NME AWARDS TOUR Live @ Portsmouth Pyramids, 18/02/2010

With the indie market awash with new acts, the NME showcase have got some of the big chart hitters to battle it out on stage.
First on the list, hidden down amongst the bigger draws, The Drums provided not merely a warm-up but a declaration of intent with a confident, well tuned performance which took many by surprise. They, like many, have been mentioned as a band that everyone will be talking about before the end of the year and for once is seems justified.
The Big Pink are up next and they just really tear into it with driving baselines and a much heavier sound than you’d expect. The really make an effort with the crowd in trying to win then over, really wanting to impress, but the crowd was still split in their feelings. There is a much draker tone to their much and much distortion, it really sounded like they’d blown a few speakers. Their sound was very distinct to them and they have a good varied range of songs. Velvet sounds much thicker and richer live, it really comes to life rather than being a slow, poor follow-up to dominos. Dominos, played last, obviously goes down well.
The crowd are much more alive for the arrival of Bombay Bicycle Club, possibly again due to being hugely promoted amongst DJ’S. The hype for me is short lived, again much heavier than expected, but they suffer a huge lag and its a good few song in before things pick up with Evening Morning. Even this failed to capture the crowd, they merely looked on in acknowledgment that what they were doing was good. Musically they were solid, but there was no real killer instinct about their performance, they were simple there to give their 30 minutes. Always Like This gets a sing-along, but the song just seems out of synch to the rest of the set. The entire set pretty much lacked cohesion and direction.
The Maccabees enter to the Talking Heads. The ‘veterans’ of the night have a much more rounded and consistent set. Precious Time lifts the crowd from its disappointed slumber. X-Ray and Can You Give It go down well and it starts to feel like a real gig, not merely a showcase.
In all a very awkward night filled with surprise and disappointment. Love You Better stopped it from being dissatisfying.

FIONN REGAN Live @ The Wedgewood Rooms, 22/02/2010

Loz Bridge

Loz Bridge is gaining a bit of a reputation. Having dropped the box social, he’s now all on his own. On the back of supporting David Ford, he’s Hampshire’s best kept secret, winning fans wherever he plays. It’s no exception to night as everyone shifts from the bar as China starts the evening. He seems very much at home, full of confidence on the big stage. Armed with only his acoustic guitar, the sound and lyrics really captures your attention and imagination, inventive yet uncomplicated. The folksy-blues sound you could say is meant for the old smoky blues club, but this very much a sound for now and should be appreciated on a much bigger level. The slow burner of ‘The Room’, ends the very accomplished set on a grandiose high.
Danny and the Champions of the World open with Henry the Van, a nice slow introduction to the band before they really bring the song to life. From then on its all proper Americana. Real feel good, toe-tapping goodness. The band themselves ooze enthusiasm and this really rubs off on the crowd and their cover of My Girl a personal highlight.
With Fionn on stage, his band is basically DATCOTW. Its more confusingly rather than being a novelty. In all honesty the music’s the same, but gone is that playful edge and replaced with his beautiful velvet voice. The band does a really good job in showing his songs in their full potential and thankfully doesn’t overshadow him. New single catacombs break out the biggest cheer of the night in what has generally been a subdued yet appreciative night of music.

SHY CHILD – Liquid Love

The fourth album from NYC’s Shy Child suffers from an unimaginative retread of their previous work and a pick of early 90’s synth pop band. Think post New Order band Monaco, but without the heart. Admittedly the first song Liquid Love starts it all off well. A cute, upbeat, little dance number which is very likable on its own, people will rate them because of this tune. The problem is that it rarely strays to anything different. Each song feels like a slight reworking of the one that has gone before. Before you realise, you’re near the end of the album, each song blends into the next without fuss.
It’s pale in comparison to the innovative bands such as MGMT an even Empire of the Sun. They airy weak, vocals soon become irritating along with the uninspired lyrics. There no cutting edge or even an attempt at feeling or passion. It is quite smooth and some songs if heard randomly are quite catchy, but apart from hearing all before many years ago, you would have heard all it has to offer after the first track

ITCH – An Illusion Of Grandeur From A One Trick Pony

When albums like this come along I’m unsure whether to be blessed that I’ve found such a rare gem, or to be worried that the current music scene is so saturated, that and album like this can be released as another drop in the ocean.
Their fourth album is a superb, wild, collection of energetic rock with a ‘Don’t give a shit’ attitude and structure. It swaggers along with confidence in its own ability, unashamed that it is solely accomplishing everything the band wants out of it. Vocally reminiscent of Frank Turner in its approach, Mike Milers vocals are rougher and filled with raw feelings, often touching on the likes of Hell is for Heroes and Idiot Pilot. His is an addictive, believable voice, live I imagine even more powerful.
The music flitters in and out of different rhythms and styles, reminiscent of early Biffy Clyro. They manage to fit in a wide variety of ideas and concepts, there’s such a rich variety that it demands multiple plays.
Personally, I believe my life is better with this album in it.

SPEARMINT – A Week Away (Remastered)

Re-released after ten years, it really feels like opening a time capsule to an entire host of 90’s bands. My initial reaction was to say to myself, ‘oh yeah, that sounds like Space, ok that’s Bennet, oh some Pulp’. But from this, I realised that each song is a potential hit and that’s a rare thing. Though is sounds is purely 90’s (lyrical tone, dominant slow vocals, music inoffensively played out in the background), though born in 99, it passed by pretty much un-noticed by mainstream audiences.
Managing to survive the test of time, this special edition was born, also featuring a seven track EP ‘Life in Reverse’ and four extras.
The album itself is a nostalgic gateway to those of us who’s childhood was lived out then and the songs are genuinely very catch, but there’s a sense that it’s time has passed and it’s a shame that it wasn’t more of a success at its time.
Life in Reverse is a much more musically orientated affair with stronger vocals that is a natural and strong successor to A Week Away, unfortunately the most exhilarating track last 41 seconds.

THE SCARABABEUSDREAM – Sample Your Heartbeat To Stay Alive

This Austrian duo, relying solely on keys and drums, have created something wonderful and essential. Best and easiest described as techno, post emo/rock metalcore (you try narrowing it down), it’s fresh. Where post-rock has lost its way, this has picked up some of its ethics and added violence to its sense of heightened tension. But it still has heart.
The sound, granted also some nice production, is orcastraic and chaotic. ‘Strollerstore’ is a brutal mix of Aphex Twin and Idiot Pilot and for all its fraught loose ends simply shouldn’t work, but it’s the layered diversity and conflict that makes it all the more powerful.
The diversity in their diversity it also well thought out. The slow burn ‘Nimesis Out Of Senses’ with fraught, soft vocals plays beautifully before bursting into life.
I’m not saying this is for all, I fear it’ll be love, hate and just purely have no idea what’s going on. But in terms of breaking musical genre and commercial law, this is a great example. Confident, intelligent and thoroughly fulfilling.

HOWIE BECK – How To Fall Down In Public

With the singer/songwriter scene fraught with talent, commercial and otherwise, in abundance, some artists may feel their need to tweak what they do to get noticed. Other just stick to what they do and do it well.
Becks fourth album see’s him grow in stature musically and lyrically. A beautiful, melancholic ode to all life’s strife’s. His sole, diverse, instrument abilities litter and complex the songs wonderfully and his smooth vocals wash over you.
From the opening ‘Watch out for the Fuzz’, the perfect summery pop song to the closing ‘Beside this Life’ which shifts the mood to being in a piano bar late at night, you come out of it feeling like you’re truly been somewhere else for the past half hour. Even at the short running time its still beautifully effective.
A wonderful, unique and heartfelt album!

EASTPAK ANTIDOTE TOUR Live @ The Pyramids, 21/10/2009

Ghost Of A Thousand

The queue still stretches far outside when Ghost of a Thousand take the stage. Strangely the room full from sell-out gig, the last of the tour. Nevertheless they really want to incite carnage. Tom Lacy, the lead singer, leaps over the barrier and disappears into the crowd and a huge mosh pit forms. Given the diversity in their first two albums, their set is solid and truly sets the bar high in terms of energy, enthusiasm and crowd participation. It culminates with firstly with ‘Running on Empty’ where the room is split and then collides. The venue nicely filled at this point. Finally Tom’s into the crowd again to build a human pyramid with their final song ‘Black Art Number One’. A much hyped band and rightly so.

Four Years Strong was up next. They play out their set without much trouble. Unfortunately due to the poor sound of the Pyramids it all blends to one block of noise. Ghost defiantly set the bar high and FYS just lacked the passion previously seen.

Anti Flag bring a much different tone to the stage. Easily the most physically polished of the bunch, it’s a very much more user friendly set. The energy was back in abundance and the crowd pretty much ecstatic. Again a pit swelled up that encompassed the entire floor. Initially I was sceptical, it looked and sounded like a band built for commercial success. But in the end they won me over, it was fun, it was genuinely enjoyable. Even the cover of The Clash went down well and didn’t feel sacrilegious. With everything back on track, Alexionfire took to the stage.

They’ve been at this for a while now and their maturing and connection on a band really shows. Its solid and the music sounds epic that rises way above the support. But for all the professionalism, the crowd connection was lost. Though they may still love the band and the music, but it was a set to listen to and not to be a part of.

FIGHTSTAR Live @ The Pyramids, 02/11/2009

After earlier being into a state of frustration, the prospect of seeing Fightstar was very welcoming. Emerging post-hardcore band Deaf Havana provided main support and also a charged atmosphere to welcome in Fightstar. ‘Another Day in this House’ being a standout from a set played with great enthusiasm and rare subtle touches that put them a touch above the current crop.
Having finally shaken off all their preconceptions, Fightstar have emerged as a successful and more importantly, talented band on their own terms. It’s not long before bodies fly through the air. But it takes a few songs in to ‘Mercury Summer’ before the entire crowd is captured and lift themselves off the floor. They even duly oblige when given the chorus to sing. Paint Your Target swiftly follows to the same rapture. Given the amount of ‘emo’ songs the band has to refer to, they keep it heavy. A massive pit is formed for Deathcar. The band themselves turned in a typical rock performance, though the sound and lighting were terrible, all the elements for a cathartic experience were present.
The end came abruptly. Given they are now three albums old they barely reached the hour with an encore. Even more disappointing was they still relied on ‘Palahniuk’s Laughter’ to finish the night. A single song encore just felt like a step backwards from a band that should now be far beyond their early credentials. There were groans from the fans as hits like ‘Never Change’ were missed. Even the inclusion of ‘Amethyst’ or ‘Mono’ would have given the set a much more rounded and ultimately more satisfying experience.
For all the potential and back catalogue of songs, it felt like a missed opportunity to really assert themselves as a great live band. Those there to rid themselves of a shit day and a stone of sweat would be pleased, but many were left feeling a bit hollow.

SUNSHINE UNDERGROUND – Live @ The Wedgewood Rooms 03/05/2009

Sunshine Underground

Unfortunately, much as we’d love to be, we can’t be everywhere at once. That’s why we at Call Upon The Author sometimes rely on friends to check out the juicy gigs for us. So lkets introduce you to Justin Parry. Justin is a superb photographer and a dab hand as a reviewer too. We sent him along to check out Sunshine Underground (and excellent support act Exit Calm) at the Wedgewood Rooms!

Justin Parry

for more of Justin’s photography check out www.justinparryphotography.co.uk

Exit Calm