Roe<br />
Ceremony Concerts @ The Kazimier<br />
Sifting through a venue rammed with<br />
prepubescent teeny boppers wailing in inaudible<br />
high pitch shrieks of elation usually comes with<br />
the territory of a High School Musical stage show.<br />
Tonight the Kazimier has taken on a similarly<br />
juvenile aesthetic; the floundering, girly angst<br />
is almost tangible as keen younglings tactically<br />
position themselves at coveted vantage points.<br />
Solo acoustic soul man PETER ROE is perched<br />
on stage to provide an early evening entrée for<br />
this dedicated rabble.<br />
An unassuming chap,<br />
Roe seems humble with a friendly and warm<br />
demeanour, but perhaps all a bit too nice.<br />
Clearly an accomplished guitarist, he plucks his<br />
way through a drawn-out sequence of intricate<br />
arpeggios occasionally complemented by<br />
intermittent strums of fuzzy distortion. Latest<br />
single Strange Kind Of Mystery<br />
Strange Kind Of Mystery is pensive but<br />
is pensive but<br />
impassioned, with shades of Jose Gonzalez<br />
and tuneful folk inflections. Although his<br />
cumbersome lyrics fall flat at times, failing<br />
to blend with his soothing melodies, there’s<br />
definitely passion behind those desperate tones;<br />
however, it lacks the fundamental substance to<br />
underpin the talent he has with the instrument<br />
in his hands.<br />
With supporting act foreplay at an end, it<br />
suddenly becomes an all-or-nothing contest<br />
to occupy the front row. Outbursts of screams<br />
suddenly explode as the petite figure of LUCY ROSE<br />
emerges from behind the drawn curtains that<br />
engulf the width of the stage. Without delay her<br />
supporting band take their positions and launch<br />
straight into a subdued rendition of First, initially<br />
seeming a little taken aback by the sheer volume<br />
of avid Lucy Rose aficionados in attendance.<br />
Is she provocative? Probably not, but Rose<br />
is endearing, inviting you into her bubble of<br />
folk-scented mourning that wraps you in a cosy<br />
blanket. There’s a moment of self-languish and<br />
retrospective woe for Shiver, as the foul stench<br />
Shiver, as the foul stench<br />
Shiver<br />
of a tender relationship gone sour leaves a<br />
twinkle in the eyes of every lovelorn victim.<br />
Place has its chirpier, more uplifting moments,<br />
cantering along at a mid-tempo, while Scar has<br />
that homely touch, where Rose’s delicate vocals<br />
are at once wholesome, deft and brittle.<br />
The gloomy overtones present throughout the<br />
duration of her set are somehow inexplicably<br />
moreish. There’s even more heartfelt gooiness<br />
for Middle Of The Bed as staccato keys build to<br />
collapse into a sturdy kick drum and super-fans<br />
clap along in unison, mouthing every lyric with a<br />
worryingly clinical level of accuracy. Rose seems<br />
as shocked as anyone with the amount of overzealous<br />
crowd participation: being vigorously<br />
heckled by a swarm of heady riff-raff is something<br />
she’s obviously not accustomed to.<br />
Her latest single Bikes is the crowning<br />
centrepiece. The acoustic guitar sighs once more<br />
with a soft compassion as her breathy tones<br />
are complemented by subtle flurries of gentle<br />
electronic guitar. She discreetly shuffles off<br />
stage to another wave of high frequency shrieks,<br />
politely reminding audience members to come<br />
and purchase her home-made tea and jam from<br />
the back of their van. Although at times her lyrical<br />
content comes across as strained, cluttered and<br />
slightly befuddled, Rose is cute and quirky and<br />
possesses all the attributes of a primed folk<br />
pop revivalist. With a little nudge in the right<br />
direction there could be something gritty and<br />
sinister bubbling under the surface, if only she<br />
can penetrate that sugar-coated outer shell.<br />
Joshua Nevett<br />
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Tickets currently on sale at bidolito.co.uk<br />
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Tickets currently on sale at bidolito.co.uk<br />
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Tickets currently on sale at bidolito.co.uk<br />
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Tickets currently on sale at bidolito.co.uk<br />
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Tickets currently on sale at bidolito.co.uk<br />
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Tickets currently on sale at bidolito.co.uk<br />
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Tickets currently on sale at bidolito.co.uk<br />
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Plump DJs<br />
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Plump DJs<br />
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Plump DJs<br />
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Hi-Fi<br />
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Hi-Fi<br />
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Hi-Fi<br />
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Metrofest<br />
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Metrofest<br />
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Metrofest<br />
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The Lomax<br />
Admiral Fallow<br />
The Kazimier<br />
Chilly Gonzales<br />
The Capstone Theatre<br />
Allah-Las<br />
Leaf<br />
Stealing Sheep Christmas Homecoming Party<br />
The Kazimier<br />
Antipop’s Fuck Xmas<br />
MelloMello<br />
The Borough Road Shuffle w/ By The Sea<br />
Cammell Lairds Social Club<br />
Neck Deep<br />
The Shipping Forecast<br />
Wave Machines<br />
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Wave Machines<br />
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The Kazimier<br />
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The Kazimier<br />
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Local Natives<br />
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Local Natives<br />
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The Kazimier<br />
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The Kazimier<br />
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Mazes<br />
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Mazes<br />
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Camp & Furnace<br />
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Camp & Furnace<br />
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Camp & Furnace<br />
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Stornoway<br />
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Stornoway<br />
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Stornoway<br />
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Stornoway<br />
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The Kazimier<br />
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The Kazimier<br />
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Wild Nothing<br />
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Wild Nothing<br />
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Wild Nothing<br />
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Wild Nothing<br />
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The Kazimier<br />
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The Kazimier<br />
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Liverpool Sound City <strong>2013</strong><br />
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Liverpool Sound City <strong>2013</strong><br />
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Liverpool Sound City <strong>2013</strong><br />
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Liverpool Sound City <strong>2013</strong><br />
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3-Day Wristbands<br />
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3-Day Wristbands<br />
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bidolito.co.uk<br />
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bidolito.co.uk<br />
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bidolito.co.uk<br />
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bidolito.co.uk<br />
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bidolito.co.uk<br />
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bidolito.co.uk<br />
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bidolito.co.uk<br />
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bidolito.co.uk<br />
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Comprehensive gig listings can be found on the Gig Guide /gig-guide<br />
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Comprehensive gig listings can be found on the Gig Guide /gig-guide<br />
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Comprehensive gig listings can be found on the Gig Guide /gig-guide<br />
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .<br />
Full ticket listings can be found on the Ticket Shop /ticket-shop<br />
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Full ticket listings can be found on the Ticket Shop /ticket-shop<br />
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Full ticket listings can be found on the Ticket Shop /ticket-shop<br />
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22/12<br />
1/2<br />
12/2<br />
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22/2<br />
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11/3<br />
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11/3<br />
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18/3<br />
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18/3<br />
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2-4/5<br />
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2-4/5<br />
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1/12<br />
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1/12<br />
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1-2/12<br />
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1-2/12<br />
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4/12<br />
5/12<br />
12/12<br />
14/12<br />
14/12<br />
15/12<br />
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Noisy<br />
Table<br />
make music and sounds on our interactive ping pong table!<br />
FREE to play at FACT from 6 <strong>Dec</strong>ember<br />
-<br />
follow the Bido Lito! Inter-Band Ping Pong Challenge<br />
featuring Clinic, Afternaut, All We Are, Organ Freeman and more!<br />
fact,co.uk / #WinterSparks
THE FIRST FESTIVAL<br />
to bring you<br />
FLORENCE & THE MACHINE, django django,<br />
pond, PALOMA FAITH, SBTRKT, jake bugg, JAMIE<br />
XX, BLACK LIPS, WHITE DENIM, the maccabees,<br />
the temper trap, the wombats, animal<br />
collective, holy f*ck, forest swords, by the<br />
sea, the sand band, animal outfit, Alt-J,<br />
Black Lips, Caribou, Cast, Chain and the<br />
Gang, Clinic, Deerhunter, Dinosaur Pile Up,<br />
Dutch Uncles, DZ Deathrays, Ed Sheeran,<br />
Emmy the Great, Enter Shikari, Eugene<br />
McGuinness, Florence and the Machine,<br />
Foals, Forest Swords, Frank Turner, Fucked<br />
Up, Ghost Poet, Gill Scott-Heron, Handsome<br />
Furs, James Vincent McMorrow, Kid British,<br />
Kurt Vile & the Violators, Laura Marling,<br />
Metronomy, Michael Kiwunka, Mystery Jets,<br />
Noah & the Whale, Paloma Faith, Pete and<br />
the Pirates, Pulled Apart By Horses,<br />
Sanitgold, Set Your Goals, Sheepdogs, Slow<br />
Club, Stealing Sheep, Steve Mason, The<br />
3-day festival wristbands on sale at £25<br />
facebook.com/liverpoolsoundcity<br />
@soundcity