Rhodri Davies - ‘An Air Swept Clean of All Distance’ - Album Launch / Hauskonzert #19

For the launch of his latest album, ‘An Air Swept Clean of All Distance,’ Rhodri Davies transformed The Old Police Station in Gateshead into a house of sound.

Each of his curated acts for Hauskonzert #19 occupied a different room, and the visiting audience were encouraged to each in turn to explore the next part of the night’s story.  

Davies and Richard Dawson started proceedings gently, improvising kneeled over a jumble of instruments laid out on the carpeted floor. 

Following downstairs, Hapsburg Braganza (Phil Begg) painted a warm sonic picture from his Modular Synthesisor; blossoming waves of sound patiently revealed in the unlit room.

On the top floor, Yeah You provided a contrasting energy, as the duo mixed vocal drones, speech and screams over and around gripping beats. 

Finishing in the space where the evening began, Davies holds every eye and ear as he performs, now solo, with his harp. The dexterity and stamina of his fingers remained undefeated throughout the performance, though the compositions often required continuous, ferocious motion. His explorative cycles of sound cocooned everyone in the room. To this house-majority of passionate musicians watching, his performance was an awe inspiring testament to the echelons reachable through creativity, backed by commitment.

[2013.12.18] for NARC Magazine.

Silly Billies Comedy - Live at The Cumberland Arms (14/11/2013)

Jack Gardner has been performing stand-up comedy prolifically in the North-East over the past few years and has gathered a lot of respect from peers, in part, for the imagination he shares with his audiences. From a passion to support comedians with more adventurous displays, Gardner has recently set-up his own monthly night at The Cumberland Arms called Silly Billies, which debuted in October. Tonight, that upstairs room is now full-up with people eager for the second installment. 

Rather than our compere intermitting with the usual Q and A's to warm the audience, Gardner ignores this tradition, choosing to frame the evening instead with thoughtful theatrical set-pieces that walk interesting lines between comedy and drama. We got masks, portals, and dance routines.

Each chapter by the five guest performers was excellent; from the hysterics of Ian Gordan's character Fernando, to the metafictional identity deconstruction by Sean Morley; from the anxious and creepy persona by Mark Kennedy to the self-sabotaging ramblings of Lee Kyle. Sean Turner, with his enthusiasm for audience participation and cheeky twists was a highlight. 

Though other nights are lenient to a dynamic of sloppy acts herding unquestioning audiences, Silly Billies works valiantly to support inspired performers who appreciate their audiences' participation in making the experience whole. This is a polished affair, and only costs the price of a pint to enter.

[2013.11.14] for NARC Magazine.



The Cosmic Dead / Pigs x7 / Haikai No Ku - Live at The Head Of Steam, Newcastle

'Life is a journey, not a destination,' wrote Ralph Emerson, and the faces downstairs at The Head of Steam feel this; music is not about waiting for premeditated stunts and hits; it's about emersion and trusting oneself to interact completely with sound in the moment. 

HaiKai No Ku start up; the trios tracks routed in Beckettian reinvention. Pieces often made from three chords, with the wah-wah out swinging, higher and stronger with each variation. A couple in the front row throw their bodies in sync with each protruding beat. 

Next, Pigs x7 embark on their fairy tale, 'The Wizard and the Seven Swines.' Showcasing this track, released in collaboration with the headline act, Pigs x7 take us from steady skipping grooves to heavy riffs, whilst their drummer's facial expressions react vividly to all the changes, and their singer wanders through the band on stage like he is lost in a maze and is roaring in desperation. 

After some technical difficulties, The Cosmic Dead resurrect and raise the energy even further, manipulating wonderful sounds from a Korg synth, at first over steady quantised maneuvers and then diving in amongst all kinds of rhythmic geography. Finally, as guitars are hung up on the pubs avatar at the back of the stage, with the final chords resonating, all minds are left racing. 

[2013.11.08] for NARC Magazine.

Gentleman's Dub Club - FOURtyFOUR - Album Review

Leeds has one of the most exquisite venues for dub-music in the form of The West-Indian Centre in Chapeltown, and it has nurtured one of the most joyous proponents of the genre in the Gentleman's Dub Club. Sound staples start immediately on FOURtyFOUR; the half-time pulse, the w-w-wumping bass, and the shimmering keys. The album finds balance in tracks alternating the mood; from dirtier efforts like Riot, and more tender reggae songs, like London Sunshine.
    The ultra-slick presentation of these songs in a recorded format seems against the vibrancy of this band. This is further highlighted by the inclusion of two live recordings at the end of the album. I can understand that people would want to take GDC music home, but these songs seem born to be heard live.

[2013.10.19] for NARC Magazine.

Blood Orange - Cupid Deluxe - Album Review

Upon a second listen through, it clicked that there is an underlying bravery to Blood Orange's (Devonte Hynes) Cupid Deluxe that is quite exceptional: a fearlessness in the writing, to allow each track time to breathe, and a comfortability to put himself aside of the centre too. This third LP features many guest musicians diversifying the sound whilst nurturing the records central themes surrounding love. Skepta supports Hyne's heritage in High Street, whilst Chosen sports a French accented monologue, and Clipped On is made in the spirit of New York. You're Not Good Enough is a heartbreaking classic. The dense content over the fifty-odd minutes asks for consumption like a Christmas dinner does, but it is worth unbuttoning your trousers for. This creativity must not be denied or underestimated. A fantastic record.

[2013.10.19] for NARC Magazine.

Lulu James / Lionhall - Live at The O2 Academy, Newcastle

It feels an eternity since I saw Lulu James open for Ghostpoet at the Cluny, singing along to backing-tracks with carefully organised swaying. Tonight, our Queen of South Shields headlines an anticipated show and we are all keen to see how her ship is fairing these days. 

Support is well-chosen in the compliment of Lionhall, a duo mixing synth and guitar loops to articulate songs of youthful melancholia. Such well-crafted songs deserved a larger turn-out.

Show time! A pre-recorded monologue of James speaking presents an alternative persona before she arises out of the fog to join her band, hidden in a mask of gold chains. This choice of anonymity complimented the opening dark march, removing individualism and focussing all of the faith in the room. It was then a peculiar juxtaposition to hear her typically sassy remarks in between such weighty tracks with the mask remaining.

Ultimately it was this blend of the intimate mixed with the universal riding tightly throughout the set that created such amazing moments of hope; from the crowd singing back the lyrics for the tender Be Safe, to uniting everyones dance moves for Step By Step.

Towards the close, Lulu conducts an allegiance pledge to which the attendees promise 'to love / and support / Lulu James (bitches!)'

It turns out James' ship is actually a spaceship, to which we are all welcomed on board. Based on tonight's performance, our Captain's possibilities are truly endless.  

[2013.08.09] for NARC Magazine.

Darren Hayman - Bugbears - Album Review

Bugbears is Hayman's excellent follow up to 2012's The Violence. It continues his investigation into fear through interpreting 17th Century folk songs; performed with long-term collaborators, for this record collectively described as 'The Short Parliament.' Through the stories selected for this album,  Hayman takes us from less hopeful scenarios like that of a woman 'Seven Months Married' to songs with philosophical arguments for the oppressed, such as 'The Contented.' Amongst the chaptering instrumentals, he even includes a march celebrating the overshadowed parliamentarian Thomas Fairfax. Hayman has adapted these songs loosely for a modern pop record; making the melodies more diverse than he discovered them and abbreviating the number of verses in the ballads. The hearts of the songs have been treasured in their time-travelling.

[2013.07.15] for NARC Magazine.

Daniel Bachman / Phil Tyler / Chuck Johnson - Live at The Northumberland Arms, Newcastle

As part of a tour around Europe before returning to his home in San Francisco, Chuck Johnson starts proceedings with his solemn Last Moments At Chittor. In amongst the revolving arpeggiated chords of his instrumentals sing mysteries to match the stories in his face. With whispers of audience conversations glistening the set, the Northumberland Arms is transformed into a Mid-West bar, with souls listening a while before moving on.

The evening's curator Phil Tyler follows with his banjo melodies; first with a new composition, then a medieval carol, both showcasing tunes from his latest record, released... today! Warm applause welcomes Cath Tyler to join him on stage and together they joke and duet, starting with an adaptation of 'You Are My Sunshine.'  

Daniel Bachman, like a freak-wave rolls into his set, rumbling the strings of his guitar with aggressive, muscular strength. At first I thought he was fighting for the conversationalists in the pub unaware his performance had begun, but soon I realised he was rebelling against a much higher power. With dexterity and roar juxtaposed, his weather devastated the hearts in the bar. At the apex, he turns briefly to a Hawaiian-style guitar, and he gifts us a softer song called Sarah; a carefully constructed highlight of the night. 

[2013.06.17] for NARC Magazine.

Pea Sea / Silver Fox / Wilt Wagner - Live at The Cluny 2, Newcastle

Up on the hill, the Cumberland is alive with unapologetic derivatives Holy Moly & The Crackers and celebrations of a long Summer eve. As I trip down the steps from the party, I wonder: who will be persuaded inside the Cluny 2 on a night like this?

When Wilt Wagner (Michael J. Patterson) takes to the stage, a handful of people are there to watch. He nonchalantly intersperses drinking beer from a can whilst meandering naive keyboard melodies over gentle beats. The instrumentals are complimented with live vocal noises and the use of taped sounds.

At the changeover, Silver Fox huddle around an archaic keyboard, trying to resuscitate it. Problems are sorted, and the cheeky grins return to the faces of this quartet as they treat us to a healthy amount of newer material, whose soul is still firmly primitive and honest. 

Chris Rollen's band Pea Sea casually assemble on stage instilling anticipatory silence across the room. A vintage-style microphone colours our singer's voice in a subversive opener before he ditches it and follows up with his latest single, 'Inconceivable.'  Tim Greaves broadens the sound with clarinet throughout. The set moves between his variety of rock 'n' roll and quieter songs, such as Charlemagne. At the close, an encore is mightily demanded to which our band appease. 

[2013.05.19] for NARC Magazine.

Serengeti - Kenny Dennis LP - Album Review

"It's a metaphor for life.You gotta get up and do something!" A message from the 50 year old protagonist in the first track of Serengti's sequel to the Kenny Dennis EP. It certainly supports a remit for the Anticon record label from which he has been a member of since 2009. Serengeti's contributions to this family give a warmth and lighter humour than you might find in other residents' outputs. These songs lovingly describe the anecdotes and philosophies of our fictional moustached subject Kenny Dennis, using simple repeated phrases in amongst fuller raps, performed in character. Occasional tracks are straight, instrumentally-supported monologues. The fluffy crackly beats are provided by label staples, Jel and Odd Nosdam. Each re-listen feels like a return to a favourite photo album.

[2013.05.19] for NARC Magazine.

Tom McRae - Live at The Sage, Gateshead

As the final red sunset of the Bank Holiday weekend burns through The Sage's glass exterior, smartly-dressed families and couples peruse the merchandise stand. With options such as Tea-Towels with lyrics on, and Baby T-shirts, there seems to be a harmony between the artist and audience as to what point in life they have reached together. 

Numbers are considerably reduced in Hall 2 as SWANN (a trio realising singer-songerwriter Chloe Swann) open proceedings. She performs haunted by the spirit of Nico and with her last note applause registers far beyond politeness. 

The room fills up, and McRae walks on to hearty applause. The tone is set with Lately's All I Know, balancing well-written songwriting with performance tricks from a seasoned sleeve. Along with the dry-wit of his miserablist introspection, he bonds 99% of the audience. Sadly one attendee may have enjoyed too much sun over the weekend and chose to bellow along with every word; the excellent acoustics of the room meaning often they were as loud as McRae. He was humble in trying to diffuse the sabotage, but sadly the etiquette took a duration for them to learn, in spite of the crowd and himself opposing it more and more pointedly. In closing, McRae acknowledged such challenges as part of a live experience, and the audience were admiring of the bravery he showed throughout the show.

[2013.05.06] for NARC Magazine.

Mister Lies - Mowgli - Album Review

As the final track of Mister Lies’ first full LP, Mowgli, expires in swirling looping motifs, and reaching (but inaudible) vocal samples, this new set of music from Chicago-based musician Nick Zanca has left me optimistic and refreshed. The album title refers to the name of the feral child in Kipling’s The Jungle Book, and, along with the cover-image (a cosy cub shown protected by hands) we are put in mind of nature and nurture. This record is the wealth grown of such parenting and a testiment to the constructive aspects of this humanity. 

The opening track, Ashore, finds a minimalist beat from qwerty ratatats and stretched guitar harmonics, and steadily washes us onto the island. Zanca paints the gentle nature moving in amongst the trees through short flute melodies, whilst hinting at a potentially penetrating sky above, shown through carefully placed reversed cymbals and triggered clicks. He then unleashes us into the moonlight of the glade with suspended synth sprays. Without pause, he expands our tour through Dionysian and brings us to the dance, with a society of syncopated steps and our first vocal samples, espousing a necessary behaviour for growth: ‘Now the time has come, need to stand up and be true.’ Perhaps we are witnessing our composer responding to such a command, in the ambition of this fuller release. 

His pseudonym, adopted to express the importance of imagination over naturalism in his music, is dissolved in its relevance here. The construction of Mowgli’s narrative suggests a maturity of understanding, placing nature itself as more imaginative than any individual’s construction of lies. Although the ambient landscaping of his Hidden Neighbors EP and the sentimentalised rights-of-passage tracks on the Mass EP (his collaborative effort with Rafa Alvarez) contribute positively, this new lengthier study allows Zanca the freedom to bravely take on more varied emotions through multiple adventures in a larger space.

Where as other peers in such sonics are drawn to compose testaments to more claustrophobic environments, nurturing cynical responses in their albums (often created in the roar of city-living,) Zanca provides a hope rarely celebrated in these sounds. He created this album remotely, based up in the hills of Vermont, and he has channelled the peacefulness of this retreat into instrumentals, confidently embracing imagination, wise to the knowledge that with experience, there is the possibility of growth. Mowgli is truly encouraging.

[2013.03.02] for NARC Magazine.

Lower Plenty - Hard Rubbish - Album Review

Relishing in the muffled tones of guitars and the rustles of irregular percussion, Lower Plenty disguise their tight musicianship, framing their concise and impressionistic songs about failing connections in a faint, off-centre lamp; which flickers on them for a mere twenty-three minutes before Close Enough and ‘the fading of the light.’ Hard Rubbish is more of a troubled conversation between friends around the kitchen-table late at night than an album. 

Isolation and loneliness become increasingly compelling topics in our times and these Melbourne musicians concern themselves ultimately to these causes here. The mix of Sarah Heyward and Al Montfort’s vocals create a tension throughout; sometimes by the juxtaposition of both sharing a close space in a song but communicating with apathetic deliveries (as Strange Beast) and at other times by solo performances articulating a character’s tormented escape (as Nullarbor). 

Further developing these themes, the music is relentlessly melancholic with approximately tuned instruments throughout and estimated vocal melodies - the opener Work In The Morning laying out this ethos, and tracks like Nullarbor and White Walls stretching the limits of our taste for the unperfected. This deliberate achievement, along with shunning enthusiasm from the songs in an audience further by including rough primary captures for the album, make Hard Rubbish a depressed character in itself. Lower Plenty ask for the same effort coming to these songs as you would need to give to a troubled friend: when you offer hope by listening, they cannot or will not speak to it, and progress may not be visible to you.  

This material would certainly create odd moments in live conditions. At best, the songs would create a unity between members of a crowd; audiences recognising these testing positions outlined in the lyrics. At worst, the sentiments would be lost in a dull slouching sound, unable to contribute to anything less than a completely focussed room. 

It is a complicated record, kicked out to sulk through the world, lost. It requires generous listeners to invest in its small heaviness. It will not meet you half-way, but it seems for Lower Plenty, your company is not a requisite. As the mantra of their sixth track enforces, ultimately ‘Friends wait.’

[2013.03.01] for NARC Magazine.

Nancy Elizabeth - Dancing - Album Review

Nancy Elizabeth's third album, has more persuasions to the 'Traditional' party than a beaming moon-faced friend at the door with two kegs under their arms: reductive triad and pentatonic harmonies throughout the supporting instruments, whilst her boundless prodigious vocals take the tunes through various octaves and modes. Guests, we have another who won't be 'the Devil's whore.' This album of songs is attractive for describing a heart both brave and vulnerable; as if alerted, creeping the stairs in the night, issuing bluffs to an invisible intruder. It is beautifully recorded, the piano birthing specters from its notes, filling a dining-hall empty of mortals. 'Dancing' could have been a truly intimate expression if it wasn't so precisely performed and produced.

[2013.02.12] for NARC Magazine.

Two Gallants - We Are Undone - Album Review

Many of the sounds on ‘We Are Undone,’ enforce those which have been enjoyed previously from the Bay Area duo posing as Joyce’s bounders: raw garage stomps, finger-plucked bluesy Americana, singing paralleling pronounced guitar melodies, sweet folk refrains.     

The playlist of this fifth album is carefully organised to stimulate at every turn, with the personalities of each song often being routed in a different style, timbre or space. Any roughness is deliberately sought from Stephens and Vogel as their long journey playing music together has rendered their thoughts and musicianship united. Highlights include the title track; with the wind in its sails and celtic undertones, and Heartbreak; a deliciously tender love song swept up in arpeggios and glistening percussion.

[2015.01.19] for NARC Magazine.