• Bournemouth
  • United Kingdom
  • Opera House
  • 2006-03-11

New releases on Warp Records will always have the benchmarks set by the label’s most forward thinking artists such as Aphex Twin and Squarepusher to live up to. Tonight Clark, having dropped his first name of Chris from his title as an artist, had the chance to show off new material from his limited edition EP Throttle Furniture ahead of a full album later this year and 65daysofstatic were showcasing their album from last year, One Time for All Time.

Clark, as he is now to be known, admitted to me after his set that he didn’t really have any idea how his new album would perform, nor did he have much of a clue as to how his others had done. Well I guess when your music is as breathtaking as his brutal but short-lived 30 minutes on stage, who cares about sales figures? Launching into “Herr Bar”, one of five on the EP and a track that just teases you into a gentle stomp to emphatic bass and drums, it was to be a set that ended with a demand to immerse yourself completely in his jungle beats. Along the way Clark provided more ambient moments that made the aural onslaught even more devestating as he reached his relentless climatic danceathon. Many of the emo, metal and electro heads present for 65days may not have known what to make of it all, but there were those who didn’t want the barrage of sound to stop. Clark took it all in his stride, barely looking up from his boxes of tricks apart from in the short pauses for the crowd to get a breather from it all. It was a shame it was over so quickly, but as a support act for this show you couldn’t have asked for any more — except maybe the extra stage time some cried out for. Expect the album to be a force to be reckoned with alongside other Warp classics.

A brief nod to the video mash-up seen before the headliners provided by the Media Lounge that included both an amusing homage to Kylie Mingoue as well as a near-death inducing repetition of Natasha Beddingfield’s lyric ‘I Love You’ from “These Words”. I nearly cried tears of pain during the latter.

65days combine electronic beats with guitars and drums to create intrumental monsters

Ahem. Compared to the likes of Mogwai and Godspeed, 65days combine electronic beats with guitars and drums to create intrumental monsters — the energy of which they have no problem replicating on stage as they pogo around in a continual frenzy. Believe me, you know these guys are enjoying themselves and then some. Despite all this activity, they somehow keep in time with each other for maximum epic effect as each song builds to its peak, ascending full speed into a crescendo of the grandest order. This is drum and glitch beats combined with walls of guitar noise. While it is entertaining enough, you cannot help question why the band has to use a pre-recorded electronic soundtrack for their songs. They are clearly loving every minute and would benefit from having the opportunity to blend their live instruments with more than a computer playing the same elements in the same way at the same time, every time. This would allow for a little more exploration of their tracks in a gig environment and could aid their development. Their appeal wavered after 45 minutes, sounding a little samey after Clark’s unpredictable and uncompromising sound, however, those into their instrumental action were right at home down the front, boshing it out with the rest of the 65days fans — they are still a formidable force who cannot help but grab your attention.

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