Issue 46 / July 2014

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30 Bido Lito! July 2014 Reviews DIGGING A LITTLE DEEPER with Dig Vinyl Bold Street’s latest wax junkies DIG VINYL know a thing or two about the weird and wonderful depths of people’s record collections, and each month they’ll be rifling through their racks and picking out four of their favourite in-stock records. Keep digging… bidolito.co.uk PERE UBU THE MODERN DANCE LP Thirty-six years after its inception, The Modern Dance still sounds as jarring and radical as it must have done in 1978. Its influence is huge, and I'm sure that Martin Hannett's production of Joy Division's Unknown Pleasures nodded to it (the strange elevator noises, the industrial drones). PERE UBU take the fear of the modern world and transplant it into a different scenario, in which death is not physical but spiritual, not due to bombardment but to economic and social mechanisms. But what pervades the entire album (and sets it apart from almost any other) is the band's unique and infectious approach to rhythm. THE PRETTY THINGS S.F. SORROW S.F. Sorrow is one of the great lost albums of the era – it deserves to be ranked alongside Piper At The Gates Of Dawn and Sgt. Pepper – and belongs to a wider range of psychedelic classics such as Odessey & Oracle (The Zombies) and Younger Than Yesterday (The Byrds). As for the music itself, THE PRETTY THINGS had outdistanced the competition in terms of breadth, scope and vision. Eventually, the album found a smallish audience of psychedelic rock enthusiasts in the 90s and is now firmly established as one of the great albums of the original psychedelic era. THE DAVID ANOTHER DAY, ANOTHER LIFETIME Western beats, Eastern chants and the one and only ‘plasmatar’, an instrument invented by the group's composer Warren Hansen, gave THE DAVID one of the most distinctive sounds in the psych scene. The title track blends chant-like overtones with Western orchestration motifs, while other tracks are often characterised by driving rhythms played alongside oddly spaced melody lines. The album remains something of a lost classic, and manages to stay on the right side of saccharine due to some underlying garage moves from the band’s earlier days. DEEP PURPLE IN ROCK An explosion of guitar and cascading sparks, eventually settling into the serene sounds of an organ: so begins In Rock. This album deserves recognition for the way its stunning power, volume and energy completely blew away practically anything people had heard at the time. It is also Roger Glover's favourite DEEP PURPLE album. Standout track Child In Time, which is a ten-minute epic in the truest sense of the word, will convert you to classic rock in seconds. That is, if you weren't already hooked from the insane Speed King. Head to bidolito.co.uk to stream the latest Dig Vinyl Podcast, featuring a mixture of new, old and half-forgotten classics. Skelmersdale four-piece THE INKHEARTS are a bit more restrained with their no-nonsense indie pop. Their addiction to power chords lets them down a little, but there’s an endearing look in frontwoman Lauren Shaw’s eyes that can’t be avoided. Five-piece SEROTONIN follow them with their alluring goth psych amalgamation. Born from the embers of The Dirty Rivers, there’s plenty of potential here, particularly when frontman Mike Ellis is so animated onstage, suitably possessed by the band’s dark melodies. With his bandmates duly downcast all in black, it’s broody, sludgy and downright eerie. SUGARMEN are last in the local support band hat-trick, their raunchy hard rock oozing reverb. A constant fixture on the Liverpool gig circuit for some time now, each track is powered by their endless enthusiasm, summed up by a lead guitarist who mouths the words to every song. Closing number This Is My Life (And It’s Alright) draws on the “we’re all in this together” ethos, but it suits Sugarmen’s united front. It’s this energy and confidence that keeps the set sweet when the tracks occasionally falter. In contrast, Speedy Ortiz are relatively chilled throughout their set, but as the noise rarely relents from the scuzzy opener American Horror, the music is more than capable of speaking for itself. You can always turn the volume down when the band are on record but that isn’t an option in this setting. Though enthusiastic, the crowd’s cheers feel drained; they simply cannot match the size of the music that the band produce. However, Gary, a formidable number that swells verse by verse, keeps the Hold on edge, anticipating the moment it crashes into life. The downside to this is that Sadie Dupuis’ sharp and surreal lyrics are often drowned out. Such is the risk when your backdrop carries such force; Dupuis herself is somewhat selfcontained, caught in her own little world, while her casual matter-of-fact tone doesn’t make it any easier to catch her vocals. No Below works wonders in that sense as a slower, pondering number: as delicate as Speedy Ortiz will ever sound, it provides a welcome release as a relaxed sway-along towards the end. Intense it may be, but this is never down to pace. Mike Falcone’s drumming comes thick but never fast, and deep within the band’s peculiar dirge is a sense of direction. Just because it’s slacker doesn’t mean they lack the smarts. It’s harder to catch the intricacies with the overpowering fuzz, but it’s still a gripping onslaught. Finishing on the grimy divulge of Tiger Tank, it somehow balances a relaxed pace with threatening to grind your eardrums down to a pulp. If our ears don’t stop ringing, it will serve as a pleasant reminder of a great gig. Jack Graysmark / @ZeppelinG1993 PULP: A FILM ABOUT LIFE, DEATH AND SUPERMARKETS Followed by Live Satellite Q&A Picturehouse @ FACT “It was alright” is, according to guitarist Steve Mackey, the highest declaration of praise in Sheffield. This is why his band PULP’s homecoming show, the last date of their 2012 reunion tour, has to be extra special. But how can a place of such reserve give birth to not just one of the greatest bands and most extravagant frontmen of all time, but a roll call of era-defining pop bands? In the Q&A beamed directly from the city’s Documentary Festival, director Florian Habicht tells us that the band had warned him he would have to earn the people’s trust before he made his film, which is about the city of Sheffield as much as it is about Pulp. One thing we learn from this special showing of Pulp: A Film About Life, Death And Supermarkets is that eccentricity wins through in a place like Sheffield. From Habicht’s entrance into the City Hall for the film and festival’s opening, excited as a puppy, and making about as much sense, it’s clear the lovable Kiwi gained the Yorkshire folk’s trust with his childish charm and enthusiasm. Throughout the film we meet subtly and not so subtly eccentric characters on the streets of the Steel City: Josephine, the OAP who marginally preferred Pulp over Blur; Terry, the balding newspaper seller who, Habicht tells us, was the first citizen with whom he fell in love; and Bomar. Bomar, a young, cross-dressing musician, paints one of the most humorous and poignant pictures of his home city when he compares it to London, where he was once mugged twice in one night: “You do get mugged in Sheffield, but when you do it’s usually funny”. Autobiographical details are skimmed over in favour of a study of Pulp’s hometown, a place where few of the band live now but which has informed nearly all of Jarvis Cocker’s writing. In the Q&A hosted by Paul Morley, we are told that this was a conscious choice as details about such things as which members preceded the current line-up, what the motivation was behind certain tracks and what happened at the Michael Jackson Brit Awards performance are already out there, in books and online. Besides, Habicht “doesn’t like to do a lot of research”, preferring instead to drop into a city and fashion out a funny, informative and touching portrait. This is what the director did with previous film Love Story about New York, which is what alerted tonight’s subjects to his talents. It’s a perfect match: eccentricity catching imagination and creating something truly enjoyable and a time capsule for the ages. Sam Turner / @samturner1984
LIVERPOOL INTERNATIONAl FESTIVAL OF PSYCHEDELIA 26 + 27 SEPTEMBER 2014 Camp & Furnace / blade factory liverpool goat. WOODS. ALLAH-LAS. WHITE HILLS. SLEEPY SUN. ZOMBIE ZOMBIE. WOLF PEOPLE. CHRISTIAN BLAND & THE REVELATORS. AMEN DUNES. HILLS. GRUMBLING FUR. AL LOVER'S SACRED DRUGS. ANTHROPROPHH. QUILT. ORVAL CARLOS SIBELIUS. SEPTEMBER GIRLS. TRAAMS. SUDDEN DEATH OF STARS. TEETH OF THE SEA. THOUGHT FORMS. Satelliti. VAADAT CHARIGIM. THE VACANT LOTS. YOUNGHUSBAND. BONNACONS OF DOOM. GLASS MOTHS. HALF LOON. JIBOIA. HELLSHOVEL. IN ZAIRE. LES BIG BYRD. ONE UNIQUE SIGNAL. PURPLE HEART PARADE. PETE BASSMAN (Spacemen 3). ZENTRALHEIZUNG OF DEATH DES TODES (ZHOD). TRANSMISSIONS FROM THE OUTER REALMS PRESENTED BY FT. NOTHING IS DJs (CherryStones, Cage & Aviary, Little Dirty, Chris Reeder) THE CHIMES OF BIG BEN : richard norris. Justin Robertson. Bernie Connor. Richard Hector-Jones. SONIC CATHEDRAL 'PSYCH FOR 2 SORE EYES' LAUNCH HAPPENING. ADVENTURES AT THE OUTER REACHES: FILM PROGRAMME + SYMPOSIUM TRAVERSING GLOBAL PSYCHEDELIC OUTPOSTS PICCADILLY RECORDS WORLD OF PSYCHEDELIC WAX WONDERS. Plus...a myriad of cosmic audio voyages, installations and visual sensations. Full details and tickets at LIVERPOOLPSYCHFEST.COM
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Issue 46 / July 2014

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