Pigs Pigs Pigs Pigs Pigs Pigs Pigs / Bismuth / Apologies / Supertunes - Live at The Cluny, Newcastle

Supertunes had super-fans down early to the Cluny pit. A much more exciting prospect than their name would suggest, this opening quartet brought bass-lead progressions infused with elements of trip-hop. Their vocalist operated as an instrumentalist, offering further abstraction with distant atmospheric lines.

A tight classic-rock riff modestly starts up the Apologies engine. Various hooks follow morphing through free and wild variations. The trio’s music delights by off-setting changing textures and resonances against solid central themes. Tightening and loosening were used to great effect. 

The courtesy of Tanya Burne muting her bass to tune before the set was cute as, alongside Joe Rawling’s on drums, Bismuth proceeded to take EVERY MOLECULE IN THE AIR HOSTAGE WITH THEIR TECTONIC SHIFTS. Dividing appreciation like thunder, portions of the audience were hypnotised by the might, whilst others ran from the unknown.

The porcine pageantry was unleashed as PigsPigsPigsPigsPigsPigsPigs embarked on Psychopomp to crown the night. This composition has it all, and with each twist and turn, rest is definitely left for the dead. Matt Baty’s majesty was undeniable throughout, singing with full vigour, hanging from railings, topless.

Like the best nights, the total narrative was stronger than the sum of its chapters and we have Leave Me Here to thank for that.

[2016.01.29] for NARC Magazine.

Josephine Foster - No More Lamps In The Morning - Album Review

Josephine Foster possesses a voice of the other; itself, forever travelling, and those who hear it are always catching up on its beauty. Her fourteenth album from the Millennium, No More Lamps In The Morning is made up of new raw versions of seven songs from previous recording’s (with two songs even originally from her last album.) The idea might seem unnecessary on paper, but to have these songs, sitting more freely within seemingly more intuitive retakes (captured in the studio with the lightest of butterfly nets,) gifts us a close-up on the essences that we love the most. The Garden Of Earthly Delights is a highlight with her husband Herrero’s shimmering guitar like sunlight to her peaceful melody.

[2016.01.18] for NARC Magazine.

Roller Trio / Leash - Live At The Bridge Hotel, Newcastle

In the charming upstairs room at The Bridge Hotel, the Jazz North East team are poking the stage lights into position with broom sticks whilst the opening trio Leash debate a few last minute form possibilities. 

Adrian Tilbrook, first up to the Gretch Kit, started this night under a different banner six years ago. Paul Bream and friends have now taken over the reigns, keeping its life-blood bellowed. 

With unison whole-tone fusion grooves blended with a peppering of rockier references, Leash play one-extended instrumental for their set, twisting improvisation through thematic check-points. Loyal lights of the club, Andy Champion and Mark Williams, excelled; certain scaling passages were performed with fingers too quick for any eye.     

Roller Trio punched heavy from the off, blasting out the Eastern tones in RollerToaster and ripping up hyper beats in Doris. Though the records utilise lighter and clearer tones, their live sound is powerful for its extra breadth. Redfin-Williams’ rides ring out more, Mainwaring’s saxophone wails longer, and Winter’s guitar sound is spread with a rich fatness in the bass pitches. By the end, January sorrows had been blasted from all faces. The room was a pressure-cooker of energy. Everyone was left hot! hot! hot! 

[2016.01.10] for NARC Magazine.