Thursday, 27 October 2011

Grey Lantern presents... Ghosting Season @ Kraak Gallery, Saturday 22nd October 2011

It can’t just be the mere proximity of Hallowe’en on the Gregorian calendar that has ushered in a cluster of emergent recording artists opting for ‘ghost’ in their name; it seems to be the onset of the 2010s in general. Manchester’s fuzzy reverb-shrouders Ghost Outfit are one. Mercury Prize recognised Ghostpoet and Holy Ghost! have both released records this year while Sheffield bedroom remixologist Ghost Hunter has also spent the start of this decade using a moniker that includes ‘ghost’. That’s before you even consider the Swedish black metal mysteries named, simply, Ghost.

However, none of those are the headlining attraction tucked away in Northern Quarter’s Kraak Gallery. That accolade falls to Ghosting Season, a pair originally from Leeds who’re now residing in the M postcode, a fact for which Manchester is grateful. Not only have they switched city, but also name; on the Hallowe’en theme they’ve merely changed costume, now appearing under the lexical apparel of spirits rather than the previous fierily threatening imagery conjured by worriedaboutsatan.

First of all, Grey Lantern promotions have compiled a bill shared by three others. Veí’s laconic, languidly looping chimes and shuffles are still awaiting the perfect setting as a scenic film’s score but the performance is memorable for the effects his basslines have on the ceiling panels, which vibrate as the physical manifestations of the musical tectonics.

Hourglass Sea is almost as far removed from that as possible. The ceiling panels must take a pounding, not that it would feature anywhere near the top of a list of concerns during a deluge of unrestrained musical ADD. The incongruous venue and lack of audience response count against him in mitigation, but the overly hyper homage to both DJ and Guitar Hero is his own doing. Parts of the polished live production are a more fidgety M83, punctuated intermittently by screaming lead guitar and then tarnished by tones close to Pendulum.

A more balanced set follows from Cloud Boat. Balanced in the sense that high and low pitched vocals are equally catered for amidst the echoes of sampled beats and ringing guitar, despite deriving from the same mouth. That vocal range is the main display of originality by the seated pair of purveyors of downtempo dub and daydream dynamics who, particularly when compared with their R&S Records label mates and alumni (notably James Blake), are very à la mode.

Which leads succinctly back to the earlier point about bands with ‘ghost’ in their name. Unsurprisingly not dissimilar to their ulterior worriedaboutsatan selves, Ghosting Season add their trademark bow-operated guitar density to samples and synths, sending shimmers like a submariner’s SONAR. The twosome take uptempo turns in the direction of techno floor-fillers – remarkably failing to cause much of a stir from an eerily static crowd, just as Hourglass Sea before them. That comparison stops there though because, although Ghosting Season provoke more pensive chin stroking than hip gyrating, their appeal can be summarised as similar to that of Fuck Buttons, Walls or The Field within the realm of IDM. But should you plant them in a club environment, surely the roof would erupt.

Words: Ian Pennington
Images: Alex Dorweiler

Monday, 24 October 2011

Interview: Najia Bagi

One half of The Electronic Exchange; one quarter of To Sophia; one half of The Ground, Najia Bagi has been fractions of other musical projects. With the release of her solo debut recording, Six Months, she is now a whole.

Sparsely arranged pieces combining shimmering, uncomplicated piano and vocals discard the accompaniment and layering effects familiar within her other projects – most notably a sample-heavy fusion as The Electronic Exchange on the Concrete Moniker label. If that collaboration with beats merchant Tullis Rennie finds Najia pushing the boundaries of her own comfort zone, then her solo work is the antithesis of that; songs built from the epicentre of her musical learnings. There’s an added confidence born from broad musical experience, but it is a return to independence that accentuates Najia’s vocal style – fragile yet captivating – while keeping instrumental congestion to a minimum.

Najia spoke to Now Then Manchester’s Ian Pennington about her various musical projects along the road to becoming a solo artist.

Now Then: Having been a part of very different sounding musical projects, how far does your solo album define your preferred style?

Najia Bagi: I feel like all the music I’ve ever been involved in has led up to this album, which is a nice feeling to have. I only really started to write music that I was proud of with To Sophia, so I think that was the beginning of the process that led to this album. And then I found myself wanting to write music that was more and more simple and gentle until I got to this point. It can’t get much more simple and gentle than this!

Also, the music that I listen to has changed over the years, which has always been reflected in what I’ve written at any given point. But I remember hearing the stuff that has inspired me to write this album (Nils Frahm, Anthony and the Johnsons, Soap&Skin) and at the time I thought, “This is it, this is the music that I want to respond to.” I think that it is a combination of being in a certain frame of mind and being a bit tired of music that is too busy. I think it’s a bit like reading a brilliant book – what you feel and learn is held between the notes, if you know what I mean?

NT: Do you prefer the stage to yourself or with other musicians to fill out the sound?

NB: I prefer being on stage with other people. I get incredibly nervous and I’m not that comfortable with being the centre of attention on stage, so it’s hard to be up there on my own. But there is something really incredible about sharing completely personal experiences and feelings with the audience that you don’t get with a band on stage and I love that part. It’s a bit like having a really lovely heart to heart with a friend.

NT: What has been your most memorable live show, either solo or with another project?

NB: This is a hard one. I think there have been a few memorable shows over the past few years. The Electronic Exchange was commissioned by FutureEverything Festival this year to develop some of our music with a string quartet, live drums and live backing vocals, which was just incredible. It was so humbling to be on stage with those brilliant musicians – when the string quartet really let rip it was almost impossible to sing! And the first time I played these songs was memorable. I had never played piano to an audience before and I was completely terrified, but the crowd were brilliant. They were completely silent.

To Sophia had a few brilliant shows too; we were all best friends so when we felt like we were connecting with the audience we all felt completely elated and proud of each other. At least that’s how I felt! And once we played for a cocktail bar full of people at around 2am, which was pretty memorable because we were paid in tequila! I have patchy memories of that performance, which include me standing on a barrel and shouting at the poor people in the bar: “Okay everyone, we’re going to play now, so can you all be quiet!” Awesome.

NT: You’ve recently supported Julianna Barwick, who arranges her music live by looping vocal parts, and (correct this if it’s wrong!) you often loop your own voice with The Electronic Exchange. Did you consider using that style on your solo record?

NB: Well, Tullis (Rennie, the other half of The Electronic Exchange) loops my vocals actually. He records me singing and plays around with it live – he’s brilliant. But I have recently started to write music with Dave Johnson (drummer from To Sophia), which is just drums and vocals and we use a loop station. It’s hard! I find it difficult to use technical equipment but I’m learning. I did think about using effects for a while with this material but I decided not to, I think there’s a time and place for effects and stuff like that but for me one of the things I like about this piano music is that it’s clean. It’s just a set of stories, just piano and vocals. And at the moment I don’t want it to be any more.

NT: Has the experience of diversifying into different forms of electronic production (ie with The Electronic Exchange) affected your solo work?

NB: Yes absolutely. Because The Electronic Exchange writes via email, I found myself writing and singing alone for the first time in a very long time, during the process, and I loved it. I found that I had time and space to write exactly what I wanted to, without the pressure of there being other band members present. I think that this gave me the confidence to write solo material. But in terms of the music being electronic, I suppose it made me want to write something non-electronic, something acoustic and simple.

NT: What’s been happening with The Electronic Exchange and what's lined up for the future?

NB: We’ve had some really exciting things happening! This month we released a second EP on Concrete Moniker, which is two new songs and two remixes (the remixes sound amazing)! And then we played at Band on the Wall supporting one of Tullis’ heroes, Bugge Wesseltoft, which was great. Then we were off to Barcelona to play at the Apollo there, which was incredibly exciting. We’re also planning a tour next year with the same musicians that we worked with for FutureEverything and we’re in talks with the festival, which could result in something amazing happening at FutureEverything 2012. It’s all going really well!

NT: For how long will To Sophia be on hiatus? Are there any future plans for the band?

NB: Well, To Sophia is taking a break for now and I’m not sure how long that will be for. But although it’s sad not to be playing with each other, it has given each of us the opportunity to write new and exciting music. Paul (Balcombe, one half of The Ground) is writing solo material that is haunting and beautiful; Dave, Paul and Adam (drums, guitar and bass from To Sophia) have formed an amazing band called Outer Dark which I think sounds like a mixture of Radiohead and Tool, which is great for all of them and of course I’m doing this stuff which I absolutely love. We were having a laugh recently saying that maybe we’ll reform one day like Pink Floyd and that the strap line could be: “No one came to see our gigs then, and no one will now!”

NT: Finally, which records are you playing the grooves off at the moment and which of your peers would you recommend?

NB: Peers – that’s easy. Rioghnach Connolly (Honeyfeet) has the best voice in Manchester and possibly the UK. She sings all over Manchester all of the time in different bands and everyone should go to see her. She sounds like heaven. She’s amazing. And Outer Dark, of course! I also love Jesca Hoop, who plays in Manchester a lot, but she’s not a peer, she’s way beyond me in terms of success. Records, well, I listen to Rory Gallagher, The Temptations, Little Dragon, Nils Frahm and Yann Tiersen. There’s a song called ‘Til The End’ on his album Dust Lane that just keeps getting better and better until you think you can’t take any more – and then it keeps going! It’s amazing.

Images #1 & #5: Jacob Russell
Images #3, #4 & #6: Courtesy of Najia Bagi
Images #2 & #6 album artwork: Adam Dolan
Image #7 poster design: Louie Mitchell & Matthew Mathieson

Najia launches her debut solo record, Six Months, at Dulcimer bar in Chorlton on Thursday 10th November. She will be joined onstage by a string quartet, while Avital Raz and Gerard Starkie will also perform at the show, which is a Now Then Manchester co-promotion with Imploding Inevitable. Entry policy is pay-what-you-like, £4 suggested; anyone paying £4 (or more!) will also receive a download code for Najia's album.

Saturday, 22 October 2011

Now Then Debt Records: Event Photography (Thursday 13th October 2011 @ Dulcimer, Chorlton)

October's Now Then Manchester show at the Dulcimer combined the musical dexterity of Debt Records artists with the linguistic compositions of Wordlife poets. This latest photographic compilation plots its visual path.

The three selected Wordlife poets were separated by a solo set by HoneyFeet saxophonist Alabaster DePlume; James Lock warming the gathering crowd as a seated raconteur. Alabaster then set a trend of performing amid the audience, ranging between delicate and vociferous with acoustic guitar in hand.

Joe Kriss duly followed, recounting poetic tales with eloquent humour.

The prop-wielding Stan Skinny not only introduced himself, but also bagels and tabloid newspapers, earning attention through an observant wit.

Louis Barabbas diverted eyes and ears music-wards with his characteristic rumbustious flair, shifting ambience to rhythmic and feet to jive.

Finally, HoneyFeet hardly need an introduction. Singer Najia Bagi (who will launch her debut solo album at our next Dulcimer showcase on 10th November) describes Rioghnach Connolly simply as having "the best voice in Manchester and possibly the UK - she sounds like heaven." She's not wrong; an enraptured audience wholeheartedly agree.

Images: Nathan Gibson & Ged Camera [as indicated next to individual photographs].
Words: Ian Pennington

Monday, 10 October 2011

Preview: Manchester Literature Festival 2011

Oh dear, the onset of the dreaded Autumnal gloom is now well and truly here and the inches of rainfall from the now ever grey skies are increasing as the nights grow colder. Exactly the kind of weather where people decide that going out is just a bit too much effort. “I might just stay in and read a good book...” Yes I’ve been there; we’ve all been there, but for the next two weeks why not pack your books along with your umbrella and defiantly head out into the sodden streets? Today (10th October) marks the start of the annual Manchester Literature Festival, held across the city with plenty of interesting events to shelter you from the rain.

Saturday 22nd at Whitworth Art Gallery, for example, sees the world’s first purpose built mobile poetry emporium – or so they claim. The idea of which is to serve up eager poetry consumers with free, made-to-order poems in 10 minutes or less courtesy of their ‘poetry chefs’. Surely healthier than any burger van.

A particularly intriguing prospect is the audience with Anthony Horowitz (Thursday 3rd November) who will be discussing his modern take on Sherlock Holmes, a character loved by millions across the world. Horowitz is the first modern author to be officially commissioned by the estate of the original author Sir Arthur Conan Doyle. Has Horowitz continued the Holmes legacy staying true to his famously logical deductions to solve crimes in foggy 19th century London or has he updated and bastardised the character for a Hollywood generation?

Some of us are more interested in bright and shiny playthings rather than dusty old tomes. A need to be aware of everything and anything happening before it actually happens has led to a growing fascination with blogging culture. Everyone these days has a blog but only a handful of people do it well, to see who is champion of this minority head to The Deaf Institute for the Manchester Blog Awards (Wednesday 19th).

If the idea of this festival of literary delights has whetted your appetite don’t let the rain dampen your spirits – get out there! Chances are you’ll find a celebration of our greatest art form more entertaining and worthwhile than sitting around waiting to dull your brain with next week’s X-Factor tripe.

Words: Ben Robinson
Images: Logos from Manchester Literature Festival & Manchester Blog Awards

Saturday, 8 October 2011

MCR Scenewipe presents... @ Kraak Gallery, Friday 7th October 2011

Now Then almost doesn’t make it to this show. Distractions are lurking on the streets of the Northern Quarter as on my way to the venue I am stopped by six very attractive Swedish girls looking for somewhere for dinner. However, the dilemma of choosing whether to commit to helping them in their quest for a fine eatery or continue on to sample some of Manchester’s finest indie rock was a decision made by my better self and therefore I find myself wandering down back streets and dodgy alleyways to find Kraak Gallery.

To set the scene, MCR Scenewipe is a website focused on supporting local musicians and touring bands alike, predominantly through filming unplugged songs in unusual locations. It re-launched last week with a lovely shiny new format, complete with news and listings. The love shared between the website and the current crop of Mancunian indie bands is on show tonight as the bands express their gratitude to Scenewipe for their continued support.

First up are The ABC Club, a band whose particular brand of indie still seems to involve borrowing from the Strokes, but with more swoons and swells. The lack of energy on stage is mirrored by a fairly underwhelmed audience and, although in places they manage to muster some guitar stylings not dissimilar to local boys Dutch Uncles, it lacks the bite and all feels a bit flat.

Second on is a band that has been attracting attention from all the right places in recent months. The Louche FC is a far noisier affair, doing all they can to fill the room with reverb soaked brooding guitars, although suffering at the hands of a PA that can’t quite do it justice.

Just when I thought I had them pinned as a girl-fronted My Bloody Valentine, they dish out a cute 50s melody that tries to disguise itself as a mean noise piece, but is actually a marvellous pop tune that lilts and shuffles along with an enjoyable ease that could almost be radio-friendly, except for the two minute outro which graciously repeats the line, “I wanna die.” Again the local love is evident as the band encourage label reps from SWAYS down the front and are evidently intent on trying to have a good time. They have a lot to be excited about; this lot have a bright future.

Next up is two-piece Ghost Outfit, who produce straight up chunky riffs mixed with backbeat drums and some very catchy melodies, all very reminiscent of PS I Love You (the Canadian band, not the romance novel or its big screen adaptation), which is no bad thing. The band do divulge themselves into one melancholic track "about being sad," but soon move on to “one that’s about being angry” and as the pace picks up their fresh inventiveness even manages to engage the crowd to the point of some hip shaking. As the band progress through their set, the energy seems to turn up a notch with each song and as the band let themselves loose the audience responds, culminating in a mass brawl type stage invasion for the set finale, by far the most enjoyable set of the night.

To complete the night was Driver Drive Faster, who are by far the most accomplished band of the evening. Their scuzzy blues based indie rock is eloquently topped off by charming vocal melodies, occasionally allowing themselves to build nicely into more raucous rock’n’roll solo sections, held down by accomplished rhythms. A great end to an evening showcasing some of Manchester’s brightest indie rock talents, all thanks to MCR Scenewipe.

Way better than dinner with blonde Swedish girls. Probably.

Words & Images: Simon Bray

Thursday, 6 October 2011

Interview: Debt Records

Debt Records is a non-profit co-operative comprising like-minded creatives, including musicians, artists & film-makers. They replace record label bureaucracy with collaborative self-sufficiency, evoking a mantra that Debt's Louis Barabbas files next to "loose art collectives like the Bloomsbury Group, Pre-Raphaelites, Beats, etc.." Spurred on by questions supplied by Now Then Manchester's Ian Pennington, Louis and fellow co-founder Biff Roxby go into more detail about the aims of the label, gigs with wobbly floorboards and indifference towards comparisons with Factory Records.

Now Then: How did the label begin; who started it; how many bands were involved from the outset?

Biff: Soon after I joined the Bedlam Six Louis and I were having a beer in a park, playing songs with Tom our drummer. Record labels came up in conversation and we both admitted our teenage fantasies of owning a label. Why not, we thought. We knew enough people then to put a great roster together and to begin thinking about websites, venues for showcases, videos and all sorts. But it had to be different. Mainly because we had (and still have) no money. The label benefits hugely from its artists' other skills and their links to good people to make having no money a little easier.

Louis: Biff and I talked a lot about the traditional role of labels and how, when you ignore all the things that are now in crisis (traditional distribution, expensive marketing, etc) what you have is, quite literally, a label – a quick description to stick on a product, something that makes you know instinctively that a band put out by Subpop or Rough Trade is going to be very different to a singer put out on Sony. While the internet and affordable recording equipment are making the established record companies rethink their business strategies and abandon their traditional revenue streams, that doesn’t mean people don’t still benefit from filters and taste-makers. The best independent labels are just that, a badge of recommendation that helps artist and audience alike. It was that model that we sought to follow rather than, say, EMI.

NT: Have you modelled Debt on any other labels, either contemporary or historically? If so, which one(s)? If not, how is Debt individual?

Biff: We intentionally avoided trying to be a 'proper label', sick of the images those two words imbue in an artist or musician. We opted for a transparent and friendly approach, perhaps somewhat idealistic in its early days but one that focussed on artists and listeners instead of profits. Many aspects of how we run are similar to those of other independent labels that we have met along the way. This only helps to strengthen our resolve, knowing other people want a change in their industry too.

Our artists were already active on the live circuit. We believe strongly that live is where it's at and that records are something that can supplement that as a means to earning, whilst also being a valuable documenting of an artist's output. The idea is to give artists the ability to make a sustainable career for themselves. As artist and label, you realise quickly what works and what doesn't.

Louis: Early on we were compared a lot to Factory (ie Manchester based and useless with money). I’ve always seen us more like those loose art collectives like the Bloomsbury Group, Pre-Raphaelites, Beats, etc. – not in the things we do, say or wear, but in the fact that there’s no rigid infrastructure and that, essentially, it’s a league of independent creators under one banner. That’s where the idealism ends though, we’re pretty practical and understand that the modern social obsession with networks is a phenomenon that could become the saviour of all artists – penniless and profitable alike – Debt tries to establish a context for those on the roster that can help with broadening their appeal, marketing their projects and, ultimately, helping them make a living.

NT: How much debt is Debt Records in? Can you put a price on artistic freedom?

Biff: We aren't in a huge amount of debt. We started with hardly anything and only have slightly less than that now.

Louis: In money terms the label is down but in every other respect business is booming: our name is growing overseas, the network is spreading and the artists are all touring and producing great work. That was always the goal. We try not to let money ruin our progress, in my experience once you start making it you invariably have to start spending it and that’s when it gets complicated.

NT: You often facilitate collaboration between artists affiliated to you; what’s the secret to your successful fusions? Do you just pick names out of a hat?

Louis: We don’t force anyone to do anything. Most of these things just happen because it’s very common to have members of two or more different bands in the same room sharing the same wine. What happens after that doesn’t take much facilitating, indeed it’s hard to stop!

NT: Do you ever collaborate outside of the broadly folk genre?

Louis: We’re hoping to do some more radical cross-overs soon. We plan to start a more regular remixing operation of the records we put out, hopefully open things up to other influences.

Biff: I'd say all our artists have a strong folk influence but are developing outside of that themselves. However this is no doubt informed by collaborations made in both live and studio situations.

NT: What has been the biggest (and best, if different) gig you’ve staged as Debt?

Louis: The ones I like have been those that allow the label aspect of what we do to mingle with the live operation. For instance we recorded the launch for the last Bedlam Six studio record and then released that as the next album. There was a nice interconnectivity there. It sort of fills in the gaps between the various processes. Plus we always talk about the importance of live music so it suits us to make those big shows into material for release.

Biff: We've staged packed out shows at several venues around Manchester including The Dancehouse Theatre and The Ruby Lounge. They were a lot of fun but my personal favourites are always the smaller, more intimate gigs where people are standing on tables at the back to be able to see. We had nights just like that at Fuel in Withington. We ran free entry gigs there for two years where the same crowd would sit cross legged for an acoustic artist or poet and then half an hour later make the floor wobble (quite worryingly) when the dancing started.

NT: Are arts organisations deserving of public funding? Why / why not? Do you ever seek public funding? Why / why not?

Biff: If an arts organisation meets the necessary criteria then yes I believe they are deserving of funding. What the criterions are is another matter entirely. Some of our artists have received public funding, though the label itself has not. Those who have received funding have benefited hugely and I think the label would too although it is not for me to say wether the label is deserving of it. I'm far too biased.

Louis: The UK is in danger of being a nation that no longer produces anything. We’ll just be sitting there surrounded by crumbling castles, quoting our ancient poets and lamenting the lost empire. The arts brings in so much international interest and money for the country that it is a folly not to invest in it. That said, I think arts organisations need to be wary of reliance on funding. Look what happened to the Green Room Theatre in Manchester: its funding got cut and it closed its doors almost instantly. These organisations need to be realistic and be able to exist (at some level) independently or they become unstable and unsustainable.

If Debt had some funding we could do some great things but it’d be essential that we continued to operate in the way we already do, on a project-by-project basis. My friend Jeff at Un-Convention once said that funding is like morphine – it helps when you’re in pain… but if you start relying on it, you’re in trouble! What I’d like to see from the government is more respect for the arts sector, full stop. Everywhere is getting cuts at the moment and the arts suffer more than most, but saying that the creative industries are less important (and less deserving of investment) than other areas will spell disaster for more than just the artists.

NT: Which records are you playing the grooves off at the moment and which of your peers would you recommend?

Biff: I'm remixing 'Song of the Foundling' by Alabaster Deplume at the moment. I also helped arrange the choral parts for the original so I've listened to that song more times than I can count. I still love it.

Of course I'd highly recommend all of Debt's artists but outside of that I'd suggest The Moulettes and Moneytree, both with the Sotones cooperative label in Southampton who do great work. Jamie Harrison on Manchester's own Red Deer Club Label is also one of my current favourites.

Louis: I agree with Biff on those for sure. We’ve also been seeing a lot of Kirsty Almeida, Mika Doo and Liz Green recently, they’re all fantastic. Bridie Jackson over in Newcastle is another one to watch. It seems to be all women on my list, well I suppose it’s probably about time the independent scene was a bit more balanced that way!

NT: Describe the music lined up for the Now Then event...

Biff: Alabaster Deplume - performance poetry and songs that will make you cry with laughter, sadness and fear all in the same breath.

Louis Barabbas - high kicking, dirt swinging leader of The Bedlam Six. If he plays his pretty ones you'll swoon. If his foot gets too close in the raucous ones, you'll be knocked unconscious.

Honeyfeet - When these guys play, hearts move and dancefloors shake. Bring boogie shoes.

Images #3, #4 & #5: Simon Bray Photography (live & promotional photography) taken of Louis Barabbas & The Bedlam Six at Un-Convention 2010. Image #6 (The Red Tides) taken by Simon at the Debt Records showcase at the same event.
Poster design (image #1) by Craig Brown [Beards Illustration]
Image #2: logo courtesy of Debt Records.

Debt Records curate the forthcoming Now Then Manchester show on Thursday 13th October at Dulcimer bar in Chorlton. Wordlife will co-curate by adding selected poets between the music. Joe Kriss, Stan Skinny & James Lock are so far confirmed for spoken word slots. Pay what you like; £3 suggested.

Wednesday, 5 October 2011

Now Then Mind On Fire: Event Photography: Danny Drive Thru (Thursday 11th August @ Dulcimer, Chorlton)

The final instalment of photographs from our August show with Mind On Fire pictures the night's headliner, Danny Drive Thru, whose DJing veered between soulful splicing and the occasional jungle track.

If you have any photographs from our previous shows that you'd like to see on the blog - or would like to photograph future shows - then please email ian [@] nowthenmagazine [dot] com. The next Now Then Manchester gig is on Thursday 13th October, featuring a combination of musicians from the Debt Records roster and poets selected by Wordlife.

Monday, 3 October 2011

Now Then Mind On Fire: Event Photography: Vieka (Thursday 11th August @ Dulcimer, Chorlton)

A continuation of a selection of the memorable images from our August gig with Mind On Fire. Performing as a quartet, Vieka enraptured a Dulcimer bar with barely space to move; one audience member recalling Bjork and many would've been happy to watch a set twice or three times the allocated length.

Vieka's debut vinyl single is available to buy from On The Corner on Chorlton's Beech Road.