LCD Soundsystem, the rock’n’roll dance band brainchild of James Murphy (DFA), have always sounded a bit flat on CD, but their live show injects verve and excitement to every song thanks to Murphy’s almost obsessive enthusiasm to entertain every single person.
Starting with a fattened-up metal version of the more introspective “Vultures” before fully announcing their arrival by blasting into the frenetic “A Day in the Death” the new album tracks were impressively performed in the live show, and gained a whole extra intensity and loudness.
The crowd was quiet up to this point, but once “Panda”’s stuttering drum intro burst forth into driving Zeppelin-fuelled blues rock I knew any unbelievers would soon be converted. “Festival”’s bucolic Woodstock folk (that’s the original not the frat boy riot sequel) was an uplifting joy.
Now on their third tour of 2005, The Chemical Brothers wasted no time laying down the heavy beats with “Hey Boy, Hey Girl” before getting everyone up to speed with newer tracks “The Big Jump” and “Galvanise”. They were already working up a sweat on the dancefloor as the crowd erupted into all manner of arm waving, pointing and jumping like loons on a basketball court.
Kind of a strange, beautiful night really. It started with James Bourne from arena-touring, punk-pap fools Busted unable to blag into this grimiest of venues for free and having to pay like a mere mortal and ended with a fully grown man being applauded for swearing and playing with Fisher Price toys.
no matter how good the support seemed at the time, along came the Japanese mentalists and all were blown away. Playing basically the same set as that played in support of Cell-Scape on its release a couple of years ago the band blasted through material of that album and others such as the classic Charlie.
What happened to the Thrice we know and love? The band that would rock so hard that their guitar straps would tear apart mid song? The pop sensible hardcore band that was able to interchange gutteral screams with high flying sing along choruses? Tour. Tour happened.
the comfortably small Freebutt was filled and its foundations almost threatened by the mass barrage of sound created by the five men inhabiting its small stage
organised by the wonderful Eat You Own Ears night and Kieran Hebden (Mr. Four Tet), and they put together a flawlessly cool line-up in support of Four Tet’s multiple-tronica’s (i.e. folk, jazz, glitch): German legends Faust, Aussie DJ Kid Koala and Texan sky scrapers Explosions in the Sky.
The music obviously draws from a range of sources from disco, house, hip-hop and electro to punk or metal and the noisier, dirtier sounds of all of the above came out. The show was pacy and energetic, more so than the recordings, and added an overall heaviness and volume which magnified its effect.
One thing they’re not is more of the same disco beat. Many art-rock bands are all cool and slick, all narrow eyed grove; Awful Sparks have the shambolic energy of a boarding school dormitory ten minutes before lights out.
What matters most about the music of Lapsus Linguae — for me at least — is that they evade every convention or expectation you could have in music. Yet they haven’t done this by releasing records that are purely a whisper or no sound at all; they’ve given the listener everything that’s fucking great in music wrapped in one picnic basket of joy.
From squeaks and yelps to clicks and shouts, they busted the wall in my head of how an instrument can be played. There were no breaks in their set, rather, the music was orchestrated into movements
That aura of intensity was reflected in their attitude, which was loose, and somehow feral. In fact, they embodied everything that is exciting about the punk aesthetic, but without the crap music that traditionally accompanies it.
In between tracks the drummer made some comments summarising some of the songs, which sounded quite interesting — something about the difference between the mythology of the American Dream, and the realities of the modern United States.
When i got “Honey Bucket” it was fast and mental, Buzz Osbourne proving his power and presence as a guitarist and front man to be much more than just big hair
Noxagt finally appeared on stage without a word. It wasn’t until then that I realised they’ve shed their viola player, in favour of a guitarist.
There’s nothing more impulsive in music right now than Deerhoof, an angular pop band that will throw books at you from a library full of strange variants and catchy, catchy tunes.
the two Ex Models launched at intervals into the staccato high-pitched vocals and careful guitar call and responses which have made the band so interesting
The Architects boys can really play, they are incredibly tight and mix some big riffs with some great technical and math parts, and they are still young — lucky bastards.
and so although Cove may continue in some form or another, this was the last to chance to catch the storming behemoth before a third of its body fell off.
before the band start the PA blares out Black Sabbath’s “Iron Man” and the guitarist/singer is seen on top of the speaker bending over underneath the roof miming along like an ecstatic crazy
What Under The Influence Of Giants is doing is far from a mesmeric concoction of clever musical patterns and phantasmagoric songwriting.
The chickenhead-dressed man makes music using his Nintendo games systems, alongside very hard and heavy beats which he then screams over.
Unfortunately, there seemed to be a lack of the paramount Fingathing usually find some three quarters of the way through their show — a zenith that usually exposes itself during the intensity of the track “Superhero Music”.