26 Bido Lito! <strong>March</strong> <strong>2014</strong> Kraftwerk Uncovered (Keith Aimsworth / arkimages.co.uk) Then it’s TERA MELOS’ turn to take to the stage, coming to these shores in support of last year’s acclaimed album X’ed Out. When it comes to class American math rock, you know what to expect: wonky timing, yelps, and flipping weird arrangements. It’s a sound that’s been around since Cap’n Jazz for chrissakes. But when it comes to Tera Melos they take it more leftfield (is that possible with this kind of music?): everything sounds like it’s cascading down an electronic river until it reaches saturation point before erupting in testosterone-fuelled effervescent angst. The stop-start fuzz, the tricksy, pounding drums, the electronic undercurrent: all these elements undercut what could’ve been a pretty standard live show into something more. It’s rare for bands these days to look so unassuming on stage yet come out with such vital, almost violently grooveable music without seeming like macho pigs – but Tera manage it. It’s nice. Laurie Cheeseman / @lauriecheeseman Your Bag? Catch Muto Leo at Maguires Pizza Bar on 28th February ICEBREAKER Kraftwerk Uncovered @ Philharmonic Hall Arguably the most influential band of the 20th Century, Kraftwerk changed the face of music forever. Paying homage to their legacy, ICEBREAKER embark on an ambitious project that reimagines part of Ralph und Florian’s revolutionary repertoire. Before the unveiling of the cutting-edge rework, the 13-piece ensemble treat the crowd to some of their past arrangements. Beginning with the audio assault of Variation On A Theme By Casey & Finch, Icebreaker immediately demonstrate their unfathomable technical ability as they emulate a scratched CD. After the interval, the lights are dimmed and Icebreaker return, this time joined by Die Mensch Maschine, J. Peter Schwalm. Having taken a meticulously tabulated breakdown of Kraftwerk’s sound from Edge Hill musicologist Richard Witts, the electronic composer will reassemble it before our eyes. As a bass drum erupts, three shimmering blades start spinning around on the screens behind the stage. Schwalm adds a droning pulse to the fray, which he heavily distorts as the prominent synths of Heimcomputer roll out of the two keyboards on either side of him. The sound flourishes as more instruments join until it’s broken down to a mere throb. As unnerving strings are added, the song is rebuilt with a sinister twist before a barrage of flashes and bass overwhelms the hall. Dystopian images of a deserted estate accompany the melancholic ambience of the Megaherz/Mitternacht medley. It looks as though the majority of Icebreaker are playing their instruments yet no identifiable sound can be heard. Fed into Schwalm’s laptop, the orchestral score is skewed beyond recognition. The screens turn blank as a clanging electronic counter-melody juxtaposes the ethereal harmony of Tranzmusik. This harmony progressively grows richer in texture, eventually taking control of the song. As geometric shapes float across the screen, a synthetic German voice speaks of Radioaktivität. A volatile bombardment of mechanical beats and bass provides the backing as disjointed melodic stabs begin to amalgamate while the abstract shapes slowly transform into kraftwerks. Morgenspaziergang provides respite from this industrial intensity as nature replaces the power stations on screen and the string section creates a calming atmosphere. This respite is short-lived, however, as mirrors reveal the close proximity of the kraftwerks to this “nature” and two duelling flutes commence Spiegelsaal. The conflict between man and machine grows fierce as life is added with earnest strings and pan pipes only to be stolen away again by Schwalm’s sterile electronic manipulation. As road markings whizz across the screen it is clearly time for Autobahn. Throwing off the rigid electronic shackles of the original, this interpretation feels more like one of Kraftwerk’s early jam sessions. However, like the original, the reworking has various phases. With no prior warning, a crunchy electronic beat explodes and layer upon layer of relentless keys evoke an immense anxiety. A sudden crash, and all screens turn blank before the melody meanders out of existence. Minds suitably blown, the audience fill the Art Deco hall with a sea of applause. Josh Ray bidolito.co.uk
KICK START YOUR MUSIC PRODUCTION SKILLS ELECTRONIC MUSIC PRODUCTION CERTIFICATE 6 MONTHS PART-TIME SEPTEMBER 2013 & MAY <strong>2014</strong> INTAKES BA/BSc (HONS) AUDIO PRODUCTION * 2 YEAR DEGREE (STUDENT FINANCING AVAILABLE) *Validated by Middlesex University Next OpeN Day 26 th april 0151 255 1313 liverpool.sae.edu
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