Issue 39 / November 2013

FREE 

Issue 39 

November 2013 

Salem Rages by Mike Brits 

Salem Rages 

Ex-Easter Island 

Head 

Laura J Martin 

Sankofa

Bido Lito! November 2013 3 

Editorial 

Just before we went to press with this edition of Bido Lito! Magazine, I was kindly asked to 

put together a set of records for an event to celebrate the launch of Yeah Yeah Yeah: The Story 

Of Modern Pop, a compendium of pop music written by Bob Stanley, he of Saint Etienne fame. 

The launch event featured a panel discussion with Bob, queen of Liverpool music Jayne Casey, 

celebrated critic and author Paul Du Noyer, and OMD’s Andy McCluskey, and was expertly chaired 

by Roger Hill, about whom you can read more in this issue. 

The book itself is an intriguing, personal romp through pop history, exploring the key 

milestones and moments in the form’s evolution, through the prism of a writer who has played 

his own, intimate role. And the panel discussion – which explored a section of the central 

themes, and their relationship to our city – opened up a series of interesting ideas that have 

been burrowing away in my head ever since. 

Pop music has always been concerned with the fresh and the new. The hot, the now, the 

bleeding cutting edge. The media that surrounds it has always competed ferociously to unearth 

the next big find, the next new sound. But, in many ways, this constant search for the end of the 

rainbow, the new musical pot of gold, was little more than the perfect commercial brainchild 

of the record industry. The pop chart, which was launched in 1952, provided a weekly rundown 

of what’s hot and what’s not, purely based on sales. The more you sold, the better you were, 

and the whole model relied entirely on a constant stream of new releases and new sounds, 

something the booming record industry was only too happy to provide. 

At that time, people relied exclusively on mainstream media – TV, radio, magazines and newspapers 

– for their regular fix of what was new and their guide to how to build their record collections. The 

chart reigned supreme as the key barometer of success, both commercially but also, and somewhat 

more critically, creatively. Anything ‘old’ did little more than gather dust in record boxes. 

But those days are gone. In a decentralised, digitalised music industry, the chart has become 

utterly redundant. In fact, when asked who was number 1 in that week’s chart, nobody in the 

room at the Yeah Yeah Yeah launch, a room full of music lovers, actually knew. 

I believe we have entered the age of post-pop. 

Infinite music access is a seismic shift and a mind-boggling opportunity for the digital 

generation. There are few records that you cannot listen to almost instantly online. Why would a 

15-year-old today choose to immerse themselves in the latest Pins record over Are You Experienced, 

for example? When you can listen to anything, the release date becomes somewhat academic. It 

is all music, no matter when it was made. And good music is simply good music. 

It seems obvious to me that, over the past decade, pop music has wriggled free of the 

straitjacket that was the direct correlation between artistic value and commercial sales. (After 

all, the notion in any arena that the commodity that sells the most is of the highest quality is 

flawed.) Music lovers and makers today are guided by their taste and trusted recommendations 

through the archive of material that is pop music’s history, rather than simply having to accept 

a set of 40 records each week, curated as a result of their sales level and – more often than not 

– their label’s marketing budget. 

Great pop music has always been informed by its past. The music makers of today have a 

unique opportunity to explore that past, chop it up, re-imagine it, reinterpret it and personalise it 

on a scale that has never been available before. We see this already as bygone scenes and eras 

are creatively re-explored in a post-pop, digital, geographically diverse context, with Liverpool 

International Festival Of Psychedelia being a local, topical example. 

I await the development of the post-pop age with utter delight. 

Craig G Pennington / @BidoLito 

Editor 

Features 

6 

8 

10 

12 

14 

16 

18 

SALEM RAGES 

LAURA J MARTIN 

EX-EASTER ISLAND HEAD 

YOUSEF 

SANKOFA 

PURE MUSICAL 

SENSATIONS 

POSTCARD FROM BERLIN 

Regulars 

4 NEWS 

20 

PREVIEWS/SHORTS 

22 

REVIEWS 

Bido Lito! 

Issue Thirty Nine / November 2013 

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 

Reviews Editor 

Sam Turner - live@bidolito.co.uk 

Online Editor 

Joshua Nevett - online@bidolito.co.uk 

Features Editor 

Mike Doherty - features@bidolito.co.uk 

Designer 

Luke Avery - info@luke-avery.com 

Proofreading 

Debra Williams - debra@wordsanddeeds.co.uk 

Media Partnership Manager 

Naters Philip - naters@bidolito.co.uk 

Intern 

Flossie Easthope 

Words 

Craig G Pennington, Pete Charles, Kevin McManus, Joshua 

Potts, Joshua Nevett, Jessie Main, Maurice Stewart, 

Flossie Easthope, Richard Lewis, Naters P, Sam Turner, Jack 

Graysmark, Rob Syme, Laurie Cheeseman, Alistair Dunn, 

Debra Williams 

Photography, Illustration and Layout 

Luke Avery, Mike Brits, Keith Ainsworth, Adam Edwards, Gary 

Brown, Charlotte Patmore, Aaron McManus, Nata Moraru, Jack 

Thompson, Glyn Akroyd, Stuart Moulding, Ria Fell 

Adverts 

To advertise please contact ads@bidolito.co.uk 

The views expressed in Bido Lito! are those of the respective contributors and do not necessarily reflect the opinions of the magazine, its staff or the publishers. All rights reserved. 

T 

RKZ, DJ & musician

News 

GIT Yourself Down 

Kicking off its third year, THE GIT AWARD is back to find another worthy recipient of its acclaimed new music prize. After crowning 

this year’s winner Baltic Fleet in April, organiser Peter Guy is already laying the groundwork for next year’s announcement with 

an exclusive launch event at Leaf Café on 16th November, which starts at 8pm. Entry to the launch is free, and will feature 

performances from VEYU, Kalax and Nights, plus more to be confirmed. Entries are also being taken for the 2014 award now. 

Artists wishing to enter are invited to do so by sending four tracks to getintothis@gmail.com 

Bido Lito! Dansette 

Our pick of this month's fresh wax cuts... 

X Marks The Spot 

LIVERPOOL X is a first for the music and arts community of Liverpool, hosting a day and night of debate, ideas and reflection 

on Liverpool’s current cultural identity. This includes a music programme curated by WAXX and a bill of performances and guest 

speakers that includes VICE magazine’s Andy Capper (pictured). Local entrepreneurs and cultural doyens, including us lot at Bido 

Lito!, will be taking part in various panel discussions at the event, to determine our views on what makes Liverpool what it is. 

Liverpool X takes place on the 20th/21st November at Camp and Furnace. liverpoolx.com 

Beard And Wonderful 

Apparently beards are the new black, and the renaissance of the beard is in prominence on the faces of Liverpool men everywhere. 

In celebration of this hirsute phenomenon, BEERDFEST is back for its second innings on 29th November. Bizarre? Yes, but Beerdfest 

are serious, with a chance to win the title of Best Beard or Best Moustache in Liverpool up for grabs, as well as live music from 

beard-wielding band Mervin Gersh. The event is free and you can register to be a contestant by getting in touch through their 

Facebook page. All hail the hairy ones! facebook.com/BEERDFEST 

Carina Carina 

Former Bido Lito! cover star NADINE CARINA is back with her newest EP Things That People Love To Remember this month. After 

a spell of time away working on the new material, Nadine treated us to newest track from the EP, The Love, with an accompanying 

video directed by Shondel Birvini. She’ll be pre-empting the release on 18th November with a string of dates, including Hallow’s 

Ritual at the Kazimier on 31st October. The EP is available to pre-order now on On The Camper. We for one are chuffed with what 

we’ve heard so far. nadinecarina.webs.com 

Station To Station 

This month sees the culmination of the prestigious MERSEYRAIL SOUND STATION PRIZE. After whittling the list of one hundred 

prospective bands down to a final ten, the winner is to be announced at the Merseyrail Sound Station Festival, which will take 

place at Moorfields Station on 2nd November from 1pm. The gong aims to give new musical talents a head start in the music 

industry with a year’s worth of professional management and recording time awarded to the winning act. Entry is free and will be 

followed by a party at Hopskotch Bar and Kitchen on Mathew Street from 5pm. merseyrailsoundstation.com 

Rock n Roll Winter 

COMPETITION! 

The folks at Curious Orange Vintage and Psycho Motel will be rallying to warm our chilly bones in the best way they know how 

this month – with a collaboration of fashion and music in The Kazimier Rock N Roll Winter Vintage Festival. 10th November will see 

the Wolstenholme Square venue full of stalls selling vintage clothes, treats, trinkets and food to the tune of local DJs showcasing 

their impressive vintage vinyl collections. Already confirmed for live performances are bands The Swingin’ Bricks (pictured) and Raw 

Bones, adding to the yesteryear feel of the event. 

Huzzah! This month’s competition is a chance for you and a friend to win tickets to a once-in-a-blue-moon gig 

happening this month in the great space of St. George’s Hall. Veteran indie powerhouse band THE CHARLATANS are set 

to play their rescheduled LIMF show on 8th November with an impressive helping of local support from THE TEA STREET 

BAND and BY THE SEA. 

After a spell of performing as a solo artist Tim Burgess reunites with a band that defined the golden era of British 

indie in the 1990s for a show of monumental proportions. Expect big things from their arsenal of hits when set to the 

superlative acoustics of a venue steeped in local history and prestige. If you’d like the chance to win two tickets to the 

show, all you need to do is answer the following question: 

What is the name of Time Burgess’ latest album? a) Us And Us Only b) Oh No I Love You c) Thriller 

To enter, email your answer to competition@bidolito.co.uk 

by Wednesday 6th November. All correct answers will be placed in a big pink hat and the 

winner will be drawn at random and notified by email. Bonne chance! 

William Onyeabor 

Who Is William 

Onyeabor? 

LUAKA BOP 

After knocking out eight space-aged 

funk disco records in the late 70s, 

WILLIAM ONYEABOR found God and 

sacked off the whole music lark. This 

re-issue of his groove-laden, afro-glitch 

stomper Good Name - which sounds 

like the inner workings of Fela Kuti 

rewiring a SNES - has had the Bido 

office shaking all month. 

Frankie Rose 

Herein Wild 

FAT POSSUM 

After stints with Crystal Stilts, Dum 

Dum Girls and Vivian Girls, FRANKIE 

ROSE’s solo effort is distinctly less 

garage rock and more menagerie harp 

song. Seemingly 15-part harmonies, 

weightless string parts and Etch A 

Sketch drums are things from dreams. 

Like something from an 80s driving 

movie, the album will float with you 

through neon lights and beyond. 

Lovecraft 

Häxan 

WITCHFINDER 

RECORDS 

The latest offering by Merseyside’s arch 

psych proggists LOVECRAFT compacts the 

band’s wayward melodic sensibilities 

down into two portions of pop-infused 

wonder. A-side Häxan is a perfect 

Hallowe’en anthem, while B-side Aneurin 

is similarly brilliant, evoking the spirits of 

Pulp and The Flaming Lips. All Hallow’s 

Eve was scarcely as welcoming as this. 

Kelley Stoltz 

Double Exposure 

THIRD MAN 

If all musicians were going this strongly 

seven albums in then our record 

collections would be in danger of 

spilling out of the spare room and taking 

up half the house. KELLEY STOLTZ never 

veers far from the psych pop pastures he 

knows so well, and why should he if he’s 

consistently knocking out gems at this 

rate. Double Exposure is the record Kurt 

Vile wishes he’d written. 

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

Mon 28th Oct • £15 adv 

 

 

Tues 29th Oct • £29.50 adv 

 

 

Tues 29th Oct • £16 adv 

 

 

Wed 30th Oct • £19.50 adv 

 

Thurs 31st Oct 

 

Sat 2nd Nov • £10 adv 

8pm - 2am • over 18s only 

 

 

 

 

Sat 2nd Nov • £15 adv 

 

 

 

Sun 3rd Nov • £15 adv 

 

 

 

Mon 4th Nov • £14 adv 

 

Tues 5th Nov • £12.50 adv 

 

 

Thurs 7th Nov • £12.50 adv 

 

 

 

Sat 9th Nov • £20 adv 

 

 


 

Sun 10th Nov • £8 adv 

 

Mon 11th Nov • £8.50 adv 

 

Wed 13th Nov • £13 adv 

 

 

 

Thurs 14th Nov • £10 adv 

 

 

Fri 15th Nov • £18.50 adv 

 

Fri 15th Nov • £6 adv 

 

Sat 16th Nov • £18.50 adv 

 

 

Sun 17th Nov • £7.50 adv 

 

 


 

Fri 22nd Nov • £12 adv 

 

Sat 23rd Nov • £10 adv 

 

 

Sat 23rd Nov • £12.50 adv 

9pm - 5am • over 18s only 

 

 

 

 

 

Sun 24th Nov • £22.50 adv 

 

Fri 29th Nov • £11 adv 

 

Sat 30th Nov • £12.50 adv 

 

 


 

Sun 1st Dec • £12 adv 

 

 

Mon 2nd Dec • £12 adv 

 

Tues 3rd Dec • £22.50 adv 

 

Fri 6th Dec • £9 adv 

 

 

 

Sat 7th Dec • £28 adv 

 

 

 

 


 

Mon 9th Dec • £19.50 adv 

 

 

Fri 13th Dec • £14.50 adv 

 

 

Fri 13th Dec • £6 adv 

 

Sat 14th Dec • £18.50 adv 

 


 

 

Thurs 19th Dec • £25 adv 

 

 

Sat 21st Dec • £18 adv 

 

Fri 10th Jan 2014 • £13 adv 

 

Thurs 6th Feb 2014 • £10 adv 

 

 

Fri 7th Feb 2014 

 

 

Sun 9th Feb 2014 

 

 

 

Sat 15th Feb 2014 • £9 adv 

Rescheduled show • original tickets valid 

 

Sun 16th Feb 2014 • £19.50 adv 

 

Tues 25th Feb 2014 • £14 adv 

 

Sat 1st Mar 2014 • £16.50 adv 

 

 

Mon 3rd Mar 2014 • £23 adv 

 

 

Fri 14th Mar 2014 • £10 adv 

 

 

Fri 25th Apr 2014 • £12 adv 

 

 

Sat 3rd May 2014 • £22.50 adv 

 

 

Sun 11th May 2014 • £18.50 adv 

Rescheduled show • original tickets valid 

 


 


 

 

Sat 14th Dec • £18.50 adv


Salem Rages And A 

Gloom-Punk Odyssey 

Words: Pete Charles 

Photography: Mike Brits / mikebrits.com 

It’s been two years since self-styled gloom punks SALEM 

RAGES crawled out of the earth to unleash odes to darkness 

such as Casket and Our Halloween on the punk scene. The band 

Bido Lito! interviewed back then were a group still grappling with 

their musical direction, but which had also taken the bold step of 

inventing a genre under which they would categorise themselves 

(not to mention giving vocabulary-deficient promoters something 

catchy to put on gig flyers). 

With their first long player Aspects Of The Deepest Gloom done 

and dusted in August and scheduled for release in early 2014, 

the band felt it was important that their existing material be reissued 

in advance of this. So, Salem Rages have collected their 

first three EPs and lovingly packaged them in a compendium 

entitled Splinters, which is out in November. Singer/Guitarist 

Roman Remains explains the decision: “We’d put our early EPs 

out on strange formats like cassette and flexidisc and people at 

gigs started asking us if we had CDs, so we decided that before 

the album came out we’d get everyone up to speed. It should 

spread its ashes around a little bit before the album comes out!” 

Aspects Of The Deepest Gloom, whose title is taken from a line 

from Mary Shelley’s Frankenstein, boasts “more instrumentation, 

experimentation and depth” than their previous material. The 

band have clearly taken the time to produce a more polished, 

meaty record - the chords are still as dark and the vocals just as 

tortured, but songs such as Purging The Flowers and crawling 

five-minute instrumental Smokescreen Afterlife see a pronounced 

lean away from hardcore and towards atmospheric post-punk. 

The album marks the start of the band’s relationship with 

Visible Noise, the London-based record label which helped 

launch the career of Bullet For My Valentine. Sunday Mourning 

(Drums) explains how the union came about: “It was mutual in a 

way. Julie from Visible Noise had bought our stuff and you could 

just tell she was a big fan of the style we were doing and that 

she understood our background.” He adds that it was a complete 

package of visuals, sound and look that piqued the interest of 

the label. “She came to one of our shows in The Pilgrim and it 

pretty much went from there. The beauty of doing it through 

Visible Noise is that they have worldwide distribution and can 

get it out to places we never could. Not only that, but we have 

100% creative control, from the artwork to the songwriting. It’s 

not broken, and doesn’t need fixing.” 

The visual, conceptual element at the very core of Salem 

Rages is key to their appeal. Of course, morbid imagery spans 

multiple arms of rock n roll: from Johnny Cash’s ‘Man In Black’ 

persona to the ubiquitous Misfits skull. Whole genres have been 

created with death and horror as central themes, so when Salem 

Rages announced that they had developed a new style called 

‘gloom-punk’ they came to realise that writing songs was only 

a small part of what the band would be about. “It’s as much fun 

putting the artwork together and coming up with the concept as 

it is doing the songs,” says Remains. “It’s all held together with 

the logo and once you’ve got that you can use imagery to build 

around it. Rag Payne does a lot of the illustration and actually 

only picked up a bass to join the band. She’s come on loads in 

the last three years!” 

With minimal pressing, Remains takes a deep breath and has a 

stab at describing gloom-punk for what is probably the bazillionth 

time: “We wear a lot of the death rock influence on our sleeve, but 

we’re too fast to be death rock and too hardcore to be a horrorpunk 

band. Anyway, A. Dark Sun (Guitar) has got too many pedals 

to be in a hardcore band.” 

There’s a touch of irony in this last comment, as if they’ve 

grown weary of people struggling, and failing, to categorise their 

style. Their fusion of post-punk, hardcore, and gothic rock means 

Salem Rages can worm their way onto more bills than most 

bands, but this presents an obvious downside. “There will be the 

occasional person who just thinks we’re a bunch of art students,” 

says A. Dark Sun. “I’ve had people at gigs shouting at me ‘are 

you going to tap-dance or play guitar?’.” “I think that’s part of the 

gloom-punk diversity,” says Remains. “I mean, we don’t want to 

be pigeon-holed as psycho-billy, horror punk, hardcore, or any 

other sub-genres that lie within punk – if we can encompass 

all these different elements, well, that’s gloom-punk.” Sunday 

Mourning joins the conversation and leans forward at this point 

to ask Remains: “Can you explain it to me again?” 

Although there’s no suggestion that Salem Rages are trying 

to cast themselves as the flagship band of a gloom-punk 

movement as such, they’ve met other bands on the road with 

a similar ethos and it seems a good time to ask if they have 

a favourite place to play? “Sheffield seems to like us,” muses 

Remains after some thought. “We played the Men’s Catholic 

Society there once” - which seems like a somewhat challenging 

gig, for a band called Salem Rages! I wonder how the Men’s 

Catholic Society took to them? 

“We were outnumbered,” Remains confirms, before A. Dark Sun 

elaborates: “Yeah, there were Jesus portraits everywhere and the 

guy running the bar said he was never going to have a gig there 

again. I don’t think he liked...” Remains interjects, “...me jumping 

on one of his expensive snooker tables?” 

The band are coy about the shows they have lined up around 

Halloween, but they clearly have a couple of aces up their sleeve 

and we’re not ruling out some sort of musical trick or treat. Their 

new venture with Visible Noise looks set to bear fruit, particularly 

considering the label’s recognition of the aesthetic values central 

to the band. With tours in support of both Splinters and Aspects 

Of The Deepest Gloom, and the promise of international exposure, 

for Salem Rages, it’s most definitely not all doom and gloom. 

Splinters is released 4th November on Visible Noise 

salemrages.co.uk 


8 

Bido Lito! November 2013 

Laura J Martin 

Words: Jessie Main / @jessiemainmusic 

Photography: Charlotte Patmore / @charlottepatmore 

This flautist has come a long way. Hailing from Maghull, LAURA 

J MARTIN speaks to Bido Lito! on the phone from London, to share 

with us the process of finishing her new album Dazzle Days. After 

leaving Liverpool she lived in Japan, and now her collaboration 

with Mike Lindsay (Tunng) has seen her travel to Reykjavik and 

back. Serious geographical ground has been covered here, and a 

great deal of musical travelling has been undertaken with it. 

Martin’s first album, The Hangman Tree, was well received, 

and her unique musical style has not yet seen her boxed-off and 

classified into any genre. It’s been referred to as Scouse folk, flute 

folk, psychedelic folk, and many other kinds and incarnations of 

‘imaginary’ folk, I’m sure. (Actually, imaginary folk isn’t half-bad!) 

When I tell her I can’t immediately think of anything musically 

similar and ask how she would describe her style, she pauses and 

says graciously, “Well, I’ll take that as a compliment”. I never do 

come across a nice tidy genre in which to place her (although she 

does at one point describe her own voice to me as an “unhinged 

choirboy voice”), and outside of such lazy boxes is absolutely 

where she should stay. 

The flute has been Martin’s constant companion across her 

various musical plains, and she describes it now as her “secret 

weapon”. And though I’m betting it might become a worse and 

worse kept secret as she continues to become better known 

on the folk scene, it remains true that the flute is something 

a typical audience doesn’t expect to see as a primary feature 

in what may at first appear to be a classic set-up. She still has 

an enormous capacity for producing that surprise factor in her 

performances, and my guess is that has always been the case. To 

have progressed from being Kidkanevil’s hip hop flute accessory, 

to two albums and a stable ongoing collaboration with Euros 

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

Childs may have been a stylistic leap, but the ever-reliable flute 

remains a constant throughout. 

However, a shyer, more nervous fraction of Matin's personality 

comes to light as she tells me of her unsteady course to 

embracing singing as part of her act. She says that, as a child, she 

was the “stubborn kid in school who wouldn’t sing”, and although 

personally I would consider being reprimanded by teachers for 

not joining the chorus of children tunelessly groaning through 

whatever hymn was overhead-projected onto the wall at the 

time a gallant effort in the fight against ‘the man’, it seems that it 

shaped Martin's musical career in a much more meaningful way. 

Her flautist talents, while always a loyal tool for her expression, 

were at times more of a shield behind which she could hide. Her 

first few brave steps into singing didn’t come too easy: she says 

with a laugh that her first 100 gigs or so were marred with an 

“impudent stage fright and fledgling self-confidence”, causing 

her to question herself: “can I really carry this off?” But, three 

years later, she describes singing as feeling “natural, normal 

and great”. And playing her own songs before a live audience, 

while sometimes can still be nerve-wracking, brings with it the 

exhilaration of feeling a song turn an initially anxiety-inducing 

performance into a sincere one, using the emotion and adrenalin 

to add authenticity to the set. 

With that in mind, this second album could bring with it a set 

of new challenges for performing; Martin reveals that the content 

is perhaps more sensitive than previous projects. While The 

Hangman Tree was an outward-looking commentary on stories 

she would encounter – she lets me in on how one song was 

inspired by an arson attack on a flat in the block where she lived 

in Japan – the new effort Dazzle Days is more inward-looking, 

inspired by her own experiences and musings on life. “The album 

is split into two halves,” she explains, “the first half is punchier and 

maybe poppier, the instrumental title track bookmarks the two, 

and then the second half is more expressive and reflective than 

the first.” She marks out At The Close Of The Day, which happens 

to feature her younger sister on saxophone, as being particularly 

emblematic of the more introspective side of her songwriting. 

Many different musicians joined Martin for the final stages 

of producing this album, causing something of a stylistic shift, 

especially with the synth additions from experimental maestro 

Benge. Working with ideas from others on her songs is something 

that she seems to find aids the creative process. “It’s easy to get 

stuck in your own tunnel vision,” she says, “and musicians like 

Gillian Wood, who helped with some of the arrangements and 

performed cello for me, have added so much to the sound that 

I wouldn’t have been able to achieve otherwise.” It is still very 

much her own, though, and she cites film composers as being 

an important influence – which is in evidence as she carries 

themes through from one song to the next, forming the cinematic 

foundations over which the melodies glide. 

She has come a long way, but it sounds to me as though Laura 

J Martin has reached a point where she has managed to perfectly 

position herself to continue exploring her boundless creativity. 

She is a self-produced artist, with a multitude of like-minded 

and influential musicians eager to collaborate with her, and a 

live performance which comfortably straddles excitement and 

sincerity. Good luck in finding a tidy little box for that. 

Dazzle Days is out now on Static Caravan 

laurajmartinuk.blogspot.co.uk

What’s on at 

Liverpool Philharmonic 

BAIN, MÖLLER & MOLSKY 

Saturday 9 November 7.30pm £15 

St George’s Hall Concert Room 

ZAPPA PLAYS ZAPPA 

ROXY & ELSEWHERE 

Friday 15 November 7.30pm £29.50-£39.50 

KT TUNSTALL 

Saturday 16 November 7.30pm £17.50-£27.50 

MADELEINE PEYROUX 

Tuesday 3 December 7.30pm £24, £30 

KATE RUSBY 

AT CHRISTMAS 


THE BULGARIAN VOICES 

ANGELITE 


KERFUFFLE 

Tuesday 17 December 8pm £14 

The Epstein Theatre 

SOLD OUT 

SEAN LOCK 

Saturday 26 October 8pm £22, £28 

ARDAL O’HANLON 

Saturday 2 November 8pm £20, £26 

SANDI TOKSVIG 

My Valentine 

Tuesday 5 November 8pm £20, £26 

FASCINATING AÏDA 

Sunday 1 December 7.30pm £20, £26 

GREG DAVIES 

The Back Of My Mum’s Head 

Monday 2 December 8pm £25, £31 

KEN DODD’S 

HAPPINESS SHOW 

Sat 28 & Sun 29 December 7pm £16-£25 

SARAH MILLICAN 

Homebird 

Saturday 15 March 8pm £25, £29.50 

LIMITED 

AVAILABILITY 

RUSSELL KANE 

Smallness 

Monday 21 April 8pm £17.50, £23.50 

Box Office 

liverpoolphil.com 

0151 709 3789 

Images: KT Tunstall / Russell Kane

10 


Ex-Easter 

Island 

Head 

Words: Joshua Potts 

Photography: Adam Edwards / @AdamEdwardsF2 

Benjamin Duvall has just had a brainwave. What, you wonder, 

can be cooking in the same mind that has dragged minimalist 

chamber rock out of its niche, opting instead for grand events 

in monasteries and museums? Is there another place about to 

jump the queue for exotic, preposterous gig potential? “I was 

thinking,” he says, as the anticipation rises, “that we need to hire 

a few minibuses. Y’know, cut down on the cost of travel.” 

Alas, then, to find the quest for transcendence has its share 

of mundanity. Duvall is perhaps the most affable interviewee I’ve 

encountered, so this makes sense. He’s a receptionist whose 

double life as the ‘head’ part of EX-EASTER ISLAND HEAD feeds 

a license to doggedly embrace the basic needs of living. When 

his music is concerned, however, things are clearer cut: follow an 

idea through to its natural conclusion, and throw out the bells 

and whistles whilst you’re at it. Stripped back, looking forward, 

honing in. Miraculous harmony. 

“No effects and no playing properly!” he laughs on a biting 

Friday afternoon. We’re chatting on the phone, a conversation 

that will take up the better part of an hour, not that I’m noticing. 

Duvall speaks with barely suppressed glee, like a schoolboy 

showing you his toy chest, chuckling between explanations that 

go some way to clarify how exactly a few guitars and mallets 

can sound like the dawn of a new religion. Epochs and empires 

unfurl in Mallet Guitars 3’s tight twenty-nine minutes, the 

band’s latest record following two similarly titled predecessors. 

Listening to it can be overwhelming or place you in moods that 

can’t be vocalised or argued with. The effect is both cerebral and 

emotive, and I ask him whether that contrast was intentional. 

“It was partly conscious, partly learning on the job. The primal 

simplicity of what I do is gained by approaching music cautiously. 

Super-serious stuff devoid of emotion isn’t interesting.” Could he 

sum up the feel of the album in one word? “Fucking hell,” he 

sighs. I tell him either will do. 



11 

“I’m stumped. I suppose I originally envisaged a Mallet 

Guitars trilogy, and this is very much the final shape of that, 

so I’d say ‘summation’. The centre of the record is very active, 

bringing what we’ve done in our other releases up a notch; more 

interlocking patterns and faster tempos. Around that centrepiece 

are near beat-less sides where musicians are almost taking hints 

from one another.” Somehow, he has manipulated Allen keys to 

nefarious ends, explaining why the dark, droning epiphany that 

culminates in Mallet Guitars 3’s fourth movement is so unsettling. 

Duvall describes this is as the listener’s “arc”, and it falls into place 

that what sounds utterly spontaneous is in fact worked out way 

in advance, at least by compositional standards. Live, the everchanging 

roster of Island Heads never plays the same piece notefor-note, 

a quirk endemic to drawing tour mates from across the 

North West. “They’re all mates, to be honest. Not everyone’s an 

active member at once. It’s more like an ongoing pool. We’re still 

working out which gigs work for us and which don’t.” 

Count congregating at an actual Easter Island Head 

as one that did. Liverpool’s World Museum managed to ship over 

the statue last year, the opportunity being irresistible to Duvall’s 

propensity for unique atmosphere. Another show entertained 

what he estimates to be half of a Northern Irish town crammed 

into an 18th century monastery. Such achievements have allowed 

him to seek Arts Council funding, which will mean bigger projects 

in the future. Until then he’s been touring, writing and getting 

involved with live film soundtracks. This has consisted (so far) 

of scoring surrealist French cinema and an excerpt from Baraka, 

a 1993 eco-doc that perfectly encapsulates Duvall’s creative 

texture. “It contrasts our natural world with the impact of human 

interference. All beautifully shot, slowed and sped up. A real 

sensory overload.” 

So you’re interested in all forms of avant-garde expression? 

“Not all,” is the answer, “although I do need to sit down and watch 

more films. Lately I’ve narrowed my interests to music and that’s 

a little bit of a shame.” The subject of how exactly he veered into 

abstract territory arises. “I was in a post-rock three-piece and, 

after that, a weird, weird glam prog band for three-and-a-half 

years. They were absolutely brilliant but the turning point was 

discovering Rhys Chatham, one of the first people who introduced 

electric guitars to minimalism. For a while, I’d been trying and 

failing to find my own ‘voice’. Then I randomly put my guitar on a 

keyboard stand and noticed how striking that looked. The mallets 

came in when I realised how bloody loud the strings were when 

struck. Once the decision had been made to pursue the mallet 

idea, I emailed The Kazimier and they offered me a support slot in 

no time. I had to quickly get a set sorted.” 

I question whether visual novelty is still one of Ex- 

Easter Island Head’s main attractions. About this, he is emphatic. 

“Definitely, to some. I don’t see it as a gimmick. Warmth always 

overrides cold and clinical exercises. Warmth shines through.” The 

Duvall chuckle, ever-present, launches challenges on the matter 

to distant shores. Listen to him or the album and you’ll likely 

fancy a retreat to the beach yourself, enveloped in the promise of 

a dream and a ladder to the soul. 

Mallet Guitars 3 is out now on Low Point Records 

exeasterislandhead.com 


12 


YOUSEF 

11 IN YEARS 

THE 

MAD HOUSE 

Words: Joshua Nevett / @JoshuaNevett 

Photography: Gary Brown / GB Multimedia 



We’re standing in a room with beige walls on Rodney Street, at the 

summit of a terraced office block bearing a likeness to a tertiary branch 

of a David Brent-managed accountancy firm. Downstairs is a reception 

area resembling that of a dentist’s waiting room; upstairs is the de 

facto headquarters of the Circus/Chibuku duopoly, the room in which 

dance music mogul YOUSEF helms his Liverpool-via-the-world house 

music empire. You’d be forgiven, however, for thinking you’ve been 

summoned to an ironic Alan Sugar boardroom meeting to shoot the 

shit about obscure Theo Parrish B-sides and exchange patchy Ibizarelated 

anecdotes. A large corporate desk occupies most of the room, at 

which Circus’ promotional workforce sit, talk shop and jokingly compare 

a senior member of the Circus administration to Darth Vader. Amid the 

laughter, a mild-mannered Yousef slouches in his swivel chair following 

an ebullient handshake and points towards one of the few posters 

affixed to the wall adjacent with gusto. 

“That’s our slogan,” says Yousef Zaher in his softly-spoken drawl, 

before reading aloud “entertainment in enlightenment - that’s our aim”. 

The slogan to which he’s referring to is of course that of his beloved 

Circus club night – of which he is the co-founder – which, at the time 

of writing, is on the eve of celebrating its 11th year at the apex of 

Liverpool’s underground house music scene. It’s an aspirational mantra, 

which is symptomatic of a man whose patriarchal role as self-professed 

house music gatekeeper – coupled with a distinguished career in music 

production and DJing spanning over 15 years – straddles generational 

and geographical barriers. 

A merchant of the in vogue 4/4 zeitgeist, Yousef is a bone fide vestige 

of the sub-cultural rave phenomenon, circa the late 1990s - a period 

we avoid discussing for want of treading a tired and well-worn path. 

Growing up in Liverpool, an early dalliance with the city’s flagship house 

and techno monolith Cream led to an inextricable relationship with the 

genres, positioning Yousef as the natural successor to the brand upon its 

eventual demise. Thus, from the ashes of Cream arose Circus: a next-gen 

party hub in thrall to the tropes of the past, but with a yearning obsession 

for forward propulsion. Taking cues from the elitist circle of celebrity 

status exponents of the genres whom he seeks to emulate (Sven Vath, 

Carl Cox, Damian Lazarus et al.), the accolades he’s garnered throughout 

his career read like the ballpark bucket list of an aspirational bedroom 

DJ. Equally gifted as beat matcher as he is beat maker, the myriad of 

imprints to which he affiliates his name is reflective of his reputation as a 

savvy tastemaker of styles right across the board. Releases overseen by 

Sven Vath’s Cocoon and Carl Cox’s Intec are the nucleus of an oeuvre that 

consists of two self-penned artist albums (2009’s A Collection Of Scars 

And Situations and 2012’s A Product Of Your Environment) and a helluva 

lot of hip-swaying singles and remixes too abundant to mention. In short, 

attempting to surmise Yousef’s career in just a few short paragraphs is 

essentially a futile exercise in smoke blowing. 

Much to the satisfaction of his loyal devotees, in just eight days’ time 

(“I’ve got to go back [to Ibiza] to play the closing party with Coxy [Carl Cox] 

first”), Yousef will be flexing aforesaid taste-making muscles in the familiar 

beer-swilling surroundings of East Village Arts Club. For now, though, he 

can only ruminate on his fortunes in sunnier climes, a place over 900 

miles away from the gravity of his pallid Circus batcave. 

“At the moment I’d say, ‘I wouldn’t do a Circus event in Ibiza ever again’,” 

he says in trepidation, with a wry smile and eyes full of regret. We’re 

now sitting in an empty meeting room, reflecting on Circus’ inaugural 

residency at Ibizian super-club, Booom. “It was too stressful, so in the 

end I just said to myself, ‘I don’t need this anymore’.” Now comfortably 

in his thirties, this is a man who’s contributed enormously to the overall 

quality and visibility of the club scene in Liverpool, a scene of which he is 

still the most visible proponent. He also curates a secondary Circus event 

at London venue Egg, which is now firmly established as a staple in an 

already saturated scene. Ibiza, it seems, was the next obvious avenue. 

Did an unstoppable force meet an immovable object? As Yousef tells it: 

“Internally, the complications for us were too much for us to bear. We 

had some great gigs there but, ultimately, I was dealt a very awkward 

hand of cards and it started to consume my life.” Surprisingly, it’s with no 

hint of flippancy or bitterness that Yousef admits the fallacies of Circus 

at Booom and, moreover, his infatuation with the White Isle remains 

intact, emboldened by the dewy-eyed hedonism of his halcyon days as 

resident selector at Carl Cox’s Revolution parties at Space – a residency 

slot he eulogises with a heavy heart. “I left my residency at Space to go 

and do my own thing with Circus,” he says, convincingly. “I learnt a lot and 

I’ve managed to implement some of those ideas in Liverpool, but I can 

honestly say I cannot wait to be back behind those decks.” 

Having played in countries poles apart, in places as far afield as Brazil, 

North Korea and Syria, it’s as a selector where Yousef’s true passions lie. 

Aside from his Circus Recordings imprint – to which burgeoning artists 

such as David Glass (“he’s a regular at Circus”), Acid Mondays (“he’s my 

best mate”) and Heratio (“ a fresh and exciting artist”) are currently signed 

– it’s playing out records to the masses after just 90 minutes’ sleep from 

the night before that Yousef declares to be most gratifying. “It’s what I’ve 

been doing best for the past twenty years: I DJ. Circus is just a hobby.” 

Fast-forward eight days, and we’re stood on the vacant dancefloor 

in the hollow theatre of East Village Arts Club, discussing the dietary 

benefits of egg on toast. Still pumped from Ibiza, Yousef describes the 

closing party at Space as “probably the best gig I’ve ever done,” before 

nonchalantly adding, “I played through til nine at night [the next day] 

at an after party; egg on toast and 90 minutes’ kip was the formula 

that kept me awake.” 

Back on terra firma: in four hours, the doors will open and the first 

record will be spun, resulting in a glorious pandemonium only the influx 

of around 900 wanton house music aficionados can permit. Essentially, 

this is the calm before the storm and Yousef is easily the most relaxed 

man in camp Circus. His stoic, cool-as-a-cucumber presence is enough to 

abate any pre-show jitters as the crux of his planning is executed with 

laser-sight precision. His production team are in the process of erecting a 

10ft by 10ft banner bearing the Circus logo superimposed atop an abstract 

image of a hand-sketched face. “The image was designed by a Liverpool 

artist called Doc,” he tells us, whilst suggesting, beneath bated breath, that 

the banner should be positioned slightly to the left of where it is currently 

draped. His innate perfectionism is the cornerstone for the rest of his 

party. Now tonight’s special guest vocalist the Angel (“a regular at Circus 

for years, she’s a young mum from Runcorn”) has arrived, soundcheck and 

rehearsal can begin. Things have quickly escalated since the Angel lent 

her sultry vocals to Warner Brothers-signed incendiary single Float Away, a 

demo track initially recorded on her iPhone, subsequently re-rendered by 

Yousef and soon to be thundering around clubs across the globe. It’s the 

Angel’s first performance, ever, so, basically, the gist is this: they rehearse 

the same track (Float Away) repeatedly until Yousef is satisfied. “It reminds 

me of when I played my first gig at Cream,” he says, revelling in nostalgia. 

“I was the ultimate rave monkey at Cream; so today I told her, ‘tonight, 

you’re the Angel, so it’s strictly business from here on in’.” 

The next time we see the Angel, it’s 2am, and the theatre is a cathartic 

soup of bodies; the air thick with tightly wound percussive grooves and 

suspenseful vocal loops that cause mini-manias at every twist and turn. 

Her performance is well received, but Yousef is still the protagonist of 

the business of enlightenment, while upstairs, Scuba commands the loft. 

“Circus is sick man, it never disappoints,” one tan-tastic mini hulk tells 

Bido Lito! in the smoking area, while, back in the scrum, everybody’s 

going batshit crazy, with the dancefloor on which we stood nine hours’ 

previously warped by the weight of 900 bug-eyed fist pumpers. 

This is the culmination of Yousef’s 11-year labour of love: the evolution 

of a club night into a dance music institution. Post-set, Bido Lito! head 

backstage to find a relaxed Yousef chatting to fans and Scuba posing for 

a picture with two midgets. No biggie then. “I can’t even remember why I 

do this anymore,” says Yousef, imbued with an after-hours pathos, before 

adding “but believe me, this is one of the best places to play in the world.” 

Note: Circus isn’t your average hobby. 

circusrecordings.com 


Sankofa 

whistling) 

Words: Kevin McManus 

Photography: Keith Ainsworth / arkimages.co.uk 

before clubbing 

you over the head 

with vicious guitar 

lines. There’s so much 

going on with a Sankofa tune 

that it is easy to forget the gritty, 

huge vocals of singer Steven Wall. 

By 

He could easily dominate everything but 

a 

happy 

has the good sense to know when to use his 

coincidence, 

Bido Lito! caught up 

with SANKOFA on the third 

anniversary of their first-ever gig. If you 

have yet to experience the joys of Sankofa then you’re 

missing out on a great meandering squall of psychedelic rock 

'n' roll. If you have to pigeonhole them then they’re definitely 

in the vicinity of the brightly coloured boxes with the ‘psych’ 

references slapped on them. 

So, after sitting down with the band in their rehearsal room and 

slyly putting them at ease with smiles and small talk, I smoothly 

sneak in an opening accusation that Sankofa could easily be 

dismissed as just another retro outfit doing nothing more than 

rehashing the past. But drummer Josh Perry is more than ready 

for me: “We do listen to stuff like The Doors and Led Zep but we 

just take bits from it rather than copying it. The name Sankofa 

comes from an African myth which basically says that there isn’t 

any shame in taking elements of your past and bringing that to 

your future for the greater good. And that’s what we are about.” 

Josh is joined in the rehearsal room by Michael Robinson 

(big hair and big chunky Bass), Joel Whitehead (Lead Guitar), and 

relative newcomer Adam Daulby (Keyboards). Singer/guitarist 

Stephen Wall is stuck in traffic and doesn’t manage to make it. 

But as a rule of thumb singers are generally late, if they show at 

all, so I wasn’t offended, and the remaining members had plenty 

to say for themselves. 

They’re a good bunch of lads to sit down with. They’ve known 

each other since they were kids in school and there is a definite 

gang mentality about them that most of the really special groups 

have. It quickly becomes clear that they are genuinely passionate 

about their music, 

with a genuine sense of a shared vision and a common mission 

to get out there and make a real mark on the world. They believe 

in what they do and I expect that in some ways if nobody was 

interested they would carry on regardless, because they’re so 

convinced that they are on the right path and everyone else will 

eventually catch up. And if you don’t, well then it’s your loss. 

Although they’ve been around for a few years it only really 

started to take off for Sankofa from earlier this year when they 

found a champion for their undoubted talent in Eighties Vinyl 

Records. In March they released their debut single Siren Song 

on the label. It’s an epic sprawling beast of a tune that starts 

slowly, builds, and then somehow builds again to a point where 

the two sides of the 7-inch single struggle to contain this great 

big slab of beautiful noise. With the higher profile has come an 

increased ambition. They want to do more than play the same 

gigs they were playing a few years ago. So they’re rehearsing 

more, writing better songs, and the live shows just keep on 

developing with audiences swept away by the sheer force of their 

huge sound, which combines melody with a great big blistering 

swirl of guitars, bass and drums. The recent addition of Daulby on 

keyboards has also helped add a little intricacy and light to their 

exhilarating sound. 

Killer song Makers Mark 

was their second to make it onto 

vinyl (on the Eighties Vinyl compilation); the song lures in with 

a lolloping bluesy intro (along with an unexpectedly eerie bit of 

towering vocal to maximum impact and when to 

back off and give the music the space it needs. 

The next milestone for the band will be the release of a selftitled 

10-inch EP, which will be out in early December this year. 

It’s another step forward and lead track Guttermouth is a real 

statement of intent. They’ve even managed to add some genuine 

60s alumni to the record by having the sleeve designed by John 

Van Hammersveld who, amongst other things, did the sleeve for 

The Beatles’ Magical Mystery Tour and the Stones' Exile On Main 

Street, as well as working with other 60s and 70s legends such 

as The Grateful Dead and Jefferson Airplane. 

The band explained how this unlikely collaboration came 

about. “Dave [Hewitson, Eighties Vinyl] made contact with John 

Van Hammersveld through his website. We thought he wouldn’t 

be bothered but he asked to hear a track and he loved it. He has 

done this great sleeve and he told us that it looks current but also 

references the 60s. The whole thing is perfect and fits with the 

Sankofa philosophy of taking something from the past and using 

it to enhance the future.” 

So there you have it. Sankofa are a band who definitely aren’t 

afraid to look back but who have much more about them than a 

fixation with the past. They have the confident air of a band who 

are just on the cusp of something great. They know it and if you’ve 

seen them lately then you’ll know it, too. Sankofa are doing this 

because they simply have to; much like yourselves for that matter, 

who we implore to listen post-haste. 

Sankofa's self-titled EP is out on Eighties Vinyl records on 

2nd December. 

soundcloud.com/sankofaband 


BrooklynBassment! 

@BrooklynMixer! 

gutter fabulous new saturdays of hot jams & jump off beats! 

hiphop RnB club resident djÕ sparis esq. & mrtekla free entry! 

HipHopKaraoke! 

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...IS DEAD! 

Holla-ween Hell-Fest Fancy Dress ! 

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Thursday 31st October from the chime of 9 bells.! 

The Dead Rappers Delight Party ...putrid prizes ! 

& the creepiest cocktails . ! 

Brooklyn Mixer 78 Seel Street Liverpool! 

EVERY WEDNESDAY

16 


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

PURE MUSICAL 

SENSATIONS: 

Roger Hill And A Lifetime In The Punk Snow 

As you'd expect from someone who's been on the radio for 

32 years, ROGER HILL is very good at talking. Thankfully, despite 

his warning that he may "waffle on a bit", he has a lot of very 

interesting stories to tell. As we retire to a quiet corner of BBC 

Radio Merseyside, home of his weekly alternative music show 

PURE MUSICAL SENSATIONS (aka PMS), there's a strong desire 

to sit and listen to every single one. For the last 40 years he's 

written them all in a daily diary, part of which will be serialised 

in a documentary, currently in production. Punk Snow focuses 

on the period between 1978 and 1980, as the explosion of three 

seemingly opposing musical styles – ska, punk and disco –created 

a seismic sea change in Britain's musical landscape. The action 

focuses on legendary Mathew Street venue Eric's, and its place as 

the hub of the Liverpool punk scene. 

The film's catalyst was Hill's friend and filmmaker Matthew 

Fox, founder of The Outsiders Film Festival: "A year ago Matthew 

read my diaries; nearly three million words, starting in 1972 and 

running right up to today. After reading the entries in the middle 

period, starting from when I arrived in Liverpool in 1978, he told 

me 'there's a film in here'.” 

Production is being handled by Thinking Film – a social 

enterprise aiming to use film and media to inspire and educate 

people – with a helping hand from the Heritage Lottery Fund. 

Liverpool it gave permission to a lot of very interesting musicians 

– who weren't necessarily punk – to fly the flag for their alternative 

musical styles." 

Flying the flag for alternative styles has been the modus 

operandi of Pure Musical Sensations since Hill was asked to fill 

in for Phil Ross's Rockaround show, in 1982. Like all of his most 

enjoyable experiences, the life-changing call came by surprise: 

"Phil had moved to London at short notice and asked me if 

I'd be interested in taking over. I was a regular guest on both 

Rockaround and the arts show Phil produced, so he knew I could 

talk! At that time I also produced tapezines for Merseysound – the 

purpose being to hear the music, alongside the interviews. In a 

way I'd already started on the radio but I'd have never dreamt of it 

as a career choice until that phone call." 

Over the years, the scope of the show has evolved, in 

accordance with the changes to what we understand by the 

term 'alternative music'. "We see ourselves as the world of music 

in one programme. A lot of the old specialist shows have been 

lost," says Hill sadly. "As each passed, we've assimilated them 

all into PMS, to make sure fans of those styles still have an 

outlet." Hill's most cherished aspect of Pure Musical Sensations 

is the musical freedom he retains – a freedom beyond that of 

any of the countless multi-millionaires employed by our public 

The Merseysound fanzine was sold at Eric’s, 

"We'd gone to Creative England, who weren't looking at it as a 

broadcaster. "I've had completely free choice every week for 32 

covered Eric’s gigs and, unfortunately, found itself 

reporting on the closure of Eric’s in 1980. 

90-minute feature, but the Heritage Lottery Fund jumped at the 

years," he proudly proclaims. Just last month PMS were able 

Words: Maurice Stewart 

Images: Roger Hill 

idea. They, like Matthew, and Danny Kilbride at Thinking Film, were 

keen to concentrate on that two-year timespan, which I feel was 

my embedding period." 

Hill was 28 when he moved to Liverpool, still finding his feet 

from a musical perspective: "I was already a fan of punk, but I 

hadn't been to many gigs. I heard about Eric's as Liverpool is no 

stranger to letting people know when it's got something good – 

whether it was Eric's back then, or Cream in the 90s. Very quickly 

it became the focus of my musical interests and ambitions." Eric's 

became a much-needed refuge, allowing a young man to develop 

a sense of belonging in what was an unforgiving, economically 

bleak Northern city: "Liverpool was hard back then; a city that 

could really turn its back on you. But that was because it was 

going through hard times. You had to find somewhere to belong 

in order to survive." 

The connections made during that era spread beyond music. Hill 

began an enduring relationship with another cultural totem that's 

undergone a recent facelift – The Everyman Theatre, eventually 

becoming Associate Director. Arguably his most influential 

meeting was with Ronnie Flood, who asked him to help set up 

burgeoning fanzine Merseysound; a publication that survived 

beyond Eric's, documenting the venue’s demise in early 1980. 

As someone who embarked on a similar instant immersion into 

Liverpool culture some 26 years later, I recognise the excitement 

in Hill's voice when talking about Merseysound: "I got to interview 

bands for the fanzine, as well as seeing all of the significant acts 

of the time, often for free. Back then the media hadn't caught on 

to punk, but those of us in the know could see what was coming, 

and over those two years it made its way into the mainstream. In 

to air a song that featured swearing, after a brief disclaimer: "I 

have a good relationship with the management here and so I 

explained to them that the quality of the music outweighed any 

potential offence at the obscenities." Although rightly proud of 

Radio Merseyside's reputation as a fierce champion of music over 

personalities, Hill acknowledges these kinds of concessions could 

only be possible at his current midnight Sunday timeslot. It's clear 

he laments PMS being slowly pushed back from the original 6pm- 

8pm slot over the years – "There's no doubt we would have more 

listeners if we were on earlier," he insists – but one suspects that 

he wouldn't be willing to sacrifice his freedom for a few million 

extra listeners, let alone a few hundred. 

Sitting opposite such an energetic, vibrant man, it's hard to 

believe he's fast approaching pensioner status. I've certainly never 

met another man in his 60s who looks comfortable in bright-pink 

drainpipe jeans. But the only fear Hill holds for the future is that, 

when he does decide to quit, the BBC might ask him to take PMS 

with him. "The current framework of the show involves more than 

just me – it's a combination of the tastes of all the people working 

on it. I believe eclectic programming will be the norm in 10 years’ 

time. People won't need the security blanket of a particular style 

of music. In that sense PMS should always have a future beyond 

me." That's certainly a future to look forward to. 

Pure Musical Sensations is on BBC Radio Merseyside Sundays 

from midnight-2am. 

Anyone wishing to contribute to Punk Snow can contact 

punksnow@thinkingfilm.co.uk 

pmsradio.co.uk


17 

Gig Guide Roger and Hill Ticket in the Shop Everyman live at Foyer www.bidolito.co.uk 

sometime in 1980.

18 


Postcard From Berlin 

Hidden in Plain sigHt 

Words: Joshua Nevett / @joshuanevett 

Illustration: Ria Fell / riafell.co.uk 

It’s 5am on a hellish Sunday morning, and we’re stood in the 

dusty lot of a former power station, discussing the plan of attack - 

aka cigarette-packet briefing - prior to our attempt at negotiating 

one of the world’s most notoriously strict door policies: that of 

Berlin’s techno behemoth, The Berghain. After a quick rehearsal of 

our elaborate script (“eine bitte”) at the last checkpoint, I reassure 

myself that my apprehensions are misplaced, still drowsy from the 

cumbersome 500-mile drive from Amsterdam to Berlin. I’d studied 

the forums meticulously, adhered as closely as I could to the 

ambiguous dress code, and even abstained from getting totally 

shitfaced in the hope of increasing my chances of infiltrating this 

fortress. We approach the Disneyland-length queue and survey 

the habits of those in more desirable circumstances. Patiently, 

we amble, for three unnerving hours, contained like a regiment 

of poorly camouflaged spies condemned to incarceration at a 

POW camp for the criminally hedonistic. The quivers of bass that 

squirm through the ruts of the steel and concrete lull us into 

a gentle transcendence, before a tall, authoritarian bloke in a 

bomber jacket shouts the only other German phrase I bothered 

to learn: “NEIN!”. You get the picture. The Temple of Techno eludes 

us and the ultimate exercise in carrot dangling is completed. 

Verdammte scheiße! 

The hours and days following our refusal were spent spuriously 

debating the stringent selection methods of the surly doorman 

responsible for our rejection. Kneejerk speculation was rife: “It’s 

a premeditated numbers game, one in, two out,” said one fistclenched 

quibbler, whilst another enraged voice rebuked “Nah, 

there’s an obvious discrimination against Britons”. Our rationales 

were ultimately futile, but the spate of reactionary comments 

did eventually culminate in a collective realisation: this was no 

mere act of arbitrary denial on the part of the Berghain; this was 

the calculated resilience of a sub-cultural institution expressing 

its determination to remain esoteric, isolated from the glare of 

society and misunderstood by the masses. A determination we 

all agreed was admirable. 

The implementation of this elitist doctrine was an alien 

concept when compared to the ‘one-size-fits-all’ clubbing 

agendas currently adopted in the UK. In a landscape where the 

lines between genre categories are increasingly blurred, the 

readily downloadable glut of digital dance music available to 

fringe listeners has created a culture of Jersey Shore collectivism, 

a community of taste-making socialites compelled by the notion 

of eclecticism for eclecticism’s sake. Dance music: even the phrase 

is non-descript and without real purpose; a catch-all term that by 

its very definition reinforces the function that’s omnipresent in 

countless other forms of music. And don’t fret - I’ll spare you the 

spiel by way of refraining from using the Americanised acronym. 

These deductions are not to suggest the components of the UK 

club scene are any less nuanced than the 

scene of their pan-European counterparts 

(see Clive Martin’s Big Night Out series on 

Vice.com for ample examples of modern- 

day British sub-cultures); however, it is 

prudent to suggest these components are 

rehashes of their original form, bastardised 

and diluted to the point of parody. 

To infer that dance music is now the UK’s 

de-facto sub-cultural dominatrix would be 

a moot point, but there’s definitely weight 

to the argument that neo-sub-cultures as a 

whole have ceased to dictate youth culture 

in any visible way – Britpop being the last 

sub-culture to be definable by class, fashion, 

politics and music. 

To hark back to dance music’s origins on these 

shores, early 90s UK rave culture – like many other 

sub-cultures before it – was ostensibly about the 

disenfranchised youth of the period rebelling against 

the status quo, or, if you like, a bunch of working-class 

kids doing things a bit differently. This was usually 

achieved through the appropriation and subversion of 

mainstream class, fashion, music and politics, i.e. in this 

case, the appropriation of American techno originated 

from Detroit. 

The Germanic techno scene and by extension the identity 

and traits that have become synonymous with its proponents 

(black/gothic aesthetic choices, overt homosexuality and stoic 

demeanour) are also a subversion of that derivative. Yet 

still, while the cultural ethos of each respective country 

remains poles apart, dance music and all its ugly 

children continue to pervade youth culture across 

the globe. 

If the wider dissemination and distillation 

of dance music is writ large by the advent of 

the digital age, then it is gratifying to see the 

preservation of an underground scene that 

hides in plain sight, but is still unscathed by 

the death knell of exposure. Yes, I travelled 500 

miles; yes, I queued for three hours to no avail; 

yes, the exclusivity of the Berghian is a shrewd 

marketing technique, but, irrespective of all 

these deterrents, our innate tribal instincts 

drew us towards that sub-cultural bubble, to 

a place of belonging and liberation. This, in 

the cold light of day, was dance music at its 

most authentic. 



19 


20 


Edited by Richard Lewis 

Previews/Shorts 

CRYSTAL STILTS 

NYC post-punks CRYSTAL STILTS 

are welcomed back to these here 

parts with open arms on the back 

of highly praised new LP Nature Noir. 

Signed to estimable US label Sacred 

Bones, the band’s electrifying surf rock has taken a darker turn of late, drawing influence from 

The Velvet Underground and Joy Division. Playing the intimate confines of The Hold, tickets are 

sure to be scarce come showtime. 

The Shipping Forecast / 24th November 

BRIGHT YOUNG PEOPLE 

BRIGHT YOUNG PEOPLE 

bring the noise to The Zanzibar 

midway through the month, with 

the three-piece on the receiving 

end of considerable buzz for the 

garage rock rush of debut single Liberties b/w Woe. Produced by Ian McCulloch, the 

band combine the trebly aggression of The Stooges with the pop nouse of the BRMC 

and the sass of The Cramps. 

The Zanzibar / 15th November 

Having already played one of 

the most memorable gigs of 2013 

MONEY 

back in June, Manchester’s mostlikely-to 

MONEY return to Merseyside 

to attempt to outdo themselves. 

Since then the group have issued acclaimed debut LP The Shadow Of Heaven and won praise 

for the intense passion of their live shows, fronted by talismanic lead singer Jamie Lee. VEYU 

will also be on hand to aid the orchestral swells. 

Blade Factory / 8th November 

Future Of The Left 

Riding high on the excellent reception that greeted recent LP How To Stop Your Brain In An Accident, 

post-hardcore/noise rock band FUTURE OF THE LEFT head out on their biggest UK tour to date, with across 

the board acclaim still ringing in their ears. 

After a parting of the ways with their record company the quartet funded the new album via PledgeMusic, 

romping home with 100% of the set target within six hours of the project being launched. The experience 

has lent fuel to their ire it seems, as track titles such as I Don't Know What You Ketamine, Johnny Borrell 

Afterlife and the vitriolic self explanatory How To Spot A Record Company show that frontman Andrew 

‘Falco’ Falkous hasn’t lost any of his renowned rapier wit. Famed for his passionate stance against 

the illegal downloading of grassroots artist's music and his memorably iconoclastic, highly quotable 

interviews, the singer has become one of the most charismatic British frontmen in recent years. 

The band are more than capable of backing up the talk with the tunes live and on record, looking set to 

truly be in it for the long haul. Recently described as “the UK's most criminally underrated rock band” by 

the NME, the praise sent their way and the lengthy tour look extremely likely to overturn that opinion. 

East Village Arts Club / 6th November 

ROBYN HITCHCOCK 

A rare and extremely welcome 

visit to Liverpool sees cult 

musician ROBYN HITCHCOCK head 

to The Kazimier in early November 

in support of Love From London, 

released to considerable plaudits back in March. Founder of neo psychedelic late 70s crew The 

Soft Boys, Hitchcock has become a revered solo artist over the past three decades, notching 

up collaborations with members of R.E.M. and XTC along the way. 

The Kazimier / 3rd November 

JOAN OF ARC 

US math rock ensemble JOAN 

OF ARC cross the Atlantic to visit 

Merseyside again this month. 

Fronted by US indie rock legend Tim 

Kinsella, who has logged time in Cap’n 

Jazz and Owls, the prolific Chicagoans are circling the globe plugging this year’s Testimonium 

Songs LP. An influence on scores of math rock groups since their mid-nineties formation, come 

see some of the original innovators up close. 

The Kazimier / 15th November 

Continuing a bewildering run of 

top-notch gigs, GOLD PANDA plays 

GOLD PANDA 

EVAC towards the end of November. 

Carving his own distinctive niche 

of electronica/minimal techno the 

mysterious figure has issued two highly acclaimed inspired LPs. This year’s Half Of Where You 

Live continued the praise sent his way with 2010’s Mercury Prize-nominated Lucky Shiner, with 

a world tour spreading word of the Berlin-based producer. 

East Village Arts Club / 23rd November 

The Charlatans 

Rescheduled from August Bank Holiday following the tragic death of drummer Jon Brookes, evergreen 

indie act THE CHARLATANS headline St. George’s Hall in early November. Held as part of the Liverpool 

International Music Festival, this gig, along with a recent Albert Hall date, both serves as a tribute to the 

sticksman who co-founded the band alongside bassist Martin Blunt in 1988. 

Featuring 14 bands spread across two stages, the Great Hall and the smaller Concert Room are 

both pressed into service at the iconic venue, with music running in the venerable surroundings 

from 6pm til 1.30am. 

The Great Hall sees the headliners backed by the TEA STREET BAND, the Balearic dancefloor alchemists 

appearing immediately before Tim Burgess and co. Wirral quintet BY THE SEA also feature, the five-piece 

taking time out from crafting their highly anticipated second LP (expected early next year), with Ellesmere 

Port guitar slingers THE FALLOWS completing the bill. 

The Concert Room - hosted by Cooking Soup - meanwhile is headed by POLICE SQUAD, a band who 

have become firm fixtures on the city’s gig circuit, along with sets from DEADBEAT ECHOES, REGENCY, THE 

BIBELOTS, and, fresh from their appearance at Liverpool International Festival of Psychedelia, PSYENCE. 

The second room will see further sets from bands drawn from across the North West, including WELCOME 

PARIAH, VIOLET CLASS, WILSON MINDS and BARNEY SOANES. 

St. George’s Hall / 8th November 


LIVERPOOL’S INTERNATIONAL ARTS VENUE 

WHAT’S ON 

Autumn Season 2013 

Full listings www.thecapstonetheatre.com 

BOX OFFICE 0844 8000 410 

www.ticketquarter.co.uk

22 


Reviews 

Wet Nuns (Adam Edwards / @adamedwardsF2 

WET NUNS 

Metro Manilla Aide 

EVOL @ East Village Arts Club 

There’s a definite air of sadness in East Village 

Arts Club tonight. Farewell shows are curious 

affairs, like a funeral where the deceased does a 

40-minute set and everyone cheers throughout. 

Before the main event though, METRO MANILLA 

AIDE attempt to lighten the mood. The rowdy 

metallers go about this by de-extincting 90s 

funk metal and parading about with it dressed 

as an erotic pantomime dame. The front rows 

are very excited but most are just perplexed. 

Two short months ago, WET NUNS played an 

electrifying set at FestEvol. Their debut album 

was about to be released, the two Sheffield 

lads exchanged banter and the sun was shining 

on their Kazimier Garden stage. Tonight, it’s 

dark October, the band have re-titled their 

‘Self-congratulatory Debut Album Tour’ to ‘The 

Farewell Tour’, and the two members can barely 

look at each other. 

But there is a debut album and thank the 

lord they stuck together long enough to commit 

something to vinyl. Tonight should be about 

celebrating their life and achievements and not 

mourning our loss. 

Guitarist Rob Graham launches into the 

rollicking riff of No Death and, as vocals are 

shared between the duo, all seems right. It 

could be three years ago. A collective decision 

is made among the typically diverse crowd to 

just enjoy the gig for what it is: a great band 

performing their incendiary debut album. As 

Graham addresses the crowd, one heart-broken 

devotee shouts “Don’t split up!” With that, the 

axeman’s head goes down and he launches into 

Don’t Wanna See Your Face No More. Poignant? 

The band go about giving their superlative 

Queens-of-the-Stone-Age-via-Black-Keys 

rock 

the airing it deserves, the crowd mosh, letting 

memories flood back from the Nuns’ enumerable 

visits to the city, and the most committed shout 

back every pained throat-ripping lyric. At the end 

of the set, the stage is bathed red and only the 

feedback from Hanging remains. There’s relief 

when the band return to the stage for a twosong 

encore. Drummer Alexis Gott expresses 

his love for Liverpool as a great place to come 

and play. It’s become their adopted home and 

our gig-going community has welcomed a band 

of such quality, humour and commitment with 

open arms. The classic Throttle is a fitting end to 

a gig worthy of legends. Both members crowdsurf 

and are lifted tentatively close to each other. 

There are smiles on faces and lumps in throats. 

It’s these moments we must remember and 

the album we must treasure. Bands like Wet 

Nuns burn bright and their light will illuminate 

eternity. And I’m certain they will want to be 

remembered with such earnest hyperbole. 

Sam Turner / @samturner1984 

SUPERFOOD 

I Love Live Events @ Korova 

“We’re gonna get really pissed after this,” 

SUPERFOOD frontman Dom Ganderton declares 

to what appears to be around 50 of his closest, 

already drink-swilling buddies in the basement 

of Liverpool’s newest shoebox venue. We’re at 

Korova, on Wood Street, and everyone’s here 

to have their ears obliterated and drink cheap 

beer until they can’t remember what year it is. 

At the rear of the basement, the band’s friends 

flog homemade T-shirts packaged in aluminium 

foil take-away containers. In the foreground, 

there’s no fucking around: Ganderton wills his 

devotees forward towards the stamp’s worth of 

space available in his immediate vicinity to spit 

bile in their faces. 

This is the world according to Superfood: 

Ryan Malcolm (Vocals/Guitar), Emily Baker (Bass) 

and Carl Griffen (Drums) assist Ganderton in 

reflecting the early twenties mirth of a wider 

disenfranchised youth who’d pawn their sixthhand 

Ford Fiesta for an old boot full of tepid 

cider and a shoddy hand-job beneath the park 

slide. They’re Birmingham’s latest 90s-indebted 

buzz band: young, apathetic and well drilled in 

channelling Damon Albarnian catchy choruses 

and Fungus Amongus-era Incubus funk guitar 

lines. Which, as it happens, is a totally cool 

combination. Tonight, they play all of the fistful 

of early demos they’ve made available online 

since their formation in the latter stages of 2012, 

along with recently dropped track Bubbles, for 

a set that doesn’t so much ebb and flow as 

screech and grind like the sporadic tantrums 

of a teenage adolescent. For the most part, 

Ganderton is noticeably drunk, out of sync with 

the rest of his band and thrusting his snake 

hips to Jarvis Cocker-like effect. Meanwhile, 

Malcolm and Barker are cast as Weezer lovin’, 24 

Hour Party People aficionados who presumably 

bumped into each other at a sixth-form social 

and bonded over a mutual adoration of Pinkerton 

and ecstasy. As a collective though, they’re as 

tight as the snare drum Griffen pummels with 


24 


Reviews 

Live_Transmission (Aaron McManus / ampix.com) 

the efficiency of a supercharged BMW. 

Peace-advocated early demo TV is a sardonic, 

grunge-inflected twist on Britpop circa Leisure era 

Blur that’s drenched in lament so bittersweet it’ll 

make your teeth rot, while set-closer Superfood 

sees a snot-nosed Ganderton poised on his tiptoes 

and scoffing at the trappings of modern life 

with a semi-stoned enlightenment. “We resent 

all this B-town stigmatisation and journalistic 

smoke blowing; we want bands to be judged 

on their individual merit,” one of the four-piece’s 

travelling entourage tells us during a post-set 

Tour De France of overzealous high fives and 

triumphant air punches. Which leads us to the 

question: does the apple actually fall far from 

the tree? The answer: they probably couldn’t 

give a toss about that sort of thing anyway. 

Joshua Nevett / @JoshuaNevett 

THE HERITAGE ORCHESTRA 

& SCANNER 

Live_Transmission - Joy Division 

Joy Division Reworked @ Liverpool Philharmonic 

As a low drone bleeds into the auditorium 

and the light show takes its initial shape, the 

silhouette of the conductor of THE HERITAGE 

ORCHESTRA is drawn in front of us with the 

eeriness of a Crosby beach iron man. There is 

stillness in the auditorium laced with a palpable 

tension and, when the drums kick in, the energy 

releases as expected – yet we know that it’s 

merely the calm before the storm. 

As the opening track, Transmission sets a 

precedent for the evening: this is Joy Division 

like you’ve never heard before. The references 

to the original tracks are subtle yet inextricably 

connected. The reworking of Transmission 

is layered with cinematic sweeps, certainly 

hypnotic but with an infiltrating urgency that 

works its way into an attack on the senses. The 

drums, having the driest sound, sit forward in 

the mix, while the huge wall-of-sound created 

by the electric synths fills the back end of the 

sound, allowing the individual musicians to 

bridge the gaps. 

She’s Lost Control begins in a recognisable 

manner, but the rework is inspired; mournful 

strings introduce facets of the original and we 

know at once that this is not a happy tale. As 

the layers build, there’s almost a desperation to 

the song; its meaning is transported to another 

playing field. The running man accompanying 

imagery perfectly illustrates both the protagonist 

and the narrator trying to gain control. 

The theatre of both elements of the 

performance succeeds in taking us into a different 

world. Over the intertwining guitars in Isolation, 

I hear one audience member whispering that it’s 

like we’re being allowed into Curtis’ head, that 

the reworkings are designed to give a greater 

insight into the songwriter’s mental processes. 

During Digital, as we begin to become 

accustomed to the beautifully melodic 

staccato synth version of the guitar riff and 

the human anatomy imagery snaking on the 

gauze, the hypnosis is broken by unexpected 

punching, distorted references back to the 

original, marking the moment with dynamic 

flashes of light, and we see the string players 

dancing in the climaxes. It is as though what 

we are watching is not really there but rather 

is artificially constructed with building blocks 

of visual and aural movement. Undoubtedly a 

product of my generation, it seems to me to be a 

similar feeling to when looking at the Liverpool 

Anglican Cathedral in certain lights on certain 

days; my first thought is, “what incredible CGI.” 

Love Will Tear Us Apart is a contrasting finale. 

Naked vocals are presented to us, the most 

unchanged element of the Joy Division repertoire 

we’ve heard all night, and lush strings flow 

through the chord progression. It comes as a bit 

of an anti-climax though, and the reimagining 

of this iconic song, whilst being undeniably 

beautiful, comes across as perhaps a little Disney 

in contrast to the preceding performance. It is, 

however, a minute disappointment at the end 

of what was otherwise a truly stirring evening 

of music. 

Jessie Main / @JessieMainMusic 

FIESTA BOMBARDA 

The Kazimier 

Never fully satisfied, Liverpool’s craziest 

carnival is kicking it up a notch once again, 

opening up all of The Kazimier for tonight’s 

revelling. With two stages, along with live DJs, 

circus performers and street food thrown into 

the mix, the result is a metropolis of madness, 

oozing with excitement. 

However, it’s a subdued start from acoustic 

acts TIZ MCNAMARA and DANIEL ROSS. Both 

performances are pleasant on the ear, their 

organic guitars and shimmering vocal melodies 

fitting perfectly with the rustic ambience of a 

late afternoon at the Kazimier Garden. 

Unfortunately, this does not work to the 

advantage of HEDDA ARONSEN. It would be 

easy to lose yourself in the hazy reverb of her 

bold dream pop, but it keeps escaping into the 

autumn air. What the audience cannot escape 

though is Aronsen’s quaint charm. More poised 

since her last Fiesta performance, she leads us 

through a much more assertive set. 

UKEBOX are the first act to embrace the Club 

stage inside. Don’t be deceived by their serious, 

dapper appearance, it’s hard to find anyone in the 

room without a smile on their face when they’re 

playing. Armed with a banjo, bass and a handful 

of ukuleles, the troupe rearrange popular hits 

into kooky covers, including a mash-up of The 

Coral’s Dreaming Of You with The Jungle Book’s 

I Wanna Be Like You. It’s highly comical, but 

genuinely charming. 

Outside, CHARLOTTE ASHDOWN is whipping the 

night into shape. She’s shy at first, but her soulful 

blues is full of zest, particularly on an impressive 

rendition of Estelle’s American Boy. Her own 

material is just as promising, with the warm and 

inviting Never Gonna Be enticing the crowd in, 

before hitting them with a full-on jazz swing. 

Back inside, PHILLY WHIZZ & AVERAGE KEITH 

make for quite a change of pace. The crowd 

seem unsure of how to approach their assault of 

verse, as their no-nonsense, old-school hip hop 


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FRI 1ST - £7 

ROOT FT. SOOM T + EXTRA LOVE + 

THE CORINTHIANS + DJS 

SWIM DEEP + SUPPORT 

TUE 5TH - £20 

TURIN BREAKS 


FRI 8TH - £5/7 

CHEW DISCO: VOL. 12 

FEAT MS VAGINAL DAVIS + 

MORE 


TUES 12TH - £10 

SUBMOTION ORCHESTRA + 

GHOST CHANT 

FRI 15TH - £8.50 

JOAN OF ARC 

TUES 19TH - £6 

AUTRE NE VEUT 


SAT 23RD - £12 

ALICE RUSSELL + RAGZ NORD- 

SET + BEATEN TRACKS DJS 


NOVEMBER 

CLUB 

SUN 3RD - £10 

ROBYN HITCHCOCK + SUPPORT 

THURS 7TH - £5 

NATALIE MCCOOL + RAVENS 

+ COUSIN JACWIM DEEP 

+ SUPPORT 

SAT 9TH - £13.50 

PHOSPERESCENT + CAVEMEN 


WEDS 13TH - £8 

LANTERNS ON THE LAKE 


SAT 16TH - £12 

BORDER COMMUNITY FEAT. 

JAMES HOLDEN + LUKE ABBOTT + 

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WED 20TH - £10 

MOLOTOV JUKEBOX + WHITE 

BICYCLES 


FRI 29TH - £12 

JONATHON WILSON 

can be tough to keep up with. Then again, there’s 

nothing to distract you other than DJ NIMBLE 

providing scratches in the corner. 

As darkness descends on the Fiesta, BOLSHY 

take to the stage. Their name fits perfectly with 

their boisterous ska punk, which leaves the crowd 

no time to rest. Thankfully, everyone is happy to 

embrace the band’s spirit and skank their way 

through the set. Singer Ivy’s relaxed vocals don’t 

quite match the pace, but this gives tracks such 

as Every Little Helps a delightful twist. 

The next segment of the Fiesta allows the 

crowd to take a breather. As MUTANT VINYL, multiinstrumentalist 

Edwin Pope delivers deliciously 

smooth dub as he layers sound after sound 

without losing substance. Excitable saxophones 

and colossal beats on tracks like Acid Honey 

prove highly satisfying. 

Meanwhile, on the Garden Stage, COFFEE & 

CAKES FOR FUNERALS are taking things down a 

notch. Formidable at first, their smooth hip hop 

influenced RnB flows across the crowd, carried 

by Joe Hazzlet’s astonishing vocals. Quiet and 

reserved in between, he leads the band through 

a calm yet immersive set. 

Considering the relaxed atmosphere that has 

preceded them, RIVER NIGER ORCHESTRA make 

a U-turn in pace with ease. A sight to behold, 

they’re even more extraordinary once they get 

underway; the band perform for well over an 

hour, providing a tenacious performance of 

sprightly afrobeat. 

Inside, BATALA are cooking up a powerful 

performance that shakes the Kazimier’s very 

foundations. Comprising a 12-piece drum 

ensemble, their attention to rhythm makes for 

an electrifying performance, which is impressive 

when you consider that they are relying entirely 

on percussion. 

EXTRA LOVE and THE FIRE BENEATH THE SEA 

then bring the Fiesta to a close. Both acts not 

only embody the party spirit, but transform it 

into a magnificent beast; Extra Love’s reggae 

dub is explosive, while The Fire Beneath The 

Sea’s euphoric hip hop is impossible to resist. 

Not so much a last waltz, the club is transformed 

into a fiery pit of energy, bursting at the seams. 

Tonight, Fiesta Bombarda has managed to cram 

in a staggering array of acts without threatening 

to overwhelm its attendees. Ultimately, the night 

is a triumphant celebration of local creativity; it 

won’t be able to stay away for too long. 

Jack Graysmark / @ZeppelinG1993 

DIMENSIONS FESTIVAL 

Fort Punta Christo, Pula, Croatia 

It’s 9pm on Thursday 5th September, and 

we’re on a beach in Croatia with hundreds of 

like-minded people screaming the words to Paul 

Woolford’s Untitled. As ELIPHINO’s set nears 

an end, the sun sets widescreen across the 

Brijuni Islands on the horizon. We’ve been out 

on the bright blue Adriatic earlier in the day, on 

board the first of many boat parties across the 

weekend, but now we march up the winding, 

dusty path that takes you from the campsite to 

the 19th Century Austro-Hungarian fort hidden 

among the thick trees on the headland beyond 

the beach. This is the setting for DIMENSIONS. 

Soon enough we are bounding excitedly past 

an illuminated garden that would put Gottwood 

to shame; first on our agenda, London’s Staunch 

collective hold court in Mungo’s Arena. MUSHY, 

HARRIMANNN and KLOSE ONE attempt to 

out-do each other with the kind of bass music 

synonymous with Loefah’s School Records and 

Swamp81 labels, as techno-Bez Jonny Banger 

pours neat spirits down the throats of whoever’s 

asking for it. “There’s a party in Croatia,” he chants 

and, luckily for us, it’s only just beginning. 

For the rest of the night, we’ll be in The Moat. 

Perhaps Dimensions’ most iconic ‘stage’, this 

100-metre long sunken channel creates a sonic 

atmosphere so intense it borders on oppressive. 

Here, Hessle Audio’s PANGAEA, PEARSON SOUND 

and BEN UFO demonstrate why they are held in 

such high esteem. They each play their fair share 

of heavy techno, in a futile attempt to prepare 

the crowd for an hour-long battery of industrial- 

strength thunder and abrasive acid synth-lines 

courtesy of KARENN. 

Friday night, and it’s one-in, one-out to catch 

TESSELA in the 57-capacity circular pit known 

as Noah’s Ballroom, so we leave to find JIMMY 

EDGAR firing on all cylinders outside The Fort. 

Following him, MACHINEDRUM’s barnstorming 

mix of jungle and footwork is a welcome change 

of pace from all the 4/4, while KRYSTAL KLEAR lives 

up to claims that he’s the best party DJ in the UK 

right now. Having gone a tad too hard on the first 

night, the lack of sleep catches up with us, so 

we drop out of the action for a while to recover, 

feeling it necessary to breathe easy before we put 

ourselves through two hours of BLAWAN in the 

unforgiving environment of The Moat. 

Having risen to prominence with the catchy, 

Brandy-sampling Getting Me Down, Blawan 

has dived headfirst into a world of nightmare- 

inducing, nosebleed techno. There are no Brandy 

samples here; everything he plays is held 

together by an undercurrent of menace and layer 

upon layer of dense, unrelenting kick drums that 

could stun whales, cause crops to fail and make 

people forget who they are. Ending with his own 

Scarborough Harbour, there is no end to the 

hyperbole with which people speak about his 

set as they stumble, shell-shocked back to the 

campsite. 

The majesty of MOUNT KIMBIE is not lost 

on the hundreds who gather to see their live 

show in The Clearing early on Saturday night, 

though the coming together of Jimmy Edgar and 

Machinedrum as JETS proves our highlight of the 

night. Delivering a highly energetic live set, a 

bouncing edit of Midnight Star’s Midas Touch has 

a collective grin beaming across the crowd, even 

as several people are carted off by undercover 

police keen to enforce a zero-tolerance policy.

Bido Open Day 

Reviews 


27 

Photography: Keith Ainsworth

28 


Reviews 

No Age (Adam Edwards / @adamedwardsF2) 

One of the acts we were most looking forward 

to seeing at Dimensions, Ellesmere Port’s 

very-own EVIAN CHRIST, is not on stage at the 

advertised time. The man who stands on stage 

in place of him, building walls of bone-shaking, 

improvised, electronic noise, is VESSEL, whose 

impassioned, physical performance behind the 

controls is soon talked about among our group 

as one of the highlights of the festival. 

Sunday night and we’re back in Mungo’s 

Arena to catch two of the reasons Bristol’s music 

scene is so talked about. First up is PEVERELIST, 

who plays a mixture of unconventional bass 

music that provides a case for the continued 

use of the phrase ‘post-dubstep’, steadily upping 

the tempo from Livity Sound records to pulsing, 

slow-motion techno. Pev’s collaborator KOWTON 

picks up where he left off; the first half of his 

set consists of four-to-the-floor earthshakers, 

the real party beginning as he moves into his 

second half, dropping an essential collection of 

UK funky, garage, dubstep and grime. Testament 

to his talents, his own productions steal the 

show – an already boisterous crowd completely 

losing the plot as the unmistakeable rapid-fire 

snares of TFB build through the mix. 

The sheer brilliance of the Dimensions set-up 

cannot be over-emphasised. Having attended, 

the thought of a festival in the traditional 

farmers’ field set-up seems terribly pedestrian by 

comparison. Every act has brought their A-game, 

and there are a number of once-in-a-lifetime 

moments. Detroit legends 3 CHAIRS holding 

court for pretty much the entire festival outside 

The Fort was one of them, while, as we move 

into the final two hours of the festival, BEN 

KLOCK’s polished, build-and-release masterclass 

is elevated to forever memorable status by the 

absolute downpour unleashed by nature. In The 

Moat, there is no escaping the rain, dramatically 

illuminated by the swirling, strobing lights. But it 

can do its worst – we’re in another Dimension. 

NO AGE 

F.O.E.S. - Soho Riots 

Rob Syme 


For a Friday night, Liverpool certainly is quiet 

tonight – the only folks about other than those at 

NO AGE seem to be wandering the streets asking 

for “spare tenners”, but inside Korova previous 

Bido Lito! feature stars SOHO RIOTS saunter on 

stage from the dance floor with no-one quite 

knowing when exactly the whole shebang is 

meant to start. With the recent addition of a 

keyboardist after the summer break, they are 

tighter and more confident on stage than ever. 

So tight in fact they manage to carve themselves 

further into a (perhaps immature) 00s revival; 

resurrecting the punk funk corpse and stripping 

it for all the hi-hats and angular guitar it’s worth, 

whilst mercifully avoiding predictable cowbell 

clichés (no matter how much cowbell there 

is, the audience demand more). This all works 

best on new single Sweet Spot and excellent 

debut Who’s Your Man?, both of which benefit 

massively from the shuffling dynamics and 

glistening keys providing the extra oomph their 

solid songs were previously lacking. 

Hairy and heavy is exactly how one would 

expect post-hardcore mongers F.O.E.S. to look, 

and damn do they live up to it. How nice it is to 

see folks like these (and Stateside compadres 

Touché Amoré) nab the form’s Fugazi-era 

respectability back from the fingerless gloved 

hands of the Criminal Damage brigade. Their 

melodic take on the ATDI/Drive Like Jehu schtick 

may lean towards to the pop end of things, 

but that doesn’t mean their ferocity is watered 

down at all – the tension on stage lends a 

palpable feeling that anything could happen at 

any minute. Basically, rock has got some of its 

roll back and boy is that refreshing. It’s going 

to take something special to top these guys 

tonight and the question on everyone’s lips is 

will No Age deliver the goods? 

Well, things start well with their sheer 

energy and singular sound carrying them. The 

audience’s new-found tinnitus is definitely 

worth the bursts of droney, clattering racket. 

Despite the solid sound (as in, they actually 

make the air feel solid), axeman Randy Randall 

cuts through his aural thicket with gusto. These 

folks have been pushing boundaries for some 

time in how far a power-duo can go - to some 

critical acclaim too - but have they pushed 

it too far? By the looks of the disappointingly 

monotonous set they may well have done 

– no amount of slam-dancing at the front can 

make up for the slow and steady exodus from 

the back throughout their set. And it’s not lost 

on the band, as Randy declares he “feels like 

being drunk when everyone’s watching.” And it 

definitely says something when BOTH support 

acts usurp the headline act. 

Laurie Cheeseman / @lauriecheeseman 


Reviews 


29 

1 HESKETH ST 

AIGBURTH, LIVERPOOL 

L17 8XJ 

020 7232 0008

30 


Reviews 

CHINA RATS 

Go Fiasco – The Works 


Down in the belly of Wood Street, CHINA RATS 

are set to headline Korova. The venue, with its 

dim red lighting, tiny size and bare brick walls 

has a distinctly DIY vibe, and the array of leather 

jackets and dyed-bob haircuts on display seems 

fitting. As it turns out, most of these jackets 

belong to the bands on the bill, and (though 

it is still early) even the cramped surroundings 

can't disguise the fact that the place is almost 

completely empty. 

Undeterred by this fact, GO FIASCO provide 

a performance overflowing with energy and 

confidence. Lead guitarist Jamie Roberts is 

particularly animated as he fingers his way 

through jaunting, fragmented riffs and satisfying, 

angular hooks. The songs, at times, seem 

almost ready to fall apart but are just about held 

together, giving them an appealing delicacy. 

The set ends in a feedback-laden cacophony 

of noise, and the band leave the stage having 

demonstrated what many of us already know - a 

good show doesn't need a big audience. 

Next band, THE WORKS, display dishevelled 

guitar lines and are, in general, pleasantly 

loose. Their sound has an engaging texture 

and is contained well within the basement 

venue's walls. Though the two guitarists are 

moving almost constantly, the real spectacle 

is the bassist, who stands rooted to the spot, 

effortlessly and somewhat nonchalantly playing 

his way through slick and complex basslines. As 

the set progresses, however, the lead singer 

begins to stray into dodgy impersonations of 

Alex Turner, and it would not be surprising if the 

lyrics (which are hard to decipher) concerned 

Reebok Classics and drunken nights in Sheffield. 

Nevertheless, it has been a decent set, but as it 

draws to a close a moment occurs that sums up 

the atmosphere of the gig thus far. The band's 

penultimate song receives no applause from 

the now slowly growing crowd, and applause is 

a small courtesy that should be afforded to any 

band that gets up on the stage. 

After this brief but slightly demoralising 

gesture the mood begins to pick up, and the 

crowd fills out just in time for the headline 

act. As with their predecessors, China Rats 

are well suited to their surroundings, and 

look impeccably cool as they pick up their 

instruments. What follows is a raucous, joyous 

romp with guitars flailing and sweat flying. 

The audience is much enthused and a small 

pit even forms at the front of the stage, as the 

band storm their way through fast, three-chord 

flurries of noise. Though their punk sentiments 

are clear, they walk the line between snarling 

chants and catchy melodies; an example of the 

fact that pop and punk songs only ever really 

differ in aesthetic. As the set moves along and 

the songs get faster, crowd and band integrate 

to form one drunken, throbbing organism and, 

so, the balance of mutual goodwill between 

performer and spectator is restored. If the band 

carry this momentum forward, then the next 

stops on the tour will be in for a treat. 

RED SAILS 

This Morning Call – Lumin Bells 

Alastair Dunn 

Mellowtone @ Leaf 

A seamless blend of jazz, blues, soul and hip 

hop from DJ Richie Vegas tees up an intimate, 

lounge-bar atmosphere in Leaf tonight, providing 

a constant seam through the live acts on show. 

A six-piece with three guitarists, LUMIN BELLS 

are up first and they set the tone for the rest 

of the evening. Their songs are relaxed, floating 

and almost detached; lethargically optimistic; 

subdued but not melancholic. The second 

guitarist mirrors the chords of the rhythm guitar, 

Red Sails (Glyn Akroyd) 

but picks rather than strums, highlighting the 

root and treble notes, and creating a rich, layered 

sound that sits calmly behind Nico Hercules' soft 

voice. The addition of a delayed Korg synth gives 

the songs a fullness, but not overly so: there 

is still space, sonically, through which the lead 

guitar and drums meander. 

For the following performance, THIS 

MORNING CALL’s Ben Heyworth is supported by 

a second guitarist and a bassoon player. At first, 

due to some sound difficulties, the bassoon 

can barely be heard and the preliminary songs 

suffer greatly due to a lack of depth. It’s only 

towards the end of the performance that the 

bassoon can be deciphered, leading the songs 

to take on a new and interesting form. The final 

two tracks see Heyworth abandon his guitar 

and move over to his laptop, prompting the 

set to transform into an upbeat electro romp 

that is somewhat reminiscent of The Magnetic 

Fields. It is a surprisingly great end to a fairly 

disappointing set. 

Headliners RED SAILS are given a rapturous 

welcome by the local crowd, and it is clear that 

the majority of people have come specifically to 

see them. The five-piece start things off with a 

slow, downbeat number, and any lingering voices 

in the room die down. Only an acoustic guitar 

and a neatly complementary two-part vocal 

harmony are all that’s required to win this crowd 

over, it seems. After this, the set becomes livelier, 

but still maintains a certain delicacy. Red Sails' 

songs concern longing and heartbreak, and at 

times they seem almost to be crooning through 

their sentiments. There are moments resembling 

50s pop ballads, with memorable hooks that are 

always accentuated by blissful vocal harmonies 

and clever guitar work. The performance itself 

seems very organic, which sees both the crowd 

and the band captivated in equal measure. And 

how often can you say that? 

Alastair Dunn 

JON GOMM 

Clandestine 

Liverpool Acoustic @ Leaf 

The doors have only been open for half an 

hour and already Leaf’s organisers have taken 

to the mic, teasing newbies with the imminent 

magnificence of what the headliner’s ‘nudgenudge’ 

fan base seem precisely aware. We’re 

like children within touching distance of the 

sweetest treat in the box. This, they say, is going 

to be something special – so much so that you 

don’t know what it is until you’ve been there, 

man. Whether or not the hype is needed, there’s 

no denying the crackle of anticipation simmering 

upon polite faces and in the conversations of 

men talking excitedly over their wives. 

The task of prying open the goodwill jar 

prematurely falls to CLANDESTINE, aka Tom Kwei, 

an English graduate tackling performance poetry 

like Heaney on a head rush: expressive, concise 

and very aware of the conventions with which 

he is playing. His lyrical tirades do not concern 

themselves with strict adherence to pentameter 

or thematic structure; nor do they abuse the 

potential of rhyme by busying the flow of words 

with isolated phrases that draw attention to 

the entire makeup of their predecessors. What’s 

most exciting is the randomness of his material 

– a man worshipping Godzilla in lieu of God, a 

girl destroyed by ambition, the utter inanity of 

describing sex in literary speak – all delivered 

with panache and charisma. Jaws drop when he 

tells us this is his first gig. Bravo, Tom. Hopefully, 

your pen will engrave heights beyond this 

evening. 

At first, JON GOMM is seen wandering 

through rows of chairs, greeting a large group 

who will cheer when there is no obvious reason 

to, clapping at almost every syllable, every 

disarmingly boyish grin their hero imparts 

upon his familiars. Spades of adoration explain 

the sold-out billing; here an artist (and, fuck it, 


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EVERY MONDAY 

Movie Night Monday*, classic cult 

movies with a pizza and beer or 

wine for £6.95 and 50p a bag of 

popcorn 

EVERY TUESDAY 

Let’s get Quizzical, £1 entry incl. 

free pizza and cash prices 

EVERY THURSDAY 

One More For the Road with Terry 

Gray, the only open mic with FREE 

SCOUSE ON THE HOUSE 

EVERY FRIDAY 

The Hatch acoustic session, live 

acoustic music from local and 

travelling souls 

THE 1 ST 

SATURDAY 

OF EVERY MONTH 

Open Soul, a night of acoustic 

music from a spectrum of genres 

including folk jazz, blues and funk, 

£3 entry 

THE 3 RD SUNDAY 

OF EVERY MONTH 

Hobo Bazaar from 12-5pm, a unique 

shopping experience 

EACH SATURDAY 

Join us for the unexpected. 

HOPSKOTCH Street Kitchen 

& Bar \ THE HATCH 

Mathew Street 

Liverpool 

L1 6AU 

0151 908 0098 

hello@hopskotchliverpool.com 

hopskotchliverpool.com 

Other discounts apply to student 

card holders 

*10” margherita pizza, bottle of beer, small 

glass of wine applies 

that term has never been more consummately 

applicable) can stand up and say, “You know 

what? I’m pretty good, and you all know it.” He 

doesn’t actually say that. It’s not befitting of 

someone with abilities showcased by these nine 

or ten songs to pride themselves too much on 

what they already can do. For, despite showing 

off unashamedly by taking a time out to teach 

us “hitting the guitar 101”, the Blackpool-bred 

musician is humble and gracious, concentrating 

on making tracks like Gloria and Waterfall reach 

as deeply as intended into our very bones. 

Gomm is excitingly adaptable but able to lock 

each persona with the same intensity, inspiring 

a saxophonist to soar across the vocabulary of 

her chorus pedal during Waterfall, and generally 

making indifference impossible to even think 

about as the mind swirls to giddy mush. Aside 

from this saxophonist’s brief appearance, there 

is no one else but Gomm, Gomm, Gomm, like 

the call of a tribe. 

Perhaps his greatest accomplishment is the 

personal touch bleeding over flights of virtuosity; 

letting rip on an “emergency disco cover” of Chaka 

Khan’s Ain’t Nobody is fun and unassuming, 

whilst Wukan Motorcycle takes stark dynamic 

turns towards its breakdown that perfectly evoke 

the story of a boy cycling through the Wukan 

uprising of 2011, collapsing from instrumental 

bliss to cacophonous outrage. Pot shots are taken 

at George Osbourne on Deep Cut, a sign that 

recent international sojourns have invigorated 

aims beyond just sounding really, really pretty. 

The standing ovation that bids farewell to 

Passionflower assures me that the cult of Gomm 

will never accept second best lightly. 

KID KARATE 

Novice Mathematic 

Joshua Potts 

EVOL @ The Shipping Forecast 

After a hasty change of venues, The Hold 

warms itself up to the idea of a noisy Tuesday 

night. As NOVICE MATHEMATIC step up to the 

plate to deliver, it’s hard to agree on what kind 

of genre these guys belong to, the closest of 

which is a seemingly nerdy breed of college 

rock which they release on audience members’ 

unwitting ears. The band are undeniably tight 

and appear relatively comfortable with their 

style, whatever that may be. Granted, Novice 

Mathematic aren’t reinventing the wheel, but 

their showmanship and commitment to their 

live performance are unquestionable. 

KID KARATE appear a tad sobered by what 

has preceded them, but seem to rouse those 

who’d considered calling it a night as soon as 

guitarist and vocalist Kevin Breen introduces 

himself and bandmate Steven Gannon in 

his Dublin brogue. The drums begin and the 

band slip into a volcano of noise that brings 

everyone back into the room in one fell swoop. 

Proper old school dirty thrash guitar riffs meet 

an eruption of heavy cymbal crashes. The pair 

go at each track with the force of a jackhammer, 

summoning the voracious punk spirit of Death 

From Above 1979, and more recent incarnation 

Drenge. Kevin Breen wails the chorus of Two 

Times, painting a distorted picture of love and 

betrayal. Some tracks are filled out with backing 

piano sounds in an attempt to flesh out the 

sound, but they really needn’t bother. These two 

make enough noise without any pre-recorded 

electronic additions. Kevin Breen dominates 

the neck of his guitar with a deftness that 

leaves the spectator in no doubt of his abilities 

as a musician and a frontman. Ensconced 

safely behind the cushioning of his various 

toms, Gannon cracks an assaultive percussion 

to seemingly control his bandmate’s wild licks 

of guitar. They duo appear oblivious to the rapt 

audience before them, communicating only 

between themselves as they move between 

songs and begin to come out of their shell. 

Each track appears to have a distinctive 

narrative: themes of adultery, commitment 

issues, and hedonism present classic features 

of a lad culture hidden behind a cleverly 

postured alternative sound and aesthetic. Like 

a reworked Molly Malone song, This City echoes 

with nostalgia and modern folklore, and boasts 

a pretty funky bassline to boot. It’s clear the two 

bandmates are just like any mid-twenties male 

with a girl crisis. It’s also apparent that, hidden 

away in the hinterland of local Irish venues, 

they’ve been criminally overlooked. Say what 

you will about couplings and guitar music, Kid 

Karate are holding their own amidst the current 

throng and producing loud and impressive 

results. If they were a karate move, they’d be a 

roundhouse kick. To the chin. 

Flossie Easthope / @feasthope 

JAWS 

Run Tiger Run – VYNCE 

I Love Live Events @ East Village Arts Club 

Stepping up to bring a bit of early momentum 

to the evening are VYNCE, who have plenty of 

drive in their delivery. What their warped indie 

pop lacks at times, however, is direction. A drum 

pad offers variation in percussion, but it doesn’t 

really seem to fit the overall vibe, like they’re 

diversifying their sound simply for the sake of it. 

The sonic squalling of their guitars and potent 

vocals are intriguing at times, but Vynce are a 

band that need to find their own voice. 

Facing a similar predicament are RUN TIGER 

RUN. Other than Sundown, where frenetic 

guitars bounce around the track’s jerky rhythm, 

the band’s cheery indie pop soon becomes 

monotonous. A handful of helpers encourage 

them on, but Run Tiger Run fail to instil the 

intended energy of their tracks on the mostly 

passive crowd. The fruits of their labour are 

pleasant enough to taste, but there’s not enough 

yet to make you want to take another bite.

Reviews 


A brisk soundcheck later and JAWS step into 

the limelight. Maybe it’s the stark neon glow, 

but as they open with an explosion of noise 

that fades to reveal the brooding Stay In, 

the band really shine. Even frontman Connor 

Schofield’s drawling vocals are charming. 

With their quirky, laid-back appearance, Jaws 

don’t just sound fresh from the nineties, they 

positively embody the nineties. 

What stands out about their roly-poly mix of 

grunge and garage rock is that each track feels 

like a vast, sprawling journey. Every sound 

present has an interesting dynamic to it: the 

glimmering synths of Toucan Surf 

are warm 

and enticing, while on set highlight Gold, 

guitars thunder over drums that thrash and roll 

in a wistful haze. 

Unfortunately, the band members seem 

intent on locking themselves into their own 

little world, with Schofield spending most of the 

set staring towards the side of the stage. It’s a 

fleeting experience, too; the band are off after 

only six songs, though in fairness they only have 

a debut EP, Milkshake, and a new single to offer. 

It’s a real shame, because the quality of the 

material Jaws have produced over the last year 

is fantastic. The huddle of dedicated fans who 

sing every word back on final track Surround 

You are testament to the fact that the band are 

on the verge of something big. After the gig, 

Schofield posts on Twitter that tonight was “just 

one of those nights”. Judging by the strength of 

their songs so far, you really have to hope so. 

Jack Graysmark / @ZeppelinG1993 

BRIGHT PHOEBUS REVISITED 

Liverpool Philharmonic 

The Philharmonic Hall provides a fitting 

environment for tonight’s performance of what 

has often been called folk’s own Sgt. Pepper’s, 

Bright Phoebus. Originally released in 1972, it is 

Lal and Mike Waterson’s only album of original 

(rather than traditional) material, and Liverpool 

is privileged to be on the five-date tour revisiting 

the music, ‘lost’ for all this time. The band 

features members of their family – their sister 

Norma, Lal’s children Marry and Oliver, Norma’s 

husband Martin Carthy and their daughter Eliza 

Carthy – and a range of guests, including Richard 

Hawley, Kami Thompson (daughter of Richard, 

who played on the album), and John Smith. 

On its 1972 release, Bright Phoebus had 

a poor reception from media and traditional 

folkies alike – disappointed that the Watersons, 

who had done so much to revive interest in folk 

music in this country, had seemingly abandoned 

the genre and produced an album consisting of, 

in parts, the Beatlesque (opening track Rubber 

Band), psychedelia (Magical Man), jazz, pop and 

country, not to mention the rather rockabilly 

Danny Rose, performed tonight by Richard 

Hawley. And yet, the class of 1972 seem to have 

overlooked some of the record’s genuinely 

striking moments, Lal Waterson’s haunting Fine 

Horseman, for example. 

Tonight, the songs – together with some 

previously unreleased material – sound vibrant 

and new; a melding of the traditional in Fine 

Horseman (sung by Marry) and The Scarecrow 

(the excellent John Smith), and new in the two 

tracks by Mike that bracket the evening: the 

jaunty Rubber Band and catchy Shady Lady, 

where the band’s stage set-up and sound feel 

reminiscent of The Band’s The Last Waltz. These 

songs speak to us not just of their past but of 

our present. 

Partway through the set, Eliza tells of how 

Mike used to compose words and tunes in his 

head whilst painting and decorating, and then 

“decant” them during his tea breaks. Thus, from 

the prosaic and mundane comes great beauty: 

the spark of Bright Phoebus itself was lit in this 

way: “Today bright Phoebus she smiled down on 

me for the very first time.” 

The album’s producer, Bill Leader, is also said 

to be in attendance – he must be thrilled that 

the songs he stipulated had to be recorded in 

Cecil Sharp House, the home of folk, are being 

‘debuted’ to a new audience (not entirely ‘new’, 

mind, as the bloke next to me is singing along– 

and he’s not the only one). 

We exit into the night, whistling, humming 

and singing, and thanking Marry et al. for 

reviving the (hopefully no more) neglected cult 

classic that is Bright Phoebus. May the dispute 

that has kept it from being reissued soon be 

resolved. 

Debra Williams / @wordsanddeeds1 

BEN UFO b2b PAUL 

WOOLFORD 

Krystal Klear 

Abandon Silence @ East Village Arts Club 

Having made themselves synonymous with 

the intimate crawl space below the Shipping 

Forecast, the all-night Four Tet set is the only 

show in Abandon Silence’s spiritual home this 

semester, as they temporarily call the Seel Street 

venue their home for the winter. It remains to 

be seen just how wise a move this has been, 

but when you put together line-ups such as this, 

there can be little to grumble about. 

Though most will have assumed tonight’s 

event would take place in the grand environs 

of EVAC’s Theatre, tonight’s hosts hold court in 

the smaller Loft. The Abandon Silence residents 

kick things off, followed by Dublin native and 

Hoya:Hoya resident, KRYSTAL KLEAR, stepping 

up in a fur-lined leather jacket, a brave move 

considering the rapidly soaring temperature 

inside the venue. 

Infectiously energetic behind the decks, his 

mix of house, disco and boogie is about as fun 

Thu 7th November, 7:30pm. 

SHOW OF HANDS 

THE ‘HAND IN HAND’ TOUR 

Floral Pavilion Theatre | £18.00 

Thu 7th November, 8:00pm. 

MY DARLING CLEMENTINE 

Floral Pavilion Blue Lounge | £15.00 (£13.00) 

Mon 18th November, 12:30pm. 

DAVID HIRST 

Floral Pavilion Plaza 

Tue 19th November, 12:30pm. 

S J DOWNES 


FREE EVENTS 

PRESENTED BY 

Fri 15th November, 8:00pm. 

SHADES OF SOUL PRESENTS 

TONY REMY & THE STOLEN CLONES 

Floral Pavilion Blue Lounge | £18.50 (£16.50) 

Sat 16th November, 7:30pm. 

CAPERCAILLIE 

Floral Pavilion Theatre | £22.00 

Tue 19th November, 7:30pm. 

COLIN HAY 

Floral Pavilion Blue Lounge | £20.00 

Wed 20th November, 12:30pm. 

MIKEY KENNEY / OTTERSGEAR 


Thu 21st November, 8:00pm. 

EMILY BARKER & THE RED CLAY HALO 


Thu 21st November, 12:30pm. 

NATALIE MCCOOL 


Fri 22nd November, 12:30pm. 

DAVE OWEN 


Sat 23rd November, 7:30pm. 

IAN MCNABB PLUS SUPPORT COLD SHOULDER 


For details of performances contact our box office on 0151 666 0000 or visit our website www.bestguitarfest.com

34 


Reviews 

Bonobo (Nata Moraru / natamoraru.com) 

and feel-good as a set can get. Stepping away 

to huge applause from the beaming crowd, he 

is undoubtedly the right person to get a party 

started, though a tough act to follow, even for 

BEN UFO. The Hessle Audio man is a notoriously 

talented selector, having made his name by 

DJ skills alone. Though he’s played in front of 

the Abandon Silence banner before, tonight 

he shares the decks with PAUL WOOLFORD, 

currently one of the most talked about men in 

electronic music. 

Woolford’s Untitled can be seen as a serious 

contender for the tune of 2013’s scorching 

summer and we don’t seem too far into things 

before it lands. A cascade of riotous reaction 

spreads through the crowd: first, as that bouncing 

bassline rumbles into the mix; second, as those 

piano stabs roll in; and finally, a massive, hands 

in the air, high-five-for-everyone moment as that 

breakdown hits and everyone bellows “WHEN I 

CALL OUT YOUR NAME” in unison. Such a moment 

of euphoric hysteria is pure dance music cliché, 

but you can go to these sorts of events on a 

weekly basis and it’s still only so often you’ll 

experience them. 

Over the last hour, the pair plough deeper 

furrows, on occasion seeming to lose the 

attention of many in the crowd. The sound in The 

Loft doesn’t help – it’s simply not loud enough 

and, though the venue is busy, the atmosphere 

doesn’t come close to the intimacy offered by 

shows in The Hold. Ben UFO’s selection seems 

less diverse than usual, though it seems wrong 

to assume Woolford would have any influence 

on this, having just released an album like 

Special Request which takes in all manner of 

bass music influences from jungle to grime. 

Indeed, the Special Request remix of Tessela’s 

Hackney Parrot, full of amen breaks and reese 

bass, is a welcome change of pace from the 4/4 

tonight, causing pandemonium on the floor. 

As the clock reaches 4am, from a fog of rolling, 

spacey techno, the Exemen/Wookie remix of 

Sia’s Little Man drops out of nowhere, sending 

the crowd into a final frenzy, and calls for the 

obligatory rewind, dutifully granted by the DJ. 

The now trademark Abandon Silence hysteria 

duly sated, we’re already looking forward to the 

next instalment. 

BONOBO 

Dauwd 

Rob Syme 

O2 Academy 

Amid the thumping bass of the O2 Academy 

monitors, DAUWD arrives onstage and layers 

of electronic samples descend into distortion, 

adorned with atmospheric sound effects and 

blanketed with a heap of reverb. Bursting into 

the room with a huge sub bass, the kind that 

feels like your muscles are being shaken off your 

bones, the whole cornucopia just doesn’t quite 

fuse together. His solos are a little too weak to 

make an impact, or to really gel with the rest 

of the instrumentation, and the endings of each 

track don’t appear to be planned, they just seem 

to happen quite abruptly. 

The level of complexity involved in 

interweaving the effects samples, layered 

synths and bass is, however, impressive and 

when Dauwd’s finale comes around about 40 

minutes later, it must have picked up, because I 

feel a little like it’s been creeping into my body 

this whole time and now I can't not move – and 

I promise I haven't taken anything. 

When the one-man tour de force that is 

BONOBO arrives, the room is buzzing. On the 

posters it says that Bonobo himself, Simon 

Green, will appear with the full live band, and 

as the show begins, we start to get an idea of 

what that really means for the night ahead. 

And it soon becomes apparent that putting an 

awesome drummer on stage to play amid these 

multi-layered compositions is a well justified 

one. It enhances the electronic arrangements 

by providing a visually exciting display whilst 

continuing Green’s trend of being aurally 

fucking exquisite. 

The first track to feature live vocals from 

singer Szjerdene comes from the new album 

The North Borders. Apart from the beautiful, 

smooth backing, reminiscent of Massive Attack, 

with Szjerdene’s soft Portishead-style vocals 

and Green’s square lead flourishes, Towers is 

simply a great song, which builds to a climax 

with a cool confidence. 

Later on, after being lulled by the hypnotic 

rhythm of We Could Forever, Green teases the 

crowd, segueing into what at first appears to 

be a new time signature, before dropping the 

bass, which causes the room to erupt. Green 

has masterfully geared this tour towards 

turning what could be considered pleasant 

background music into a full-blown party, and 

he ends this one with a cheeky brass stab from 

the band and a blackout. 

Szjerdene returns for the first track off new 

album, First Fire and, as the studio version 

features Grey Reverend from Cinematic 

Orchestra fame, she has some big shoes to fill. 

And although Szjerdene keeps the feel of the 

track – chilled but with a certain tension – it’s not 

quite ‘there’ as she drags the lines out where 

they really need to be on beat to keep the drive 

behind the song. She ends her contribution to 

the evening with Nightlite from the 2006 album 

Days To Come, giving it a completely different 

feel, much more graceful than the erratic studio 


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Reviews 


35 

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36 


Reviews 

Lianne La Havas (Jack Thompson / m0nks.co.uk) 

version, though she does commit the cardinal 

sin of whooping down the microphone. It was 

inevitable that El Toro would be used to show 

off the band’s capabilities; they take turns in 

producing some playful jazz-inspired solos, 

and when the flute is whipped out, we all lose 

ourselves in “I’m not prepared” euphoria. Bloody 

brilliant night. I bought merchandise. 

Jessie Main / @JessieMainMusic 

FESTIVAL NO. 6 

Portmeirion, North Wales 

Who'd have guessed the unknown was so 

close by? Overwhelmingly positive testimonies 

made FESTIVAL NO. 6 this summer's most 

anticipated festival. Upon arrival, the arena looks 

just like any other, but then BANG! Entering 

Portmeirion village is a step into a Mediterranean 

hallucination from 1967, all faded pinks and 

lookout points. The psychedelic mystery and 

wry humour of TV series The Prisoner runs like 

a seam throughout. No.6 is a dizzying mix of 

brilliant yet crazy ideas, as Prisoner-inspired 

carnival troupes collide with male voice choirs 

and even a fishy puppet show. 

First up, DUTCH UNCLES fire angular energy 

at a rain-sodden crowd, who take time to shake 

themselves loose. A few more let go with every 

slinky, hip-shaking beat, following singer Daniel 

Wallis' lead, himself borrowing heavily from the 

book of Jarvis. It takes balls to cover a Grace 

Jones song let alone end on it, but Slave To The 

Rhythm is infused with enough primal sexuality 

to get the woman herself hula-hooping. 

Displaying all the gusto of a man who's played 

these songs a thousand times, BADLY DRAWN 

BOY proves how good his debut album was as 

the irresistible melodies win through. A switch 

to piano for Silent Sigh elicits more emotional 

investment, and the show is much the better for 

it. TEMPLES are a fitting throwback of murderous 

guitar pop with a 60s swirl. These baby-Bolan’s 

psych influences become more defined live, but 

this is no head-down drone – there's rollocking 

momentum and catchy hooks aplenty. 

Everything about EVERYTHING EVERYTHING 

exudes comfort with their newly elevated status. 

Their entrance is an event, bathed in brilliant 

white light. The setlist includes tunes old and 

new with oldie Suffragette Suffragette alongside 

newbie Cough Cough segueing seamlessly 

and equally well received. For this generation 

of indie bands Timbaland is as important as 

Ian Curtis, turning the main tent into a giant 

dancefloor. JAGWAR MA inhabit the dance end of 

the dance-rock scale, but with the skills to slide 

up and down at will. JAMES BLAKE isn't obvious 

headline material but try telling the ecstatic 

people here, letting his quiet storm wash over 

them like a warm breeze. Understated charm 

flows through heartfelt vignettes, allowing him 

to easily circumnavigate technical issues before 

raising the tempo; Voyeur, in particular, takes the 

breath away. 

The early Saturday sun complements the 

freakbeat soul DJ Bernie Connor lays out from 

the Stone Boat. Elsewhere, MELT YOURSELF 

DOWN’s intoxicating brew of jazz-propelled 

mayhem prove to be a handy defibrillator to 

limbs weary from the steep walk up to the i 

Stage. A pumping heart rate precipitates a trip 

to the opposite end of the energy spectrum as 

Clough stage co-curator DOUG SHIPTON delivers 

space-age skronk cut with ambient bliss: the 

perfect palate cleanser for a first live sighting 

of OUTFIT in a year. Despite dressing like extras 

from Bowie and Jagger's Dancing In The Street 

video, Outfit impress. Andy Hunt's voice has 

developed into a confident, dextrous weapon, 

entwining with Tom Gorton (Keyboards) to bring 

a glassy ennui to I Want What's Best, but it's 

brother Nick Hunt who steals the show, sending 

out piercing shards of guitar that slice the chaos 

into weird and wonderful shapes. 

After wondering aloud if TRICKY’s bad-boy 

reputation was an albatross or an escape clause, 

his ‘performance’ gives an emphatic answer. 

When starting 20 minutes late, opening with a 

five-minute instrumental could be considered 

cavalier. Following with an elongated cover of 

Ace Of Spades, during which security-baiting 

and banging the microphone against his body 

replace the act of singing, can only be called 

wantonly disrespectful. LIANNE LA HAVAS is more 

worthy of my words, proven in 45 spell-binding 

minutes of encapsulating warmth, desire and an 

understanding of festival demands. She's also 

the first musician I've seen make a Radiohead 

cover truly their own, Weird Fishes fitting neatly 

alongside her alluring guitar pop. 

An evening with sonic magpies ANDY VOTEL, 

GRUFF RHYS and DAVID HOLMES is in order as 


2000 Light Years From Home 

and 

present 

plus special guests 

Saturday 23rd November 

67 Greenland Street - Liverpool - L1 0BY 

Tickets £5adv 

www.bidolito.co.uk/ticket-shop 

Latest single ‘Voodoo Moon’ 

OUT NOW on Electone 

Records. Available on 

limited edition 7”vinyl and 

digital download via iTunes. 

“Psychedelic and interesting, 

laced with warm organs and 

wistful vocals” 

– Huw Stephens, BBC Radio 1 

The most perfectly executed, 

emotionallyengaging 60s tinged 

pop to emerge fromthese isles 

since The Coral.” 

- Clash Magazine 

@Wicked_Whispers 

The Wicked Whispers 

www.thewickedwhispers.co.uk 

www.electonerecords.co.uk

they add biker blues and Russian beats to a funky 

foreign melting pot – a great accompaniment to 

the visual wonders of illuminated drumming 

troupe SPARK and the HELIOSPHERE’s flying 

hypnosis. With bonhomie at fever pitch, the 

weather gods make a decisive intervention. Even 

a veteran of many wet weekends like myself 

offers a silent prayer those eight pegs and two 

sheets of vinyl last the night. 

The cost of those prayers is evident when 

waking to a decimated site, hastily vacated 

by scores of saturated bodies. Cancellation 

rumours prove unfounded as a 

revamped 

schedule resumes at 3pm. DAN CROLL 

personifies the post-rain optimism, breezily 

sharing a joke or three during a set of smileinducing 

melodies swelled by intelligent 

four-part harmonies. This boy’s heading to the 

top. NILE RODGERS has been there for some 

time, and shows no sign of leaving. CHIC show 

why they have been the band of the summer, 

taking a trip through musical history that gets 

everyone on their feet and keeps them there. 

PUBLIC SERVICE BROADCASTING have carved a 

niche of their own in the hinterland between 

Baltic Fleet and Holy Fuck, cannily eschewing 

the need for charisma with a dry computerised 

wit and samples of dashing spitfire pilots. A 

MANIC STREET PREACHERS show on home 

turf is the open goal of big festival moments. 

The boys from Blackwood bury this one, as 

a big and buoyant crowd erupt at the sound 

of opener Motorcycle Emptiness. Leaning 

heavily on This My Truth..., released 15 years 

ago to the day, and new album Rewind The 

Film, brings mixed results. With the exception 

of a spellbinding solo during The Everlasting, 

there's a collective wince when James Dean 

Bradfield brings out his acoustic – the signal 

for new material. The punk blast of You Love 

Us ages better than expected, and A Design For 

Life leaves thousands happy and hoarse. 

The Festival No.6 demographic may be more 

middle-class mature than any festival I've been 

to – I've never heard Waitrose discussed as many 

times – but the absence of drugged-up dayglo 

teens is actually refreshing. Massive Attack's 

DADDY G and Radio 1's GILLES PETERSON keep 

the party rolling till 3am, but the memories of 

this magical place will last much longer. 

Maurice Stewart / 

theviewfromthebooth.tumblr.com 

FOSSIL COLLECTIVE 

Story Books - John Canning Yates 

Harvest Sun @ Leaf 

Two of tonight’s acts (opener JOHN CANNING 

YATES, and headliners FOSSIL COLLECTIVE) 

showcase how exactly one should treat the 

voice as an instrument within a performance. 

Former Ella Guru singer and songwriter John 

Canning Yates’ mellow vocals seem to take 

a back seat in his offering, allowing for his 

delicate keyboard playing to be the driving 

force behind his music. Yates’ voice remains 

extremely quiet throughout his set, even when 

he briefly attempts (and fails) to converse 

with his audience. The real emotion though is 

brought out by Yates’ expert control over the 

keyboard; the changes in volume – whether 

sudden or subtle – say everything that his voice 

can’t, and make what is, for the most part, a 

moving and atmospheric performance. 

It is the second act of the evening, STORY 

BOOKS, that steal the show. These five lads 

from Kent manage to bring their vocals and 

instruments together in perfect unison, 

creating an incredible, textured sound. Personal 

favourite Glory And Growth starts with gentle 

arpeggiated guitar chords, then introduces 

vocals (which sound a lot like Local Natives’) 

and a powerful, keyboard-driven bassline, which 

builds to an impassioned climax, whereupon 

guitarist and front man Kristofer Harris stops 

singing and throws himself jerkily around the 

stage, showing just how passionate he is. 

Fossil Collective use their voices in a 

completely different way. Whereas Yates’ voice 

is often barely audible, and Story Books use 

layers of instruments, Fossil Collective rely on 

their vocals to grab the audience’s attention. 

Unfortunately, the packed bar area means that 

half the crowd are noisily catching up over a 

pint of Amstel, making it difficult for the rest to 

fully engage with the live music. The situation 

isn’t helped by the fact that the majority of 

songs sound like Mumford and Sons album 

tracks. Having said that, their performance is 

also punctuated with a number of entrancing 

tunes, when the band’s vocal harmonies stun 

the room into silence; a shining example of the 

voice being used as the lead instrument. All of 

a sudden the pint of Amstel and a week’s worth 

of gossip become unimportant and most of 

the audience find themselves utterly transfixed 

by these angelic voices. The highlight of their 

set is undoubtedly Monument, with the tenor 

harmonies very reminiscent of Bon Iver, echoing 

across the space above our heads, where 

a hundred tiny disco balls are glimmering. 

Another standout track is an unreleased newie, 

in which David Fendeck whispers “If you go I’m 

coming along,” to the smooth accompaniment 

of a sweeping cello. 

Tom Fennell 

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Tickets currently on 

sale at bidolito.co.uk 

The City Walls 

Leaf 

Robyn Hitchcock 

The Kazimier 

M O N E Y 

Blade Factory 

Phosphorescent 

The Kazimier 

Cinema Soloriens 

MelloMello 

Submotion 

Orchestra 

The Kazimier 

Julia Holter 

Leaf 

The Icarus Line 

The Shipping Forecast 

Low 

The Anglican Cathedral 

The Wicked 

Whispers 

Camp And Furnace 

Crystal Stilts 


Dead Skeletons 

The Kazimier 

Jonathan Wilson 

The Kazimier 

Yo La Tengo 

East Village Arts Club 

Factory Floor 

The Kazimier 

16/11 

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9/11 

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29/11 

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5/12 

1/11 

3/11 

8/11 

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12/11 

15/11 

23/11 

Fossil Collective (Stuart Moulding / @OohShootStu) 

they add biker blues and Russian beats to a funky 

foreign melting pot – a great accompaniment to 

the visual wonders of illuminated drumming 

troupe SPARK and the HELIOSPHERE’s flying 

hypnosis. With bonhomie at fever pitch, the 

weather gods make a decisive intervention. Even 

a veteran of many wet weekends like myself 

offers a silent prayer those eight pegs and two 

sheets of vinyl last the night. 

The cost of those prayers is evident when 

waking to a decimated site, hastily vacated 

by scores of saturated bodies. Cancellation 

rumours prove unfounded as a 

revamped 

schedule resumes at 3pm. DAN CROLL 

personifies the post-rain optimism, breezily 

sharing a joke or three during a set of smileinducing 

melodies swelled by intelligent 

four-part harmonies. This boy’s heading to the 

top. NILE RODGERS has been there for some 

time, and shows no sign of leaving. CHIC show 

why they have been the band of the summer, 

taking a trip through musical history that gets 

everyone on their feet and keeps them there. 

PUBLIC SERVICE BROADCASTING have carved a 

niche of their own in the hinterland between 

Baltic Fleet and Holy Fuck, cannily eschewing 

the need for charisma with a dry computerised 

wit and samples of dashing spitfire pilots. A 

MANIC STREET PREACHERS show on home 

turf is the open goal of big festival moments. 

The boys from Blackwood bury this one, as 

a big and buoyant crowd erupt at the sound 

of opener Motorcycle Emptiness 

Motorcycle Emptiness. Leaning 

heavily on This My Truth... 

This My Truth..., released 15 years 

ago to the day, and new album Rewind The 

Film, brings mixed results. With the exception 

of a spellbinding solo during The Everlasting 

The Everlasting, 

there's a collective wince when James Dean 

Bradfield brings out his acoustic – the signal 

for new material. The punk blast of You Love 

Us ages better than expected, and A Design For 

A Design For 

Life leaves thousands happy and hoarse. 

The Festival No.6 demographic may be more 

middle-class mature than any festival I've been 

to – I've never heard Waitrose discussed as many 

times – but the absence of drugged-up dayglo 

teens is actually refreshing. Massive Attack's 

DADDY G and Radio 1's GILLES PETERSON keep 

the party rolling till 3am, but the memories of 

this magical place will last much longer. 

Maurice Stewart / 

theviewfromthebooth.tumblr.com 

FOSSIL COLLECTIVE 

Story Books - John Canning Yates 

Harvest Sun @ Leaf 

Two of tonight’s acts (opener JOHN CANNING 

YATES, and headliners FOSSIL COLLECTIVE) 

showcase how exactly one should treat the 

voice as an instrument within a performance. 

Former Ella Guru singer and songwriter John 

Canning Yates’ mellow vocals seem to take 

a back seat in his offering, allowing for his 

delicate keyboard playing to be the driving 

force behind his music. Yates’ voice remains 

extremely quiet throughout his set, even when 

he briefly attempts (and fails) to converse 

with his audience. The real emotion though is 

brought out by Yates’ expert control over the 

keyboard; the changes in volume – whether 

sudden or subtle – say everything that his voice 

can’t, and make what is, for the most part, a 

moving and atmospheric performance. 

It is the second act of the evening, STORY 

BOOKS, that steal the show. These five lads 

from Kent manage to bring their vocals and 

instruments together in perfect unison, 

creating an incredible, textured sound. Personal 

favourite Glory And Growth 

Glory And Growth starts with gentle 

arpeggiated guitar chords, then introduces 

vocals (which sound a lot like Local Natives’) 

and a powerful, keyboard-driven bassline, which 

builds to an impassioned climax, whereupon 

guitarist and front man Kristofer Harris stops 

singing and throws himself jerkily around the 

stage, showing just how passionate he is. 

just how passionate he is. 

just 

Fossil Collective use their voices in a 

completely different way. Whereas Yates’ voice 

is often barely audible, and Story Books use 

layers of instruments, Fossil Collective rely on 

their vocals to grab the audience’s attention. 

Unfortunately, the packed bar area means that 

half the crowd are noisily catching up over a 

pint of Amstel, making it difficult for the rest to 

fully engage with the live music. The situation 

isn’t helped by the fact that the majority of 

songs sound like Mumford and Sons album 

tracks. Having said that, their performance is 

also punctuated with a number of entrancing 

tunes, when the band’s vocal harmonies stun 

the room into silence; a shining example of the 

voice being used as the lead instrument. All of 

a sudden the pint of Amstel and a week’s worth 

of gossip become unimportant and most of 

the audience find themselves utterly transfixed 

by these angelic voices. The highlight of their 

set is undoubtedly Monument, with the tenor 

harmonies very reminiscent of Bon Iver, echoing 

across the space above our heads, where 

a hundred tiny disco balls are glimmering. 

Another standout track is an unreleased newie, 

in which David Fendeck whispers “If you go I’m 

coming along,” to the smooth accompaniment 

of a sweeping cello. 

Tom Fennell 

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

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

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Leaf 

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Leaf 

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Leaf 

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The Kazimier 

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The Kazimier 

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M O N E Y 

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M O N E Y 

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M O N E Y 

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Blade Factory 

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Blade Factory 

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Blade Factory 

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Phosphorescent 

The Kazimier 

Cinema Soloriens 

MelloMello 

Submotion 

Orchestra 

The Kazimier 

Julia Holter 

Leaf 

The Icarus Line 


Low 


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The Wicked 

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The Wicked 

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Whispers 

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Whispers 

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Whispers 

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The Kazimier 

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The Kazimier 

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The Kazimier 

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The Kazimier 

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The Kazimier 

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Yo La Tengo 

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Yo La Tengo 

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Yo La Tengo 

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Factory Floor 

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Factory Floor 

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Factory Floor 

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The Kazimier 

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The Kazimier 

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The Kazimier 

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16/11 

18/11 

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27/11 

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27/11 

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27/11 

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9/11 

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24/11 

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24/11 

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29/11 

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29/11 

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4/12 

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4/12 

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5/12 

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5/12 

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1/11 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

1/11 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

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3/11 

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3/11 

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8/11 

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8/11 

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9/11 

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Fossil Collective (Stuart Moulding / @OohShootStu)

Reviews 


39 

Liverpool 

24 hours in the company of the 24th letter of the alphabet. 

Exhilarating music, exquisite ideas, exhaustive debate. 

November 20-21 

www.liverpoolx.com 


SAT 2ND NOVEMBER 

DJ FRESH & MESSY MC 

REDLIGHT & DREAD MC 

BREACH, DJ EZ 

PAUSE DJS 

SAT 16TH NOVEMBER 

DUSKY, KLANGKARUSSELL 

BEN PEARCE, CYRIL HAHN 

T WILLIAMS, HOLLY LESTER 

ANDREW HILL 

VENUE: EAST VILLAGE ARTS CLUB, 90 SEEL ST, LIVERPOOL. INFO: 0151 706 8045, INFO@CHIBUKU.COM TICKETS ONLINE: WWW.TICKETARENA.CO.UKSKIDDLE.COM, 

TICKETLINE.CO.UK, RESIDENTADVISOR.NET, TICKET STORES: 3B RECORDS (NUS) 0151 353 7027, THE FONT (MT PLEASANT) RESSURECTION (BOLD ST)

Issue 39 / November 2013

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