A quick glance at the tour poster tells me Coalesce are really getting about on their first ever jaunt across the pond. Amsterdam, Berlin, Prague, Zurich, Hellfest in France… but Plymouth?!?!! Someone’s fucked up real bad here.
So as expected it’s not as rammed as it should be, with some blissfully unaware locals, some fans from the slightly hotter musical bed of Exeter, plus a gaggle of morons willing to drive from Bristol on a schoolnight (i.e. me and some chums dragged along to keep me awake). We arrive mega-late due to Google map miscalculations only to find no bands have played yet, our relief at not missing Coalesce offset by the fact that we’ll be getting home at a correspondingly late time. There’s only one support band, Cornwall’s Crocus having pulled out due to the drummer being on holiday. Local chunners Castor Troy (not the defunct one from the Midlands with Montana folk in) tickle the cochleas prior to the main event with their tight but utterly run-of-the-mill haircut hardcore and have the good grace to play for 20 minutes, though it did seem longer.
Coalesce seem like grizzled dads and nice dudes, highlighted by them dishing out a tray of free whisky shots from their rider prior to starting. A couple of songs in however, and they then seem like apeshit lunatics when they short circuit the lights and Jes Steineger flips the tray of remaining shots ceilingwards with his guitar, all of which combined with the dense ferocity of their mangled metal hardcore creates a fairly terrifying experience. I’ve never had whisky in my eye before and it hurts. The band gives it their all, especially Steineger who is either on the floor or on the audience, slamming the hell out of his suffering body and guitar. Ingram’s thick, phlegmy roar holds together well, and the rhythm section kills us all.
Somewhere in the melee they played a select bunch of songs from the entire back-catalogue: Have Patience, cowards.com, Jesus In The Year 2000, A Disgust For Details, One On The Floor, You Can’t Kill Us All, A Safe Place and 73-C all featured, in amongst a bunch of new ones from “Ox” which sounded great too. Well worth the 13-year wait even if my head hit the pillow at 4 a.m.
Bugbrand is a man called Tom, an enigmatic Bristol resident who spends a lot of time mucking about with circuit boards and soldering irons to make boxes and machines that make a massive array of weird analogue bleeps and bloops. His former incarnation as Knowledge Of Bugs was a highly enjoyable noise act, creating a pleasing ambience that pulsed and phased through a variety of soundscapes, but also stepped outside of the nerd-crouched-in-front-of-laptop live setting schtick by actually showing you how those sounds you were hearing were being created in real-time, be it contact mikes on slinkys, e-bows on guitars, laptops played through toy megaphones, and so on. Bugbrand on the other hand seems to be a step away from this involving approach, with Tom utilising a single box with tons of sockets, connecting wires in an ever-increasing tangle and twiddling knobs in a manner that ultimately distanced the audience through the incomprehensible nature of the performance. Ultimately, the monotone bleepsand cycled drones (together with sporadic guitar that was soon dropped) didn’t contain enough light, shade or structure, seemingly appearing random and accidental rather than part of any great plan.
Aethenor is a supergroup worthy of the term. As much as I’d like to hate Stephen O’Malley, you can’t deny he’s in some cracking bands, and maybe the issue I really have is how much certain fanboys fawn over every single fart he produces. With SOMA on guitar, you also have the keyboard player from Guapo, a geezer from excellent Swiss experimental rockers Shora on noise, and, best of all, the drummer from Ulver, so there are certainly no slouches here. Having only recently got into Ulver, especially the later stuff, I was extremely pleased to see that the latter’s skills were exemplary, very jazzy and intuitive, providing an absolute base for what seemed to be a largely improvised bout of pleasing ambience, soon building to stoned freakouts. Usually this stuff really sinks or swims live, but for some reason, on a school night in the intimate surroundings with forty or so other people, it worked. It was nice, loose and exploratory, and clearly made by a bunch of proficient like-minded souls in tune with one another.
finally, a gig in norwich. i wasn’t exceptionally optimistic about this one, but i had little else to do on a mediocre saturday night and managed to trick a friend into attending, despite him having no prior knowledge of any of the 3 bands due to play.
fever fever stepped up first and played a solid burst of post-gunge riot grrrl punk. fairly standard, and, as was to be the case with all the bands tonight, completely wasted on such a big venue. in a sweaty beer pit, this would have been an inspired performance but the arts center is a cavernous auditorium, and the spirt of fever fever was rather lost.
next up was men, featuring norwich folk who have served time in bands such as the captain, that band that carl did with neil and some other guy, and fun yeah. men displayed a nous for pop punk mixed with post punk mixed with funk mixed with braid. they did not dally, five songs, on and off. good banter, good times. they sold a cdr demo for 20p to cover costs of the cdr purchase from WH Smiths 2 years ago. men’s best songs were the well drilled ‘calculators’ and the pop punk dynamo of ‘re: your rebranding’ which is a stomping master piece. this 3 piece is tight and hefty and they should go down well elsewhere in the country and i look forward to seeing them again shortly as they are utterly entertaining.
i expected to have no interest whatsoever in this band, but they stole my mind and heart with a slightly overlong set of primal garage. a 3 piece drum kit with no cymbals, no guitar and at least one bass (sometimes two), saw these 3 long fringed lasses hurtle headlong into garage barnburners that i would liken to miss alex white and the red orchestra. this was ramshackle, blistering and intense. good shit. i couldn’t fathom why they had no records for sale. go see these people if you can, they are up to no good.
and so, i left with satisfaction, this was a fine evening, better than my jaded self expected. investigate these bands if you see them in your local gig listings.
i never reviewed this when it initially came out in 2000 or so for whatever reason – it was the first release by the Shivering, a band who cranked out a goodly number of excellent releases and have since seen members go on to bands such as Baader Brains and Bullets*In amongst others. i figured more people would like to hear this album, so wrote a bit about it on the obscuremo blog. it is a fine mix of intense, heart on the sleeve revolution summer era emo and 90s melodic punk. enjoy.
i had the temerity to show up for a gig last night, at the soultree in cambridge. this venue is a new one for me, and first impressions swayed wildly from appreciating the intimacy and lack of stage, to being a bit bewildered by the inability to see any band member unless you were 7 foot tall or stood directly in front of their face for the entire gig. as i arrived, the pony collaboration were in full ‘swing’, featuring noted cambridge band whore, ian scanlon. they play downbeat miserable indie not a million miles from the likes of codeine, but perhaps a bit poppier. it sounded ok to my ears but i was not in the mood for this kind of slow swaying on a friday night. i treated myself to a disappointing bottle of beer and wandered around a bit in a vein attempt to find people i was supposed to be giving records too. for some reason this gig was running 8 til 10, so everyone turned up late.
second band on was shrag which was a bunch of boys and girls playing what sounded like an english indie pop band ripping off an american indie pop ripping off an english indie pop band. i found them crushingly mediocre, rather bland and lacking in choruses or excitement.
the pains of being pure at heart were the main draw and they had gathered a fair crowd in this cosy little venue. i managed to find a suitable spot a little too close to a speaker and proceeded to enjoy the next 30 minutes. they were a good live band but perhaps they have been touring a while because they seemed a tiny bit jaded and content to just reproduce the lp note for note, it wasn’t too much different to sitting at home with the lp on, and with 150 people in your living room, some of them gurning and dancing a bit. pains did a good job but with little chat to the crowd and not a huge amount of charisma, but then again what should i expect from an indie pop band? the highlights were the same highlights from the record, they played half an hour and that was about right, then they came back and played two more, which wasn’t really necessary in my opinion. afterwards some people asked them for autographs. i raised my eyebrow and slunk off into the… WHAT THE FUCK IT WAS ALMOST LIGHT OUTSIDE…
Annihilation Time / Gurkha / Valdez
Bristol, The Croft – 9th June, 2009
Locals Valdez are playing as I enter. I’ve somehow never seen them, maybe because I don’t go to ’77 street-punk kinds of gigs as a rule, but they’re serviceable within the genre and cover The Freeze.
Gurkha are up next and make a hell of a lot more noise, based in crust but unafraid to really let wail with some metal solos. They’ve even gone totally Sabbath in places, which is to be applauded, plus Joanna Lumley’s a big fan I hear.
I stood in the correct place for Annihilation Time, as the guitarist and bassist stage left looked to be concentrating a bit too hard and standing too still. In front of me, the other guitarist was having a bloody whale of a time, totally nailing those notes, flailing his hair and grinning from ear to ear. The singer seemed pretty goddamned drunk. In fact I think they all were, but they were still mercilessly tight. They also played that wicked first track from the second album, calling it their “pop song”. Black Flag meets Thin Lizzy equals exactly what’s needed on a school night.