Issue 43 / April 2014




Issue 43

April 2014

We Are Catchers by Paul Hitchmough

We Are Catchers



Jagwar Ma

Lorelle Meets

The Obsolete

ar | kitchen | stage | club

open til late. tickets available from bar

and kitchen during opening hours

24 hour hotline : 0844 847 2472

book online :

90 seel street l1 4bh

wood street

seel street

bold street

Bido Lito! April 2014 3


Partly out of burning intrigue and partly due to a procrastinating restlessness, I found

myself rummaging through my Dad’s record collection the other day. I’d been meaning to do

it for a while, purely from a curious (and slightly selfish) perspective to see how it matched up

to my own, but also because I was convinced there were some hidden gems in there: I wasn’t

wrong, but it took a fair amount of sifting to divide the nuggets from the waxy depths.

Amid the assortment of dusty 45s and falling-apart LPs I uncovered some genuine

surprises (Intermezzo from Cavalleria Rusticana among them), and more than a few guilty

pleasures (the Xanadu and Flash Gordon soundtracks – oof!). The slightly anarchic jumble

contained as much cause for hearty laughter as it did incredulity, not least the idea of

scrawling your name on the middle of a record. Why anyone would want to lay claim to a

Shakin’ Stevens LP I’ll never know.

What really interested me was the story that the collection told, and how it held a set of

memories that are passed on, in a way that digital libraries aren’t. The same holds true for

the (occasionally dubious) cassette and CD collections of my five older siblings, from which a

glimpse of the personalities of the individuals behind them can be gleaned. It took an awful lot

more bottle back then to go down to Woolies and buy that

Pato Banto single than it does to click buy on iTunes; the

selections committed to these physical libraries therefore

have even more than just a monetary investment in them.

One 7” in particular stood out from the tottering piles

of chipped vinyl and demanded to be listened to. Beat

In Liverpool, a live recording put together by a German

magazine, which claims – if my German is still up to scratch

– to feature two of Liverpool’s “particularly popular groups”,

The Clayton Squares and The Hideaways. Admittedly it’s

not great, but through the warm crackle and pop of the records you can hear the band

barrelling through some classics as a boisterous Cavern crowd cheers them on. The idea was

to capture a moment in time, a cut that could stand as a record for future generations, and in

this they succeeded. The twelve minutes or so of audio here aren’t gonna change the world;

their value, to me at least, lies in the preservation of a set of feelings that give a backstory,

something that it would take a thousand books to tell.

For me, the beauty of records is that they’re chunky entities that can be passed on and

shared, and in to which people’s memories can seep, alongside the dust and dirt accumulated

over the years. In many ways this makes them richer things than when they were first

pressed or bought, showing that they’ve played a part (however small) in someone’s life:

physical things that have traversed the trials and tribulations of the world in a way that an

mp3 (or a WAV, if you’re lucky) never can. If those grooves could talk, eh.

What will our legacy be, from our pixelated, digitised age? What stories will future

generations be able to glean from our iTunes libraries and Spotify playlists that say

something about us? I don’t know about you, but I think the prospect of my kids one day

leafing through my own record collection – the hits and the guilty pleasures alike – and

discovering some half-forgotten tales along the way, is quite reassuring. There’s an art to

assembling a good record collection; in essence it’s storytelling in another way.

That’s why I’ll be queuing up outside Probe on Record Store Day on 19th April, to make sure

that I add some limited edition chapters to my own story. What story are you going to tell?

Christopher Torpey / @BidoLito
























Bido Lito!

Issue Forty Three / April 2014

4th Floor, Mello Mello, 40-42 Slater St, Liverpool, L1 4BX


Christopher Torpey -

Editor-In-Chief / Publisher

Craig G Pennington -

Reviews Editor

Sam Turner -

Online Editor

Flossie Easthope -


Luke Avery -


Debra Williams -


Josh Ray


Christopher Torpey, Craig G Pennington, Dave Tate, Mike

Townsend, Ryan McElroy, Jack Graysmark, Sam Turner, Dan

Brown, Josh Ray, Richard Lewis, Flossie Easthope, Alistair

Dunn, Mat Oates, Patrick Clarke, Jessie Main, John Wise

Photography, Illustration and Layout

Luke Avery, Paul Hitchmough, Nata Moraru, Ria Fell, Alex

Wynne, Robin Clewley, John Johnson, Keith Ainsworth, Adam

Edwards, Andrew Ellis, Mark McNulty, Brian Roberts, Warren

Millar, Andrew AB, Stuart Moulding, Adam Akins, Mike Sheerin,

Glyn Akroyd


To advertise please contact

Distributed By Middle Distance

Print Distribution and Events Support across Merseyside and

the North West.

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.


WOODEN SHJIPS ------------- SPECTRUM ------------- SUUNS ------------- HOOKWORMS ------------- DISAPPEARS

THE GROWLERS -------------- FÖLLAKZOID ---------------- PINK MOUNTAINTOPS --------------- TERAKAFT ---------------

NIGHT BEATS ---------------- ELEPHANT STONE ---------------- MUGSTAR + MANY MORE ----------------------------------------------

6 + 7 JUNE 2014


Record Store Day Trippers

Saturday 19th April marks the eighth celebration of RECORD STORE DAY and Liverpool is stepping up its preparations for the

annual vinyl fest. There’s plenty on offer this year to occupy your time once you’ve been and relieved the stacks of Probe, 3B and

Dig of some of their limited edition stock. MelloMello are holding their own record fair from 12 noon, featuring cuts from the likes

of Warp, ATP Records, Heavenly and Tesla Tapes, while FACT are screening a selection of music films from 2pm, beginning with the

documentary Hit So Hard which details the lows and lowers of Hole drummer Patty Schemel.

The Pen Is Mightier Than The Chair

Writers and wrestlers unite! On 17th April The Kazimier will host the latest event from literary collective The Wild Writers that

combines both of these disparate activities. An intriguing concoction of writing, wrestling and music, SANCHO PANZA will pit the

city’s best scribes against each other in the ring. Spanish Announce Team will soundtrack the evening, which features masked writing

luchadors attempting to outwrite their opponent under timed conditions, in front of a panel of judges. With the heavyweight title belt

up for grabs, conditions could get ugly in this battle of words. Follow @wildwriters for more info.

Acts Confirmed For Africa Oyé

Liverpool’s summertime musical behemoth AFRICA OYÉ festival is gearing up for its twenty-second outing with the latest

announcement of artists confirmed for the weekend. The preliminary wave of international acts so far is JUPITER & OKWESS

INTERNATIONAL (DRC), WARA (Cuba) and HAJAMADAGASCAR & THE GROOVY PEOPLE (Madagascar). As well as this impressive list of

names, headliner and Scottish reggae/trip hop star FINLAY QUAYE (pictured) will enthral gatherers with his Saturday set live in Sefton

Park. Together with the usual host of stalls, artists and activities, the family-friendly event will run on 21st-22nd June.

Improv Your April

This year’s fifth annual IMPROPRIETY IMPROVATHON is heading up April with two days of continuous comedy. For the event,

Wolstenholme Square is set to be transformed into the fictitious English countryside setting of Umbridge for a theme of

quintessential 50s country life. Aiming to create a weekend-long soap epic, a whopping 2014 minutes (over 33 hours) of

unscripted sketches will be performed. Providing the improvised soundtrack to each scene will be members of the Harlequin

Dynamite Marching Band, Dead Hedge Trio, Dogshow and The Kazimier Krunk Band.

The Gloom Punk Odyssey Continues

Former cover stars SALEM RAGES have much to celebrate this month with the release of their debut album Aspects Of The

Deepest Gloom. Recorded in Yorkshire for the reason that it was “the last place in England a woman was burned for being a

witch”, the record will correspond to the DIY standards of the band’s goth rock ethos. Perks of previous releases include handmade

stickers and unique artwork by frontman Roman Remains. Drawing inspiration from art-house horror and 80s new wave

simultaneously, the ‘Rages are an esoteric breath of fresh air and we expect nothing less from the album.

Bido Lito! Dansette

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

The War On Drugs

Lost In The Dream


Sub-Dylan space-blues? Bruce Springsteen

on acid? Maybe, but Adam Granducial’s third

masterpiece has more to say. Underneath the

neon-tinged synth fades hark a cacophony

of uplifting power choruses and lyrical soulbearing.

At points self-deprecating and at

others life-affirming, Granducial challenges

gloom head-on in Lost In The Dream’s

selection of sonic effigies. Enough to burn

into the consciousness.

Omi Palone

Omi Palone



If Parquet Courts had a sensible English

upbringing then OMI PALONE is pretty

much what they’d sound like. The

cascade of chugging riffs and relentless

rhythms on their debut LP that hover

just below full throttle are the main

driver of these comparisons, as they’re

given a fuzzy scrub down that knocks

off some of the straighter edges. Neat.


Candy Flip


Attached To The Label


Edge Hill University’s The Label Recordings have announced that the first two signings to their roster - HOOTON TENNIS CLUB

(pictured) and THE INKHEARTS - will release their debut singles via the university-run label on 7th April. Set up by Edge Hill lecturer

and former Farm bassist Carl Hunter, The Label provides an opportunity for students to work on all aspects of a record release, from

A&R to press. The bands will also receive the full support of the label, and will play a special showcase at The Kazimier during this

year’s Liverpool Sound City.

Fancy scoring a couple of free tickets to this year’s LIVERPOOL SOUND CITY festival? We’re running a competition to win

two delegate passes, which includes entry to all the gigs as well as both conferences days at the Hilton Hotel.

This year the team has already pulled back the curtain on ALBERT HAMMOND JR, JON HOPKINS and FUCK BUTTONS

appearing on the line-up, and they haven’t stopped there. The latest additions make for exciting reading: JAGWAR MA,


acts playing across 25 stages. Taking in to account the once-in-a-lifetime guest speakers THURSTON MOORE (pictured) and

JOHN CALE, as well as panel discussions with music professionals from around the globe, can you really afford not to be

there? To be in with a chance of winning this great prize, simply answer the following question:

Which 90s alt. rock band was Thurston Moore formerly a member of? a) Nirvana b) Pixies c) Sonic Youth

To enter, email your answer to

by 17th April. . All correct answers will be placed in a pink bowl, the winner drawn at random

and notified by email. Good luck!

Brooklyn’s SPIRES make an outing on

the Too Pure singles club circular. Riding

the psych wave and catching attention

from both sides of the Atlantic, Candy

Flip is a drone-laden dream. Washes of

guitar reimagine 60s influences and

everything you liked about The Stone

Roses. Produced by The Drums’ Connor

Hanwick, this is one 7” that’ll stay firmly

on the turntable for weeks.

Hillary And The


Local Residents


Good indie pop revels in simplicity,

yet it’s also exceptionally easy to get

wrong. Loveable geeks HILLARY AND THE

DEMOCRATS toe this line very well on new

single Local Residents, with just the right

balance of catchy hooks and bookish

charm. B-side Around Your Fingers cranks

the pop up a notch, and the bonus cover

that comes with the download is a treat.

Fri 21st Mar • £16.50 adv

Space & Republica

20th Anniversary Tour

Sat 22nd Mar • £10 adv

The Clone Roses

The UK’s No.1

Stone Roses Tribute

+ Indigo Violet + Stillia

Sat 22nd Mar • £21.60 adv

NME Awards Tour

2014 with

Austin, Texas

ft. Interpol + Temples

+ Royal Blood + Circa Waves

Sun 23rd Mar • £18.50 adv

The Feeling

Thurs 27th Mar • £10 adv

Loveable Rogues

Fri 28th Mar • £6 adv

The Released

+ Reluctant Republic

Sat 29th Mar • £15 adv (day)

Weekend ticket £26 adv

Radstock Festival

ft. Funeral For A Friend

+ Feed The Rhino + Hacktivist

+ Heart Of A Coward + Heights

+ Rough Hands + Cytota

Sun 30th Mar • £15 adv (day)

Weekend ticket £26 adv

Radstock Festival

ft. Yashin + Canterbury

+ Fearless Vampire Killers

+ LostAlone + Verses

+ Bentley Park

Fri 4th Apr • £10 adv

Mentallica vs

Megadeth UK

Sat 5th Apr • £17 adv


Mon 7th Apr • £25 adv

Boyce Avenue

Wed 9th Apr • £10 adv

6.30pm - 9am

Just Another Pop

Tour ft. Anttix

Thurs 10th Apr • £20 adv

Matt Cardle

Fri 11th Apr • £6 adv

12 Gauge

Album launch + Rain May Fall

+ Thunderground + Nest Of Vipers

Weds 16th Apr • £7.50 adv


Jar Music Live presents

Ones To Watch

ft. Fortunes + Fight The Dice

Thurs 17th Apr • £10 adv

Novana (Nirvana Tribute)

20 years of In Utero,

performing album in full and

more + Matchstickmen

Fri 18th Apr • £6 adv

Black Diamond

Sat 19th Apr • £8 adv

The Hummingbirds

Fri 25th Apr • £12 adv

Green Date

Official Green Day Tribute Band

Fri 2nd May • £6 adv


Elephant & Castle

+ Book For Sunday

Fri 2nd May • £14 adv

11pm - 5am • over 18s only

Horizon Bank

Holiday Special

ft. Radium + The Melodyst

(UK Exclusive) + Big Worm

+ Soul Destroyer B2B Disturbia

+ Extremist B2B Conspiracy

Sat 3rd May • £22.50 adv


A Moveable Feast Tour

Sat 3rd May • £17.50 adv

Andrew Strong

Wed 7th May • £16.50 adv

Martin Stephenson

& The Daintees

+ Helen McCookerybook

Thurs 8th May • £10 adv


+ Sally Pepper

Fri 9th May


Sat 10th May • £10 adv


(Kasabian Tribute)

Sun 11th May • £18.50 adv

Professor Green

Tues 13th May • £13.50 adv

The Wonder Years

+ A Loss For Words

+ State Champs

Weds 14th May • £15 adv

Hank Wangford &

the Lost Cowboys

‘Waltzing With Wangford 2014

Sat 17th May • £10 adv


Fri 23rd May • £10 adv

Bury Tomorrow

Weds 28th May • £9 adv

The Riptide


Sat 31st May • £20 adv

The Rutles

Sun 1st Jun • £19.50 adv

Paul Heaton and

Jacqui Abbott

Sat 7th Jun • £16 adv

Silicon Dreams 2014

ft. Tenek

+ Vile Electrodes

+ Northern Kind

+ Future Perfect

+ DJs Tracey ‘Electric Dream’

McKenzie (Bedsitland London)

+ Dave Charles (Harborough FM)

Sat 7th Jun • £15 adv

9pm • over 21s only


ft. Ultra-Sonic

+ DJ Trix

+ MC Cyanide

+ DJ Nibbs

+ DJ Rob & MC Cutter

Tues 17th Jun • £8 adv

Andy Jordan

Fri 20th Jun • £10 adv

The Real People

Tues 1st Jul • £15 adv

Heaven & Earth

+ M.ill.ion

Tues 8th Jul • £18 adv



Sat 12th Jul • £6 adv


Sat 30th Aug • £7.50 adv

The Connor

Harris Launch

Sat 30th Aug • £12.50 adv


Sat 6th Sept • £10 adv

Pearl Jem

Fri 12th Sept • £10 adv

Definitely Mightbe

(Oasis Tribute) 20 Year

Celebration, performing

Definitely Maybe in full

followed by greatest hits

Thurs 25th Sept • £15 adv

Primal Fear

+ Chrome Molly

Fri 10th Oct • £14 adv

Kids In Glass Houses

Fri 17th Oct • £16 adv


Sat 18th Oct • £15 adv

The Carpet Crawlers

Performing ‘Genesis - The

Lamb Lies Down On Broadway’

- 40th Anniversary

Sat 8th Nov • £10 adv

UK Foo Fighters

Fri 14th Nov • £10 adv

Antarctic Monkeys

Sat 15th Nov • £12 adv

8pm - 1am • over 18s only

Quadrophenia Night

Thurs 20th Nov • £18.50 adv


Pop Punks Not Dead

ft. New Found Glory

+ The Story So Far

+ Candy Hearts + Only Rivals

Fri 21st Nov • £14 adv

Absolute Bowie

Fri 28th Nov • £11.50 adv

The Doors Alive

Weds 3rd Dec • £15 adv

Graham Bonnet

Catch The Rainbow Tour

Sat 19th Apr • £8 adv

The Hummingbirds Sat 3rd May • £22.50 adv

Fish A Moveable Feast Tour Thurs 8th May • £10 adv

Moulettes + Sally Pepper

11-13 Hotham Street, Liverpool L3 5UF • Doors 7pm unless stated

Venue box office opening hours: Mon - Sat 11.30am - 5.30pm • No booking fee on cash transactions • • •



Cat c h e rs


Words: Dave Tate

Photography: Paul Hitchmough

“I’ve always loved the mystery and freedom connected to the

water here," says Peter Jackson of his native Liverpool. Jackson, the

writer, singer and producer behind the city’s latest dreamweavers

WE ARE CATCHERS, sounds irresistibly drawn to somewhere

distant. “It’s the idea of it taking you away. I think maybe that

comes across in the music too."

Reflective, nostalgic and, at times, pensive, We Are Catchers’

eponymous debut LP feels much like the product of some bygone

era. Its piano-driven dream pop recalls a time when, legend

would have you believe, rock and roll held unlimited potential.

The record’s characteristic vocal melodies and chord progressions

are imbued with the naïvety and optimism of the Sun Studios-era,

but, much like a lot of those early records, there is something

intangibly distant to them. The hiss of the tape, the echo of the

reverb and the sombre lyrics paint a restless, daydreaming, and

not always optimistic world-view.

We Are Catchers is a record full of gems that feel like old

friends upon the first listen, with tracks such as Waters Edge

and Thousand Steps having an ethereal, fluid quality to them.

But, like reflections caught by the river and distorted by ripples,

Jackson’s moods are obscured just enough to retain intrigue on

repeat listening. Drenched in reverb and muddied by recording

techniques, there is an isolation implied both by the production

and the lyrics on the album. What they lack in clarity, however,

they balance with hazy warmth, feeling something like the tail

end of summer as the nights draw in and we try to squeeze

what’s left from the sun.

Thanks in part to the collaboration with Bill Ryder-Jones,

Jackson has been able to see the transformation of these songs

from their demo stages to the finished album. "Bill's been

involved from the very start as he was the first to really pick up

on the tunes from some really rough demos, so I've lots to thank

him for. He's helped produce the record alongside Darren Jones

[at Elevator] and myself but he's just been great to work with,

really. There are some great guitar bits on the album from him

too, as you'd expect."

While some may have opted for immaculate digital recording,

We Are Catchers leans toward the warmth of worn analogue. For

Jackson this aesthetic was an integral component of the songs.

"We started out trying out a few different studios and producers,

but the demos always had this feel to them which was what

made the songs work. After a few false starts we decided to just

go back to the 8-track which I'd used for the demos and back to

the piano in my house. Instantly the feel and honesty came back

to the tunes, so we stayed with it."

His reluctance to distance the music too far from its original

demos is understandable. It was, after all, these initial recordings

that brought Jackson to the attention of indie heavyweights

Domino. "I got signed a bit out of the blue about a month or two

after getting together my first demos ... that took a bit of getting

used to. Domino had the belief in us to let us take our time and

make the record we wanted and were happy with. It’s been

great to just forget all the usual everyday pressures and throw

everything into making this one piece of work. The belief Domino

gave us was everything in making the album what it is.”

The dislocation that permeates the album perhaps stems from

a fascination with a different era of music. "I always seem to listen

to the old records I like a lot rather than listening to loads of new

music,” admits Jackson. “I think most of my influences probably

come across on the album.” Certainly, it would be difficult to

pinpoint a specific influence from the past twenty years. “I’ve

always loved that raw sound of some of the older records by

the likes of the Kinks, The La's and Shack. I think it makes those

records sound more real, so that was something I wanted to try

and capture too. We had a few studio people along the way who

would hear bits and come across a bit shocked that we were

going down that route as it's not really the done thing, so it took

a bit of bravery."

The songs, while always direct and honest, have an insular,

daydreaming quality. Attempting to transport the listener to

some far-off place, this is an album as much inward gazing as

outward looking. "I suppose if I can just get a sincerity across

in the music and try to take the listener away somewhere else

then I'd be happy with that. I always seem to write with another

place or time in mind, so hopefully that feel comes across on

the recording." The lyrics are marked with a distinct loneliness,

with oblique references to places, people and events. "I think,

especially with these songs [on the album], I'd been writing in

the house for a while on my own and it was a good way of getting

away through the music."

Key to We Are Catchers is the songs’ juxtaposition of a sunkissed

aesthetic with a melancholic core. Despite the presence of

other musicians on the album, at times it feels like Jackson is an

isolated figure. “I think I’ve always been a bit of an outsider, really.

The expectations put on you to live a certain way just weren't

for me, probably like a lot of artists and musicians. I’ve never

really been into all the material things most people are into, and

I probably kind of shut myself away from the world and threw

myself into songwriting to get through that. But, you know, I think

I'm coming round to it a bit more now as it feels like a bit of a

new start for me getting this record out, and it's maybe given me

some direction which I was missing before,” he explains. “These

songs in particular were all written at a pretty hard time in my

life when not much was happening; I certainly had no idea that

around the corner they might get released, so hopefully there's

an honesty to them which can’t always be found when you know

where you're going."

We Are Catchers is out on Domino Records on 24th March.

We Are Catchers will play at District on 19th April as part of the

UCG/Fracking concert.


Bido Lito! April 2014

Grocery shopping isn't necessarily the first image

that springs to mind when you think of the rock and

roll lifestyle. Nevertheless, it's one of the tricks that


have picked up to pass the time on the road.

Alberto González, the husband half of the

husband-and-wife band, shouts down the

phone line, struggling to be heard over

the noise and bustle of a crowded Italian

shopping centre. "We just wanted to find

a place to shop for some groceries on the

tour," he yells, "but it's very busy!"

The band are currently on a lengthy

European stint on the back of latest LP

Chambers, which will take them from

Italy to France via Spain, Switzerland,

Germany and the Netherlands, and

come to an end in the UK, with the final

date at Liverpool's Shipping Forecast on

12th April. It's an unexpected but nice

surprise for Alberto, who says that they

feel like stars in Europe compared to their





local circuit in Mexico. "So far it's been

very nice; we've played in front of bigger

audiences than in Mexico, like for example

playing at the Liverpool Psych Fest last year:

we played in front of a huge crowd and I don't


think we've ever done that back home."

Chambers, the band's third LP, mixes psychedelic

influences and 70s-style prog, welded to the raw

post-post-punk noise of Sonic Youth. The result is a

warped and texturally magnificent assault of blistering

guitars and soaring psyched-out vocals; the sign of a band who’ve really got to grips with their sound. As Alberto explains, it's also what he considers to be their most collaborative and

straightforward record yet: "This is the first record where Lorena

Words: Ryan McElroy


[Quintanilla] and me have been writing most of the songs together.

look it's

They came out of jams mostly. In the previous two records most


of the songs were written by Lorena, and I maybe contributed


to miss Daily

a couple, but the main idea for most of the songs came from





her. I guess as a band we're more integrated and it's like we've

The Obsolete are the

decrying the state of the

developed some sort of language between us musically."

latest psych band from a country

country, pictures of David Cameron's

A lot of the influence, he says, came from the things that they

that has a long and deep history with psychedelic

waxy mug trying to look important and in touch, dole

have picked up on the road; they found inspiration from many of

music. Back in the 1960s, Mexico was governed by the

queues skyrocketing, education and health funding falling and

the bands they encountered at SXSW in Texas, including cosmic

Institutional Revolutionary Party (or PRI) and civil unrest was rife.

the innumerable other components that make up the rusty,

surf band Holy Wave and many of the more punky acts on the line-

This culminated in 'la guerra sucia' or 'the dirty war', characterised

spluttering machinery of so-called Broken Britain. Psychedelia

up. "We listen to the CDs that we pick up along the tour a lot,"

by a government backlash against the rising left-wing student

represents a way out. It's apolitical escapism at its most pure, as

Alberto adds, "like for example when we get to know new bands

groups, which came to a head in the Tlatelolco Massacre in

Alberto suggests: "Nowadays I don't know what exactly would

and we take their CDs and listen to them in the van, that's great."

which government employees shot dead dozens of students and

inspire psychedelic bands," he says, "but that would be an

Once written, the album came together quickly, with the band

protestors. The result of it all was a nationwide desperation for

important reason. At least for us it works that way. We don't have

dividing recording between small studios in Wisconsin and Chicago;

escape, for anything to take the minds of the Mexican people

the same reasons to be angry about stuff or to be protesting, but

just one of the many benefits Alberto says there is to being a two-

off the poverty and violence; it's this desperation that Alberto

I guess it is a form of escaping to your own reality and to what

piece. “I guess it has its positives and negatives. You don't have

believes ushered in the first wave of Mexican psych bands.

makes you comfortable. I think this kind of music frees your mind

to debate a lot of things when you're a couple, so it's very easy to

"Sometimes life can get very hard in Mexico; it can sometimes

and it opens you to new experiences."

communicate, but I guess the bad part is that we don't have the

get so overwhelming that maybe making psychedelic music, in

After all, great art and innovation are forged in the fires of

ability to be more like a jam band because we can't have everything

the 60s and 70s at least, was some kind of protest and a way

hardship, to which today's international youth are no strangers.

going on at the same time.” Doing everything as a unit is one of

to escape from the violence and day-to-day life. In the late 60s,

Perhaps that's why, in some small part, psychedelic music is once

the defining characteristics of the band. Having been introduced

when Three Souls In My Mind were playing or Los Dug Dugs or La

again coming to define the sound of a generation.

via a mutual friend while they attended university, they played in

Revolucion de Emiliano Zapata, maybe it was a way [for] them to

various outfits with each other throughout the years, eventually

escape and to be able to communicate what they were feeling at

Lorelle Meets The Obsolete play The Shipping Forecast

getting together and deciding to form Lorelle Meets The Obsolete.

the time. When this period of psych bands in Mexico was around, on 12th April. Chambers is out now via Sonic Cathedral and

You might think it would be stressful on any relationship to spend

the government wasn't a dictatorship but it was pretty close to Captcha Records.

so much time together, but Alberto is sure that it's not the case.

being so, so definitely music was a sort of protest."

Head to now for an exclusive ‘Mexican Psych: Then

"We pretty much do music all day and do band-related stuff so we

Could this civil unease be the explanation behind psychedelia's

And Now’ playlist, put together by Lorelle Meets The Obsolete.

spend most of our time together. It's more weird when we're not

recent resurgence, not just in the UK but worldwide? Everywhere

Words: Mike Townsend / @townsendyesmate

Photography: Nata Moraru /

The first time I came across DROHNE, the live electronic

partnership of Luke McCulloch and Richie Craddock, was as they

supported Factory Floor at The Kazimier last December. Vocalist

McCulloch growled over a frenetic, warped collection of sounds

that almost resembled a beat, whilst the jarringly silent crowd

fidgeted awkwardly in some kind of confused trance as they tried

to get their heads around what the fuck was happening in front of

them. Like myself though, every pair of eyes was fixed firmly on the

two shy, sketchy-looking lads nodding their hood-enclosed heads

assertively on the stage; the audience were at one in our intrigued,

fascinated and mesmerised bewilderment. “Yeah, that’s exactly

right,” Luke laughs, recalling the gig warmly. “People do seem to

know us as that band with their heads down and hoods up.”

Drohne have nearly a year’s worth of demos available on their

SoundCloud page and, even though Luke is keen to remind me

that these are old songs and not necessarily a strict reflection

of the band in front of me now, they do still act as interesting

signposts for how the duo have progressed and what form

their music might take in the future. T.M.R (The Mother Road),

which gave them their first taste of radio airplay with the help

of an excellent Harvey Brown remix, uses cloudy and saturated

textures to enclose and swallow the faint residue of a melody.

Suppression, equally as restless and deliberately uncoordinated,

simmers contently as parts slip in and out of line with each other

with controlled abandon. Throughout these songs, McCulloch’s

vocals are so impossibly singular that they sound profoundly

alone, drenched in despair as if they are the last cry from a

man who has resigned himself to madness. It’s a powerful and

moving display of humanity from a genre where technology so

often dominates. “I don’t just see myself as the guy who sings in

the band though,” Luke quickly reminds me, keen to move away

from the idea of his voice as a structural centrepiece. “With our

new songs, I like the idea of my vocals being more murmured

and ambient, almost blending into the soundscape rather than

jumping out at you as they have done in the past.” The effects of

this can be seen already, in the grooving, more immediate track

Soul-Jo. It is certainly the closest Drohne have come to being

danceable, with a rolling beat and twinkling synth work creating

this sepia-tinged, almost tranquil atmosphere. Everything is so

gorgeously calm and lo-fi that you’ll hardly even notice the brittle

vocals of McCulloch nudging the song towards a conclusion

in the closing moments. The musicality of Soul-Jo in the midst

of all the dissonance and tension that underpins their body of

work is almost jarring, and highlights their ability to expose the

contrasts between the digital abrasion of their production and

the natural warmth provided by tone and melody, with disarming


With limited recorded material available, Drohne have gathered

most of their support based on a handful of live shows around

the city. Support slots alongside East India Youth, Slow Magic and

the aforementioned Factory Floor have enabled them to present

themselves as a live electronic act, rather than just a production

duo. And, whilst workstation software is obviously important, they

are keen to remind me that, first and foremost, they are a band.

“We don’t really consider ourselves as producers,” Richie explains

cautiously. “We get bored of it quite easily, as it’s just there on a

screen. Making the music has to be a more visceral experience

for us, I think. The way we write a song is that we’ll have an idea

and just jam with it for a while, lay it down, build on it, tweak

it, add and change some vocals or guitar, until it just emerges

into this sort of brainchild.” It’s telling that the pair don’t consider

themselves producers; that isn’t to say that any note that isn’t

strummed, plucked, bowed or blown is a purer form of expression

than, say, one produced from a box of wires. Richie’s idea that

songwriting needs to be visceral - that they need to feel each

tone and melody before they subject it to digital manipulation

- is essential to Drohne’s musical backbone in the sense that it

provides them with anchorage to the strange, unpredictable

results that emerge at the end of their creative process.

However, despite a healthy collection of demos and live

performances, we’ve still yet to see an official release from

Drohne. Their future is far from uncertain though, with an EP due

out imminently. The concept of using their live shows to shape

the recordings has allowed them to develop the EP around how

they want it to be experienced, as well as how they want it to

sound. “We’re planning on going to Amsterdam for a bit,” Luke

says confidently as he explains their plans for the next twelve

months. “There is a place we’ve got our eye on right in the centre

of the city. It’s a huge brickwork building, and you can pay to rent

out one of the floors for a month. It’s unbelievably big, like one

hundred square metres of open space. We would just set up all our

equipment over there and write an EP. It would be a different vibe

completely living over in Europe, which would have an interesting

effect on our music and the way we sound.” Whilst it may sound

ambitious, that notion of locking yourself away in isolation as a

means of creative stimulation has shaped some of the best albums

of our time. And you get the feeling that, given the emotion and

care they clearly invest in being Drohne, this kind of departure

from reality will allow Luke and Richie to harness it into a singular

piece of work that they feel can adequately represent them.

The pair aren’t afraid to dodge convention either, happy to arrive

not fully formed, but in a state of constant development. And I

don’t just mean in the literal sense (they have shaken off two

former members over the last year), but musically as well. Their

brief collection of songs, like their live shows, sound strikingly

incomplete, as if they are a collection of ideas rattling around like

loose change at the bottom of a bag. They wilfully resist cadences

and conclusions, pushing their music into gentle spins that slow

down, speed up, slow down again, but never quite stop. In an age

of constant output and reproduction, Drohne are embracing the

negative space between expectation and reality to ensure that

their relationship with their audience, and with their own music,

remains in an ongoing and enthralling state of flux.


Bido Lito! April 2014


They’ve got us


Words: Jack Graysmark / @ZeppelinG1993

Photography: Nata Moraru /

Bido Lito! April 2014 13

When was the last time you stumbled across a sound check

where, after finishing, the band mooches across to their kitchen

for a quick swig of beer? Such are the luxuries offered at a MOATS

live event. This is the second time the four-piece have converted

their living room into a gigging space; gone are the settees

and TV, replaced by guitars, mics and a myriad of wires. House

parties can range from intense shindigs to intimate affairs, but

throw a couple of bands into the mix and you get both. When

Juniors step up to open the night, their frontman Jamie Hives

sums it up perfectly. “The fire exits are here and here,” he points,

casually. “Other than that, there are no rules.”

James Pyrah, guitarist for Moats and occupant of the Pilgrim

Street pad, watches over the proceedings with a cautious glance.

However, in person he reassures me they’re not too worried

after the first one went so smoothly. It came about, he recalls,

because a gig at the Shipping Forecast fell through. “We had a

gig with Pixel Fix on 7th December, but it was cancelled, and as

Will [Elliot, Bass], Matt [Duncan, Vocals] and a load of friends

had booked tickets, we didn’t want their journey wasted.”

Moats began in Bedfordshire and their story has been spun

into a tale of two cities, with Elliot and Duncan choosing to

study in Leeds while Pyrah and drummer Nathan Price opted

for Liverpool. Having been active in previous projects, the

members decided they needed a fresh start. “We wanted to get

our creative juices flowing again,” says Duncan, as Bido Lito!

and the band members retreat upstairs for a chat, “because

we’d made a sound for ourselves that we weren’t 100% happy

with. We wanted to take things more seriously, be a bit more

imaginative with what we’re doing.”

It’s very easy to get lulled into a false sense of optimism by

wishful thinking, but Moats began pushing forward as soon as

they were settled on the new name. Bring them together, and

beneath the down-to-earth exterior you get a sense these four

lads truly give a damn. You get this with Absorb, the product of

several months of solid work and the first hint of what the band

have in store for us. The guitar fuzz comes sharp on the opening,

before retreating under Duncan’s strident,

King Krule-esque

vocals. The track

swells with raw

energy and,

while this is hardly

groundbreaking in guitar music, you

can often forget why it works

so well.

That’s not to

say there isn’t

merit to be found

within the tracks

present on Singapore,

a mini album the

band put out within


of forming, which is still free to

download on their Bandcamp

page. Produced by Elliot in his old

bedroom, Singapore is striking in

its variation, demonstrating the

range of ideas the lads had for the

band. “It cost nothing to record it, but also

it felt right to let people know what we were doing,” Elliot

reasons. “With Moats, we had a new name and a new direction

we were happy with.”

“We don’t want to sound like a typical indie band anymore,”

says Pyrah firmly. “It’s one of the most screwed-up genres;

there’s so many people trying to make their way up.” There's

more than teenage rebellion at work here, though. Quite simply,

Moats refuse to let the music they fell in love with growing up

go stale. It never feels like it is being done simply for the sake of

being outlandish; rather, a natural reaction to seeing how

they can push the boundaries to develop their sound. It’s

this versatility that sets Moats apart, which Duncan puts

down to the fact that they all bring ideas to the table, rather

than there being one main songwriter.

“It’s pretty good in that sense that we don’t see each other

constantly,” he states, referring to the pitfall of having the

band spread across Liverpool and Leeds. “Because we

have so much time apart, we’re always getting our own

ideas and finding different influences, so when we come

round to practising we just chuck it all together. Then, we

choose one we like and we develop it. We can write a


in a practice and then

finalise it at the next

one, which is quite



makes for

a healthy








it makes the music all the

more dynamic.

As we head downstairs,

the atmosphere is bewildering: both

tense, a result of the increasingly cramped

performance space, yet relaxed

as friends and fans mingle with the band

members. Juniors step up to open the night, their

trump card being that

one of the members also lives

under this roof, and

the trio deliver a scorching set,

with special mention going to Hives, who effortlessly balances

complex chord progressions with vocal duties.

By the time Moats take to the stage the room is packed solid.

Punters are pushed back to the hallway, squinting over the

multitude of faces eager to see what the fuss is all about. The

band cook up an intense live experience, but one that is kept

inviting by the personality of the performers, in particular that

of frontman Duncan. Completely at home in the live setting,

he rarely stops smiling, and takes every opportunity he can to

make a wisecrack (“This track’s called Dry, although I’m pretty

moist!”), embracing the swarm of punters before him.

Whether old (Toothache) or new (Snakepit), each track is

met with resounding cheers. The beauty of the event lies in

its informality, where there is no sense of separation between

the band members and the crowd. The sound certainly isn’t as

polished as you would get in the Kaz, but what’s a little distortion

when you can bring your own beer without worrying about

security? Admittedly it sounds like a recipe for unmitigated chaos,

something Moats could easily soundtrack, but instead everyone

is largely co-operative; making the most of the live experience

here doesn’t mean resorting to mindless destruction.

The set is over in a flash, and the band look even more at

ease as the after-party immediately begins. It’s not surprising,

considering the wealth of opportunities the band has coming

up: after playing the main stage at this year’s Threshold Festival,

they embark on a Belgian tour in April, organised partly by

friends they made on a previous venture. “We’ve got a lot of

new releases ready,” promises Pyrah, “but we want to play it

safe for now so that when the time comes for the big push,

we’ll be ready.” It seems that Moats are content to wait around

for a short while for you to get on board, but not for long; and,

considering what’s at their fingertips, can you blame them?

Bido Lito! April 2014 15

Not Your Average Journey

Words: Sam Turner / @samturner1984

Illustration: Ria Fell /

Normally, the transition from the street to inside a gig venue

is quite an unremarkable affair. Often the most exciting thing you

can expect is a crude smiley face drawn on your hand, or trying

to decipher if the perplexing stamp you’re branded with has

any relevance to the show you’re about to enjoy. For promoters

EVERISLAND, these are the minutiae that matter. At their first

event of the year, held at the Williamson Tunnels, the gig-goer has

to navigate a dark subterranean tunnel to reach the performance

area, before being greeted by hula-hooping deep-sea creatures,

iridescent in glow-in-the-dark leotards. With an eerie soundtrack

bouncing off the damp stone walls and dripping ceiling, you’re

transported to another world. This isn’t your average gig; this is

Aquaria, the first of The Island Chronicles.

The event is the inaugural happening in the Liverpool

promotions company’s year-long Island Chronicles project, and

a happening it truly is. The idea is to do something more than

your usual pint of lager, support and headline act; with The Island

Chronicles, at each event you step into another realm. everisland

founder Samuel Garlick explains: “We wanted to take people

on a journey and really immerse them in the concept we’ve

concocted around this element-based series.” There will be four

events spread across the year in different locations around the

city, with the limiting factors of each theme and venue forcing the

organisers into producing more ambitious, meaningful events

with greater focus and purpose. “Each Chronicle is formed around

one of the elements,” Samuel elaborates. “Aquaria – water, Infernia

– fire, Subterrania – earth and Cyclonia – wind. Each will represent

a whole new and imaginative environment. Aquaria will be a

tough act to follow, but we’re very excited by the challenge and

the high expectations.” It’s an ambitious project which, judging

by the beaming faces and enthusiasm of the Aquaria gathering,

will be met with open arms by Liverpool’s gig-going community. It

also helps that everisland already have a track record for holding

extraordinary events.

Samuel formed everisland two years ago alongside Clarry

Mowforth (now Assistant Manager of The Kazimier). The duo met

writing for a certain pink-paged music mag and soon decided

that they wanted to become more involved in the music scene

they were tirelessly documenting. Seeing a gap in the market

for shows that merged theatrics and music, everisland hosted

Thirteen on 13th January 2012. The concepts (along with the event

titles) have continued to develop in imagination and scale ever

since. Hannah Colson joined Samuel at the beginning of this

year and has given the whole thing a shot in the arm, sparking a

reinvention for everisland. “We’ve always been lucky enough to

have had a great reception to our ideas but audiences became a

bit too familiar with what we had to offer, so we wanted a change

and to possibly boost expectations, and Hannah has injected

a whole new level of enthusiasm to everything,” says Samuel

about his new partner-in-brine.

The journey that the audience goes on during a night at one

of their shows forms a large part of the consideration that goes

into building an everisland show, from both an aural and a visual

perspective. Aquaria is a truly multi-sensory experience: you may

be looking at a creature peering out of a coral cave when a drip

from the ceiling interrupts the reverie you slipped into, aided

by the ambient aquatic soundtrack composed especially for the

evening’s event. “You can’t have an immersive experience without

creative output aimed at as many senses as possible,” says

Hannah glowingly, alluding to the soundtrack’s composer and his

concept. The track was crafted by the elusive Liverpool producer

Killøtto and certainly adds a further dimension to proceedings.

With music being the most integral part of an everisland event,

Samuel and Hannah have obviously taken care to ensure the lineups

at their events represent the brightest in Liverpool’s crowd

of up-and-coming talent, as well as emerging acts from beyond

the city. More importantly, they select artists who suit the mood

of a particular night and buy into the vision of an immersive

experience. Hannah explains that it’s not just a case of jumping on

a bandwagon: “It is a celebration of the local scene, but they also

have to fit with the atmosphere of the night.” “We tread the line

between picking artists that are cohesive and flow well together,

but also are different enough to offer an aural journey throughout

the night,” adds Samuel. “It’s not as simple as the headline band

gets the best slot – we try to anticipate how the audience will react

to each act and plan accordingly to what suits the event best.”

A key ingredient to everisland’s success has to be the fertility of

Liverpool’s creative crop. By The Sea are amongst the conspirators

lined up to play the next Chronicle event, and they’ll join an

impressive list of past everisland headliners that reads like a rollcall

of the region’s most successful breakout artists over the past

two years: Stealing Sheep, All We Are, Bird, Loved Ones, The Tea

Street Band, and now VEYU and Southern.

The Island Chronicles depends on open-minded audiences,

quality bands and extraordinary spaces. The choice of the

Williamson Tunnels as the setting for Aquaria was certainly

inspired. “A lot of research goes into location, as it is key to

personifying the identity of the event. Aspects such as acoustics,

aesthetics and malleability of the space are all considered,” says

Samuel. Hannah adds that the importance of the city’s creative

community is also vital to the company’s forward momentum. “It’s

competitive in the best possible way. There are a lot of promoters

who strive to deliver great independent entertainment in this city

but they’re not out to tread on each other’s toes. There’s a nice

sharing culture between the creatives and there’s a lot going on,

but that keeps the scene healthily competitive.”

Rising Scouse starlet Låpsley is in the process of composing

the soundtrack to the next Island Chronicle instalment, Infernia,

an event which will see the Wolstenholme Creative Space

brought back to life and transformed into a fiery furnace. “With

the blessing of Priya and the other founders, we’re really excited

by the possibilities of [WCS]; it was always such a fantastic and

creative institution. We can’t wait to see what costume, set and

visuals our design collective come up with for it,” says Samuel

of Three Moons Collective, the design team who made such an

impressive job of transforming the Tunnels. “The level of detail

and thought that have gone into set and costume design [for

Aquaria] is incredible; it perfectly encapsulates the whole concept

that we envisaged,” Samuel adds, his enthusiasm matching that

of the Harlequin Marching Band, who have Aquaria’s tunnels

swinging as we reach the evening’s climax.

The project obviously means a great deal to Hannah and

Samuel, whose mission is a simple one: to put on events that they

would enjoy themselves. “The audience response has certainly

been a highlight. People that come to our shows always welcome

the imaginative, and often weird, ideas we come up with – it feels

like they appreciate that we’re not latching on to trends [but are]

creating something original.”

Samuel goes on to explain how everisland wanted to push

beyond the stasis which is easy to succumb to as a promoter

putting on regular gigs. “Events can sometimes feel a little

meaningless – as though the promoter is hosting it just to keep

on people’s radars, and we’ve been guilty of that in the past – but

this allows us to produce vastly different and continually fresh

experiences for each night, both visually and musically.” And with

that we emerge from Aquaria inspired and elated, looking ahead

excitedly to what everisland has in store next.

Infernia, the second instalment in The Island Chronicles, takes

place at Wolstenholme Creatiove Space on 10th May, headlined

by By The Sea.


Bido Lito! April 2014

It’s become something of a tradition now for the closing night

of Liverpool Sound City to be a rather special occasion, and since

learning that JAGWAR MA are inked-in to round off the Saturday

night within the confines of Wolstenholme Square's pop-up Garage

space, we're pretty certain that the 2014 closing party is in very safe

hands. So, ahead of the best party you will have in a car park this

year, we spoke to the festival headliners who’ll be making sure

that Sound City signs off in spectacular style on 4th May…

Frequently name-checked by the likes of Foals and the xx,

Jagwar Ma are a band that have surprised us all. Not only did the

group appear seemingly from nowhere, establishing themselves

as one of the most exciting new bands on last summer's festival

circuit, but they are also the creators of one of 2013's best debut

LPs, Howlin. Although they are now based in the UK, the trio

originally hail from Sydney and are quite nimbly following in

the footsteps of their antipodean counterparts POND and Tame

Impala, as a swirl of international and hipster acclaim gathers

around them.

Words: Dan Brown / @danbrownnn

Illustration: Alex Wynne /

Though frequently compared to psychedelic pop bands of the

60s, there is an awful lot more to the Jagwar Ma sound than

you might think. Picking apart their songs reveals how they

incorporate a wide range of influences and styles into their tunes,

making them difficult to pigeonhole. Therefore, the group make a

strong argument for their inclusion among the freshest new acts

that alternative music has to offer. Their idiosyncratic fusion of

dance music and indie rock has thrown up comparisons with the

Happy Mondays and others of that early-90s “baggy” tag, but the

group are keen not to restrict themselves. “It’s definitely not an

insult; we’d much prefer being compared to bands we like rather

than Hanson or something!” laughs the band’s guitarist and

vocalist Gabriel Winterfield. “I think the best way of representing

who we are is as collage artists.”

The nature of Jagwar Ma’s sound being something formed by

neatly interlocking jigsaw pieces is a pretty apt visualisation of

the menagerie of influences that make up Howlin. It’s a facet of

their style that allows listeners to deconstruct what they hear

and reassemble it however they want, and also lends itself

particularly well to being remixed. In fact, a probable reason for

the longevity of Howlin’s success (it was released in June 2013) is

the myriad possibilities it has for being reinterpreted by the remix

brigade; a quick visit to their SoundCloud page shows dozens

of reimaginings of the record’s eleven tracks, with The Time And

Space Machine’s dub session remixes slated for their own vinyl

release this year too.

Another aspect of the band’s sound is rooted in shoegaze,

especially in the case of Winterfield, who used to be in a shoegaze

band himself. “We were called Ghostwood; at the time we didn’t

really think of ourselves as a shoegaze band but, upon reflection,

we were very within that genre … we were more aggressive

though: I was singing and the vocals were really up in the front;

the guitars were very colourful. Being in a shoegaze band when

you’re a young guitarist is just a good way explore musical colour

palettes because it’s such a textural style of music, but a lot of it

lacks a real rhythmic complexity … A lot of the melodic sensibilities

do hark back to psychedelic pop groups though. If you strip back

a lot of the pedals you’d probably end up with something that

sounded like The La’s!”

The La’s are not only one of the group’s most personal

connections to Liverpool, but they have also proved to be

highly influential on Winterfield’s songwriting. “They were a

band I really loved; they were the unsung hero on Howlin …

especially on songs like Let Her Go. I remember talking to a

friend of mine and being like ‘Remember that band that does

There She Goes?’ and he said ‘Yeah?’, so I told him ‘I’ve just got

their record and it’s fucking amazing!’ I was about 17/18 when

I realised how difficult the record had been to record and to

actually get out, so it was then that I also heard that there

were so many La’s bootlegs … now I’ve got about fifty different

copies of Timeless Melody!”

Despite having pop sensibilities, it is evident from their

music that Jagwar Ma certainly aren’t a band that are scared

to experiment, and are perhaps even willing to gamble their

indie credibility in the name of delivering something interesting

that stands out from their peers. If you combine this with

Winterfield’s recent listening habits then there’s every chance

that Jagwar Ma’s sophomore album could prove to be something

altogether darker than the colourful - but nonetheless brilliant -

tunes that we heard on Howlin. “I’ve been listening to heaps of

early Sabbath: Master Of Reality is just incredible … Sweet Leaf

and Embryo – man! I love how people have this perception of

Sabbath, but when you listen to their records they’re actually

quite intelligent songs. When you also look at how early their

records came out you remember that people were still wearing

flowers in their hair at the time and that in comparison they were

just so aggressive! It came very naturally to them.”

The surprise that was a by-product of Jagwar Ma’s success

definitely hasn’t worn off yet for Winterfield - “I don’t think that

the excitement we feel ever changes!” - but despite this the group

have heaps of self-confidence about the path they’re moving

down. They are very much aware that, as a young band, they’re

still developing somewhat and that Howlin could prove to be a

launch pad for even greater things. “It has sunk in in a practical

way, in the sense that we have to deal with what our lives are like

now,” explains Winterfield. “If I kept on denying it and acting like

nothing has happened then it would have a negative impact on

progress. You’ve got to stay kinda relatively down to earth… but

that doesn’t mean I’m not still pinching myself, I’m just trying to

keep the pinching down to a minimum!”

Jagwar Ma play at Liverpool Sound City on Saturday 4th May.









Tickets adv £10 plus £1 booking fee from / 0151 666 0000 or in person

from the Floral Pavilion Box Office. Tickets £12.50 on the day. All ages welcome.




L17 8XJ

020 7232 0008


Bido Lito! April 2014


All We Are

This multi-cultural three piece’s irresistible pop melodies

and infectious grooves mark them as one of the nation’s

hottest properties.

Dan Croll

The concoction of afrobeat vibes and warming melodies

on Croll’s debut album has left fans and opposition alike

in Sweet Disarray.

Forest Swords

Matthew Barnes’ organic electronica - inspired by the

beautiful Wirral coastline – is a tribal, gorgeous walk

through desolation.

Bill Ryder-


Championed by Zane Lowe and signed to Universal,

the last six months have seen the indie rock quartet

become a force to be reckoned with.

Evian Christ

After working with Kanye West in 2013, Joshua Leary’s

brand of bleached-out post-future-garage electronica is

soon to hit the big time.

Mad Brains

After causing a storm with his ZADE mix-tape back in

2012, the 21-year-old MC will cement his success with

an EP release later this year.

Circa waves

Championed by Zane Lowe and signed to Universal,

the last six months have seen the indie rock quartet

become a force to be reckoned with.


Island Head

Benjamin Duvall’s maximalist collective have moved

on from straight-up guitar malleting to compose the

equally mesmerising Large Electric Ensemble.


The long gestation period proved fruitful for this

quintet, allowing their art-rock leanings to merge with

a myriad other styles in spectacular fashion.

Bido Lito! April 2014 19

rd 2014


Showing that there’s more to his repertoire than

nimble guitar work, Ryder-Jones’ unique and cinematic

songwriting has hit sublime form of late.

The Tea

Street Band

Having been a staple of Liverpool’s live circuit for the

past few years, the Balearic-infused rockers have now

crystallised their metronomic sound.


A band who have seemingly come from nowhere to

become one of Merseyside’s most exciting new bands

via their sweeping textures of melody.

Entering its third year, the GIT AWARD is set to once

again applaud Liverpool’s latest international exports

whilst shining a light on some of the city’s lesser-known

gems, as the run-down of this year’s nominees on the

left suggests. Ahead of the ceremony - set to be held at

The Kazimier in an American Hustle-themed night on 11th

April - we caught up with last year’s winner Baltic Fleet.

Awards, what are they good for? Absolutely plenty

would be Paul Fleming’s answer, if you were to ask him.

Since being declared the winner at last year’s GIT Award

showcase in Leaf, Fleming’s Baltic Fleet have been quick

to capitalise on the opportunities that winning the Award

has granted them. “Musicians can get by without winning

awards that’s for sure,” Fleming tells us, “but what it does

is put you in public consciousness more; it gets you out

there. I think every band starting out or in the early parts

of their career needs as much help as they can get. Unless

you get a single out that goes viral or it gets a ton of

radio play, you need all that help. I think the Award has

shown there’s a sort of ecosystem there; press, promoter,

labels, radio, all working together and I think that really

helps because you bring all those people together and

that creates a platform in itself.”

Having seemingly bypassed the regional scene,

Baltic Fleet had already established a good national

following before the Award, having secured themselves

a niche with their eponymous debut and gaining

widespread acclaim for their fully-realised motorik

follow-up Towers. Fleming recalls: “I was already sort

of… I wouldn’t say successful. Over the first couple of

albums I’d probably already done more in London than

[in] Liverpool, even though I was based in Liverpool.”

For Fleming then, the regional attention he garnered on

the back of receiving a nomination was as important as

the other facets of winning.

Leading up to the award, Baltic Fleet were able to

further cement their name locally when they played a

handful of local support slots, whilst playing the GIT

Award showcase was an honour in itself for Fleming. “For

me just to be nominated, looking back, that was huge. To

win it was great but to be amongst those acts that were

nominated was a really major thing for me. I’ve got a lot

of respect for the acts that were on the shortlist.”

Elaborating on this point, Fleming explains that

winning the Award also served as a kind of recognition

of the work he was doing, and encouraged him to kick

on. “For me, it was massively important, it was a major,

major milestone and it’s helped me take things to

another level with Baltic Fleet. I was making music in

my bedroom; then the next thing, I’m winning an award.

Hopefully that inspires other kids in their bedrooms

writing music. You can get out there and get that platform

and be recognised.”

As well as giving Baltic Fleet a firm root in Merseyside it

also helped to establish them in the public’s consciousness

on a national level. “I did notice around the country that a

lot of people started getting in touch for interviews and a

couple of labels were in touch, different promoters, bands

asking for remixes. So it definitely had a wider spread

than just Liverpool.” This wave of publicity culminated

in a showcase spot on the opening night of the Yoko

Ono-curated Meltdown Festival at the Southbank Centre

in London. “We had good momentum anyway,” says

Fleming “but that definitely sort of put a rocket behind

it for a period.”

The local networks Fleming has been exposed by off

the back of the Award will provide the perfect avenues

to ensure that the third Baltic Fleet release – currently

in the offing - is heard across the width and breadth

of Merseyside. The significance of securing a base in

Liverpool is not lost on Fleming. “There’s a lot about the

legacy [here], there’s a long-standing historical scene, an

arts scene, a music scene especially. Going back [to] the

days of it being the world’s biggest port and it’s just gone

on since then through the sixties and the Mersey Beat

to The La’s and going back to the 80s post-punk stuff. So

there’s always been a scene going on in Liverpool and

I think that’s why people come because they know it’s

a ready-made cultural ecosystem. And it’s a great city as

well; there’s great venues, there’s so much stuff always

going on.”

Looking at this year’s shortlist, Fleming says he can see

that Liverpool’s music scene has hit a rich vein of form.

“I really like Outfit, I think their album was brilliant, and

Forest Swords’ album was brilliant too. I’ve not heard the

Tea Street Band’s album yet but I have remixed one of

their tracks and I know they have a big following locally.”

Given that the judging panel includes tastemakers from

the Guardian, BBC 6 Music and XFM, it would be safe to

assume that this year’s GIT Award will garner even more

attention than in previous years, putting great momentum

behind the winner. Regardless of who wins, anyone on

the shortlist - or anyone making music in Liverpool for

that matter - should hold a collective sense of pride as

the GIT Award’s diagnosis of the local scene indicates

that it is in fine health. Fleming concludes: “if you’re in

a band and you’re not on that list, it’s not something to

be disheartened about, it’s something to actually make

you go further and to work harder and keep doing what

you’re doing.”

The GIT Award ceremony takes place at The Kazimier on

11th April.


Bido Lito! April 2014

Edited by Richard Lewis



Making his first appearance on

Merseyside, acclaimed Icelandic alt

folk musician ÁSGEIR appears at EVAC

next month. With Dýrð I Dauðaþögn

quickly becoming the highest-selling

debut album by a domestic artist in Iceland, the English language version In The Silence was

helmed with translation and production assistance from John Grant. The album was released

to universal praise in January, meaning that this gig comes hugely recommended.

East Village Arts Club / 9th April


Building up acclaim over three

albums, SKY LARKIN received the

best notices of their career for last

year’s Motto LP, the most focused

collection by the quartet to date. On

the road to push new 45 Newsworthy from the album, the group’s profile recently received a

boost following lead singer Katie Harkin moonlighting as a touring keyboardist with Leeds

compadres Wild Beasts.

The Kazimier / 16th April

XL proportioned garage

rock revue KING KHAN & THE


SHRINES bring their soul-infused

psychedelia to the city in the last

week of April.

Based in Berlin,

Canadian émigré Arish ‘King’ Khan has led the band through a myriad of line-ups and

genre shifts over the past 13 years with 2013's Idle No More scooping some of the best

reviews of their career.

Korova / 23rd April

Ian Broudie

A man who requires virtually no introduction, former Lightning Seed, acclaimed producer and an integral

part of the Liverpool music scene since 1977, IAN BROUDIE performs a special one-off concert at The

Philharmonic in April. He first came to prominence locally via legendary club Eric’s, as the songwriter found

himself amongst the nucleus of musicians who would go on to form scores of bands in the 1980s, including

the likes of Frankie Goes to Hollywood and The KLF.

Best known for the Lightning Seeds, who issued a string of hit singles and albums throughout the 90s, he

also created - with David Baddiel and Frank Skinner - the indisputably best known football anthem of all time

with Three Lions. Establishing himself as a producer from the outset, with his work alongside future record

company mogul Dave Balfe, he was at the helm on early offerings from Echo & The Bunnymen.

Originally a studio project that mutated into a fully-fledged live group, the Lightening Seeds’ genesis

gives an insight into the songwriter’s skill at the recording console. Possessor of an impressive CV, Broudie

has produced albums by Liverpool luminaries The Coral, The Zutons, Wild Swans and Shack along with The

Fall, Terry Hall and I Am Kloot. With specially commissioned song arrangements created for the event by the

Royal Liverpool Philharmonic Orchestra and very special guest performances promised, this unique one-off

show will also feature tracks from Broudie’s extensive production catalogue.

Philharmonic Hall / 4th April


Cult one-man band BOB

LOG III returns to Merseyside as

part of an extensive worldwide

trek, his visits to MelloMello now

approaching an almost annual

occasion. Continuing the rich tradition of American outsider music, the Chicagoan has

supported the Jon Spencer Blues Explosion and Franz Ferdinand live and counts Tom

Waits as a fan. Support on the night comes from THOMAS TRUAX.

MelloMello / 29th April


The labels ‘icon’ and ‘legend’

are often used all too cheaply in

music circles. Neither are misplaced,

however, when referring to one


as vital today as he did when adding his production nous to Primal Scream’s ecstasy-drenched

Screamdelica masterpiece in the early 90s. Expect acidic selections on a house tip at this

unique event, held within the apocalyptic Williamson Tunnels.

Williamson Tunnels / 20th April

Purveyors of old school indie

rock par excellence, Brighton


collective PEGGY SUE return to

Merseyside for a date at Leaf. A firm

cult institution on both sides of the

pond following support stints with Jack White and First Aid Kit, the quartet have gradually

moved away from their embryonic DIY folk influences, embracing a darker sound heard on

2013's lauded Choir Of Echoes.

Leaf / 11th April

Ex-Easter Island Head

The Kazimier hosts something of a Bank Holiday spectacular on 20th April as EX-EASTER ISLAND HEAD

perform the first showing on Merseyside of their colossal LARGE ELECTRIC ENSEMBLE opus. Eschewing

the project’s regular set-ups as a duo or trio of musicians, Large Electric Ensemble is the first piece

by E-EIH to be created for massed electric instruments and drums. Redolent of the guitar orchestras

utilised by American avant-garde musician Rhys Chatham along with No Wave pioneer Glenn Branca

and groundbreaking minimalist composer La Monte Young, the performance sees the group expand to

comprise twelve prepared electric guitars and drums to create a maximalist wash of amplified strings

and droning overtones.

Commissioned by the first annual World Event Young Artist festival (WEYA) held in Nottingham in

September 2012, and first performed at the event, the thirty-minute piece was developed alongside an

ensemble of local musicians from a variety of musical backgrounds. Following its debut at the festival

the composition was developed over further months, then recorded completely live and with no overdubs

over two days in March 2013. Support on the night comes from acclaimed Northumbrian folk musician

RICHARD DAWSON with folk-drone trio TROUBLE WITH BOOKS and EDM outfit LUNAR MODULAR completing

the bill. And what’s more, the entire event is a wallet-boosting affair with tickets only costing a fiver.

The Kazimier / 20th April









@thresholdfest -












@thresholdfest -

@thresholdfest -






Bido Lito! April 2014


Cate Le Bon (Andrew AB)


Sea Lion

Harvest Sun @ Leaf

CATE LE BON, dubbed the Nico of the Valleys,

protégée of Gruff Rhys, and recent migrant to

Los Angeles, worms her way through the crowd,

almost imperceptibly cocooned by her band.

With her newly-acquired pageboy haircut and

conservative black shirt buttoned to the top,

perhaps tonight we’re encountering a more

sombre Cate than the one we saw in this same

room in 2013. Charming though the coo of her

lustrous Welsh pipes are, tonight she means


Earlier, the shiny disco balls trip the light

fantastic something fierce for Gothenburg local

SEA LION’s slightly tardy entrance onstage.

Replete with a coy fringe and guitar, Linn

Osterberg bleats maudlin lyrics to an almost

mute audience. The voice is high, almost

comically so, gesturing somewhere between

Kate Bush, Julee Cruise and Joanna Newsome.

Alas, Osterberg lacks the charming eccentricity

of these comparisons, but the complexities

and twists to her lyrics speak a certain insight.

Obviously a fan of the woodier side of acoustica,

Sea Lion scores the first cover of the night, a

Damien Jurado number laced with intricate

fingerpicking on her Telecaster. All in all, a

mellifluous start to the evening.

Le Bon soon dives into the quirks of her

latest offering, Mug Museum, with first

track I Can’t Help You, an aloof and lyrically

brilliant song on its own, which stands up to

the effortless cool of the recorded version.

Equally as polished and heart-warming is the

wistful Are You With Me Now?, a would-be

off-kilter CND anthem, falling off The Velvet

Underground’s lorry of potential B-sides. As

the baroque filter on Duke fades out with an

eye-wincing top note from Le Bon, the set is

struck by technical hitches thanks to a faulty

amp lead. Le Bon fills the interim with an ad

hoc version of Frank Mills from the musical

Hair, her Welsh siren song washing over the

track, moving between New York City and

Penboyr in one two-minute rendition.

Technical mishaps solved and ice broken,

she introduces the band, which includes her

partner Huw Hawkline on keys and compatriot

and fellow troubadour Sweet Baboo on bass.

It is with this family of beatnik souls Le Bon

leads into the jewel in Mug Museum’s crown,

Wild, which she dedicates to her Uncle Roger,

in attendance somewhere near the bar.

The nuances of the set fall very much in line

with an evolved Le Bon. Gone are the days when

clumsily assigned labels of ‘twee’ could be

forgiven. Both unconventional and understated,

she exudes the lackadaisical prowess of The

Strokes teamed with her own Welsh Bohemia.

Who knows how this will translate to her

American audience, but for now we still pander

to her distinctive chorale. Très bon.

Flossie Easthope / @feasthope


Cavalier Song

BamBam!Bam! @ Maguire's Pizza Bar

Pizza and live music are two things that most

people will agree are a good thing. However,

despite the efforts of Macauley Culkin and his

band The Pizza Underground, they are entities

that are usually enjoyed in separation. Maguire's

Pizza Bar is, in that sense, an important force for

change, and tonight CAVALIER SONG step up to

help them fight the good fight.

The Liverpool-based three-piece eschew any

form of musical mediocrity. Their opening track

is testament to this: a droning and memorably

persistent bed of guitar and bass, over which

drummer/vocalist Frederick Walton reads a

passage from William Gibson's Necromancer.

Add to that the use of live melodica sampling,

and the fact the song spans ten minutes,

and you might start to get an idea of the way

they operate. Their set rolls over the small

but attentive audience in waves, with the

intricate and interweaving guitars rising to

near-crescendo point before lulling once more

to an anticipatory hum. All of this leads to

a Slint-esque climax, during which guitarist

Luke Mawdsley falls to his knees in a state of

emotional intensity that resembles an exorcism.

It is a predictably impressive set from a band

that will surely soon receive the attention they

so obviously deserve.

PAWS, a much-hyped three-piece hailing from

Glasgow, are touring in support of their highly

anticipated sophomore LP Youth Culture Forever,



Spring Season 2014 Full listings

Spring Season 2014 Full listings

Martin Taylor

Sunday 23rd

March, 7.30pm


(£10 concessions)

Ivo Neame


Wednesday 26th

March, 7.30pm


(£10 concessions)


Bassoon /

Space F!ght*

Friday 28th

March, 7.30pm


(£8 concessions)



Saturday 12th

April, 7.30pm


Arun Ghosh


Friday 11th April,



(£8 concessions)



Friday 2nd May,



(£10 concessions)



Friday 16th May,



(£8 concessions)




Saturday 17th

May, 7.30pm


(£10 concessions)

BOX OFFICE 0844 8000 410

with their travels gaining them a loyal following

which is strongly represented at tonight's show.

With an early curfew in place, the group refrain

from banter and immediately launch into a

frenzied exhibition of their back catalogue. In

a similar vein to bands such as Wavves, their

garage surf offerings are lapped up by the

crowd, who match the energetic performance

on stage with much slam-dancing and general

appreciation. Fan favourite Catherine inspires a

raucous sing-along, and it is clear that the people

present did not stumble into the venue looking

for a hot slice.

Though the surf rock aesthetic has perhaps

become a little tired in recent years, it has to be

said that PAWS absolutely nail the formula. Their

melodic and relentless pop hooks are wrapped

up in a fuzzy web of crunchy distortion and

Misfits-style refrains. Phillip Taylor's indifferent

yet captivating voice is the perfect tool for

presenting his seemingly innocent lyrics about

alienation and unrequited love, while Josh

Swinney and Ryan Drever provide the steady,

driving rhythm section typical of the genre.

The only pause (no pun intended) in their long

set of songs, propelled with relentless explosive

energy, is for Taylor to ask for a floor to crash

on post-gig. A request that is met with as much

fervour as you would expect from a crowd of

fans who have been treated to a rather good gig.

Now, anyone for a Domino’s?

Alastair Dunn


Craig Bratley

Analogue Bubbles @ District

We are the frivolous Generation-Y: always

connected, we consume and dispose, trend

like tweets, and our satisfaction is temporary

and soon replaced. One of the main causes of

these changes is digitisation, and it is this very

aspect that provides the differentiating crux for

Liverpool’s relatively new venture, Analogue


The battle of digitisation rages on amongst DJs,

as veterans prefer the concentrative, non-visual,

and tactile experience of mixing with vinyl; while

the new-age digital movement hail creativity and

improvisation (just as the infamous SYNC button

is brushed over). Analogue Bubbles stands in the

former camp, promising a “stripped-back vinyl

attack”, set to transport attendees to a time when

music was pressed as opposed to downloaded,

bought then treasured, and not stored on hard

drives to be soon forgotten.

The third rendition of Bubbles takes place

at District with Magic Feet label head CRAIG

BRATLEY releasing his sound into the newly

refurbished venue. His set is a sublime voyage

through energy-inducing, piano-driven house,

which occasionally falls into more stripped-back

bass-centric territory. Bratley crafts an enduring

set with tracks from all fragments of the musical

spectrum, sounds that remain fresh yet distinct

from the trends within electronic music, and

floods the room with reverberations of the

night’s fundamental principles.

At each gathering the promoters promise a

live analogue act, and this time it is the turn of

DOGSHOWDISCO, a spin-off from The Kazimer’s

very own madcap duo Dogshow. Increasing the

pace from Bratley’s earlier set, their performance

takes listeners on a trip through speedy

percussive beats, heavy bass switches, and

disjointed industrial techno sounds reserved for

the later hours. Smoke floods the room to blur

faces, reveal lasers and submerge the audience

in musical transcendence, while the duo are

stood behind an oversized vinyl record with the

night’s roster printed on it. Their analogue live

percussion set is a seamless addition to the

grassroots approach, helping to elevate the

night above Liverpool’s other unsteady latenight


It can be easy to mistake the intention of

Analogue Bubbles as pretentious – but this is to

misunderstand. Vinyl is not the divine spirit of the

party but the signifier of quality music played with

passion. It is not an attempt to gather Liverpool’s

musical elite together for a celebration of their

knowledge over canapés and champagne, but to

play a night of timeless records, the ones that

you want to own and hold in your hands, not

download and delete. Sounds that do not trend

but remain fresh and earnest to the scenes and

artists that these tracks represent.

At times it is difficult to distinguish whether

this is a night of dancing or a night of listening;

do you turn up with a bottle of water and no

intention to sleep until the small hours, or with

a few friends for an enjoyable drink? It is never

going to be a sell-out student event and yet it

would never want to be. If the promoters are

able to decide whether people should sit down

and listen or stand up and dance – or seamlessly

mix both – then Analogue Bubbles may just have

the potential to become as timeless in Liverpool

as the records that it plays.


The Turning

Mat Oates

East Village Arts Club

A lone ticket scalper shivers outside the venue,

where the arrival of Irish rock tykes THE STRYPES

is imminent. "Is it busy in there tonight, mate?"

snickers one passer-by, sceptical at the lack of

any queue outside the venue. “Busy? It's fucking

sold-out!” comes the reply. He isn't lying; the

reason there's nobody outside is because the

inside is rammed full of fans young and old alike,

as the air hangs heavy with anticipation.

Openers THE TURNING hit the stage in a flash

of suits and slick haircuts. It's not uncommon for

bands to pick support acts similar to themselves,

but it's hard to shake the feeling that this band

Fulwood Arms-Advert-LH.pdf 1 11/03/2014 13:04









The Best Local in Liverpool

World Beers

Global Spirits

New World Wines

Amazing Food

Live Music

Open Mic

Genius Quiz Night

Fantastic People

Great Company

308 Aigburth Road Aigburth Liverpool L17 9PW

Tel: 0151 728 9038

Follow us on Twitter or Add us on Facebook









#( #(

) #*






! ! !




-. -. -.




/0 /0 /0 1 1 1




#2 #2





#4 #4 "# "#




,65 ,65 '!


- - 7!





Bido Lito! April 2014


Dillinger – The Sagittarius Band

Oyé Touring & Trading @ District

are essentially Strypes-lite, with the same suitedand-booted

aesthetic of the headliners, along

with their blues-infused rock sound. Hell, they're

even from the same country. Nevertheless, songs

like Badboy court nods of approval from the

clusters of fans in the audience. Frontman Luke

McLaughlin enthusiastically belts out the band's

tunes with fervour but the songs teeter on the

cusp of sameyness. However, what The Turning

lack in variety they make up for in consistency of

quality, with closer Monkey Business picking up

the pace once again with a strong bassline and

more hooks than a pirate convention.

The Strypes’ singer Ross Farrelly arrives

nonchalantly, hurling the mic about like

a younger, scrubbed-up Robert Plant. The

caterwauling harmonica intro to She's So Fine

fanfares the band’s entrance to the stage where

they proceed to deliver a relentless barrage of

songs of the classic blues rock persuasion. The

last time The Strypes rolled through town was

in support of Arctic Monkeys and, unfortunately

on that occasion, they came across as slightly

underwhelming. It’s a different story tonight,

with the four-piece on top form, haranguing and

clambering over the audience, who love every

second of it.

It's true in a way that The Strypes and their ilk

simply pander to the stale dregs of rockism; they

sound exactly like your dad's record collection

and are essentially just a bunch of teenagers

playing rock ‘n’ roll. Don't you have to pay your

The Strypes (Stuart Moulding / @oohshootstu)

dues to play the blues, or something like that,

man? But to say that is to miss the point. No,

you won't find anything new or ground-breaking

here, but that's doesn’t bother anyone in EVAC

tonight. Looking around the venue, there's not

a foot in the house that isn't tapping and nary a

head that isn't bobbing as the band run through

riff-rock winners like Ooh Poo Pah Doo, Concrete

Jungle and Mystery Man.

It's easy to wax philosophical about the

nature of music and art and what it represents,

but that's not what The Strypes are about. They're

about no-pretence good-time rock ‘n’ roll. What

is music supposed to be if not entertaining, and

this band sure as hell are.

Ryan McElroy

In Liverpool, a city where the demand for

African-Caribbean music far outweighs the

supply, you can expect a sizable turnout

whenever one of the greats come to town.

It is therefore no surprise to see District

brimming tonight as it awaits the arrival of

two of Jamaica’s finest toasters: YELLOWMAN

and DILLINGER. Famed as heavyweights of

dancehall – reggae’s bastard son – the duo

gained much notoriety in the late 1970s as their

controversial lyrics and rub-a-dub riddims took

hold of Jamaica’s soundsystems.

As always, Oyé Touring & Trading have

attracted a diverse cross-section of the city to the

surprisingly charming Baltic Triangle warehouse.

With a pungent aroma of Caribbean cuisine in

the air, the warmly lit space – furnished with

plants, candles and tribal masks – has a real

festival cheer to it as the smiley-faced revellers

await the arrival of the two dancehall dons.

Predictably, the duo leave the crowd waiting

but this does little to dampen the mood as

selectors Lord Borthbury and K Marley J keep the

party alight with a rock-steady selection of dusty

classics and modern-day covers.

The four-piece SAGITTARIUS BAND are the

first to take to the stage and treat the audience

to a bass-heavy dub instrumental before

soundtracking Dillinger’s arrival with a painfully

wonky riddim. Garbed in a white trilby, shades

and a shirt that might possibly have been

fashionable at some point in the 1970s, the

infamous toaster wastes no time in hyping up

the already boisterous crowd.

Showing exactly why he rose to such

prominence, Dillinger owns every inch of the

stage and keeps the crowd fixated on his every

move until he disappears behind the speakers.

Finishing his set with Cocaine In My Brain,

the living legend seems to be drawing from a

newfound energy reserve and leads the baying

crowd nicely to the next act.

Little time is wasted before Yellowman arrives

onstage to a sea of jubilation. The lanky albino

vocalist has an endearing quality that makes

him universally loveable. Despite the fact

that he is old enough to qualify for a free bus

pass, the king of dancehall acts as though he

is still in his prime, pogoing away to bangers

like Nobody Move, Nobody Get Hurt and


The idiosyncratic master provides plenty of

lighters in the air moments as he continues

through hits like Blueberry Hill, before finishing

with a rendition of Take Me Home, Country

Roads. With a salute, Yellowman retreats, having

reaffirmed that the doors of the dancehall are

always open to new adherents.

Josh Ray / @Josh5446Ray


PARR JAZZ has grown over the years into a nationally

renowned night on the UK jazz scene promoting international

touring artists alongside the many talented northern based

musicians & performers.

25th March:


22nd April:



29th April:


1st April:


6th May:


8th April:


13th May :



20th May:


15th April:



27th May:


Every Tuesday night at Frederiks on Hope Street. £3/NUS and jammers free.

Facebook/twitter @PARRJAZZ


The Grammy Award Winners are back in town.

The Grammy Award Winners are back in town.


The Kazimier


12th of May




Threshold Stage

29th of March

Venue: District (2-6pm)

The Soul Rays, POAM, Kristyna Myles,

Redeyed Jedi, Christina Malley, Charlotte

Ashdown, Rosh, Catherine Murphy

Venue: Unit 51(6.30pm)

Harleighblu, Jay Alexzander, Little

Grace, Tyler Mensah, Rawschac, Lauren

Housely, Judith Ude


(1st Saturday of every month at

The Hatch, Mathew Street)

5th April:


3rd May:

Lauren Housley

Soul 4 Soul

(Last sunday of every month

Studio 2 Parr Street)

30th March:

J Appiah, Amique

27th April:

Kristyna Myles, Shell Deliah



The Front Bottoms

East Village Arts Club


AMERICA were never really critics’ darlings.

Arriving at the tail end of grunge they drifted

towards absurdity and the borders of novelty

rather than grand artistic statement; while Kurt

Cobain was screaming his way into the hearts

of the disaffected, The Presidents were writing

songs about a cat stealing their food, complete

with meows. Yet here we are twenty years on,

and The Presidents are as popular as ever: EVAC

is at capacity and new album Kudos To You!

reached its crowd-funding target in a mere

nine days. Amongst the ludicrous puerility it’d

seem as though they must have been doing

something right.

Setting the stage, THE FRONT BOTTOMS supply

the anguish The Presidents never had, along with

a hectic blend of pop punk and emo that seems

more at home in the suburban garages of their

native New Jersey than inner-city Liverpool. They

don’t let that bother them though, with Brian

Sella’s angsty vocals howled with the confidence

of a performer twice his age, atop Mathew

Uychich’s drums performed with a ferocity akin

to Travis Barker. It’s a cacophonous noise, and

though the mix occasionally muddles amongst

the volume, when Ciaran O’Donnell’s surprisingly

delicate guitar shines through, it does so with

something special, exemplified in the earworm

riffs of set-closer Twin-Size Mattress.

As The Presidents run onto stage to the theme

from Chariots Of Fire – in slow-motion, of course –

it would seem as though that’s it for the heartfelt

stuff. A mere “How’s it going?” from vocalist Chris

Ballew (48, balding, still in cargo shorts) is enough

to evoke rapture from the crowd, before the trio

launch into a cover of MC5’s Kick Out The Jams.

From the very beginning the band aren’t letting

up, and neither are the crowd, who are moshing

and singing throughout along to every meow.

After a well-received but less than spectacular

performance of their biggest hit Peaches, the

group begin their encore with a version of Video

Killed The Radio Star so bizarre that it borders on

the farcical, before a reprise of Kick Out The Jams

concludes the set.

Ballew, along with drummer Jason Finn and

guitarist Andrew McKeag, performs with an

infectious, childlike enthusiasm – “We made

a record!” he shouts with a doltish grin as he

holds up a copy – but this betrays a real musical

proficiency on all parts. While there’s nothing

revolutionary about their sound, every jump,

whoop and pause seems perfectly calculated

to add to an already exciting atmosphere. With

more-than-dodgy dance moves from band and

crowd alike (and at least one Nickelback T-shirt

on display amongst the latter), this is far from

a cool gig, but it’s this freedom from pretence

that carries it. Everyone in the room is there for a

good time and nothing more, and The Presidents

Of The United States are in many respects the

perfect group to provide it.

Patrick Clarke / @paddyclarke


The Cubical – AJHD

Harvest Sun @ The Shipping Forecast

In 1967, San Francisco became the epicentre

for the post-war social revolution that was The

Summer of Love. Morals were loose, love was

free and KELLEY STOLTZ was brought into the

world. Well, roughly then. Fast-forward fortyish

years to the basement of a Liverpool pub and

Stoltz is unleashing his psychedelic garage upon

an audience that is perhaps unaware of the

perennial implications of such an event on the

man from San Fran. For Stoltz himself tonight is a

significant occasion given his love for Liverpool,

brought about by a lifelong obsession with Echo

& The Bunnymen. Piercing the veil of this fateful

evening, AJHD (AKA Alastair Dunn and Dave Tate)

warm things up with some melancholic indie

guitar work, shortly before THE CUBICAL blow

through a typically rambunctious set. For tonight

though, the first main order of business is Stoltz’s

new Third Man-released record Double Exposure

– a catalogue of hazy love letters set to right-on

swathes of lo-fi rhythm guitar. To this end, he

wastes no time launching into opener Storms,

deigning to thank the support with his nasal

pool of a voice. It’s cold, we’re in a basement, but

the spirit of ’67 by the Bay is channelling itself via

a breeze of synth.

Half an hour in and Stoltz has taken us

into the warm depths of his newest release,

including the feel-good Americana on Are You

My Love?, Marcy and eponymous anthem Double

Exposure. One of the defining features of the set

is the hypnotic throb of killer basslines; a Kelley

Stoltz trademark of quality.

He ends the jaunt with Kim Chee Taco Man, a

would-be ‘jam’ of choice for any beat generation

author. Stoltz and band move into an entr’acte

cover of Link Wray and it appears that things are

coming to a conclusion. But the gig is far from over,

for now Stoltz has more live wizardry to purvey.

Regressing into a husky San Franciscan alter ego,

he starts a bout of ad-lib jazz poetry accompanied

by his saxophonist. A metaphysical journey over

the Golden Gate Bridge to “Sean Penn’s house”

hits the crowd in all the right places, a stunning

testament to Stoltz’s showmanship. Rounding

things off, a joyous version of Cheap Trick’s

Surrender is as well received as his own material

and leaves the audience on a natural high, fifty

storeys high to be exact. Stoltz’s lunar eclipse of

an appearance in Liverpool marks him as one

of the great performers of his genre. A leader

of the west-coast garage psych movement, the

consummate enjoyment of artist and audience


Bido Lito! April 2014 29

speaks volumes. Maybe one day Liverpool will

have the pleasure again; until then, however,


Flossie Easthope / @feasthope

Your bag?

Your Bag?

Catch The Burning Hell @

View2 Gallery on 11th April


EVOL @ East Village Arts Club

Whilst two albums in as many years might

sound like a recipe for the unspectacular, Londonbased

quintet TOY are operating enviously close

to the top of the UK’s list of emerging guitar acts

this year. Forming from the ashes of Joe Lean

and the Jing Jang Jong – a band that managed to

garner such unanimous hatred that you have to

admire their courage for not moving to another

continent altogether – their reinvention into the

ambitious, psych-leaning band that appears

in front of us is certainly interesting, even if it

might appear insincere for those on the wrong

side of the bed.

An appearance at Sound City last year is well

worth remembering, as they held their own

in the eyes of God in the incomprehensibly

large Anglican Cathedral to produce one of the

standout performances of the festival. Their

second album, Join The Dots, has been released

since then as they attempt to cross the tenuous

gap between UK buzz band and regional festival

headliner before their time is up and we all

move on with our lives.

The whole thing is intensely stylised, from

the clothes and the hair, to the buckets of reverb

on the guitar and vocals, and the sepia-tinged

lightshow behind them. Their commitment to

the cause is certainly admirable, at least: barely

uttering a word with their collective gazes fixed

firmly at the floor throughout the performance.

Guitarists Maxim Barron and Dominic O’Dair

share vocalist Tom Dougall’s disinterested

deportment, as they work purposefully through

the likes of Colours Burning Out and Left Myself

Behind so stoically that you’d be forgiven for

assuming they’d taken the whole psychedelia

thing too literally and were losing their minds

on an acid trip.

TOY (Adam Akins)

The line of MBV-indebted indie bands is

threatening to become a landfill at the moment,

as more and more guitarists sync Loveless to

their iPods and straighten their shoulder-length

hair in an attempt to maintain any sort of

staying power beyond their Zane Lowe Hottest

Record in The World. The problem TOY face is

that they find themselves nestled awkwardly

between that kind of feet-shuffling art rock

and screaming-sixth-form-girl indie darlings, by

30 Bido Lito! April 2014


tentatively offering these challenging and dense

shoegaze textures but keeping their musical

emphasis on melody. The contrast between

the sprawling, nine-minute psych freak-outs at

the end of Kopter and Fall Out Of Love, and the

punchy, immediate It’s Been So Long, is too vast,

castrating their obvious ability with a melody

and their striking levels of noise and leaving

them awkwardly in the middle. We are shown

two sides of TOY tonight and, whilst both might

be impressive in their own right, their attempt

to distil them into a singular entity leaves them

coming up short on both fronts.

Mike Townsend / @townsendyesmate

Your bag?

Your Bag?

Catch Lumerians @ The

Shipping Forecast on 9th April


All We Are

O2 Academy

That a band as idiosyncratic as WARPAINT

would choose the O2 Academy as the location

for their return visit to Liverpool speaks volumes

as to the LA crew's ever-increasing popularity.

Judging from the size of the crowd tonight, not

to mention the size of the bus parked outside,

Warpaint are riding high on the fame accrued

from two successful albums and don't mind

sacrificing a touch of originality to cram a couple

more hundred bodies in.

Support for this evening comes in the form

of local sedative-heavy funk starlets ALL WE ARE.

Finding themselves sandwiched between The

Fresh from the Sundance Film Festival, the band

Twang and New Found Glory, the uninitiated

prove they are every bit the slick, well-oiled

would have very little to distinguish Warpaint

machine that support slots of this size require.

on the posters from yet another also-ran,

Even if the scale of the venue does strip them of

milking the last of their marketability. Of course

some much-needed intimacy, their glitter-bomb

Warpaint are a long way off this and perhaps it's

approach to dream pop resonates well with the

just the feeling of being lost in the crowd, but

home crowd. All phasers and popping basslines,

this show feels a far cry from the excitement and

they sound more than a little like Yeasayer,

immediacy I got from the Warpaint of four years

albeit minus the off-the-wall inventiveness and

ago. A perfectly enjoyable, if ever so slightly

energy. Just as the crowd recovers from one final

soulless show.

All We Are crescendo, Warpaint are slinking on

Dave Tate

stage to rapturous applause.

One of the most enjoyable aspects of seeing Your bag?

a band at a live performance is the potential to

glean some new understanding of their material.

For example, the Cocteau Twins influence

becomes so blindingly obvious from the first

few chords that I'm almost embarrassed to say

I hadn't spotted it much earlier. The difference

Warpaint (Michael Sheerin /

Your Bag?

Catch Rhodes @ Leaf on

1st April


between their first and second albums is also

Harvest Sun @ East Village Arts Club

thrown into sharp relief, particularly by this

evening’s rendition of their 2010 breakthrough As Alex Turner’s jelly-jawed, pupil-dilated Brit

single Undertow, which they strangely introduce Awards acceptance speech inspires love, hate

as a cover. Unsurprisingly this gets by far the and bafflement all over the nation, London indie

biggest reaction of the night, but it’s arguably princes CHEATAHS finish off the UK leg of their

one of their least compelling performances. worldwide tour on Seel Street. As one of the

Sapped of its angular energy and frenetic anxiety, current leading lights of British guitar music,

it slows down what was, up until that point, a set the question is can they make good on the

full of momentum. That the band are talented confident young Yorkshireman’s declaration: is

musicians and songwriters is undeniable. The rock ‘n’ roll alive and well?

pristine vocal harmonies on Billie Holiday and

Bedecked in lumberjack shirts and carrying

arrangement on tracks like Disco/Very prove just a clear penchant for Hüsker Dü and Dinosaur Jr,

why they can sell out the larger venues, but for Cheatahs’ sound is about as English as Turner’s

tonight at least they lack the spark of an exciting accent has become but, my, it’s a joyful Yankee

band. I can't shake the feeling that the show is racket. Lead guitarist James Wignall paints

some kind of relic of a bygone era of rock ‘n’ roll. irresistible hooks on frontman Nathan Hewitt’s











*Validated by Middlesex University

Next OpeN

Day 26 th


0151 255 1313

eakneck riffs as bassist-cum-producer Dean

Reid steadies the canvas with a solid easel of

chunky basslines.

Hewitt’s asides to the quietly appreciative

crowd are as indistinguishable as the two-part

harmonised lyrics of the songs coming from the

hotly-tipped band’s eponymous debut album.

Nevertheless, there’s a feeling of rapture in the

air as many are revelling in seeing their new

favourite band.

Cheatahs’ narrow perimeters of a fourpiece

exploring what Foo Fighters would have

sounded like if they stayed at their Everlong-era

peak instead of going for stadia mega bucks

retains interest, but the discreet appreciation

could be mistaken for a mid-set lull. However,

the international quartet (hailing from the US,

Canada, Germany and Leicester) save the best

until last with familiar early singles The Swan

and Cut The Grass bringing a joyous close to


Cheatahs are certainly an exciting proposition;

in fact as the band come in from the early break

in The Swan they seem vital, but whether their

niche sound of early-90s American alt. rock can

keep “that rock ‘n’ roll” from “the sludge” is

another question. It is perhaps more accurate to

assume Cheatahs prefer it in the sludge.

Sam Turner / @samturner1984


Eliza And The Bear – Annie Eve – Farewell JR

Communion @ Leaf

The tagline for Communion Music's inaugural

New Faces tour boasts “an incredibly exciting

and diverse four-band bill” with some of 2014's

most hotly-tipped artists. It's definitely a bold

claim, so does it measure up?

Cambridge five-piece FAREWELL JR, led by

bearded troubadour Nick Rayner, open the

show with a highly intoxicating set of rootsy

chamber-pop from their latest EP Health.

Rayner's vocal style is heavily reminiscent

of Jeff Buckley and also brings to mind the

sandpapery fragility of Iron & Wine, with the

lyrics delivered sensitively but with tremendous

power. Swooshing crash cymbals from a

double percussion section lend texture and

presence to the songs, along with haunting

five-piece harmonies á la Fleet Foxes, together

with the occasional spacey synth.

Londoner ANNIE EVE is the next act on, mixing

harmony-laden alt. folk with echoed slide guitar

melodies and a thunderous rhythm section that

gives a hefty backbone to her soaring vocal and

raw emotional delivery. A nonchalant vibe that

evokes Lana Del Rey or Anna Calvi, in addition

to songs like Hunters and Elvis, showcases

her incredible heart-on-sleeve approach

to songwriting, which is simultaneously

introspective and powerfully emotive.

Raising the energy levels a few notches,

ELIZA AND THE BEAR burst onto the stage with

a cascading, boisterous and excitable flurry

of up-tempo indie tunes that stand in stark

contrast to the restrained and introverted

sound of the previous acts. Bringing a buoyant

vibe to the night, be-quiffed guitarist Martin

Dukelow bobs his head wildly along to every

song while the band run through recent

singles Friends and It Gets Cold, along with a

couple of as-yet-unreleased tracks. Their sound

combines the textural elements of Crystal

Fighters with the preppy, guitar-driven quality

of Two Door Cinema Club, while Earbuddy

features pealing trumpet riffs that lends a

somewhat mariachi feel to the song. Despite

none of the five blokes that make up the band

being called Eliza (and, disappointingly, no

bear either), they're nothing but energetic, fun

and undeniably danceable.

Thus, it feels like it could be something of an

anti-climax when headliner LUKE SITAL-SINGH

opens his set with I Have Been A Fire. That is, until

he starts singing. Sital-Singh brings a powerful

and emotionally charged performance that

represents an artist who fully becomes his music

and lives every second of it. Time and space fade

into the periphery as rasping guitars are married

with his gritty but sensitive vocal delivery and the

audience is drawn to the front of the stage and

into his world. Songs like Luna and Nothing Stays

The Same speak entirely for themselves and Sital-

Singh needs none of the bombast or distraction

of busy, quick arrangements as his material has

an absorbing and understated complexity that

packs the emotive punch of Damien Rice and the

guttural fire of early Springsteen.

Gig PR can often vary from the lightly

hyperbolic to the fully ridiculous and untrue, so

it's nice to see that Communion have made good

on their word. Incredibly exciting and diverse,

and wholly enjoyable.

Your bag?

Your Bag?


Ryan McElroy

Catch Ben Watt @ East Village

Arts Club on 17th April

The John Rangan Band – James Lyons –

Harlequin Dynamite Marching Band

Speakeasy @ The Kazimier

Once again The Kazimier time-warps back

to the Roaring 20s as Speakeasy take over the

Wolstenholme Square venue. Guys and dolls in

sharp suits and flapper dresses Charleston and

foxtrot in an absinthe-fuelled haze to the jazz/

hip hop mash-ups of local DJ duo The Chicken

Bros, who lord over the punters from the top of

the stage until the acts arrive.

It can often be hard for opening acts to grab

the attention of the audience, but that’s a nighon

impossible feat with HARLEQUIN DYNAMITE

MARCHING BAND; with a constantly shifting


Bido Lito! April 2014




The Capstone Theatre

membership of roughly fifteen, formed

from members of various other local outfits,

they feature an extensive live set-up with a

dedicated horn/woodwind and impressive

drum sections. Their frenetic mix of gypsy

jazz, disco and off-beat avant-garde blasts

out from the stage and draws any remaining

punters hanging in the rafters down onto

the dancefloor. Vicious saxophone riffs and

explosive syncopated drum solos along with

vocal delivery via megaphone give the band

a delightfully chancy appeal; the only minor

complaint being that the megaphone vocals

have a tendency to get lost amongst the

furore of the instrumentation.

Following a short interlude in which

JAMES LYONS brings an unusual display of

traditional beatboxing mixed with flute and

harmonica to the table, the night segues

into its third act with Glaswegian folk

trio THE JOHN LANGAN BAND. Harlequin

Dynamite are not an easy act to follow by

any stretch of the imagination, but Langan’s

driving rhythms and tub-thumping prog folk

melodies punch far above the weight of what

would be expected from a small three-piece.

Perched atop a cajón, with one shoeless

foot working a pedal beater and the other

tied to a tambourine, Langan, along with his

double bassist and violin player, stomp, slap

and thump their way through a selection

of rootsy folk tunes. Impressive three-part

harmonies, drawn mainly from the Demons

From The Bones Of Contention album, litter

what is a stellar set.

Finally, TANKUS THE HENGE explode onto

the Kazimier's stage, led by dynamic and

effervescent frontman Jaz DeLorean, dressed

in a brilliantly outlandish bright orange zoot

suit. Riotous piano solos and onstage devilry

are the order of the day as Tankus unleash

their unique brand of carnival-influenced rock

and roll upon the audience. Singles Cakewalk

and Smiling Makes The Day Go Quicker

prove particular highlights, summing up the

band's inventive rascality and penchant for

ceaselessly singable choruses with Madnessmeets-Cirque

Du Soleil weirdness. Not one to

be content simply with musical pyrotechnics,

DeLorean succinctly caps the night off by

setting his top hat alight for the finale. What

more could you ask for on a night out at the

Kaz? Incendiary stuff, old sport.

Your bag?

Tankus The Henge (Glyn Akroyd)

Your Bag?

Ryan McElroy

Catch Molotov Jukebox @ The

Kazimier on 3rd April

There certainly seems to be an excited

buzz about this Thursday night opener for the


assembled aficionados anticipate one of the

UK’s most established jazz session pianists,

JASON REBELLO. This is a big name, a first for the

festival which made its debut last year.

As Rebello starts his show with The Stream

we wonder if it is going to set a precedent for

what’s about to come. It is as funky as anything,

with a punchy backdrop from drummer Troy

Miller and renowned bassist Karl Rasheed-Abel.

But when Sting’s former jazz pianist steps up to

the Steinway, the drums are too loud and the

piano, for which we are all here, is too low down

in the mix. It is a disappointing lack of clarity

for what was meant to be such an impressive


But this is not about standing still and

dwelling, jazz is all about forward motion. With

that, Rebello introduces a singer on stage who

he has worked with for 20 years or so, Joy Rose.

The first track she sings on is a masterpiece – an

impressive arrangement supported by pad keys

from Xantone Blacq. However, the keys are very

electronic and it doesn’t quite gel with the pure

sound of the grand and the immediacy of Rose’s

voice; the show may benefit from a decent

live jazz organ. In addition, Rose, with all her

extensive experience (though, granted, it may

Get The Blessing (Stuart Moulding / @oohshootstu)

Beaten Tracks are a Liverpool-based collective of DJs, promoters and afficionados who champion the

rare, the dusty and the forgotten... expect funk, soul, reggae, afrobeat, latin, hiphop, blues and jazz;

leftfield beats and soulful enlightenment...












Making Liverpool

sound great ...

call: 0151 707 1050




RESIDENCIES - Free entry

Every Friday - The Shipping Forecast, Slater Street, Liverpool, 6pm-10pm

Every Saturday - LEAF on Bold Street, Liverpool, 9pm-2am

Every third Friday - Attic , Parr St, Liverpool, 10pm -3am

One Sunday each month - The Shipping Forecast, Slater Street, Liverpool, 2pm-6pm

and Mellowtone - see venue / Mellowtone listings for pricings more information


Facebook :

Twitter : @beatentracks1


Parr Street Studios: 33 – 45 Parr Street, Liverpool L1 4JN

Liverpool ad 142 x 207 B_Layout 1 25/04/2013 10:50 Page 3

You are a musician.

Not an accountant or solicitor.

That’s why you need the MU.

– £10 million public liability cover

– Legal advice and assistance

– Free instrument insurance

– Rights protection

– Teacher services

– Career and business advice

– Free contract and partnership advice

Plus, full-time students join for just £20 a year.

Over 30,000 members in the UK already benefit.




// 07729 308307



be down to a bad foldback situation) is pitchy –

pretty unforgivable in these circumstances.

Despite my gripes, though, the effect of

Rebello, Miller and Rasheed-Abel as a trio on

Without A Paddle is fantastic. It’s what we’ve

come to hear – impressive progressions, perfectly

tight stops and outrageous solos. It’s a shame

the rest of the night can’t quite match up.

Saturday sees Liverpool band THE WEAVE

gracing the Capstone with their perfectly

intertwined trumpet harmonies, with melodic

support from Andrzej Baranek filling in on

the piano and Anthony Ormesher on jazz

guitar. Ormesher strikes a gorgeous tone,

smooth and classic, which provides the perfect

embellishments to these strong structures.

Baronek lets loose some incredible solos, hitting

that balance perfectly between tasteful and

excitable, and the combination of Tilo Pirnbaum

on drums and Hugo ‘Harry’ Harrison on double

bass never fails to disappoint.

Some of the tracks venture slightly into lounge

territory, but are very pleasant regardless, and

Martin Smith (Trumpet) is so entertaining, no

doubt showcasing some incredible talent, that I

only wish I had a whisky to sip on to add a bit of

an edge. 10/10 - would weave again.

Later that night at the after party in MelloMello,

I get my whisky, and Harrison pops up again

with Liverpool’s BLIND MONK TRIO. Reimagining

Thelonious Monk’s intricate piano pieces across

saxophone, double bass and drums, the trio truly

offer a new spin on the idea of jazz covers. They’ve

evolved a little since I saw them last, added a

little more cheek and perhaps informality to their

performance, and it’s a comfortable relationship

that these guys have with the room.

Rock jazz quartet GET THE BLESSING are back

in Liverpool to close out this year’s Jazz Festival

after their very well-received show in the Kazimier

in 2012. They’re a sharply dressed bunch, which

almost seems to fit with the sober environs of the

university auditorium, but after the first track – very

coordinated piece, the heaviest we’ve heard at

the festival, adorned by delayed and reverberated

licks from the trumpet and saxophone – we are let

into the surreal sense of humour of frontman and

bassist/guitarist Jim Barr. Instead of song titles,

he attributes the compositions to particularly

inspirational sandwiches – the first being

ciabatta bread with a parmesan, Parma ham and

rocket filling. “A fantastic sandwich, thank you.”

It is ridiculous, but in such a great way that it

completely relaxes the atmosphere, loosening up

the rather formal setting.

The influences for this eclectic band seem

pulled from all corners of the globe. Lower Earth

Orbit especially sounds like it has a Middle

Eastern-inspired riff. The trumpeter Peter Judge

and saxophonist Jake McMurchie are particularly

entertaining to watch, playing around with loops,

distortion and dark harmonic progressions.

The highlight of the night starts with looped

low drones from the horns, which provides

an awesome grainy backdrop over which a

clicky, clean beat is laid. The guitar carries an

improvised structure through the track and the

horns embellish the soundscape with carefully

chosen frequencies keeping it sparse, yet filled


A great booking for the festival finale – they

leave us looking forward to next year.

Jessie Main / @JessieMainMusic


Mother Superior

The Pilgrim

The Pilgrim’s intimate upstairs room is, in

a literal sense, the hottest venue in Liverpool.

Amongst the haze of perspiration, the minuscule

setting for THE ROSCOES’ launch of new single

When He Gets You Down is packed to the rafters

with fans, photographers and the occasional

Pilgrim punter who’s wondering what all the

racket’s about. That racket, incidentally, is this: The

Roscoes, one of the most hyped young bands in

Liverpool at the moment, and there’s a palpable

excitement in the excruciatingly humid air.

But as support act MOTHER SUPERIOR take to

the tiny stage there’s every chance they might

upstage the headliners, as they give a sterling

performance of what’s apparently referred to as

“noise disco”. Dual vocalists Rosa Weiner and

Fran Fitzpatrick provide captivating interweaving

melodies atop the louche grooves of Christopher

Connor’s bass and guitar lines, that drift

effortlessly from Gang Of Four spikiness to the

occasional psychedelic freak-out. Every member

of the six-piece is completely in their element,

launching from a slap bass solo to a theatrical

version of Bang Bang (My Baby Shot Me Down)

with barely a slip-up in sight. The only problem

is that they seem to be dancing more than the

crowd who, while appreciative, don’t really

seem to be in the party mood. Whether it’s the

oppressive heat, bated breath for The Roscoes,

or just a dislike of slap bass, there seems to

be something missing from the performance,

though it’s hard to find fault with Mother

Superior’s live ability.

Whatever the reason, it leaves plenty of room

for The Roscoes to blow everyone away, with the

crowd now swelling to what surely constitutes

a breach of health and safety. They kick off with

Start Again, but again things are mysteriously

underwhelming. It’s not a bad performance by

any standards, and they’re as proficient in terms

of live musicianship as they are on record, but

at first there’s not too much to prove why they

should stick out amongst a sea of local bands.

There’s relief amongst The Roscoes’ sizeable

fanbase though, as the band seem to snowball

in stature as the set progresses; by the time they

reach Own Way Down towards the last third of

the set things have progressed to something

truly special, and they follow it with a storming

rendition of Novahell that really should have

opened the set.

‘A virtuoso saxophonist’


‘One man, one guitar

and a voice sent

express mail

from Heaven’




SAT 17th MAY


£15.00* | £13.00*conc

* plus £1.00 per ticket booking fee

£15.00* | £13.00* conc

* plus £1.00 per ticket booking fee


Bido Lito! April 2014


The Wytches (Adam Edwards / @adamedwardsfoto)

The conclusion is of course the new single, and

When He Gets You Down is a masterclass in indie

pop performance. It’s moments like this that

demonstrate just why The Roscoes are getting

such plaudits amongst the Liverpool hypemachine.

With the crowd quite literally begging

for more, the band conclude with a cover of Neil

Young’s Everybody Knows This Is Nowhere; it’s

refreshing not only to see a genuine encore but

a band clearly loving every moment; it seems

that after a shaky start, The Roscoes have just

about managed to justify the hype.

Patrick Clarke / @paddyclarke


Sam Fender

Harvest Sun @ Leaf

The crowd is mixed, and I am wondering

why most of tonight’s audience is middleaged.

Going on near me is an intense, cyclical

discussion about the surprising youthfulness of

our headliner. And, in truth, what GEORGE EZRA

has accomplished by his 20th birthday is quite a

feat. He’s played at Glastonbury, had his songs

Budapest and Did You Hear The Rain? all over

Radio 1, and has supported Lianne La Havas and

Tom Odell. And now his first headline tour is

already sold-out. Intriguing.

Supporting Ezra tonight is 19-year-old

bluesy guitarist and vocalist SAM FENDER from

Newcastle. His voice is huge, with a style close

to Jeff Buckley’s but with the grainy elements of

James Morrison and Paolo Nutini; pop no doubt,

but Fender has realised his own songwriting

style, which seems fitted around this vocal

talent. Standout I Don’t Get You Lady showcases

his impressive level of control even in falsetto

and keeps the relatively simple bluesy structure

interesting. The boy has talent and charm, and

the strength to back it up.

Ezra takes the stage to loud applause and

cheering. He is without his band this evening, but

when he starts playing, it is clear that he can hold

his own. It is also immediately clear how he has

attracted an older crowd. He has previously been

described as having a voice beyond his years, and

it’s absolutely true – his rich, deep tones have a

presence that is surprising against his small

physique, and reminiscent of Leonard Cohen or

the later works of Johnny Cash. The songs fall into

the same bracket as maybe Fink or at times Kings

Of Leon – they’re catchy, but not too typical of the

singer-songwriter category in which he has been

placed. It gives an idea as to why the crowd isn’t

predominantly screaming teenage girls, as you

might be forgiven for expecting.

Ezra’s style is dark and melancholy and,

were he to possess a more pop voice, could be

accused of being a little ballady, but his register

keeps them rooted and powerful.

Did You Hear The Rain is a game changer

– not alike any of the rest of the set. It starts

with low moans from the bottom of his register

that hark back to the kind of blues that started

in the fields, and then builds up, dropping into

a rhythmic intro, and a beat that I wish lasted

longer. Even after his slightly unnecessary

encore, there is a sense of excitement for what’s

to come in the many years that stretch ahead of

George Ezra.

Jessie Main / @jessiemainmusic


Kagoule – Beach Skulls

Harvest Sun @ The Shipping Forecast

Following sold-out shows and a shiny new

record deal with Heavenly, everyone seems to

be talking about THE WYTCHES lately. Tonight

the Brighton-based chaps are gracing Liverpool

with their gloomy presence in a gig billing

which promises much. Fellow purveyors of

surf-tinged psych BEACH SKULLS are up first

to whet the appetites of tonight’s swiftly

emerging audience, providing smooth-as-youlike

melodies and hazy vocals aplenty. Meet Me

At The Beach House drifts through the venue

in swathes of reverb and spacious percussion,

signifying a band brimming with ideas and

enthusiasm for playing live shows. Following

the release of their recent EP A Different Kind Of

Smooth, Beach Skulls continue to impress and


KAGOULE scramble onstage next and launch

into a flurry of incisive riffs and swells of dense,

overdriven guitar. Their recent single Monarchy

garners comparison with 90s noise-lovers

Medicine and Nirvana, with decibels soaring

into near-stratospheric levels.

The Wytches will do well to better the two

bands that precede them tonight, with the

venue already at near bursting limit. They

eventually appear onstage to tear into debut

single Digsaw; a frantic, frenzied display of sonic

bombardment tinged with a dark, murky strain

of surf punk psychedelia. The latter continues

with the acute surf pop of Beehive Queen and

the phenomenal Robe For Juda, both packed

with impending malevolence and seething,

strained screams from singer/guitarist Kristian

Bell. More recent offerings Wire Frame Mattress

and Gravedweller offer further insight to the

band’s songwriting capabilities, with the crowd

going absolutely berserk in the process. As the

set concludes with a near stage invasion, it’s

fair to say that The Wytches have cast their spell

on the tightly packed, sweaty punters tonight.

Screams for an encore are met by inevitable

silence from the band, but the gig has been

nothing short of superb from the onset.

John Wise / @John__Wise




+ + +



Camp & Furnace / blade factory liverpool

26+27 SEPTEMBER 2014

goat. hills. zombie zombie.

t eeth of the sea. the janitors.

anthroprophh. gnod. lay llamas.

one unique signal. in zaire.

vaadat charigim. dark bells. les big byrd.

cantaloupe. sudden death of stars.



nothing is djs + more tbc



++ + +

Tri-Tone Presents≈

Glass Caves

Soho Riots

Girl Friend

Special Guest*


Bido Lito!



27th March

The Zanzibar,


£5 on the door

More magazines by this user