Issue 30 / February 2013

FREE 

Issue 30 

February 2013 

Wave Machines by Keith Ainsworth 

Wave Machines 

Bird 

Oxygen Thieves 

Deep Hedonia 

Local Natives

Bido Lito! February 2013 3 

Editorial 

The new year has begun with what some are regarding as another stark challenge, following the announcement 

of HMV going into administration. At the time of writing, the situation is still particularly unclear, with various 

rumours circulating around potential purchasers’ identities. Firstly, as is the case with the fall of any business 

- and given the post-Christmas pressures it seems we’ll be seeing a major high street retailer wilt by the day - 

thoughts go to the people who stand to lose their jobs. The figure on Merseyside alone could be into the many 

hundreds, depending on how the situation is resolved. 

In the medium term, we could see an effect - albeit on a much smaller level - similar to that of the Sony/PIAS 

warehouse fire in 2011, as record labels and distributors see funds and stock tied up in the situation, resulting 

in pressures on their cash flow. Just before going to press Bido Lito! spoke to one large independent label, who 

admitted that the situation at HMV had caused them to rethink 

their marketing budget for a major release set to land at the end 

of January. 

But, if you look more widely at the state of physical music retail, 

the events at HMV become symptomatic of recent changes. We all 

know that physical record sales have plummeted over the past 

ten years and this fall has been compounded for a major retailer 

like HMV by online retailers such as Amazon chipping away at 

their margins and chomping away at their market share. Desperate to diversify, HMV has over recent years moved 

further and further away from physical music sales and into tech, hardware, film and even the acquisition, and 

then selling off, of a live music wing to the business. 

The growth area in physical music has been in that of the boutique: the limited vinyl, the bespoke CD, hell, 

even the cassette, and the physical location of choice for the purchase of these objects of lust has been the 

independent record shop. As the internet has swallowed up the mass market, driving the price point lower and 

lower and resigning many retailers to being merely Amazon showrooms (Jessops was an acute case in point), 

the discerning customer who wants something physical, something unique and something purchased from a 

retailer with an abundance of knowledge, moves to the specialist independent. This is a trend being borne out 

across disparate sectors with independent record shops, book shops, specialist beer shops and coffee roasters 

consolidating, growing and carving their niche. The challenge for these retailers is to make sure that their offer 

remains unique, that the products they sell are specific to them and the retail environment individual. Rough 

Trade East off Brick Lane, with its unique limited editions, stunning stock selection, in-store gigs and coffee shop, 

provided the blueprint for this in 2007. 

If we’re viewing the HMV demise purely from the perspective of its effect on music and its support for the 

independent music sector we all love, once the short term squeeze on stock and cash flow has been ridden 

by labels and distributors, I’d argue that the negative effect will be rather negligible. It may even provide an 

element of support for independent retailers, removing a competitor from the city centre - though I’d preface that 

with the observation that HMV’s appetite for music at the point of its demise (its vinyl stock dwindled years ago 

and new CDs were pushed further and further back in store over recent years) had never been lower. 

I’ll leave the final word with the boss at independent label Bella Union, Simon Raymonde, who, speaking to 

Music Week, said, “Where do we go from here? Well, the music industry is pretty adept at picking itself up, dusting 

itself down and then getting on with it again. Is it the death knell of physical distribution? No, not at all, but it 

will no doubt change things. There are many great success stories within the independent record retail system 

and while the common view is that we are living in a Spotifyed world, I would say that I see many people turning 

their backs on mp3s and streaming, and returning to vinyl and, curiously and fascinatingly, even cassettes! And 

while my Philips Dual Deck Cassette Player is still in daily use, even I couldn’t have predicted that one...” 

Craig G Pennington 

Editor 

Features 

6 

WAVE MACHINES 

8 

OXYGEN THIEVES 

10 

BIRD 

12 

14 

16 

18 

LOCAL NATIVES 

DEEP HEDONIA 

CALM LOVE TRIANGLE 

CULTURE FORUM 

Regulars 

4 NEWS 

20 

PREVIEWS/SHORTS 

24 

REVIEWS 

Bido Lito! 

Issue Thirty / February 2012 

bidolito.co.uk 

4th Floor, Mello Mello 

40-42 Slater St 

Liverpool L1 4BX 

Editor 

Craig G Pennington - info@bidolito.co.uk 

Assistant Editor 

Christopher Torpey - 

reviews@bidolito.co.uk 

Assistant Reviews Editor 

Naters Philip - live@bidolito.co.uk 

Sub Editor 

Mo Stewart - subeditor@bidolito.co.uk 

Online Editor 

Natalie Williams - online@bidolito.co.uk 

Designer 

Luke Avery - info@luke-avery.com 

Proofreading 

Debra Williams - 

debra@wordsanddeeds.co.uk 

Words 

Craig G Pennington, Christopher Torpey, 

Mo Stewart, Lisa O’Dea, Jennifer Perkin, 

Richard Lewis, Mick Chrysalid, Joshua 

Nevett, Naters P, Rob Dewis, Jordan Doyle, 

Mike Townsend, Joseph Viney, P. Lee, Clarry 

M, Pete Charles, Flossie Easthope 

Photography, Illustration and Layout 

Luke Avery, Keith Ainsworth, Marie 

Hazelwood, Alex Wynne, Jennifer 

Pellegrini, Mike Howard, Jojo Norris, 

Robin Clewley, Michael Sheerin, Rob 

Rossington, Matthew Ball 

Adverts 

To advertise please contact 

ads@bidolito.co.uk 

The CALM helpline is now open every evening from 5pm ‘til midnight, plus you can text us too, 

meaning you can get stuff off your chest, privately. 

Free, confidential and anonymous, we’ve been helping men on Merseyside sort their heads out 

since 2000. Get back to enjoying your life, call CALM... 

Call: 0800 58 58 58 or text: 07537 404717 

Start your first text “CALM2” We don’t charge for texts, but your network might. 

www.thecalmzone.net 

Text & helpline open every day of the year, 5pm – midnight. 

Calls are free from landlines, pay phones and selected mobile networks and will not show up on your phone bill. 

CALM is Charity reg. no. 1110621

News 

Bestival Benefit @ Nation 

On 11th September 2012, a coach containing a group of Bestival-goers veered off the road and crashed into a tree, claiming the 

lives of three and seriously injuring others. As a tribute to those affected by this terrible disaster, Bestival Organiser ROB DA BANK 

has announced a special charity event to take place at Nation on Saturday 20th March. The fundraising show will be hosted by 

THE CUBAN BROTHERS and Rob Da Bank himself, with tickets priced at £16.25 - get the date in your diary, and show your support. 

Full line-up details to be announced in due course on bestival.net 

The City Of Sound And Vision 

Fancy yourself as the next Fellini, Gondry or Spike Jonze? LIVERPOOL SOUND CITY may well be able to give you a leg up with an 

open call to budding auteurs to submit storyboard ideas for a music video to accompany OUTFIT’s impending single Performance. 

The winning entry will then be filmed with help from FACT, and exclusively screened at their upcoming The Art Of Pop Video 

exhibition. The first slew of acts booked for this year’s Sound City have also just been announced, including THE WALKMEN, TOY, 

EGYPTIAN HIP HOP and SWIM DEEP. More details of the festival’s music and conference programme can be found on bidolito.co.uk 

New Release From Ninetails 

This group of lads who formed at LIPA had rave reviews from their recent EP Slept And Did Not Sleep and their first Radio 

1 play last month. Continuing the good cheer, we’re pleased to announce that NINETAILS have a brand new single out this 

month. They’ve told Bido Lito! that they’re “very excited about it as it has a lot of commercial value without sacrificing the 

elements that make us Ninetails.” The title? The rather ambiguous and enigmatic 0 4 2. We await its release with glee. 

ninetailsband.co.uk 

Barberos/Dispo Split LP Launch Event 

If you’re stuck for somewhere to spend Valentine’s Day, what better way than with an evening of space-age horror core at Hi- 

Fi on Seel Street? The event, titled In The Mouth Of Madness, offers musical sets from BARBEROS, STIG NOISE SOUNDSYSTEM, 

ISOCORE, ULTRAZOOK and many more as a celebration of Barberos’ split LP release with DIPSO. A feast for the eyes will also be 

provided with visuals and installations from COLIN ECCLESTONE, SEBASTIAN BRÜCKNER, SAM WIEHL (HIVE Collective) and VENYA 

KRUTIKOV. Doors at 8pm. facebook.com/itsbarberos 

BBC Introducing Slot Moves 

The eagle-eared among you will have noticed that the BBC Introducing show on BBC Radio Merseyside has moved its broadcast 

slot from Sunday to Saturday evening between 8pm and 10pm. Dave Monks’ new music programme is dedicated to promoting 

local music and giving it exposure on a national level, and is partly responsible for bringing acts such as Dan Croll and The Loud 

to the wider attention of BBC DJs. “It’s great to see the progress of some of the bands and artists who joined us for early sessions 

when they started out,” said Monks. bbc.co.uk/radiomerseyside 

Bido Lito! Dansette 

Our pick of this month’s wax wonders… 

Various Artists 

Psych For Sore Eyes 

SONIC CATHEDRAL 

We like our psych at Bido Towers, and this 

compilation EP from Sonic Cathedral is our 

latest multi-sensual and multi-dimensional 

indulgence. Featuring six fearsome cuts 

of modern psychedelia (HOOKWORMS, 

WHITE MANNA and TTOTALS among others) 

mastered by SONIC BOOM, the double red 

and green vinyl release also comes in a 

mind-bending 3D gatefold sleeve. 

Everything Everything 

Arc 

RCA 

The ‘difficult’ second album proves not to 

be so difficult for this Mancunian outfit. 

Picking up where they left off with 2010’s 

Man Alive debut, the new record feels 

like they’ve found the balance between 

experiment and excess. Highlights 

include the head-boppingly poppy Cough 

Cough, the rawly-intimate House Is Dust, 

and final track Don’t Try, which provides a 

soberingly-climatic end to Arc. 

Alien Ballroom 

Zero PAC A.D. 

AGITATED RECORDS 

COMPETITION! 

FACT Serves Up 10th Birthday Celebrations 

To celebrate its 10th anniversary on 23rd February, FACT is hosting a day of activities, games and arty experiences, all interactive 

and free of charge. Artist WILL NASH’s Noisy Table, a table tennis table that produces an electronic soundtrack dependent on the 

bounce of the ball, will be a centrepiece of the birthday festivities as it will host the finale of the Bats And Bleeps inter-band ping 

pong tournament. ALL WE ARE will be playing a live set, with CLINIC DJs on the decks, and the event will also feature the exclusive 

airing of Clinic and AFTERNAUT’s Noisy Table-inspired new tracks. fact.co.uk 

DAWSONS, the long-standing UK music instrument retailer, have recently 

opened their huge new Liverpool store. Based on Williamson Street, it’s 

double the size of the original outlet and is home to one of the biggest 

collections of guitars in the UK. As a result Dawsons are feeling particularly 

generous, and have teamed up 

with us to give away an Orange 

Jim Root Terror Head (valued at 

over £400). To enter the draw, fill 

out the voucher opposite and 

hand it in at the Williamson Street 

store before the 23rd February. 

Good luck! 

Dawsons Competition Entry 

To enter, hand this voucher in at the new Dawsons store on Williamson Street 

Name 

E-mail 

" 

Tick this box if you would like to receive further information and 

offers from Dawsons 

You might be well aware of Koolaid 

(Global Tyranny)’s descent down varied 

sonic rabbit holes, or maybe you’re 

blissfully ignorant of one of Liverpool’s 

weirdest psych diviners. Either way, their 

current incarnation ALIEN BALLROOM’s 

new LP contains enough swirling layers 

of droning majesty for listeners new and 

old: think an unhinged Spacemen 3 in 

the outer reaches of the Crab Nebula. 

Peace 

Wrath 

COLUMBIA 

Cryptic blow-jobs, debauched sexual 

unions and sleaze-ball antics are all par 

for the course in B-Town apparently. The 

jittery, navel-gazing guitars of PEACE’s 

latest single Wraith are loaded with 

sexual innuendos more sordid than 

a Jackie Collins novel, and the song’s 

lingering seductiveness provides a 

titillating narrative. 

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

Sat 26th Jan • £12 adv 

 

Fri 1st Feb • £6 adv 

 

 

Sat 2nd Feb • £6 adv 

 

 

 

Weds 6th Feb • £12 adv 

 

Fri 8th Feb • £15 adv 

9pm - 4am • over 18s only 

 

 

 

 

 

Sat 9th Feb • £16.50 adv 

6.30pm 

 

 

 

 

 

Sun 10th Feb • £10 adv 

 

 

Tues 12th Feb 

 

 

 

Tues 12th Feb • £12.50 adv 

 

 

 

Weds 13th Feb • £19.10 adv 

 

 

 

 

 

Thurs 14th Feb • £13.50 adv 

 

Sat 16th Feb • £6 adv 

 

 

 

Sun 17th Feb 

 

Sun 17th Feb • £14 adv 

 

 

Weds 20th Feb • £10 adv 

 

Thurs 21st Feb • £7.50 adv 

 

Sat 23rd Feb • £12.50 adv 

 

 

Mon 25th Feb 

 

Thurs 28th Feb • £10 adv 

 

Fri 1st Mar • £13 adv 

 

Sat 2nd Mar • £15 adv 

 

Sat 2nd Mar • £15 adv 

 

 

Sun 3rd Mar • £15 adv 

 

 

 

Mon 4th Mar 

 

Weds 6th Mar • £10 adv 

 

Thurs 7th Mar • £23 adv 

 

Sat 9th Mar • £15 adv 

 

Sat 9th Mar • £6 adv 

 

Wed 13th Mar • £14 adv 

7pm - 10.30pm 

 

Fri 15th Mar • £6 adv 

 

 

 

 

Wed 20th Mar • £19.50 adv 

 

Fri 22nd Mar • £6 adv 

 

 

 

Thurs 28th Mar • £16.50 adv 

 

Sat 30th Mar • £25 adv 

(£22.50 early bird) 

1pm - 11pm 

 

 

 

 

 

 

 

 

 

 

Mon 1st Apr • £8.50 adv 

 

Thurs 4th Apr • £11 adv 

 

Fri 5th Apr • £6 adv 

 

 


 

 

Sat 13th Apr • £15 adv 

10pm - 3am • over 18s only 

 

 

Tues 16th Apr • £22.50 adv 

 

Weds 17th Apr • £18 adv 

 


 

 

Tues 7th May • £7 adv 

 

Sat 11th May 

 

Fri 31st May • £15 adv 

 

 

Sat 19th Oct • £10 adv 

 

 

 

 

Sat 16th Nov • £18.50 adv 

 

 

Wednesday 13th February 

 

Thursday 14th February 

Saturday 9th March 

Wednesday 20th March

6 

Bido Lito! February 2013 

Words: Mo Stewart 

Photography: Keith Ainsworth 



It’s that time of year when we all become increasingly 

obsessed with predicting who will be ‘the next big thing’. As the 

world’s media jostle for the position of musical Nostradamus, 

no one spares a thought for those handing over the ‘most likely 

to’ baton. Four years ago WAVE 

MACHINES were that band, and 

now they’re back with a new album to jog a few memories as 

to why they got everyone so hot under the collar. 

Singer, wordsmith and multi-instrumentalist James Walsh 

gives a good old-fashioned firm handshake as he sits down, 

radiating that healthy mix of excitement and relief easily 

recognisable in any musician about to release a collection of 

songs to the world. “We’ve put a lot of work into it, and we’re 

eager to see what people think,” he states. 

One of the drawbacks of a successful album is that often 

there’s a long time before you can think about the next. For 

Walsh, lead vocalist and guitarist Tim Bruzon, drummer Vidar 

Norheim and bassist Carl Bown, it wasn’t until August 2010 

that the Wave If You’re Really There tour ended, after taking in 

every thriving metropolis and boutique festival Europe has to 

offer. A particular highlight was supporting The Flaming Lips at 

one of the North West’s most famous and inspirational places, 

the Jodrell Bank Observatory. “It was amazing. We’d often 

discussed going to Jodrell Bank as a day out, so to get to play 

there was magical.” 

When the time to write finally came, they were eager to 

avoid the pitfall of the fabled ‘difficult second album’. Enough 

examples that disprove this tired theory have been and gone, 

but every band experiencing even a modicum of success will 

have to answer the question. Thankfully, Walsh was more 

than happy to indulge Bido Lito!: “We didn’t think about it, to 

be honest. We’ve definitely been guilty of perfectionism in the 

past, but this time round we were a bit more easygoing.” 

As far back as 2007 I had the honour of booking the first 

official Wave Machines show, held in the slightly inauspicious 

setting of Bar Ca Va. As I remember, there was confusion 

mingled with the anticipation in the crowd as they fought for 

elbow-room at the top of the stairs, mainly because previous 

incarnation Sizer Barker were still very popular locally. 

However, once they took to the stage it was abundantly clear 

Wave Machines were an altogether stronger proposition. The 

bravery it took to make a decision to reinvent themselves was 

instantly vindicated once the shimmering electro pop of those 

early singles received a rapturous reception. That same bravery 

is at play on Pollen, as their puppy-like energy has evolved into 

a mature, focused sound, reminiscent of Tom Tom Club, Hot 

Chip’s recent output, and, at times, Depeche Mode. 

Irrespective of the touring schedule, the songs that would 

eventually become Pollen took a while to develop: “The actual 

writing of the album took a couple of years, partly because of 

the way we work, partly because what we had wasn’t good 

enough,” admits Walsh. “There’s some great writing on the first 

album, but in terms of the sound of the songs it’s a bit of a 

mish-mash. Pollen comes from a more clearly defined place.” 

Lead single Ill Fit - a slinky slice of bubbling synths layered 

with creamy falsettos - was released back in the autumn as the 

bridge from one album to the next, although as Pollen unfolds 

it’s evident that it’s closer to the first than the second. 

The biggest shift in thinking was opening up the creative 

process to a more collaborative way of thinking. “We all had a 

hand in the writing process this time around. I worked on most 

of the lyrics, but we were all encouraging each other to put in 

ideas. If you get lots of material together, you find something 

eventually begins to lead the tracks in a certain direction. It 

also means you’ve got lots of other ideas from which you can 

pick the best melodies or lyrics to fit into that direction.” 

Another brave decision, with the potential for causing more 

arguments, but Walsh argues that in fact it’s an effective way of 

keeping everyone happy: “It might have taken us a bit longer, 

but there’s a strong feeling throughout the band that we’ve 

made a really good record, that we’re all happy with. Every 

song became an amalgamation over time, going through a 

number of guises. Ill Fit had a different chorus right up until a 

couple of weeks before the album was finished.” 

Pollen was mostly recorded in East London’s Konk studios, 

which will now hopefully earn a better legacy than naming 

a rather shoddy Kooks album. This appears to be a decision 

based more on the availability of their chosen producer than 

any stated ambition to tread the well-worn path south. “We 

went to London because we wanted to work with Lexxxxx 

[who mixed Wave If You’re Really There and co-produced 

Pollen] and he was based down there. It was nice to get in a 

different headspace for a while.” 

There was still a fair bit of to-ing and fro-ing involved, with 

sessions recorded both at their own rehearsal space and 

at Whitewood Studios on Parliament St. When in London, 

Liverpool was never far from the band’s thoughts, especially 

those of Norheim who got married during the course of the 

recordings. Walsh admits to mixed feelings: “I grew up in 

London, but I’ve spent so much time in Liverpool now I’m torn. 

There’s a hectic energy about London, and if you’re not there 

you do start to wonder if you’re missing out on something. 

But I wouldn’t move back permanently. My next move is much 

more likely to be to the countryside!” 

As with any band worth their salt, the discussions have 

already begun about how to translate these somewhat sedate 

songs into a live context. “It’s taken a lot of work because the 

writing was so protracted. Once we’d finally got the songs 

together, we then had to learn how to pick them apart. I 

sometimes wish it was a simpler process, but once we get 

out on the road we see how much the extra effort pays off.” 

And for their upcoming Kazimier show in February, the band 

are particularly keen to produce something a little special: 

“We love the Kazimier. We’ve played there a few times and it’s 

always a great feeling.” 

Pollen is out now on Neapolitan Records. Visit bidolito.co.uk 

now to win an exclusive, signed LP copy of the album. 

wavemachines.co.uk 


GEN 

OXY 

VES 

Words: Lisa O’Dea 

Photography: Marie Hazlewood 

The Urban Dictionary defines an Oxygen Thief as a person so 

useless that the mere act of them breathing is a waste of oxygen. 

Whilst it’s clear that the literal definition does not apply to this 

band, surely it can be no coincidence that OXYGEN THIEVES’ 

performances have left unsuspecting crowds breathless of late. 

The boys possess a covalent bond - clearly demonstrated in their 

live gigs - that contributes enormously to them being well on 

their way to creating a successful formula. The Wirral four-piece 

- consisting of brothers Al and Rob Fewtrell, Cal McMorran and 

Daniel Tilling - sit down with me in a small café in New Brighton 

and I question how the name came about. 

“Just a sayin’, isn’t it?” replies Al. “Me and me mate used to call 

people oxygen thieves... ‘he’s useless - he’s an oxygen thief’. We 

decided to call the band that when we had to come up with a 

name and people genuinely do remember it.” 

And it was their early performances in 2012 that were perhaps 

even more memorable, leaving many excited about their unique 

blend of turbulent riffs and grungy, heavyweight beats. With 

a plethora of gigs firmly under their belt from Sound City to 

FestEVOL, Oxygen Thieves have commanded attention and begun 

to push their way to the forefront of a wave of promising new 

talent that has emerged so prominently in recent months. 

The group have to this point been building up to release their 

single Maskara, which will eventually land in February. An audible 

punch of fuzzy riffs intertwined with extravagant post-punk 

fusions, Maskara is a febrile mass of dominant basslines that veil 

a vulnerability within the well-crafted lyrics, which are set around 

a girl who hides beneath a mask of make-up. With the release of 

their single in February, I ask Al whether an EP will follow. 

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

“This single is gonna be an introduction, a free download. 

We’ll probably play London and a few other gigs to coincide 

with it and then we’ve got a few options. We might do a sixtrack 

EP soon and get it out early summer and then start 

looking at making an album, basically. The plan is to get a sixtrack 

EP out first. We’re ready for it.” 

The band are witty, hugely likeable and clearly serious 

when it comes to their music career. They’ll most likely be 

lumped under a broad ‘rock’ umbrella; however, there are too 

many influences within their music for them to be cornered 

specifically into such a genre. 

“There were times we were getting told we sounded like 

people and a lot of the stuff we hadn’t heard before,” says Dan, 

“Like a lot of German bands, krautrock and bands like Television. 

We’re into it all now.” 

“When I joined this band in the summer,” interjects Cal, “the 

amount of music I was exposed to, like krautrock and things 

like that... once you get into it, it’s really good.” 

With an abundance of bands emerging from the peninsula, 

it seems as though the Wirral is fertile ground for the growth 

of a new breed of talent and musicians. With many following 

similar sounds and trends, what makes Oxygen Thieves differ 

from the other bands? 

“We don’t sound like we’re from the Wirral,” replies Al. “That’s 

not to say we don’t like bands from the Wirral as there’s some 

really good bands. We like most of them, like The Red Suns and 

By The Sea.” 

“Ours is a heavier, rougher sort of sound,” continues Rob. “It’s 

more American, Seattle scene, West Coast sounding. We don’t 

think, ‘we don’t wanna sound like the Wirral’. It’s just us really, 

we love all the stuff from round here but if you wanna be original, 

you’ve gotta get away from it. When we started playing, we didn’t 

make a conscious effort towards it, that’s just what came out.” 

The influences of bands such as The Pixies can be heard 

at notable points within their music. Intense vocals imbued 

with frenetic melodies ensure that Oxygen Thieves produce 

an authentic sound. They have grown in confidence and ability 

throughout 2012 and perhaps this is due to them holding back 

on releasing material until they are truly happy with the quality 

of production. 

“People say ‘why isn’t anything out?’” responds Al. “But you 

don’t go out as soon as you’ve got stuff together; it’s got to be 

right these days. That’s why we’ve been hanging around; now 

we’ve got like thirty tracks. You’ve got to have everything together; 

you might have had the tunes but not the live presence. There’s 

no point in rushing these things.” 

“You can’t make a first impression twice,” adds Cal. 

Oxygen Thieves are beginning to advance through the ranks, 

even garnering interest from NME in November as a band to look 

out for, and it’s not hard to see why. When their single Maskara is 

released in February, the band hope to break away from Liverpool, 

playing in different cities across the UK, and aim to make a splash 

on many stages this summer, using the festivals to allow their 

music to appeal to a wider audience. With their refreshing brand 

of gritty, grunge rock, it doesn’t seem as though this band of 

thieves’ oxygen will be running out any time soon. 

soundcloud.com/oxygen-thieves

Noisy 

Table 

make music and sounds on our interactive ping pong table! 

- 

Bido Lito! Inter-Band Ping Pong Challenge Grand Final 

Saturday 23 February 

with All We Are (live) and Clinic (DJ set) 

fact.co.uk / #NoisyTable 

Image: Bats & Bleeps Inter-band Ping Pong Challenge; All We Are vs Alpha Male Tea Party, photo by Mike Sheerin

10 


Bird: 

Waiting 

for the 

Sirens’ 

Call 

Words: Richard Lewis 

Photography: Jennifer Pellegrini 


“We’ve been up to Yorkshire, where we visited Sylvia Plath’s 

grave in Heptonstall recently,” BIRD’s Adele Emmas (Vocals/Bass) 

recalls. “The graveyard’s alongside a church that’s been destroyed 

and built elsewhere,” Sian Williams (Guitar/Piano/Vocals) explains. 

“This graveyard was so eerie and when we were walking around 

Lex [Samata] our drummer was saying ‘this is such a Bird thing to 

do’ and we said, ‘Well, get used to it!’” An anecdote that reveals 

plenty about the ethereal shoegaze, dream pop trio that is Bird. 

Why merely read a biography about those who have influenced 

you when you can visit the places that inspired them first-hand? 

Our meeting in a rain-lashed city centre has been called to 

discuss the band’s stunning new EP Ophelia. Presaged with 

the crashing waves of Intro (Horses in the Waves), the nearchoral 

singing sets the scene for what follows: a breathtakingly 

ambitious set of songs, with the sea providing a thematic 

connection between the tracks. 

“There’s a book that’s been in the family for years, my great 

granddad’s, on Mythology and Ghost Stories, that kind of magical 

world,” Adele explains. “I read that for lyrical inspiration; it’s got 

stuff about sirens and stories of the sea. I love being near the sea; 

it gives me a huge sense of clarity and peace; I feel really at home. 

We’re not very urban, to be honest; we’re more rural. That’s where 

most of the inspiration comes from. When I’ve been writing a lot 

of this EP, all I’ve had in my head is the coast and beautiful parts 

of England.” 

Inspired by an impressively esoteric source, Pious sees Sian’s 

instrumental skills strongly at the fore, the slowly uncoiling piano 

arpeggios a homage to one of England’s most venerated early 

composers. “It’s our modern take on 16th and 17th century chants. 

I’m really influenced by Thomas Tallis, a composer in the Tudor 

era,” the multi-instrumentalist explains. “It’s called Pious but it’s 

not about religious piety per se. It’s more about being pious 

towards yourself and your own beliefs. It’s such a strong word, it 

conjures up images of being so caught up in something that you 

can’t really see anything else.” 

Due in part to Adele’s switch from six strings to four, Bird’s 

new material has a weight to it absent from the band’s 

previous recordings. “There’s no bass at all on the old records. 

I love the bass now; I always used to play guitar,” the singer 

explains. “We’re trying to utilise more power, more volume and 

crescendos,” Sian notes. 

Alongside these developments is the newly-arrived presence 

of Bill Ryder-Jones in the producer’s chair. Following his work on 

By The Sea’s superb debut LP, the composer approached Bird last 

autumn with a view to working on their next EP. “He’s been very 

good at going along with what we wanted but still putting his 

slight spin on things production-wise. We’re really appreciative and 

grateful,” Adele says. “He’s added some synth and soundscapes, 

which is perfect for us because it adds to the atmosphere.” 

“He enhanced the magic without squashing our signature 

sound,” Sian adds with a nod. 

An incidental pleasure of recording with the former Coral 

axeman was access to his armoury of vintage guitars. “Fleetwood 

Mac are my favourite band,” Sian explains. “I was recording part of 

Ophelia on a really nice Gibson and he said ‘that used to belong 

to Peter Green you know’.” 

“Sian nearly had a heart attack,” Adele laughs. 

The EP’s title cut and standout moment, Ophelia marks the 

band’s first full collaboration. A twin tribute to the Prince of 

Denmark’s doomed girlfriend and John Everett Millais’ Pre- 

Raphaelite painting, the track glides into view on Sian’s simple 

yet vast-sounding delay pedal riff, held in place by Lex’s tribal 

drumbeats. “The music was the first thing we wrote together as 

a band,” Sian explains. “Adele has been messing round with the 

bass and she came up with the riff; I put the guitar part instantly 

over it, then Lex brought the drums in and it just developed.” 

String-laden mini-symphony The Waltz - “About two loved ones 

being separated during the war” - has its origins in a trip down to 

Brighton and BBC classic Truly, Madly, Deeply. “I found this big box 

of old photos that didn’t belong to anyone and I bought a few,” 

Adele recalls. “There was this photo of this one guy who was in 

his military uniform and I thought ‘Someone’s probably clutched 

onto this and cried their heart out over it.’ That sparked it off.” 

Alongside the rhythm section’s greater impact, another 

development on the EP is the distant, siren-like quality of Adele’s 

vocals, highly redolent of Cocteau Twins’ Liz Frazier. Swathed 

in generous helpings of reverb, the lyrics become all the more 

compelling - this certainly isn’t something that you can sling on 

as white noise. “You need to invest in it and really listen to it; you 

can’t really have it on in the background.” Adele nods. 

“Lyrically, the theme throughout is about the loss of people, 

but finding something through that, learning lessons and finding 

new people,” Adele states. “It’s very much about the light and dark 

of life: without darkness you can’t have light. The subject matter 

is quite gloomy, but if you think the music’s beautiful then you’ll 

start to think of them both together.” 

“We pride ourselves on being quite left-field,” laughs Sian. “In 

a way, the more weird we can be, the better, to be honest; we 

want to be different. We’re not gonna be making any pop tunes 

anytime soon.” A welcome relief surely as Bird’s voyage becomes 

ever more fascinating with each new startling leap their collective 

imagination takes. 

Ophelia is released through Jack to Phono Records on 14th 

February, with a launch show at Leaf on 15th February. 

Visit bidolito.co.uk for an exclusive live session with Bird as part 

of our ‘Afternoon Tea With...’ series. 

facebook.com/birdmusicofficial

12 


Words: Joshua Nevett 

Illustration: Jojo Norris 

The myth-ready back-story to LOCAL NATIVES’ rags to riches 

meteoric rise is by now a well-worn tale upon the lips of the 

blabbering fabulist. Wide-eyed and wanderlust, the DIY ethos 

that permeated Local Natives’ debut LP Gorilla Manor and that 

subsequent performance at SXSW in 2009 soon fostered their 

reputation as LA’s newest self-made success story. Propelled 

wholly by their tenacity, staunchness and talent, word of their 

exploits soon spread like a remorseless insect infiltrating 

people’s inner ears. For a while, their under-tapped euphoria and 

barbershop harmonies melted anyone who dared cross their path 

into bubbling pools of admiration. Then, they started hittin’ the 

ole dusty trail. They continued to relentlessly tour Gorilla Manor to 

great acclaim until their tired fingers were naught but powdered 

bone beneath their swollen feet. 

And now they again reside on the precipice of cementing 

themselves into the limelight as one of the bands to keep a firm 

eye on in 2013. On 28th January, the Silverlake troupe release 

their forthcoming LP Hummingbird, which comes as a welcome 

return to the fray for the quartet after a lengthy gestation period. 

Although Local Natives may have slightly wandered off the radar 

since 2011, a couple of things remain clear during a transatlantic 

phone-call with their affable multi-instrumentalist, Ryan Hahn 

(Guitar/Vocals). The excitement in Ryan’s warm, genial voice is 

almost palpable and demonstrates that Local Natives are clearly 

ready to retake the bull by the horns in 2013: “It feels great to 

be back, man. I mean, we took quite a bit of time off to focus on 

writing and recording this new record, but we’re one of those 

few bands that really enjoy touring so we’ve been kind of 

missing it. It’s been really good just to get back out there 

and learn how to play these new songs live.” 

Alas, their fortunes fell on difficult times in 2011. With their 

lives consumed by touring commitments, their spirits were 

tormented by the departure of long-term bassist and friend, 

Andy Hamm, who left for undisclosed reasons, assumed 

amicable. And yup, amicable or not, the glistening sheen 

of their stratospheric emergence was slightly scuffed… 

but not for too long. Ryan explains how, just as soon 

as five became four, they quickly stumbled upon the 

acquisition of The National’s Aaron Dessner, to fill 

that gaping void and co-produce their latest LP 

no less: “We’d kind of written most of the tracks 

for the new album and then we got the call that 

we were going to tour with them [The National] 

in 2011.” So, why Aaron then - was it an unconscious 

decision considering the circumstances? “Yes,” Ryan 

asserts. “We wanted to work with someone who we got 

along with on a personal level but also respected as a 

songwriter.” Ryan recounts that touring with The National 

gave them plenty of opportunities to smash their foreheads 

together with frontman Aaron: “He was just as interested 

in working together as we were and it just felt 

like a really natural musical relationship 

we had together. He really helped 

push us 

in 

the 

studio 

even though most of the songs were already written.” 

You get the impression that Ryan’s suspended in a glowing 

state of nirvana when he talks about his new record, in an 

almost zen-like state of bliss. However, there’s still an underlying 

honesty when it comes to taking a step back and reflecting on his 

experiences over the past 12 months: “We went through a lot of 

heavy times last year; I think this record was us working through 

a lot of that stuff. With a band that’s as tight as we are, we’re 

just such close friends, ya know; when one thing happens to one 

of the guys, it really affects all of us.” His comments are twisted 

through with anguish, cryptic and vague; and the group’s lyrics 

refer to breaking down emotional barriers, documenting personal 

tribulations and affliction. The first single off their new LP Breakers 

exemplifies this: “Breathing out hoping to breathe in,” they sing. “I 

know nothing’s wrong but I’m not convinced,” they continue, full 

of dismay about their lack of confidence in their convictions. Ryan 

reinforces the listener’s feeling that the songs on this record are 

coming from “a personal and honest place”. 

Aside from the more obvious comparisons 

drawn between Local Natives and the 

delicate fleeting harmonies 

of Fleet Foxes, the 

orchestral, 

theatrical 

dramatisations of Arcade Fire and the feather-light, rhythmic 

canter of Vampire Weekend, Ryan muses over their influences 

during the writing of Hummingbird. He cites Leonard Cohen as a 

“huge influence” and reels off a list of British bands from the 80s, 

including The Smiths and New Order, as references for introducing 

“different guitar tones”. These are bewildering influences 

considering Local Natives’ particular live, organic and ramshackle 

approach to production. Maybe there’s a secret collaboration in 

the pipeline, who knows? All (of this writer’s) pipe dreams aside, 

Ryan talks of how the band took a giant leap towards increasing 

their production values during the recording of Hummingbird: 

“On the first record we focused on making sure that everything 

was live, if you know what I mean; there wasn’t a whole lot of 

production, but there’s a lot more electronic elements to this 

record; we used a lot more instruments like different synths and 

drum samples. For us, this was a massive step more towards 

production, just to make sure it sounded relevant even in five 

years’ time, ya know.” 

It seems that Local Natives’ decision to migrate to Brooklyn 

to record their long-gestating second album has paid dividends. 

And Aaron Dessner has evidently proved to be an invaluable 

addition as well, as the band are reaping the benefits of his 

impending wisdom and technical nous. But what of their 

performance in Liverpool though, is Ryan looking forward it as 

much as we are? “Ahh, yeeeaahh, totally man! We haven’t been 

able to spend much time there, so we’re really looking forward 

to going out afterwards, and seeing the town.” And with that 

last burst of enthusiasm, Ryan’s voice evaporates into 

nothingness, to be replaced by the droning 

sound of a disconnected tone. See you 

at Garlands Ryan - you’re in for a 

belter. 

thelocalnatives.com


13 

Sam Lee 

Edwyn 

Collins 

& Friends 

Thursday 21 March 

The Epstein Theatre 


Saturday 20 April 

8pm £17.50, £23.50 

EXTRA DATE DUE TO DEMAND 

Robert Vincent 

& Peter Bruntnell 

Wednesday 13 Februaryry 

8.30pm £12 

Gretchen 

Peters 

Saturday 9 March 


7.30pm £19.50 

WOW 

A Celebration of the music 

and artistryry 

of Kate Bush 

Saturday 2 Februaryry 


Nasher 

Friday 12 April 


Ginger Baker’s 

Jazz Confusion 

Sunday 24 Februaryry 

7.30pm £17.50-£25.50 

Ludovico 

Einaudi 

Monday 15 April 

7.30pm £24.50-£34.50 

Richard 

Thompson 

Friday 1 March 

7.30pm £20-£30 

Lau 

Saturday 20 April 

St George’s Hall 

Concert Room 

7.30pm £16.50 

Box Office 

fi 

0151 709 3789 

liverpoolphil.com 


14 




LIVERPOOL ELECTRONICA: 

A State Of Deep 

Hedonia 

Words: Mick Chrysalid 

Illustration: Mike Howard 

There is a tangible vitality running through the veins of 

Liverpool’s electronic music community right now. It could be 

argued that the region has not witnessed such a boom since 

the electronic-infused pop heydays of the 80s. OMD, Flock Of 

Seagulls, China Crisis, Dead Or Alive all cracked the charts, not 

to mention Frankie who conquered the world, albeit briefly. This 

was before house music’s revolution swept across UK clubland. 

In the 1990s, Cream in Wolstenholme Square became a mecca for 

many weekenders getting their fix of 4/4 beats, amongst other 

things. Ladytron emerged in the late nineties and had success 

with a fresh lilt on synth-heavy electro pop with a nod to new 

wave. For a city prepossessed with guitar music, there have 

always been significant pockets of electronic music that have 

peppered Liverpool’s history. However, all of this considered, it 

is the sheer concentration of numbers right now that is enabling 

another chapter to be written for electronic music in Liverpool, 

and just possibly its most important one. Evian Christ, Faded Gold, 

Afternaut, Forest Swords, Bantam Lions, Kepla, Sun Drums, Capac, 

Mitternacht, Tomasu, Isocore, Lunar Modular … not to mention 

other bands who have been fermented in electronic music such 

as Outfit and Wave Machines. There are more acts popping up as 

we speak that will help transcribe this rich period. DEEP HEDONIA’s 

idea was to begin cultivating this unrivalled scene of underground 

musicians by using live performances as a forum for exchanging 

ideas. This night would be named ARK. 

The men behind the moniker are Jon Davies, Thom Isom and 

Sam Twidale. Jon and Sam aren’t just fans and promoters, they are 

at the forefront of this wave with acts Kepla and Sun Drums. Thom 

is of a design background and focuses on visual and art direction. 

“We have to put a bit of thought as to what will work and where 

it is best suited. ARK at Dumbells feels right. It’s a place where 

people can feel understood. Sometimes in more traditional gigs 

there just isn’t the time,” says Thom. The first ARK was a success, 

with various different artists showcasing everything from the 

more ambient side of the spectrum, from False Lights’ nod to 80s 

imagined mysterious TV soundtracks, to the deep core of Lunar 

Modular’s undulating rhythms. Jon Davies: “It’s great to see people 

going out and setting themselves up with loop pedals, sequencers 

and the like in a reaction to knowing what can be achieved here.” 

Indeed, modern electronic music in all its forms is born out of an 

optimism that arrived hand in glove with the cheaper technological 

advancements that welcomed the turn of the century. eBay has 

a steady stream of affordable grooveboxes and sequencers, and, 

considering that laptops are able to run software such as Ableton 

and Reason with ease, the world is now your bedroom; your 

bedroom is now ARK. Factor in Deep Hedonia’s wider ambition 

when it comes to their bookings and you get a feel for the kind of 

impact they can have this year. Local acts who have cut their teeth 

at ARK will get to rub shoulders with internationally-renowned 

acts that the Hedonia crew invite to the city. Last year alone, 

Laurel Halo and ITAL played Liverpool and it is with this ambition 

in combining the international with the regional that a picture 

starts to build around where electronic music can go in this city. 

Jon points out, “We may have started a bit on the giant side when 

baby steps may have been needed, but they were shows that we 

really loved and felt needed to come to Liverpool. Burial next in 

Sound Food and Drink?” 

It’s quite infectious to see such a DIY spirit embodied in the three 

of them. They do take it seriously but there’s still a cheeky laugh to 

be had. “We really want to put the acts on that we want to see and 

hear. We don’t want to end up putting big shit acts on just to make 

money. This goes hand in hand with building a respectable name,” 

Sam states. Put this in tandem with the fact that they’ve enrolled 

on the LJMU Enterprise Fellowship Programme (which focuses on 

help and support in getting such ventures off the ground) and you 

can see what the green shoots of their ideas can grow into. 

We’ve established that there are many strings to the Deep 

Hedonia bow but the cynosure that really presents the collective’s 

bull’s-eye is ARK. The emergence of acts in Liverpool who have gone 

out and cobbled bits of gear together to then throw their synths 

into the electronic dance music ring with ever-mutating genres 

may be the truest testament of Deep Hedonia’s commitment to 

both Merseyside itself and the development of its music. ARK is 

where, for me, they will cut their teeth and possibly have the most 

influence. The night provides a floor for many like-minded people 

to bring their synths, laptops, sequencers, mixers, etc and have a 

dance and a grin. I was there, I concur. The next instalment takes 

place on 9th February, with Lunar Modular, Afternaut and Bantam 

Lions joined by a host of exceptional talent. 

Fashions and fads come and go in waves but electronic music - 

whether it’s called intelligent dance music or straight-up electronic 

dance music, whether it’s in the direction of house music, or 

whether you’re mining the depths of the more experimental 

sub-genres - is alive and kicking here. Deep Hedonia are putting 

a collective stamp on something that Liverpool is crying out for. 

Along with the best of acts that they will bring into the city from 

far and wide, ARK’s local emphasis is attestation that there is a 

blossoming here and now for all to enjoy. Liverpool could just be 

at the forefront of the next wave of European electronica. Real 

Deep Hedonia. 

deephedonia.com 


16 


ESCO WILLIAMS, STEPHEN LANGSTAFF 

and ANTON POWERS come together 

for a unique musical collaboration 

Words: Jennifer Perkin 

Illustration: Alex Wynne 

Valentine’s Day can be a drag. However, as couples struggle 

under the pressure to find the perfect gift, and singles fight off 

the relentless barrage of amour, this year will see a welcome 

musical respite for all. 

This 14th February will mark a unique event – the release of a 

new piece of music from an exciting project called the CALM Love 

Triangle, involving three of Liverpool’s strongest talents from 

the far corners of the musical spectrum. Those three home-bred 

talents are DJ Anton Powers, singer-songwriter Stephen Langstaff 

and self-confessed ‘soul powered nerd’ Esco Williams – a trio that 

Stephen describes as “like the weirdest boy band ever!” 

The project comes under the umbrella of CALM - or Campaign 

Against Living Miserably - the charity that exists to prevent male 

suicide in the UK. For those who aren’t familiar, a quick visit to 

theCALMzone.net 

website provides a staggering insight into 

how far-reaching the issue of male suicide is. The jaw-dropping 

statistics speak for themselves: about 75% of all suicides are 

male. It is the largest cause of deaths for males aged 15-35 in 

England and Wales. We lose more young men to suicide than to 

road accidents, murder and AIDS combined. 

The Love Triangle idea is this: get these three musicians into the 

studio to write a piece of music on the spot, to be released on the 

CALMzone website on Valentine’s Day. And not just any studio: the 

track will be recorded at the Motor Museum Studio in Liverpool 

(where the likes of Jake Bugg and Two Door Cinema Club have 

been committed to tape), with in-house producer Al Groves at the 

helm. And as if there weren’t enough people of Liverpool pedigree 

involved, established filmmaker Lee Isserow will be documenting 

the whole process for a making-of style video. 

As the Merseyside coordinator of CALM, Simon Howes points 

out that the charity has a long history of linking into the music 

scene, a logical way of connecting with a demographic that is at 

risk of suicide. He mentions the fact that in our culture musicians 

are allowed to open up about their emotions in a way that 

often isn’t as socially acceptable for ordinary blokes – hence the 


popular concepts of the ‘tortured soul’ or the ‘twisted genius’. A 

major part of the charity’s aim is to challenge the stereotypes 

that prevent ordinary men talking about the issues they face. 

According to Simon, as individual ambassadors for the charity, 

the three musicians involved “capture the essence of music 

in Merseyside” and appeal to men from all different scenes, 

highlighting that there is no ‘one size fits all’ model for what 

men should be. 

Bido Lito! caught up with soulful folk singer Stephen Langstaff, 

one of the city’s brightest young voices, in a café on Bold Street 

ahead of the recording date to chat about the project. 

Stephen admits that he wasn’t aware of the statistics around 

male suicide until meeting members of the organisation, whom 

he describes as being “very passionate” and “on a mission”. From 

there it was an easy decision to get involved as an ambassador. 

“It’s crazy because there must be people who have committed 

suicide who literally would only needed to have spoken to some 

mates about it. Whatever’s on their mind, get it off their chest. 

And it helps. It’s such a simple thing. CALM is offering a hand to 

people who either feel that they can’t initially talk to a friend – or 

maybe even don’t have someone.” 

While the three artists who make up the Love Triangle have 

met briefly, Stephen admits he has no idea what the musical 

output might sound like. “It’s like a food experiment: let’s see if 

chorizo works with peanut butter!’ he laughs. “I’m excited about 

it. Esco’s got a great energy about him, and I like that. He’s got a 

soulful voice which I can relate to, but he’s also got the hip hop 

thing going and it will be interesting to see if he pushes that. It 

will be good to get out of my comfort zone!” 

For artists, music can be the obvious outlet for the kind of 

emotion that many others might struggle to express. Stephen 

agrees: “Absolutely, it gets everything off your chest. Sometimes 

you write something that just has to be written, because if you 

don’t write it you’ll go nuts. You just have to let it out.” However, 

he says he’s careful not to get bogged down in the negativity. 

“I try not to be too confessional. If you come to a gig I don’t 

want to be just ‘woe is me’ onstage. You have to bare your 

soul and I believe in that big time. But I want to have some 

fun as well.” 

As Simon Howe of CALM explains, now can be a confusing time 

to be a male: “bombarded with conflicting messages telling you 

simultaneously to man up, be more in touch with your feminine 

side, to be a better partner, to moisturise regularly.” He says there 

are urban myths that perpetuate certain stereotypes – such as 

the idea that when a relationship ends blokes will just go to 

the pub and say ‘oh well, plenty more fish in the sea’. Part of 

the idea of having a project focusing on Valentine’s Day is about 

highlighting the reality that relationships hit men hard too, and 

talking about the rarely focused-on frustration and loneliness 

that can accompany the day. The project is all about turning 

potential problems into something positive. 

As Stephen says: “Everyone gets low. The truth is things are so 

much bigger in your head than what they are outside. So when 

you tell someone you’re actually able to reduce the size of it, just 

through talking to someone. So that’s the first step. To just draw 

a line and say ‘I’m moving on now’. You can work through any 

problem; I do believe that, definitely.” 

For the listener and fan, music can often function as a kind 

of catharsis and source of inspiration, as well as a constant 

companion. Stephen says: “That’s one of the functions I think of 

a real artist, to say things that other people can’t, which enables 

them to go on the same journey with you. Obviously if you’re 

able to write music, or poetry or whatever, and you’ve been given 

that gift, there should be a reason for it. And I think it is to write 

things that say something that other people can relate to, that 

will release something in them.” 

To keep up-to-date with the CALM Love Triangle project, to see 

the making-of video, and to stream the finished track on 14th 

February visit thecalmzone.net


18 


In November 2012, Liverpool Vision launched its new Strategic 

Investment Framework (SIF), a document that outlines a fifteen-year 

vision for the city centre. The plan has been deliberately designed 

to ‘promote strategically identified economic priorities’ and follows 

on from the City Centre Strategic Regeneration Framework (SRF), 

launched in 2001, which resulted in the 2008 Capital of Culture and 

the Liverpool ONE development. 

Encouragingly, the plan outlines support for the growth of 

the creative industries in the city, a prioritising of the culture and 

visitor economy and also ongoing support for the development of 

Liverpool’s ‘individual sense of place’ (an idea brought into focus 

as cities become evermore competitive for investment, profile and 

visitor numbers while often, and somewhat ironically, become 

evermore homogenised). 

On the face of it, this seems like good news for grassroots 

culture in the city. After all many would support the idea that 

the city’s ever developing and morphing home-grown grassroots 

creative culture, and its people, play a hugely important role in its 

unique sense of place. 

The SIF aims to promote Liverpool as a capital of major cultural 

events and will look to support ongoing programmes that 

serve to enhance 

a positive image 

of the city, attract 

visitors and share 

economic 

benefit. 

(Encouragingly 

Liverpool 

Biennial, 

Liverpool 

Sound 

City and The Arabic 

Arts Festival are all 

cited as successful 

examples 

of 

such events.) But 

does this support 

spread to our city’s 

grassroots 

cultural 

organisations? 

In their December 

2011 issue, the 

internationally 

regarded 

Creative 

Review ran an 

extended feature celebrating Liverpool’s 

thriving independent creative scene and 

making the assertion that “a stone’s 

throw from the multibillion pound 

developments of Liverpool ONE and 

the Albert Dock a vibrant independent creative scene is thriving in 

Liverpool”. The whistle-stop-tour article included artist Framedink, 

photographer Adam Murray-Brown, Lost Art Skateshop, illustrator 

Kev Grey, Bold Street Coffee, The Well, Gary ‘Horse’ McGarvey aka 

Screenadelica, The Kazimier and clothing line CadeandTodd. 

The piece remarked on a stark sense of people “committed 

to doing it for themselves or not at all, partly out of recognition 

that independence is always better and partly from seeing other 

projects wither when funding was withdrawn”. It also identified 

the availability of cheap, affordable space, particularly around 

the Ropewalks, as a key factor for supporting the burgeoning 

creative community and hoped that “creative types up and down 

the country will be able to take advantage of this situation in the 

coming years”. 

The article was based largely on the collective community around 

Wolstenholme Creative Space, celebrating its role in providing 

affordable studio space for a vibrant mix of artists. Yet here is a 

cruel, uncomfortable irony: the SIF plan was published almost a 

year to the day after the Creative Review article ran and, barely as 

the ink had dried, Wolstenholme Creative Space was boarded up. 

There are various reasons for Wolstenholme Creative Space’s 

end (it would be simplistic to try and park blame at a specific 

individual’s or organisation’s door) but its closure, despite a 

widely-held regard of its importance to the local creative scene, 

endorsed on an international level by Creative Review, is to be 

lamented. The case also demonstrates a worrying trend. The 

availability of cheap rental space is a key factor for the flourishing 

of grassroots creative communities (a point identified in the 

Creative Review article and noted above) in cities across the world 

- Berlin has enjoyed the benefits of this for decades - yet the SIF 

notes that “Ropewalks still has gaps to fill with derelict buildings 

and development sites throughout the area. It needs to attract 

more investment and development activity to accommodate 

more creative and digital businesses, apartments and cultural 

attractions”. It is vitally important that the creative and cultural 

organisations currently calling these ‘development sites’ home 

have a stake and a say in their future. 

As well as bringing into focus the 

challenges on an organic level, the 

aforementioned Creative Review 

article also profiled the now-demised Contemporary Urban 

Centre, demonstrating the pressures at both a grassroots and 

high budget, flagship project level. This emphasises the need for 

a balance to be struck between protecting our grassroots scene 

with support and encouraging engagement and – where needed 

– investment and infrastructure. 

Another related point brought into focus within the SIF is the 

desire to increase the city centre population to over 42,000, “the 

largest of any UK city in the core of the city centre”. After the 

banning of live music at Static Gallery in 2012 due to noise issues, 

a case that brought into focus the ongoing friction between the 

city centre as a place for both sleep and play, such a population rise 

will bring with it further challenges. 

So, does the SIF have the ongoing support of Liverpool’s 

grassroots culture at its heart? The issues outlined above highlight 

some initial challenges and, after twelve months of ongoing 

council rates’ disputes, noise abatement orders, funding cuts and 

economic pressures, is the SIF a plan that can help facilitate the 

flourishing of our grassroots cultural sector? 

Because, on the face of it, it should be. If the motivations really 

are for the growth of the creative industries in the city, a prioritising 

of the culture and visitor economy and support for the development 

of Liverpool’s individual sense of place, then we should be moving 

into a new period of support for Liverpool’s grassroots creatives. 

By its very nature, the grassroots creative culture of our city is 

particularly disparate, with lots of small collectives and individuals. 

The artists, independent retailers, photographers, designers, 

publishers, promoters, performance spaces, theatre groups, dance 

troupes, musicians, galleries, recording and rehearsal studios, 

tech start-ups, production companies, festivals, independent cafes 

and bars, printers, and the myriad of creative thinkers, doers and 

makers are what make our city truly marvellous, that make this 

place what it is. 

This is a sector of vital economic and cultural worth. If it 

is to be understood, valued and supported, it needs strong 

representation within the city level decision-making process, and 

a real understanding of its intrinsic worth to the city. It needs 

collective representation equal to the individual representation 

of Liverpool’s large arts organisations, a position into which (with 

support) today’s grassroots organisations can blossom in the 

years to come. 

And 

seeking 

representation 

is not through 

some desire to 

provide obstacles 

and 

halt 

development. 

As much as 

anybody 

else, 

we want to see 

Liverpool continue to 

progress and flourish 

beyond the current 

challenges. We want 

to understand our 

role in, and be part 

of, a plan for the 

future that has every 

individual and community within our city 

at its heart. In order to achieve this, our 

grassroots creative sector needs a seat at 

the table. 

To begin such conversations, Bido Lito! 

Magazine will be hosting CULTURE FORUM, an open public 

meeting presented at Fall Out Factory, Dale Street, on 7th February 

2013. The meeting’s full title is: 

CULTURE FORUM: Establishing City Level Representation 

For The Liverpool Grassroots Creative Sector 

The event will feature a panel of representatives from Liverpool’s 

grassroots creative sector, the city’s large arts organisations, 

Liverpool Vision (the city’s economic development company 

who commissioned the SIF), and Culture Liverpool (Liverpool City 

Council). It will also include an audience of you, our grassroots 

creative community. 

If you want to make sure that Liverpool’s grassroots creative 

sector is central to the future vision of our city, please attend. The 

event is free and you can register at bidolito.co.uk 



18 

























































































































































































































































































































































































































































































































































economic 

benefit. 

economic 

benefit. 

economic 

benefit. 

economic 

benefit. 

economic 

benefit. 

economic 

benefit. 

economic 

benefit. 

economic 

benefit. 

economic 

benefit. 

economic 

benefit. 

economic 

benefit. 














Liverpool 

Biennial, 

Liverpool 

Biennial, 

Liverpool 

Biennial, 

Liverpool 

Biennial, 

Liverpool 

Biennial, 

Liverpool 

Biennial, 

Liverpool 

Biennial, 

Liverpool 

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Liverpool 

Biennial, 

Liverpool 

Biennial, 

Liverpool 

Biennial, 

Liverpool 

Biennial, 

Liverpool 

Biennial, 

Liverpool 

Biennial, 

Liverpool 

Biennial, 

Liverpool 

Biennial, 

Liverpool 

Biennial, 

Liverpool 

Biennial, 

Liverpool 

Biennial, 

Liverpool 

Biennial, 

Liverpool 

Biennial, 

Liverpool 

Sound 

Liverpool 

Sound 

Liverpool 

Sound 

Liverpool 

Sound 

Liverpool 

Sound 

Liverpool 

Sound 

Liverpool 

Sound 

Liverpool 

Sound 

Liverpool 

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Liverpool 

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examples 

of 

examples 

of 

examples 

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examples 

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examples 

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examples 

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grassroots 

cultural 

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grassroots 

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regarded 

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regarded 

Creative 

regarded 

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regarded 

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affordable studio space for a vibrant mix of artists. Yet here is a 

cruel, uncomfortable irony: the SIF plan was published almost a 

year to the day after the Creative Review article ran and, barely as 

the ink had dried, Wolstenholme Creative Space was boarded up. 

There are various reasons for Wolstenholme Creative Space’s 

end (it would be simplistic to try and park blame at a specific 

individual’s or organisation’s door) but its closure, despite a 

widely-held regard of its importance to the local creative scene, 

endorsed on an international level by Creative Review, is to be 

lamented. The case also demonstrates a worrying trend. The 

availability of cheap rental space is a key factor for the flourishing 

of grassroots creative communities (a point identified in the 




































































































and development sites

Out Of The Bedroom 

ACOUSTIC 

HOSTED BY JOHNNY SANDS 

EVERY TUESDAY 8.30PM 

Bring your own instrument 

and original songs 

LEAF ON BOLD ST. 65-67 Bold Street, Liverpool, L1 4EZ

20 


Previews/Shorts 

Edited by Richard Lewis - middle8@bidolito.co.uk 

EAGULLS 

In what is likely to be a 

packed-out affair at MelloMello, 

punk quintet EAGULLS bring their 

furious live show to town. Fresh 

from supporting punk legends 

Buzzcocks on tour, sterling support comes in the shape of The Futureheads’ punk side 

project RIVALS. RIVER CAVES, which feature former members of local thrash merchants 

SSS, complete an excellent bill. 

MelloMello – 23rd February 

ICEAGE 

Danish punks ICEAGE bring the 

noise to the imminently suited 

environs of The Hold. 

Recently 

signed to indie label par excellence 

Matador (Sonic Youth, Cat Power, 

Kurt Vile) the Copenhagen quartet are set to release their highly anticipated second 

album in February. Prior to that catch them here before they inevitably move into bigger 

live spaces. 

The Shipping Forecast - 26th February 

Described as the ‘new sound of 

UK Jazz’ by BBC Radio 1 DJ Gilles 

ROLLER TRIO 

Peterson, Leeds outfit ROLLER TRIO 

are a visceral stew of conventional 

and experimental sounds, their 

tracks taking in thrashy noise, stonking riffs and electronic soundscapes. The show forms 

part of the first ever Liverpool International Jazz Festival, running between 28th February 

and 3rd March at The Capstone. 

The Capstone Theatre – 28th February 

Mazes 

After the huge success of the inaugural Liverpool International Festival Of Psychedelia last year, the 

event returns in late September as a two-day extravaganza. Prior to that, and to whet the appetite of all 

interested psychonauts, the first of several sonic appetisers comes strongly recommended. 

Pitching up in Blow-Up-esque Blade Factory, rising alt rock trio MAZES headline the first taster for the 

2013 event. Drawing from the fertile 1990s era of US alt rock (Pavement, Guided By Voices, Go-Betweens), 

the Mancunians supplement this with a smattering of pop hooks. Building a sizeable reputation live, the 

three-piece are fresh from supporting The Cribs on a nationwide tour. On the road to coincide with their 

imminent second album Ores And Minerals, due for release on Fat Cat Records on 18th February, the new 

record marks a strident step forward from critically-acclaimed debut LP A Thousand Heys. 

Support on the night comes from local diviners of psychedelic noise ALIEN BALLROOM (previously 

known as Koolaid Global Tyranny). Making one of their first live appearances, the ensemble’s new long 

player Zero PAC A.D., released on Agitated Records, features seven swooning cuts of vintage psych sounds 

for the discerning space traveller. The line-up is completed by MIND MOUNTAIN’s heavy jams, and Liverpool 

Psych Fest DJ ONLY RECORDS WILL SAVE US ALL will be on hand to spin the discs. 

The Blade Factory – 22nd February 

LEE ‘SCRATCH’ PERRY 

The Godfather of Dub and the 

high priest of reggae, LEE ‘SCRATCH’ 

PERRY is a bona fide living legend. 

Via his mixing board experiments in 

the early 1970s, Perry was one of the 

first exponents of dub, while his own self-built studio The Black Ark saw him become producer 

to scores of acts. A must see. 

Eric’s - 17th February 

PATRICK WOLF 

The ornate surroundings of 

the Epstein Theatre will host a 

special performance by PATRICK 

WOLF, marking a decade since his 

debut LP Lycanthropy. Wolf’s world 

tour is a tenth anniversary celebration, with recent LP Sundark And Riverlight featuring 

re-recorded, acoustic versions of earlier works that saw the genre-defying singer return to 

his roots as a folk singer. 

The Epstein Theatre - 7th February 

The spirit of New Orleans will 

be in evidence at this boozy, 

MELLOMELLO BIG FAT MARDI GRAS 

brassy party. A Cajun feast and 

traditional Mardi Gras tipples will 

accompany the ever-marvellous 

EDGAR JONES, SPEAKEASY BOOTLEG BAND and HARLEQUIN DYNAMITE BRASS BAND. There 

will also be a coronation for the Carnival King and Queen, chosen the traditional way by 

the ceremonial sharing of King Cake and some Golden Beans. Proceeds will go towards 

The New Orleans Musicians Relief Fund. 

MelloMello - 9th February 

Freeze Present... The Bedrock Warehouse Party 

Founded by DJs JOHN 

DIGWEED 

and John Muir, BEDROCK bring some of dance music’s stalwarts and 

hottest new talent to Camp And Furnace. Best known as one half of Ministry of Sound residents Sasha and 

Digweed, and radio show Transitions which boasts 14 million listeners worldwide, Digweed continues to 

maintain a schedule few DJs can match. In command for a full five-hour slot, Digweed will be supported by 

Freeze resident and 3B Records kingpin JEMMY, fresh from recent Bedrock release Quarry Bank. 

Room Two, meanwhile, is hosted by locals Waxxx who will provide an eclectic mix of everything from 

bass music, off-kilter funk, disco and house. The headlining slot comes courtesy of NEIL BARNES, best 

known as part of dance music pioneers Leftfield, one of the most influential acts ever to hit the genre. 

Currently in the studio honing new material, a very rare DJ set will see him road-testing several of these 

new tracks. A DJ set from FRIENDLY FIRES comprises the accompanying headline performance. Liverpool 

legend GREG WILSON also features, along with Merc Music boss MARK E. Strong local support comes in 

the form of mUmU resident ADELE MOSS (whose recent gigs include Fabric and the Warehouse Project), 

THOMAS TUFT of Juice FM, and Waxxx and Disctoeca Poca stalwart MR PAUL. 

Camp And Furnace – 9th February 

Photo by Carlos Armando 


Liverpool International 

Jazz Festival 

Jazz 

Roller Trio 

Led Bib 

Robert Mitchell 

Kit Downes Quintet 

Denys Baptiste’s 

Triumvirate 

Courtney Pine 

House of Legends 

Festival 

28/2 - 3/3 2Ol3 

Martin Smith’s 

The Weave 

GORP 

White Canvas 

Perri and Neil Quartet 

Blind Monk Trio 

To book tickets 

Call: 0844 8000 410 

Visit: www.thecapstonetheatre.com

Liverpool’s International Arts Venue 

What’s On - Spring Season 

For full listings visit www.thecapstonetheatre.com 

Joe Stilgoe 

Friday 8th February 


£12.50 

Ethan Johns 

Wednesday 13th February 


£10 

Juan Martin Flamenco 

Dance Ensemble 

Sunday 17th February 


£17.50 

June Tabor 

Friday 22nd March 


£17.50 

Manu Delago 

Handmade 

Friday 19th April 


£12.50 

Sonar 

Friday 3rd May 


£12.50 

To book tickets: 

Call: 0844 8000 410 

Visit: www.thecapstonetheatre.com

24 


Reviews 

ALLAH-LAS 

Temples – Mohebbi 

Harvest Sun @ Leaf 

First up in our psychedelic triple are Liverpool’s 

very own MOHEBBI. Although all of the bands 

performing tonight describe themselves, in one 

way or another, as psychedelic, it’s Mohebbi 

who delve into the darker side of the genre. 

Their songs - especially Portmanteau, with its 

appropriately melancholic use of a harmonica, 

and Breaking You Down, with its pounding, 

thunderous drumming – are a perfect mix of 

swagger and bluesy heartbreak. It’s a great start 

to the evening and they’ve set the bar high. 

TEMPLES shuffle on stage soon after with, one 

could argue, a bigger buzz around them than the 

headliners. The place is packed as the Kettering 

four-piece dive head first into their well-tuned 

British psychedelia. These lads are fans of the 

years ’65 through to ’68 and they don’t mind 

letting you know about it. The spooky Golden 

Thrones is all blissful and chiming before a quick 

burst of fuzzy, dirty guitars crashes in. It also 

contains a subtly catchy chorus that will ride 

around in your head for days. The rest of the set is 

good, though there’s work to be done - however, 

they’ve only been together about six months so 

we can cut them some slack. Inevitably, they 

finish with single Shelter Song and remind us 

all why they’re on just about everybody’s list for 

2013. Think Tame Impala, doing an impression of 

The Pretty Things, covering something between 

Rubber Soul and Revolver. 

By the time headliners ALLAH-LAS step 

onstage the place is rammed. Singer and 

guitarist Miles Michaud says his hellos and the 

band kick off with the hypnotic Don’t You Forget 

and Tell Me (What’s On Your Mind). Both songs 

perfectly demonstrate the band’s love for gentle 

mid-60s garage rock, with the latter showing 

off Michaud’s impressive Jagger-esque delivery. 

A short, and rather intense, instrumental leads 

straight into Sandy: a gem of a song – or, more 

aptly, a dark crystal. It’s one of the standouts in 

the band’s impressive collection of songs and 

tonight it shimmers like a flame that’s been 

painted black. The band are on a roll now as they 

give us the destined-to-be-a-single Busman’s 

Holiday, before throwing out a rather ordinary 

unreleased tune. It’s strategically placed on 

the setlist to give single Catamaran that extra 

knockout blow. And it works. The song’s smooth 

RnB puts your mind on a one-way surfboard to 

a baking hot Californian beach, and leaves you 

there grinning with an ice cold beer in hand. 

There’s half a second of silence before any 

applause, as the audience shake themselves 

out of the spell they’ve just been put under. 

Returning promptly for an unexpected encore, 

Michaud steps aside to let drummer Matt Correia 

have his Ringo moment on a slightly heavier 

than normal Long Journey. They needn’t have 

bothered: their voices sound almost identical. 

And with that the California daze dissipates: 

when can they come back? 

THE RAVEONETTES 

Eric’s 

Jordan Doyle 

As soon as great Danes THE RAVEONETTES 

take the stage, all eyes turn towards the elfin 

beauty of Sharin Foo (Vocals/Guitar/Bass). It’s 

easy for fans, writers and photographers to 

be drawn towards a pretty face and ultimately 

distracted, but the Scandinavian duo have more 

than enough in the tank musically to pull even 

the most priapismic person in attendance from 

such easy aesthetic qualities. Ably assisted by 

bandmate Sune Wagner, The Raveonettes are 

at once loud, enigmatic and addictive. The more 

attentive of attendees here might be able to 

spot a slew of different influences: the melodic 

feedback of the Jesus & Mary Chain, the peaceful 

vocal melodies of the Everly Brothers, and the 

dark, mysterious and sad reality-imbued lyrics of 

the Velvet Underground. Bands like Glasvegas, 

whose fans would probably cite very similar 

influences, have done nothing but utterly 

stink out the joint since day one so thank your 

stars that The Raveonettes are able to digest 

The Raveonettes (Marie Hazelwood) 

their inspiration and whittle it into something 

palatable and serious, lacking any of the 

mawkish and unintentionally hilarious qualities 

of their contemporaries. 

On the road in support of their latest LP 

Observator, the pair, supplemented by a touring 

drummer, make the most of Eric’s low ceilings 

and, at times, shattering acoustics to deliver a 

very memorable set, one that traverses jangly 

pop, moody swing, Spector-esque wall of sound 

techniques and, towards the end, the macabre 

and foreboding hand-on-the-shoulder of drawnout 

metal chords. It’s all about the atmosphere 

tonight, with bright lights and even a smoke 

machine lending the proceedings a feeling akin 

to the last disco on Earth. 

Cuts like their newest album’s opening track 

Young And Cold, as well as certified corkers Love 

In A Trashcan, Attack Of The Ghost Riders and Cops 

On Our Tail, are more than enough ammo to keep 

a swollen audience both enthralled and baying 

for more. Each of the band’s members is cast 

in long shadows across the audience, feeding 

like vampires on their enthusiasm. Switching 

instruments regularly, Wagner and Foo don’t miss 

a beat, the fug of noise and smoke providing 

enough cover for the technicalities before they 

delve deep into the heart of another song. 

Some in the audience stand open-mouthed, 

heads bobbing loosely along in time with tunes 

that offer a warm embrace, before casting out 

with a characteristic coldness that has you 

returning for more and more. Come the end of 

the show, with the band doing an informal meet 

and greet session, they seem both genuinely 

surprised and equally as happy with the plaudits 

and congratulations tumbling towards them. 

Not so much a Viking invasion as almost total 

assimilation. Much like the nation that bore 

them, The Raveonettes are ice-cool, distant and 

expansive, with multiple layers hiding the truth 

from the surface. 

Joseph Viney 

PEACE 

Virals 

Evol @ The Kazimier 

Birmingham youngsters PEACE are on the 

cusp of massivedom. Now that they’re selling 

out London shows and their singles are getting 

played all over the place, plus the fact they’ve 

bagged a coveted slot on the upcoming NME 

tour, one can’t help wondering what heights the 

future holds for these boys. 

VIRALS, who are on before, don’t help much 

in the way of raising excitement. Pink-mopped 

former Lovvers frontman Shaun Hencher pulls 90s 

rock moves not at all befitting the lightweight, 

sunny LA pop that his band play. One gets the 

sense he’s playing more for his bedroom mirror 

than for us - there’s even a knee slide towards 

the end. Which would be great if the music stood 

out, but it doesn’t – it sounds a lot like Ty Segall 

with all semblance of edginess removed. 

After some technical fiddler, Peace are on 

and launch straight into 1998, a cover of an 80s 

trance classic, which surprises for its early Pink 

Floyd-style noodling. It’s instantly apparent that 

we are not watching the latest indie upstarts off 

the production line – these guys can really, really 

play. Though several radio-friendly singles attest 

that Peace are capable of a very polished sound, 

this performance instantly demonstrates that 

they aren’t afraid to the break the mould, not to 

mention the three-minute radio slot. 

Technically brilliant though it is, it falls flat on 

an audience who want the hits – it’s not until 

jaunty single Wraith that there are movements 

in the ranks. And unfortunately this sets the tone 

for the night – though the band put in a solid set 

there is little effort to engage the crowd, and 

little love coming back. 

Five songs in, vocalist Harrison Koisser (whose 

twin brother Sam is on bass) quips, “This is our 

last song. Just kidding!” ahead of their luminous 

ballad California Daze. The song proves that 

it’s impossible to nail down this band’s sound, 

but who needs to – they’ve a knack for writing 

tracks that are catchy but in no way throwaway. 

Though there are moments that evoke Foals 

and Vampire Weekend, above all it is their own 

sound that shines through – as well as the secret 


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26 Bido Lito! February 2013 

Reviews 

weapons that they have in Harrison Koisser and 

powerhouse drummer Dominic Boyce. 

Bloodshake gets a positive response, but just 

45 minutes in and the set’s all over. It’s difficult 

to pinpoint what’s missing tonight. Are the band 

lazy, used to an adoring and rabid crowd? Or is it 

just an off night? Time will tell. Either way there’s 

bucketloads of potential here, and as they get 

swept into the star-making machine we can only 

hope they manage to build upon their strengths 

without completely sanding off their edges. 

Jennifer Perkin 

JAMES BLAKE 

Melé 

Abandon Silence @ The Shipping Forecast 

Since his last appearance in Liverpool, local 

producer MELÉ has been championed by Annie 

Mac, appeared in The Boiler Room and produced 

official remixes for the likes of Wretch-32 and 

EMI upstarts Bastille. So it is with intrigue and 

excitement that we await his 12 o’clock return to 

the intimate setting of The Hold. Animated as ever, 

Melé brings the party right from the off, almost 

bouncing off the walls as he takes us through 

a highlights reel of the last twelve months in 

electronic music. Flanked by Radio 1’s newest 

resident Monki, he treats us to an astonishingly 

energetic set, dropping tracks like Meek Mill’s 

House Party, his own 

Beamer, and - most 

explosively - Joy Orbison and Boddika’s Mercy 

(Boddika’s VIP) with a confidence only acquired 

when you’ve enjoyed the type of year he has. 

As the final song fades and rapturous applause 

ensues, the mutual love between the young DJ 

and his local scene radiates from all corners. 

The evening’s headliner JAMES BLAKE cuts an 

imposing figure as he towers over the booth, 

easing us into his set with some previously 

unheard new material. The twitchy, stop-start 

beats move quickly and suddenly, ducking and 

weaving their way tantalisingly close to the 

payoff where your ears might expect them. 

Technically brilliant as it is, it’s difficult to ignore 

the somewhat subdued atmosphere, as the 

challenging early moments of his set present 

James Blake (Matthew Ball) 

a bit of a comedown from the exuberance of 

Melé just moments earlier. The introduction of 

Digital Mystikz’s seminal Earth A Run Red injects 

some much-needed energy though, as reverent 

nodding heads are dispelled by ecstatic pumping 

fists and the scene becomes much more familiar. 

We are soon taken even closer to Croydon’s Big 

Apple as Skream’s 2006 classic Glamma reminds 

us why we were all so excited by dubstep before 

it collapsed in on itself, the audience clearly 

appreciating these tunes that are becoming 

more and more of an enigma in today’s shows. 

90s RnB makes an appearance (as it did with his 

2012 CMYK EP), as his own Harmonimix remix 

of Bills Bills Bills teases you with that sample 

before crushing it almost beyond recognition, 

integrating pop and experimental flourishes 

much like his career has to-date. 

As 3am approaches and departure beckons, 

Blake abruptly halts proceedings and demands 

everyone’s attention with a moment of silence, 

before delivering a final masterstroke in 

what has been a riveting two-hour set: a full, 

unedited version of Purple Rain. Now forgive 

me if hyperbole gets the better of me on this 

occasion, but as all 250 audience members sing 

in unison, arm in arm, until the very last refrain, 

you are forced to remind yourself that you’re not 

in a John Hughes movie and these moments are 

actually unfolding in front of you. 

2012 has been a year of immeasurable 

improvements for electronic music in Liverpool, with 

new promoters bringing in the country’s finest and 

most challenging artists week in week out. Tonight, 

the best local talent and one of the country’s 

biggest names stand shoulder to shoulder: Melé 

and James Blake have produced a night that will 

be retold and reminisced over for weeks to come, 

encapsulating this exciting, ambitious and thriving 

scene in which we find ourselves. 

RODRIGUEZ 

Mike Townsend 

Harvest Sun @ Philharmonic Hall 

Cult hero SIXTO RODRIGUEZ has landed at The 

Phil; the man whose real-life fairytale reads like a

Reviews 


27


Reviews 

film script: Detroit folk singer releases two wellreceived 

but non-selling albums in the early 70s 

then disappears. Subsequently, his work proves 

extremely successful and influential in South 

Africa, becoming the soundtrack to apartheid, 

with him being held in the same regard as Elvis 

and The Beatles. Two fans in the 1990s decide to 

look into the widely accepted rumours about the 

manner of his apparent suicide, and record the 

whole adventure. SPOLIER ALERT – a certain folk 

singer discovers that his artistic dreams came 

true after all, even if he wasn’t aware of it. 

And so we find ourselves in Liverpool, 2012. A 

city with a penchant for the cult hero rather than 

the commercial, one which holds these heroes 

in the same regard as their more famous peers 

- Arthur Lee and Don Van Vliet anyone? Both 

adopted sons, Lee’s gigs with Shack meant a lot 

more than those who don’t know can realise, 

as did Vliet’s first-ever art exhibition, which took 

place at The Bluecoat in 1972. Tonight really feels 

like something in the same vein. Huge credit 

must go to the promoter for bringing us this 

landmark show. 

Rodriguez emerges, top to toe in leather and a 

cowboy hat, prompting someone in the audience 

to shout, “You look cool, la!” Bizarrely, he does, 

instantly boosting his cowboy credentials with 

a searing, poignant solo rendition of the Don 

Gibson classic Sea Of Heartbreak. 

Next comes the first of tonight’s three covers, 

All My Loving. Though not a perfect performance 

by any stretch of the imagination it’s a great 

choice to which the crowd responds fittingly. Yet, 

there are rumblings from people who bemoan 

that it’s not a note-perfect rendition, maybe even 

viewing the performance as a mistake. But then 

they’re probably of the same persuasion as the 

folk who complained that the sound at Spike 

Island was shit. Overall, the set veers between 

the graceful and the sublime: Sugar Man feels 

like a homecoming, Blue Suede Shoes is a wig 

out, and I feel lucky to have a face left after the 

eruption that greets Only Good For Conversation. 

The ferocity in this, and indeed some of the set’s 

heavier moments, is surprising. 

Stealing Sheep (Mike Sheerin) 

Tonight feels like nothing short of a triumph, 

regardless of the odd musical glitch: a triumph 

in the planning, delivery, impact and importance. 

“It’s been an honour, a pleasure and a privilege,” 

to quote the great man. Indeed. 

STEALING SHEEP 

The Left Hand - Ex-Easter Island Head 

P. Lee 

The Kazimier 

Early doors and a bustling Kazimier sees a 

mesmerising opening slot from EX-EASTER ISLAND 

HEAD sate the early arrivals. With their tablemounted 

guitars set up immediately in front of 

the stage, the orchestra pit performance allows 

onlookers to witness the group at close quarters. 

After a brief introduction, Mallet Guitars 3 is 

played in its entirety; the three players, heads 

bowed and concentrating intently, weave the 

track’s dense textures. Opening with a phase 

that chimes like the distant pealing of church 

bells, the piece grows in volume and intensity, 

gradually changing shape until the final section 

resembles the score from the closing scenes of 

2001: A Space Odyssey. 

On the subject of exploring far-flung galaxies, 

self-described ‘Resident Band of the International 

Space Station’ THE LEFT HAND follow. Piloting 

their craft through the same billowing cloud of 

stoner rock smoke exhaled by Dinosaur Jr. in the 

early 90s, the trio supplement their XL axe riffs 

with helpings of HMHB surrealism and swelling 

Hammond organ crescendos. 

Hidden behind a J. Masics-style curtain of hair, 

Joe McLaughlin leads proceedings, the threepiece 

alternately tight and lackadaisical, their 

long spaced-out grooves loping along with 

Dead Skeletons-style fervour. 

With the venue at near capacity, STEALING 

SHEEP descend from the dressing room and 

launch straight into opening salvo The Garden, 

prompting thoughts of whether the open space 

to the rear of the venue might have served as 

inspiration. After ironing-out some sonic creases

Reviews 

Bido Lito! February 2013 29

in the sound early on, with Emily Lansley’s 

wondrous guitar-work slightly submerged in the 

mix, the trio turn in a dazzling display. 

The final tranche of gigs following the warm 

reception for Into the Diamond Sun, the constant 

metronomic swaying of those gathered stagefront 

and the rapport between the three players 

all add to an effortlessly confident performance. 

A superb rendition of Re-Arrange sees the 

balcony behind the stage pressed into service, 

as escapees from the diamond mine featured 

in the single’s video appear in silhouette before 

rhythmically working their way down the steps 

on to join the band. 

A clangourous I Am the Rain, meanwhile, 

improves on even the studio version, the 

enveloping harmonies ringing out across the 

crowd, anchored by Lucy Mercer’s percussive 

thuds on drums. Led by Lansley’s bewildering 

guitar lines, frequently achieving the effect of 

sounding like the work of more than one player, 

Genevieve, the zenith of their songwriting 

thus far, supplies the set’s highpoint, the track 

compacting the essence of the band’s gleaming 

psych pop into three exacting minutes. 

Unsurprisingly dropped into the set late on, 

signature tune Shut Eye provides a suitably 

rousing finale, building from its nursery rhyme 

beginnings to something almost approaching 

a carnival procession. A fitting end to an 

extraordinary year all told. 

Richard Lewis 

GALLON DRUNK 

Girlsweat - Sidney Bailey’s No 

Good Punchin’ Clowns 

Howl At The Moon @ The Kazimier 

Ex-Bad Seeds guitarist James Johnston 

captains the good ship GALLON DRUNK through 

a performance at the Kazimier tonight which is 

as thrilling as it is macabre. The ‘swamp rock’ 

foursome, now in their umpteenth incarnation 

since the band’s inception way back in 1988, 

are on tour promoting their seventh long player, 

The Road Gets Darker From Here, and we’re in 

attendance to confirm that their blues-tinged, 

bass-heavy rumblings were, well, always pretty 

damn dark to begin with. 

Before we’re treated to a glimpse of the 

darkness however, the reverend SIDNEY BAILEY 

and his NO-GOOD PUNCHIN’ CLOWNS invite 

us to see the light. Their ragtime ditties, which 

include the tale of an alcoholic preacher whose 

affliction ends up getting him ex-communicated, 

are delivered with light-hearted authority by 

Sidney, who intersperses his “sermons” with 

solos on his trademark ceramic jug. It gives the 

term ‘blowhard’ a whole new meaning. Sidney 

Bailey’s have gone from quiet novelty act to one 

which has resurrected (no pun intended) and 

done justice to a lost genre. 

Leeds noise act GIRLSWEAT are up next with a 

trashy, lo-fi concoction of bass, drums, keyboards


Reviews 

and pedal steel guitar. Leaning slightly towards 

the avant-garde end of punk rock, and recalling 

local noise stalwarts Dirtblonde, they set to work 

assaulting the senses with a fury and nihilism 

which fails to make any real impression on the 

crowd. The cavernous, Cramps-esque vocals 

are delivered with plenty of chaotic energy 

but, perhaps sensing the polite bewilderment 

of their audience, Girlsweat end not with an 

anarchic bang, but with a moody whimper of 

digital silence. 

Gallon Drunk are touring their first album in 

five years and make a welcome return to the 

fray. They take the bold step of playing a clutch 

of new songs consecutively, clearly intent on 

massaging their material into the crowd. The 

snake-hipped Johnston is a strong presence 

and consummate musician, effortlessly juggling 

vocals, guitar, Hammond and harmonica. The 

multi-instrumentalism extends throughout the 

band - the set seems to be held together by a 

relentless maraca part, which is employed to 

maximum effect by saxophonist Terry Edwards, 

who plays both instruments simultaneously. 

Johnston leads us imperiously through a rollicking 

set, withering any indifference in the crowd with 

highlights Hangin’ On and A Thousand Years, 

before bringing us back down to earth with the 

marauding Doors-ian creep of Push The Boat Out, 

which has the punters in thrall. 

Ever the showman, Johnston finishes in 

the way every rock and roll band worth its 

salt should: by playing a riff on the face of a 

submissive audience member and hurling his 

axe into the arms of another, who joins in for a 

scintillating finale. 

CHILLY GONZALES 

Evol @ The Capstone Theatre 

Pete Charles 

Away from the city centre’s usual haunts, 

Gallon Drunk (Rob Rossington) 

an audience waits patiently in the purple-lit 

tranquillity of The Capstone Theatre. The lights 

dim, and CHILLY GONZALES appears, dashingly 

adorned in a satin smoking jacket, green socks 

and slippers. Illuminated by a solitary spotlight, 

he begins to play pieces from his latest album, 

Solo Piano II. 

Revealing his adventurous mastery of the 

piano, Gonzales plays with boundless range 

and ability. Songs meander into polyrhythmic 

outbursts as he entices percussive elements out 

of the piano, embracing the Steinway’s reach, 

unafraid of any note. White Keys - employing 

only the piano’s white notes - is emotive, 

considered and dynamically delicious, whilst 

other pieces are evocative of a horror movie 

soundtrack, dark and vengeful. His fourth piece 

is slow and sinister, with echoes of jazz, the left 

hand emitting bursts of despair. 

After this mesmeric introduction, Gonzales 

unveils his mysterious persona, and starts to 

engage with his audience. He describes the 

record Solo Piano II as a “platonic version of 

his music”, demanding the listeners to “fill 

in their own space”. The album is essentially 

a source from which to flourish, as Gonzales 

himself brings his album to life through each 

live performance. He declares that all music 

is “tension, followed by resolution”, providing 

insights into the methodology of songwriting, 

like a magician revealing his tricks. This breaks 

down the barrier between musician and 

audience letting us comprehend the most 

simplistic and vital codes of composition. 

Keen for a more hands-on approach to 

teaching, Gonzales invites lapsed ex-piano 

players from the audience onstage for a piano 

lesson. His first pupil is guided into composing 

a three-note song, in the style of Never Stop, 

made famous by an iPad advert. “People often 

make the mistake of trying to make songs 

too complicated,” explains our teacher, as he 

accompanies this three-note masterpiece,

Thu 21st February, 7:30pm. 

BARBARA NICE IS MRS. NICE 

STARRING PHOENIX NIGHTS’ JANICE CONNOLLY 

Sat 23rd February, 8:00pm. 

ZOE LYONS: : POP-UP COMIC 

Sun 24th February, 8:00pm. 

F:RATED COMEDY CLUB 

Thu 28th February, 7:30pm. 

FLORAL JAZZ NIGHT 

MARLENE VER PLANCK 

Wed 6th March, 7:30pm. 

MEGA STARS: 

A GRAND CHARITY VARIETY SHOW 

Thursday 7th March, 8:00pm. 

DUKE SPECIAL 

Sat 2nd February, 8:00pm. 

FAIRPORT CONVENTION 

Fri 8th February, 8:00pm. 

KELLY JOE PHELPS 

BROTHER SINNER & THE WHALE TOUR 

Sat 9th February, 7:30pm. 

LIVERPOOL MOZART ORCHESTRA 

Fri 15th February, 7:30pm. 

RICHARD DIGANCE 

Sat 16th February, 8:00pm. 

MIDGE URE 

Sun 17th February, 2:30pm. 

THE ELEPHANT BRIDESMAID 

Wed 20th February, 12:30pm. 

ROYAL LIVERPOOL 

PHILHARMONIC ORCHESTRA 

LUNCHTIME CONCERT SERIES 

Fri 8th & Sat 9th March. 

HAND IN HAND THEATRE 

THE CRUCIBLE 

Sat 16th March, 11:00am to 3:00pm. 

MDI FAMILY DANCE DAY 

Sat 16th March, 7:30pm. 

WORDS DON’T COME EASY TOUR 

DAVE SPIKEY WORDS DON’T COME EASY TOUR 

Wed 20th March, 7:30pm. 

BLACK BOX THEATRE COMPANY 

OTHELLO 

Fri 22nd March, 7:30pm. 

McCARTNEY: : YESTERDAY & TODAY 

A MUSICAL CELEBRATION 

Sat 23rd March, 7:30pm. 

LIVERPOOL MOZART ORCHESTRA 

Sun 24th March, 8:00pm. 

F:RATED COMEDY CLUB

steering it into different dynamics and moods, 

featuring demonic, crushing sounds as he slaps 

the low notes of the piano with his palms. 

Another audience member plays simple bass 

notes, whilst Gonzales whips out a pair of 

bongos and raps along in his Canadian drawl. 

Gonzales’ appreciation of rap music becomes 

clear with Rap Race, a homage to the genre, 

rife with comedic flair: “I took my inner Larry 

David and exaggerated it.” He relates to his 

struggle with the false optimism of major keys, 

explaining his love of the more protesting minor 

keys. Happy Birthday and Chariots Of Fire are 

then played in a minor key, with hilarious effect. 

For the final song, he commands the audience 

to hum a bassline, and the preceding standing 

ovation leads to an encore. Sweat drips from 

this great, lurching man as he slaps at each 

end of the piano, leaping up and down from his 

piano stool, using the pedals to vigorous effect. 

For the finale, Gonzales announces he will 

play his favourite song to emerge from Liverpool. 

Reluctantly expecting The Beatles, there is a 

sigh of elation when he plays Frankie Goes To 

Hollywood’s The Power Of Love. His mournful 

rendition creates a touching, sublime and 

sincerely festive end to the concert, and inspires 

more than a few promises to relearn the piano. 

Clarry M 

MISS STYLIE 

MelloMello 

The small and intimate venue of MelloMello 

seems to be an excellent fit for the dubstep 

wordsmith that is Jade MISS STYLIE Jackson. 

Friendly and with a slightly heady atmosphere, the 

casual stylings provide a relaxed backdrop for the 

gig. Stylie launches into her first track - a dominant 

bassline sluiced with grimy electro - and the crowd 

are instantly drawn closer to the stage. 

The Toxteth freestyler is on top form, dizzying 

the audience with spells of dirty street beats cast 

beneath lyrics that spit like bullets from a hyperspeed 

machine gun. Captivating and energetic, 

Stylie possesses a frenetic, wild energy that 

engages the crowd and draws them into sharing 

her performance. Throughout the set, Stylie is 

able to fuse a multitude of genres until you’re 

not quite sure where grime ends and hip hop 

begins. This is testament to her versatility and 

she exemplifies this on the night, oscillating 

effortlessly between hip hop, electro and house. 

The highlights scattered throughout her set 

are notably the tracks plucked from debut EP 

Heavy Salad, which was released at the end of 

October and features a collaboration with The Tea 

Street Band’s Timo Tierney and Lee Smith. Stylie 

manages to achieve the paradoxical effect of 

producing a polished, slick sound that has clearly 

seen a lot of hard work whilst still managing to 

retain a sense of unpredictability. There is the 

feeling that she may not follow the plan, but 

whatever she does bring, it’s guaranteed to be 

enjoyable. It is perhaps this dynamic that makes 

Miss Stylie so enjoyable to watch at every gig, 

and this performance is no exception. 

Lisa O’Dea 

CHAIN AND THE GANG 

Lovecraft – Ticks – Owls* 

Evol @ The Shipping Forecast 

We are gathered here tonight to witness the 

rock royalty that is USA’s Ian Svenonius. Through 

the medium of various bands, including Nation 

Of Ulysses and The Make-Up, as well as various 

solo projects, books and journalism, Svenonius 

has been sharing his anti-establishment world 

view with us since 1988. Tonight he fronts his 

latest incarnation CHAIN AND THE GANG, they of 

a distinctly sleazy 70s rock aesthetic. 

But first up we have a trio of home-grown 

talent from the fringes, starting with a moody 

set from the recently reemerged OWLS*. 

Following are über-geeks TICKS who, when they 

hit, pull off angular awkwardness in a darker 

Young Knives kind of way, but when they miss 

are just a bit… awkward. Affected quirkiness 

turns to genuine cringe when the singer says, 

“Sorry we’ve played for so long, we’ve almost 

finished.” No apology needed Ticks, you’re 

worth it. 

Things go from slightly strange to completely 

off tap when the ensemble known as LOVECRAFT, 

led by singer and multi-instrumentalist Craig 

Sinclair, take the stage. Lovecraft are intense, 

quirky, and unclassifiable: they’re a little bit


Reviews 

scary and utterly brilliant. It sometimes appears 

that the band are perhaps trying a little too hard, 

but by the end of the set it’s evident that you 

cannot fake this kind of weird. Go and see them, 

we implore you. 

And onto Svenonius, who has been spotted 

in the crowd watching the support acts, and his 

gang. The band are essentially a two-hander, 

with combustible crooner Katie Alice Greer 

matching Svenonious’ laid-back, cabaret-singermeets-talk-show-host 

persona (and the man 

does host his own talk show, check it out). The 

pair strut and exchange lines as the band kick 

out their simple, garage rock jams. Greer is a joy 

to watch, her short mop flailing asunder as she 

gives it her all. The themes are political, but are 

presented in a playful way – no Refused or Rage 

Against the Machine-style bombardment from 

them. Songs like ‘Nuff Said and For Practical 

Purposes are the most memorable, but tonight 

it’s not really about the songs, and more about 

the style. It’s all a bit too cool for school, but in 

an entirely self-conscious way. Get it? 

Yes it’s sexy, laid-back, fun and intelligent, but 

ultimately there’s an energy missing. Everyone 

in the room is on their side, but no one’s really 

losing themselves in the moment – it’s more a 

question of watching with interest. As much as 

we admire Svenonious (who graciously thanks 

all support acts by name), all of those knowing 

winks can get a tad exhausting. 

Jennifer Perkin 

SHEARWATER 

Eric’s 

One of the more annoying things about 

watching bands is picking one with talkative 

members. Instead of just tuning up, berating 

the drummer for yet another missed beat and 

getting down to business, some have a wellhoned 

and annoying penchant for gassing on 

and on. Of course, like most other things in 

existence, there are myriad variables involved. 

In the case of Texan boys and Sub Pop signings 

SHEARWATER, running their mouths off is a 

Shearwater (Mike Sheerin) 

symptom of a wicked combination of fatigue, 

enthusiasm and genuine awe. As their vocalist, 

Jonathan Meiburg, tells the odd rambling story 

about their current tour, which seems to have 

taken them everywhere bar North Korea, you 

can’t help but feel a sense of warmth towards 

them. Both their songs and stories convey the 

notion of a band very much in each other’s 

pockets, for better or worse. 

If you want an idea of just how lengthy 

this latest jaunt has been, consider this: their 

most recent album, Animal Joy, came out all 

the way back in February (not only that, but it 

was somewhat lacking from the myriad and 

tiresome ‘Best Of 2012’ lists to which we’re 

annually subjected). Only now have they been 

able to see us lucky buggers in Blighty. Luckily 

for Shearwater, time has done little to dilute a 

devoted crowd’s desire to see them, with the 

older men at the front gazing up adoringly, as 

only star-struck middle-aged music lovers can. 

Frankly, there’s a lot to adore about 

them: songs like Breaking The Yearlings are 

meditative, soulful and fresh. Immaculate cuts 

to the chase with its rounded bassline and tidy, 

fast drums before giving way to an expansive 

finish. Will Sheff (Vocals/Guitar) is blessed with 

one of those memorable and deeply affecting 

baritone voices that can lend a certain gravitas 

to their lyrics. Their excellent musicianship and 

tiring tours do little to assuage the problem 

of the relatively little attention they receive 

from the music press. After tonight’s showing 

and with a little more application, they might 

finally get what they deserve. Their set is 

festooned with intricate music, and has a 

relentless pace and real devotion to the craft 

that a lot of their contemporaries seem to miss 

on their way to the mirror. As they smoothly 

slide their way through the sprightly Pushing 

The River, you can’t help but think that we 

might not be blessed in this part of the world 

with the cleanest river in history, but whatever 

they put in the streams of Texas must contain 

sheer magic. 

Joseph Viney

!!3! 

!!3! 

 

 

 

 

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ADMIRAL FALLOW 

Olympic Swimmers - Secret Garden 

Gathering - Non Monsieur 

Harvest Sun @ The Kazimier 

The doors of the Kazimier are open for a 

musical meeting of the two great cities of 

Liverpool and Glasgow, enough to warm even 

the coldest of cockles. Headliners ADMIRAL 

FALLOW seem to be on a quietly awesome roll 

at the moment: the same week of this show - 

their debut in Liverpool - their charity Christmas 

track Torrent Rain sits in pride of place as Lauren 

Laverne’s BBC 6Music Headphones Moment. 

First on the bill though are cute folksters NON 

MONSIEUR, who have as much charm as a chintzy 

tea set. They’re a great little band who produce 

an all-round charming set, with the delivery of 

single I Wish We Were Young in particular like a 

heart-shaped hand warmer. Next we get serious 

for SECRET GARDEN GATHERING who treat us to 

a set of their brooding and intriguing indie-folk. 

Lead singer Toots LaBelle is vocally reminiscent of 

Tracey Thorn, but with even more of a Gothic edge. 

A dash of synth contributes to said edge, providing 

psychedelic brushstrokes to their music. 

Pals of Admiral Fallow and all-round cheeky 

chappies OLYMPIC SWIMMERS follow on from 

Secret Garden Gathering with a rousing set, 

which includes meaty organ solos and Arcade 

Fire-style collective bellows. The band’s music 

is rough and atmospheric, a neat juxtaposition 

to their jocular and self-effacing banter, which 

is a hit with the audience, proving funnier than 

Joey Barton’s French accent. Evidently Olympic 

Swimmers double as roadies for Admiral Fallow, 

as they finish their set and prepare the stage 

prior to the headliners’ nonchalant appearance. 

A wistful rendition of Tree Bursts is the opener 

for the now bustling arena and is met with 

joyous claps and whistles. Judging by one superfan’s 

fervent dancing at the front, it is clear that 

the band have a core set of admirers. And why 

wouldn’t they? Lead singer Louis Abbot has the 

rugged good looks and stage presence to rival 

those of Marcus Mumford, and the band’s overall 

grandiose orchestral folk sound makes it easy to 

see why their music translates so well on record 

as it does live. As Beetle In The Box begins 

with a Weezer-esque guitar riff, the perfect 

union of Abbot’s and Sarah Hayes’ male and 

female voices is a golden moment, meaningful 

and endearing. The band moves on to crowd 

favourite Isn’t This World Enough?, with pangs of 

old country folk and an accordion hook so catchy 

you’ll be humming it three weeks later. Guest Of 

The Government, an ode to the group’s favourite 

bar in native Glasgow, is a bona fide toe-tapper, 

and another highlight, Four Bulbs, sees the 

group assemble to sing like an awkward indie 

choir around acoustic-guitar-clad Abbot. The 

song is partially a capella and stunning up to 

the final note. Sing-along classic Squealing Pigs 

rounds things off nicely before an encore of Oh 

Oscar and Old Balloons ends proceedings on 

a major goose bumps moment. Long live their 

indomitable Glaswegian spirit. 

Flossie Easthope 

MULTI PURPOSE CHEMICAL 

Metro Manila Aide - Oceanis - Scare Tactics 

The Zanzibar 

2013 might just be the Year of Metal in Liverpool. 

Last year saw noteworthy input from local turks 

Conan (who supported overlords of sludge-metal 

Sleep) and progressive riff-fiends OCEANIS, who 

appear on a mouth-watering bill tonight which 

also sees gone-but-not-forgotten fun-time metal 

act MULTI PURPOSE CHEMICAL make a welcome 

return for a one-off reunion show. 

The Zanzibar is fit to busting for opening act 

SCARE TACTICS, whose infectious brand of oldskool 

Americana metal is delivered with finesse, 

good humour and minimal posturing. They wear 

their early-Metallica influence on their sleeves 

with the thunderous Ludicrous Speed, while 

popular set closer Drunk Fuck inspires some 

fervent call-and-response lyrics. 

Oceanis’ frontman Joe Maryanji’s very 

presence has created a sizeable horseshoe 

down the front. That, and the fact that he has 

declared his mission tonight to be to “hurt 

people.” Maryanji spends a good deal of his 

time stalking ambulatory audience members, 

and bellowing lyrics while his bandmates stand 

behind him, motionless apart from a furious 

shredding action. Fusing punishing metal-core 

breakdowns and the convoluted arrangement of 

progressive rock, Oceanis are perhaps the most 

forward-thinking of Liverpool’s current crop of 

metal artists. Rise From Ruin displays Maryanji’s 

impressive vocal range and Herculean lung 

power, and Brotherhood is a terrifying journey 

through sonic Hades. 

Whether it’s a sermon or a kung fu kick to 

your solar plexus, you never quite know what 

you’re going to get with METRO MANILA AIDE. 

Older and wiser, but having lost none of his 

shock factor, the band’s erstwhile troubadour 

Saul Godman appears on stage in full drag, 

save for a pair of combat shorts. The potential 

for farce immediately goes through the roof 

as he prances around, batting away the mock 

advances of male audience members. 

Godman’s hirsute compadres break the confused 

sexual tension with heavy-rocking new tracks, 

served up alongside old favourites Help To Change, 

People Of Today and Hell Is Paved. It’s unclear 

whether the new material marks a new direction 

for the band, but the rambling monologues have 

been largely jettisoned as Godman seeks to 

reinvent himself as a lead vocalist. 

Multi Purpose Chemical frontman Andres 

Lefevre is back from the slightly more hospitable 

climes of his native Miami, and is regaling the 

slavering, black-shirted mob with a bravura 

monologue about having missed Greggs’ 

pasties. His typical American cheekiness lends 

itself well to the balls-out nu metal of MPC, 

whose mid-paced, jagged riffing sits somewhere 

between Disturbed and Pantera, and they’re 

not so self-important as to deny one fan an 

impromptu verse of Break Stuff by Limp Bizkit. 

A frantic rendition of Cult, which could have 

sat quite snugly on System Of A Down’s first 

album, sees guitarist Adam Lucas tear about 

three strings out of his guitar. A shambolic bass, 

drums and vocals encore brings proceedings to 

an abrupt halt. 

If we can take anything away from tonight’s 

gig, aside from tinnitus, it’s that Liverpool’s 

metal scene is working hard to dispel negative 

stereotypes, and that you don’t have to take 

yourself too seriously to garner respect, even if 

you’re wearing your sister’s best frock. 

Pete Charles 

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Tickets currently on 

sale at bidolito.co.uk 

Wave Machines 

The Kazimier 

JP Cooper 

Leaf 

Patrick Wolf 


The Wave Pictures 

The Shipping Forecast 

Dutch Uncles 

The Kazimier 

The 1975 


Local Natives 

The Kazimier 

Bird EP Launch 

Leaf 

Mazes 

The Blade Factory 

Il Songo Del 

Marinaio 

Erics 

Maps & Atlases 

The Kazimier 

Wild Nothing 

The Kazimier 

Daughter 

Anglican Cathedral 

Liverpool Sound 

City 2013 

3-Day Wristbands 

Loudon 

Wainwright III 

Liverpool Philharmonic 

22/2 

5/3 

7/5 

5/3 

18/3 

22/4 

2-4/5 

1/2 

6/2 

7/2 

8/2 

8/2 

11/2 

12/2 

15/2 

Multi Puropse Chemical (Mike Sheerin) 

ADMIRAL FALLOW 

Olympic Swimmers - Secret Garden 

Gathering - Non Monsieur 

Harvest Sun @ The Kazimier 

The doors of the Kazimier are open for a 

musical meeting of the two great cities of 

Liverpool and Glasgow, enough to warm even 

the coldest of cockles. Headliners ADMIRAL 

FALLOW seem to be on a quietly awesome roll 

at the moment: the same week of this show - 

their debut in Liverpool - their charity Christmas 

track Torrent Rain sits in pride of place as Lauren 

Laverne’s BBC 6Music Headphones Moment. 

First on the bill though are cute folksters NON 

MONSIEUR, who have as much charm as a chintzy 

tea set. They’re a great little band who produce 

an all-round charming set, with the delivery of 

single I Wish We Were Young 

I Wish We Were Young in particular like a 

heart-shaped hand warmer. Next we get serious 

for SECRET GARDEN GATHERING who treat us to 

a set of their brooding and intriguing indie-folk. 

Lead singer Toots LaBelle is vocally reminiscent of 

Tracey Thorn, but with even more of a Gothic edge. 

A dash of synth contributes to said edge, providing 

psychedelic brushstrokes to their music. 

Pals of Admiral Fallow and all-round cheeky 

chappies OLYMPIC SWIMMERS follow on from 

Secret Garden Gathering with a rousing set, 

which includes meaty organ solos and Arcade 

Fire-style collective bellows. The band’s music 

is rough and atmospheric, a neat juxtaposition 

to their jocular and self-effacing banter, which 

is a hit with the audience, proving funnier than 

Joey Barton’s French accent. Evidently Olympic 

Swimmers double as roadies for Admiral Fallow, 

as they finish their set and prepare the stage 

prior to the headliners’ nonchalant appearance. 

A wistful rendition of Tree Bursts is the opener 

for the now bustling arena and is met with 

joyous claps and whistles. Judging by one superfan’s 

fervent dancing at the front, it is clear that 

the band have a core set of admirers. And why 

wouldn’t they? Lead singer Louis Abbot has the 

rugged good looks and stage presence to rival 

those of Marcus Mumford, and the band’s overall 

grandiose orchestral folk sound makes it easy to 

see why their music translates so well on record 

as it does live. As Beetle In The Box begins 

Beetle In The Box begins 

Beetle In The Box 

with a Weezer-esque guitar riff, the perfect 

union of Abbot’s and Sarah Hayes’ male and 

female voices is a golden moment, meaningful 

and endearing. The band moves on to crowd 

favourite Isn’t This World Enough? 

Isn’t This World Enough?, with pangs of 

old country folk and an accordion hook so catchy 

you’ll be humming it three weeks later. Guest Of 

The Government, an ode to the group’s favourite 

bar in native Glasgow, is a bona fide toe-tapper, 

and another highlight, Four Bulbs, sees the 

group assemble to sing like an awkward indie 

choir around acoustic-guitar-clad Abbot. The 

song is partially a capella and stunning up to 

the final note. Sing-along classic Squealing Pigs 

Squealing Pigs 

rounds things off nicely before an encore of Oh 

Oscar and Old Balloons ends proceedings on 

a major goose bumps moment. Long live their 

indomitable Glaswegian spirit. 

Flossie Easthope 

MULTI PURPOSE CHEMICAL 

Metro Manila Aide - Oceanis - Scare Tactics 

The Zanzibar 

2013 might just be the Year of Metal in Liverpool. 

Last year saw noteworthy input from local turks 

Conan (who supported overlords of sludge-metal 

Sleep) and progressive riff-fiends OCEANIS, who 

appear on a mouth-watering bill tonight which 

also sees gone-but-not-forgotten fun-time metal 

act MULTI PURPOSE CHEMICAL make a welcome 

return for a one-off reunion show. 

The Zanzibar is fit to busting for opening act 

SCARE TACTICS, whose infectious brand of oldskool 

Americana metal is delivered with finesse, 

good humour and minimal posturing. They wear 

their early-Metallica influence on their sleeves 

with the thunderous Ludicrous Speed 

Ludicrous Speed, while 

popular set closer Drunk Fuck inspires some 

Drunk Fuck inspires some 

Drunk Fuck 

fervent call-and-response lyrics. 

Oceanis’ frontman Joe Maryanji’s very 

presence has created a sizeable horseshoe 

down the front. That, and the fact that he has 

declared his mission tonight to be to “hurt 

people.” Maryanji spends a good deal of his 

time stalking ambulatory audience members, 

and bellowing lyrics while his bandmates stand 

behind him, motionless apart from a furious 

shredding action. Fusing punishing metal-core 

breakdowns and the convoluted arrangement of 

progressive rock, Oceanis are perhaps the most 

forward-thinking of Liverpool’s current crop of 

metal artists. Rise From Ruin displays Maryanji’s 

impressive vocal range and Herculean lung 

power, and Brotherhood is a terrifying journey 

through sonic Hades. 

Whether it’s a sermon or a kung fu kick to 

your solar plexus, you never quite know what 

you’re going to get with METRO MANILA AIDE. 

Older and wiser, but having lost none of his 

shock factor, the band’s erstwhile troubadour 

Saul Godman appears on stage in full drag, 

save for a pair of combat shorts. The potential 

for farce immediately goes through the roof 

as he prances around, batting away the mock 

advances of male audience members. 

Godman’s hirsute compadres break the confused 

sexual tension with heavy-rocking new tracks, 

served up alongside old favourites Help To Change 

Help To Change, 

People Of Today 

People Of Today and Hell Is Paved. It’s unclear 

whether the new material marks a new direction 

for the band, but the rambling monologues have 

been largely jettisoned as Godman seeks to 

reinvent himself as a lead vocalist. 

Multi Purpose Chemical frontman Andres 

Lefevre is back from the slightly more hospitable 

climes of his native Miami, and is regaling the 

slavering, black-shirted mob with a bravura 

monologue about having missed Greggs’ 

pasties. His typical American cheekiness lends 

itself well to the balls-out nu metal of MPC, 

whose mid-paced, jagged riffing sits somewhere 

between Disturbed and Pantera, and they’re 

not so self-important as to deny one fan an 

impromptu verse of Break Stuff by Limp Bizkit. 

Break Stuff by Limp Bizkit. 

Break Stuff 

A frantic rendition of Cult, which could have 

sat quite snugly on System Of A Down’s first 

album, sees guitarist Adam Lucas tear about 

three strings out of his guitar. A shambolic bass, 

drums and vocals encore brings proceedings to 

an abrupt halt. 

If we can take anything away from tonight’s 

gig, aside from tinnitus, it’s that Liverpool’s 

metal scene is working hard to dispel negative 

stereotypes, and that you don’t have to take 

yourself too seriously to garner respect, even if 

you’re wearing your sister’s best frock. 

Pete Charles 

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. . . . . . . . ṡale at bidolito.co.uk 

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. . . . . . . . .sale at bidolito.co.uk 

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Wave Machines 

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Wave Machines 

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Wave Machines 

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The Kazimier 

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The Kazimier 

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JP Cooper 

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JP Cooper 

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JP Cooper 

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Leaf 

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Leaf 

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Leaf 

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Patrick Wolf 

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Patrick Wolf 

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Patrick Wolf 

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The Wave Pictures 


Dutch Uncles 

The Kazimier 

The 1975 


Local Natives 

The Kazimier 

Bird EP Launch 

Leaf 

Mazes 

The Blade Factory 

Il Songo Del 

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Del 

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Marinaio 

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Marinaio 

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Marinaio 

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Erics 

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Erics 

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The Kazimier 

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The Kazimier 

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The Kazimier 

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Wild Nothing 

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Wild Nothing 

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Wild Nothing 

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Wild Nothing 

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The Kazimier 

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The Kazimier 

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Daughter 

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Daughter 

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Daughter 

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Liverpool 

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Liverpool 

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Liverpool 

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Sound 

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Sound 

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Sound 

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Loudon 

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Loudon 

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Loudon 

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22/2 

5/3 

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7/5 

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7/5 

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7/5 

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5/3 

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18/3 

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18/3 

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22/4 

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22/4 

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2-4/5 

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2-4/5 

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1/2 

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1/2 

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6/2 

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6/2 

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7/2 

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7/2 

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8/2 

8/2 

11/2 

12/2 

15/2 

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Multi Puropse Chemical (Mike Sheerin)

BOOK NOW 

8 February – 12 May 2013 

The Performance of Style 

TATE.ORG.UK/LIVERPOOL 

FREE FOR TATE MEMBERS 

TATELIVERPOOL 

@TATELIVERPOOL 

With the support of the Culture Programme 

of the European Union 

With additional funding from Tate Liverpool 

Members and the Glam! Supporters Group 

Media partner 

Travel partner 

Nan Goldin Kenny putting on make-up, Boston 1973 © Nan Goldin

Issue 30 / February 2013

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