Preview: Sounds From The Other City 2015, Sunday 3rd May

The May Day Bank Holiday is approaching this weekend and that can only mean one thing. Well, depending which century your traditions are originate, it might mean a few other things, from pagan dancing to International Workers’ Day, but for Chapel Street in Salford it can only mean one thing, and that’s Sounds From The Other City festival.

The annual new bands knees up is once again the highlight of the long weekend, commandeering the Sunday by booking in some of Greater Manchester's finest pop pickers. This year, those directing proceedings hop from the buzz band heavyweights at Now Wave to seasoned niche indie selectors at Bad Uncle and Comfortable on a Tightrope, via the pathway of dependable promoters at Hey! Manchester, Grey Lantern and Fat Out, round the record label corner to Gizeh/Little Red Rabbit, Red Deer, Sways, Samarbeta and Tru Luv, and back onto the main road blockaded by visual delights at Video Jam and the comic timing of Sham Bodie. And breathe.

Under those umbrellas, or rather in those venues, you’ll find many of those currently orbiting at the centre of Manchester’s creative universe rubbing shoulders with handpicked touring acts to set your ears ablaze. Ex Easter Island Head’s collab with the BBC Philharmonic Ensemble is sure to be a standout, and you won’t go far wrong with Naked (On Drugs), Paddy Steer, Liz Green, Jane Weaver, Black Josh, Acre Tarn or many more, but roaming around is always a sure fire way to see something unexpectedly great.

Venues-wise, meet at the Islington Mill wristband exchange from 3pm and float whichever way the musical breeze blows you.

Words: Ian Pennington

For tickets and more info: soundsfromtheothercity.com

Hit & Run presents: Machinedrum @ NQ Live, 04.02.13

Machinedrum is one of those rare, sickeningly talented musicians who seem to be able to effortlessly churn out great work in any manner they see fit, which is fantastic for bass music fans. On 4th February it proved most beneficial to those attending Hit & Run, Manchester's long-standing stalwart of bass-heavy beats, where Machinedrum (aka Travis Stewart) came to town for a rare live set.



I travelled through incredibly torrential rain to reach the steps down to NQ Live. As can often be the case with cutting edge Manchester nights (and it pains me to say this), it was a bit of a disappointing turn-out – although I would bet they could have doubled the attendance had the heavens stayed closed. Fortunately enough, everyone in attendance was very much up for a dance.

I walked into the final funked-out tunes of Brunks and Naked Swing – these guys have been pushing boundaries with their night Heavy Rain and have big things planned for future months. Next up was Jonny Dub, Lord of Hoya:Hoya and arguably the most versatile DJ in Manchester – this man could make waves in a vacuum! He packed a full trip round the houses into his hour set, keeping a high level of energy throughout and with heavy hip hop beats lurking round every corner. Top, top stuff.



Before the main man was to step up it was the turn of Now Wave to take control. Manchester's boundary pushing gig promoters, as it transpired, aren't too shabby on the decks either; hammering it right from the start with the Mak & Pasteman remix of Disclosure's ‘What’s in your head’ and taking an 808 house-y slant to their set, with splashes of Swamp and a drizzle of Dusky.



By the time Machinedrum gets started the crowd is fevered and clustered around the barriers. It has to be noted that even if Hit & Run sell a night to 50 per cent capacity, you'll always find them crammed into the front 10 per cent of the venue. 808 kicks rang heavy on the Neuron Soundsystem in an attempt to force them back but the exhilaration was too much. Machinedrum's set piqued their excitement and had the floor bouncing. Playing out on an Akai MPC sampler and a midi keyboard, all linked up to Ableton, it allowed a seamless presentation of his music, from selections of his album Room(s) through to his more recent JETS collaboration with Jimmy Edgar. It’s always refreshing to see a producer whose ‘live performance’ is a little more than hunching over his laptop and appearing to check emails for an hour, and this ticked the right boxes; full of energy and interaction with the crowd.



I left sweaty and satisfied with what I had seen, Machinedrum has definitely been one of the top shows in recent months of Hit & Run, although they have much more to come in future months; including shows with Cyril Hahn. I'm definitely glad I braved the storms to get down.

Words & photography: Gary Brown, GB Multimedia.

Arts, Music & Events Preview, June 2011 (Part One)

Beyond another Bank Holiday, we’re now knocking on the door to summer. And in Manchester’s own meteorological way, its showers and sunshine indecisiveness is making us all well aware of this. Don your water proofs, shorts, flip-flops and/or Wellies for a stroll through the next fortnight or so of events.

First up for any calendar month is the 1st so the Chicago noiseniks Disappears’ gig on Wednesday 1st seems as good a place to start as any. The psyche-drone supergroup comprises the drumming dexterity of Sonic Youth’s Steve Shelley, a tangled web of reverb and the Gulliver’s stage for the evening.

Skip a day to Friday 3rd for a selection in the suburbs. Wilmslow Roaders might favour Fuel Café’s rock oriented line-up of Day For Airstrikes, Easter and Emperor Zero, hosted by the ever inventive independent music vloggers Manchester Scenewipe. Alternatively, the Blowout promoters’ latest Chorlton’s Irish Club captures include warped 80s electro throwbacks Water Signs.

Caribou and Battles headlining the same show is quite a tussle for attention, but at least Now Wave have allowed them enough space to do so with it taking place at the Apollo on Saturday 4th. Support is too long to list, but think Hoya:Hoya vibes and you’re in the right ball park.

Put your thinking cap on for the latest First Tuesday discussion and debate courtesy of Manchester Salon; the topic to brush up on is The struggle for democracy in the Middle East and Africa. Head to the Shakespeare pub on Tuesday 7th if you think you have more of a solution than major politicians or their mouthpieces in the mainstream media.

After that mind-melter you might need something to relax the senses, so take advantage of the arts students who’re now nearing their long summer holiday and feel ready to showcase their work. The first of two in this preview is on Wednesday 8th at Kraak Gallery, where adorning the walls will be The Manchester College’s Parallax photography exhibition

If you’ve been pencilling the other events in then get the permanent marker out for this next one. Hot on the trail of our last Now Then Manchester show (...ish) is another venture into the realm of live music and spoken word, this time in collaboration with the leftfield arts taste-makers at Doodlebug. Performances for the first of a monthly Thursday slot are sitting in the TBC column, but think along the lines of esoteric music punctuated by spoken word; Dulcimer in Chorlton on Thursday 9th. [NB: We've postponed this to a later date, hopefully within the month of June, but otherwise we'll be starting the stint with a Broken Bubble label showcase on 14th July. Watch this space...]

Catch your breath and steer towards Fuel again on Friday 10th for the monthly Debt Records acoustic dabbling, before a weekend rubbing shoulders with excitable revellers amidst the tents, sideshows and empty pint pots strewn across Platt Fields for the 48 hours of Parklife Weekender. Expect Beardyman, DJ Shadow, Mount Kimbie, Kode9, James Holden and Grandmaster Flash to prove highlights of a festival that never fails to bring sunshine with it, even including the Madferret days.

One more who might’ve tipped that line-up over the edge and into a spectacular abyss is Tom Vek, who’ll make a reappearance even longer overdue than Now Then Manchester events. Instead he’ll be at the Ruby Lounge on Monday 13th, which is a date shared by Merril Garbus and her wildly capitalised alter ego tUnE-YaRdS’ trip to the Deaf Institute.

Part two of the aforementioned student arts displays is one by University of Cumbria MA scholars at CUBE on Tuesday 14th. Born from interpretations of philosophical texts, this one’s another photographic assortment under the title of Touching Space. Or, if you’re more into preserving natural environments than seeing snaps of them, there’s always CityCamp, which is launching itself to those who shares their ideals ahead of a Manchester sustainability festival in September; Northern Quarter’s Noho bar.

Closing in on the month’s halfway mark is the recently renamed ad rehoused Imploding Inevitable’s choice of live music for Dulcimer bar’s Wednesday 15th; alternatively for town dwellers, there's another helping of Soul Sessions headed up by Beggar Joe, which has also rehoused to Oxford Road's Revolution bar. Then Thursday 16th is one for Little Red Rabbit’s Fuzzy Lights who entertain at Salford’s Sacred Trinity Church, with Red Tides lending support.

Words: Ian Pennington

Arts, Music & Events Preview, March 2011 (Part Two)

Picking up smoothly where March Part One left off, this evening (Saturday 19th, in case you haven’t checked your calendar and/or have arrived fashionably late to this blog post) sees another instalment of This City Is Ours. It’s in conjunction with the Broken Bubble label launch at the cosy confines of An Outlet.

Sunday 20th sees Arbouretum stride the Deaf Institute stage. They’re often defined as ‘folk-rockers’ but the ‘folk’ tag is presumably a result of the abundance of facial follicles, while their occasional face-melting solos would surely singe your typical folky vibes, so file instead under the Crazy Horse-backed-Neil Young emphasis on ‘-rockers’.

Now Wave + Hoya:Hoya = an intriguing collaboration. Furthermore, when the equation equals a warped evening of Brainfeeder acts you’re onto a winner; in short, Teebs and Jeremiah Jae, Monday 21st, Deaf Institute.

Food Not Bombs is plotting a few events, starting with an open meeting. Head along on Tuesday 22nd if you fancy helping to expand its culinary arsenal. Otherwise on that night, Manchester Salon’s latest discussion focuses on The Future of Journalism and Publishing Online at Blackwell University Bookshop; a hot topic for this blog, needless to say.

Merzweek is ongoing from 21st ‘til 28th and Wednesday 23rd is the day to catch a premiere screening of the documentary focusing on central Merz artist Kurt Schwitters’ life. 7pm start, free entry; beat that, mobile phone Wednesdays.

Mount Fabric launch their new EP at the Castle Hotel the following night, Thursday 24th. And the final weekday, Friday 25th, ends with a win-win techno choice: Content welcome Juan Atkins to Joshua Brooks during the same hours as the finale of the three Übermotion monthlies at Sound Control. The latter drags along recent Kompakt compilation architect Robag Wruhme and Berlin’s deep house merchant Efdemin.

If you’re not exercising your democratic right to wave placards around on the streets of London on Saturday 26th, then there’s a veritable feast of politically apathetic alternatives on or near your Manchester doorstep; hell, you might even be able to make it back up here in time for the evening’s options – provided you haven’t been kettled in Kensington. American-born, now local, folkstress Jesca Hoop has been entrancing Manc audiences for a fair while now; we reviewed her Deaf Institute show last year, which is where she returns after Hey! Manchester’s persuasion. The lazy comparisons range from Bjork to Joni Mitchell, via Kate Bush, and I’m feeling lazy so that’ll have to do. Magic Arm supports.

For those looking to loiter across the Irwell, Islington Mill hosts the aforementioned Merzweek closing party that’ll feature John Maus as the star attraction and Doodlebug on the decks. Another shout is the Kode9 gig at Jabez Clegg. Drum Clinic have organised a 90 minute set to look forward to from a man whose Hyperdub label has helped a genre flourish by providing a platform for early Burial, Darkstar and Zomby releases.

Busy Saturday means chilled Sunday and there are a couple of Now Then Manchester endorsed ways to do just that. Alexandra Park is the place to head for an afternoon lesson in badge making, ‘mind food and acoustic liveliness’. Or if you end up having an extra long lie-in then tune into Northern Groove’s new Sunday night show on Unity Radio; 1-3am for cosmic house, electro-funk and soul.

The month sort of peters out after that as far as I can tell, but check out Bar Centro’s Soul Sessions on Wednesday 30th for a couple of melody-addled solo performances.

Words: Ian Pennington

Arts, Music & Events Preview, January 2011 (Part One)

If you’ve been consulting your Gregorian calendar lately then you’ll no doubt have spotted a couple of things. Namely, we’re slowly rolling into another year and this preview feature is a few days overdue. The former significantly more obvious than the latter, perhaps, but both indicative of the sleepy nature of Januarys in general.

That’s not to say there isn’t anything to sink your creative teeth into this month. Oldham Street’s refurbished Castle Hotel hosts Welsh linguists Colorama following their session on the airwaves for Marc Riley’s 6music show – all this evening, Wednesday 5th. And later on, Now Wave’s DJs pick up where they left off in 2010, spinning their tips for 2011's buzz bands to fill the Deaf Institute floor.


Saturday 8th brings another Carefully Planned All-Dayer, albeit a rescheduled one due to pre-Xmas snow. That’ll also take place at the in-demand Castle Hotel with eight more hand-picked musicians from the world of indie-folk. For a more chilled affair that evening, the electronic types at This City Is Ours continue their monthly slot at An Outlet, with tunes selected by Anytime, Blood Boy, LSN and Borland DJs.

The Art Corner launches a new exhibition with a preview night on Monday 10th, capturing the zeitgeist with an artistic interpretation of everybody’s favourite fad, ‘austerity Britain’. They’ve called it Cuts & Grazes, roped in a palette of artists and set an end date at 30th of this month.


Onto the world of film, the curtain comes down on the New British Cinema Quarterly’s run at the Cornerhouse on Tuesday 11th with a screening of brilliantlove, which stars local Manc actor Liam Browne in the role of a besotted character named Manchester. Produced by North Eastern champions of outsider cinema Pinball Films, the film has already been met by independent cinema kudos and an impressive-looking soundtrack includes Sol Seppy, Wild Beasts, David Holmes and James Yorkston.

There’s a seminar worthy of your time on Wednesday 12th (you might want to double-check the date - I've read conflicting info) if you’re prone to a whinge about the frequency of buses. The GMITA (Greater Manchester Integrated Transport Authority) will discuss their forthcoming budget at the Town Hall, but to attend you have to book yourself in by Friday 7th.

Islington Mill bursts into life on Thursday 13th with a trio of alt-rockers in the form of Charles Hayward, Barberos and Gnod.

Over the weekend of 15th and 16th, an alternative political group currently known as ‘Network X’ will hold discussions with the aim of homogenising the activities of similar-minded groups, both local and national. Expect to be involved with planning strategies, defining the shared points of a political ideology and structuring methods of achieving aims. If you’d like to make your voice heard then that’s the time to do it. Contact them for details.


Finally, Chorlton Arts Festival may seem a fair way off in the distant future as yet (19th-30th May), but they’re planning events as I type and will continue to accept submissions for ideas until Monday 17th. Forms can be downloaded here and for more info the contact is Philip.

Words: Ian Pennington

Matthew Dear @ Deaf Institute, Monday 6th December

There’s a fine line between neat progressive layers and melody-less dirge. It may seem an odd opening statement when the musician in question is Matthew Dear; author of 2003’s melodious minimal tech masterclass, Leave Luck To Heaven, and an attentive scholar of Detroit techno. But tonight’s performance shows a desire to take the development towards Brooklyn's brooding electronic pop cool in his subsequent albums, 2007’s Asa Breed and this year’s Black City, and rest it atop ear-shattering strata of miasmic noise.

The start is delayed due to the weather that you can’t fail to have noticed of late, but thankfully the Deaf Institute curfew is flexible enough to allow full sets from both tri-synth Hyperdub signees Darkstar and the headlining Matthew Dear’s live band.


Darkstar bring with them an earthy gloom in the form of thick, smoggy soundscapes, which are permeated only by glistening clean piano tones. They preach an urgency through atmospheric electronica as if soundtracking impending doom in all its stark desolation. Aside from downtempo treats such as the Moby’s ‘My Weakness' sound-alike, ‘Deadness’, with its Mount Kimbie-esque sampled shakes, there’s a variety of possible reference points. There’s a vocal likeness to Secret Machines' Brandon Curtis on the atmospheric ‘When It’s Gone’, while Portishead’s ‘Machine Gun’ is recalled as the following track winds up with a tinny monotony, like a toy drummer marching into an organ-fuelled warzone. And their remix of Radiohead’s ‘Videotape’ is an ample set-closer; in limbo between halfbeat Eurythmics whimpers and echoes of the sound it makes when you run your finger round the rim of a slightly filled glass.


It’s a lesson in simple-sounding complexity, and vice versa, until Matthew Dear takes the stage, dressed in a half-buttoned white shirt with a black jacket and met by a strip light shining upwards onto him like an expansion of torch-lit tales of terror. The scene befits his full-band swagger (he operates under different pseudonyms, with the others swerving closer to the tech/house groundings of the Ghostly International and Spectral Sound labels). Once there, he enforces a beefed-up scuzz, largely masking the trumpet that occasionally enhances recorded structures. This isn’t always a bad thing, by any means. The krautrocky constancy is intoxicatingly groovy as stubborn basslines infiltrate heads’ ability to stay still, nodding instinctively as they do. But vocals are lost, perhaps deliberately, in the vapid layers of echo and feedback.


When the density relents you’re left with highlights, such as the swirling haze of ‘Shortwave’, and when you can make out the intricacies within the constructions then even the musically polluted are palatable. Thunderous processed beats welcome in ‘You Put a Smell on Me’ before Dear redirects the dazzlingly bright strip light towards an entranced audience. There’s a brief rest from rib-shaking beats for the ‘Little People (Black City)’ intro, which is short-lived as soon the latest record’s lead single builds to ear-bending proportions. En route the bass slides and deep monotonic vocal delivery cannot be faulted, but the tendency for every crescendo to reach the apocalyptic is a little grating.


The encore begins with a melancholic solo performance of ‘Innh Dahh’, but the house-addled version of Asa Breed’s ‘Don and Sherri’ only serves in the end to drill home the target of concrete walls of sound, until the walls subside and crumble as Dear’s band depart, leaving prepared loops rolling through the void of a personnel-less stage; ending the set how it began.

Words: Ian Pennington
Images: Simon Bray

Arts, Music & Events Preview, December 2010 (Part One)

Your teeth are iced together, you can see your exhalation condensing, your gas bill is going to be astronomical, but the length of this city’s independent what’s-on list is showing no signs of diminishing in the same vein as the height of mercury in your thermometer. If you’ve been taking part then a Movember ‘tache will help mask some of the cold, but otherwise I’d recommend braving the outdoors for the following.


Welcoming in the final month of 2010 will be Trof Fallowfield’s regular Cool Runnings activism and dub reggae clubnight. Arrive early on Wednesday 1st and you’ll learn about the intentions of Manchester Social Centre and autonomous social centres in general.

Still on the political activism slant, there are a couple more educational evenings soon after on Thursday 2nd. University of Manchester-based group, Open Media, are screening Crude: The Real Price of Oil in University Place Theatre A; open for students and non-students alike. On the same night Salford’s Working Class Movement Library open their Object Lessons Part Two exhibition, in collaboration with the curators at Islington Mill, which sees the results of artists digging through the WCML archives and interpreting their findings for display. There’s no rush though since it’ll adorn those walls until the end of January.

Also on Thursday 2nd, Format invites you to its dubstep infused 2nd birthday. Billed as live and in 140bpm are Pinch and Distance, while local favourite Illum Sphere is set to fill your ears in support.

Shifting tempo and pitch a little along the dance music spectrum for Saturday 4th, Wigflex host a tech-flecked discotheque at Sound Control with Shed and Al Tourettes mixing their beats and pieces. In the arts, Kraak Gallery house a weekend arranged by local artists collective Lead Pencil under the cosmically themed Pluto & Uranus Are Missing heading.


Monday 6th at Deaf Institute is safely the gig of the month as Now Wave team up with HearHere to pair a couple of electronic forerunners in the shape of melodic minimal-tech maestro Matthew Dear and Darkstar, a trio often lumped in the post-dubstep, future-beats niche alongside Mount Kimbie (but just as often recognised as inhabiters of that music journo nightmare; a current genre void). Dear is due to DJ at the Simian Mobile Disco Warehouse Project, but Monday's live show has that extra appeal on a rare tour.

Back at Kraak, a quick turnaround is scheduled to pave the way for an exhibition whose accompanying acronym is one of the more fulfilling you’ll find. Super Awesome Fun Exhibition, aka SAFE, features the idiosyncrasies of Florian Fusco, amongst others, from Wednesday 8th. The 8th is one of those busy days with plenty to choose from, so perhaps save this one for another time before it ends on Wednesday 22nd.


Elsewhere on the 8th there’s a forum going by the poser of ‘How can the third sector help shape transport in Manchester?’ If you have the answer, then bob along to The Mechanics Institute in the early afternoon. For those who like their rave tinged with funky electro-house, Prostitutes & Policeman have pencilled in Fake Blood to paint the town red (or Sankeys at least). There’s also the first instalment of Sounds From The Other City’s winter incarnation, Sounds Like Another Christmas. Aside from being a less impressive acronym than Kraak’s (see above), SLAC is a sort of watered-down, spaced out (as in time-wise, as opposed to ‘whoa man, this is some spaced out psychedelica’) version of SFTOC. The premise is one of partnership promotions with some local music selectors, with fanzine Pull Yourself Together getting the ball rolling at Salford’s Kings Arms pub by asking Liz Green and Dinosaur Planet along to perform.

Second on the SLAC front is Bad Uncle’s planned staging of epic jammers Rangda, Howlin’ Rain and Easter. Don’t miss that.


If you thought I meant ‘spaced out’ in the psychedelic sense then you won’t be disappointed by the Now Wave/SLAC collab that brings both of Ripley Johnson’s soundwalling projects, Wooden Shjips (@ St Philip’s Church) and Moon Duo (@ Islington Mill), to the Chapel Street vicinity, separated by mere minutes. That one’s on Friday 10th; another busy slot for listings.

Another option is Chorlton recycle artists Rubbish Revamped, who take over Beech Road’s new café On The Corner, 6-9pm. Or if you’re out in town, then head to the intriguing, seasonally focussed fare at Briton’s Protection. Folk Threads have set up an open mic night a cut above many others by inviting musicians and poets to try their hand at writing original material on the subject of ‘winter’. To get involved contact the linked email, or just turn up to see the results.


Finally on that Friday, crack out the baubles and tinsel for a pair of nights loosely riffing around the proximity of Western civilisation’s favourite consumer-fest. There’s a couple of stars on top of the Dry Live tree, co-headlined as it is by both The Rook and the Ravens and Ten Bears, who’re then followed up by Revolver and Good Vibrations DJs. And not forgetting the partridge in a pear tree. Over in Withington, Red Deer Club and Cloud Sounds are generating more early festive cheer. There won’t quite be twelve drummers drumming, but with Fuel’s two floors both in action between 5pm and 2am, they’re not far off that tally; Y Niwl and Jane Weaver topping the lists upstairs and downstairs, respectively.

The closing two SLAC nights feature Helmets For Men (Saturday 11th) and Comfortable On A Tightrope (Sunday 12th) showcases. Alternatively on the 11th, Warehouse Project have another mammoth array of floor-fillers, this time curated by Modeselektor and featuring Moderat, Hudson Mohawke and a bunch of others intent on soundtracking your all-nighter.

Everything Everything move swiftly on from debut album critical plaudits by drafting in an orchestra for a one-off at the RNCM on Monday 13th. That one’s on Now Wave’s clock as well.


And last but not least: two records from local musicians worth banging against your eardrums this month. Sheffield psyche label Blackest Rainbow have matched up Mancunian noiseniks Gnod and A Middle Sex for a split 7”, while My First Moth have packaged up Neko Neko’s ‘Pesticide’ on the same format.

Words: Ian Pennington

ITC 2010 @ Band On The Wall, Thursday 14th October

If my impression of In The City is one of numerous musicians clamouring in a small dingy venue for the attentions of a solitary big league A&R who, a) has been bothered to leave their hotel room/bar, and b) actually has any budget for any negotiation of a loan destined to end in some tricky repayments, then at least the Band On The Wall venue itself differs from part of that preconception. As for A&R folk, who knows? But, as hinted at with this preamble, it might be worth aspiring recording artists avoiding the allure of such Sirens when their promised paradise floats so close to the rocks these days.

Having said all that, Anthony H Wilson’s lasting legacy wouldn’t have foreseen the industry’s 21st Century devolution, however the original premise of bringing London-centric major label players up north does now strike as a little outdated given the countless other options available to musicians in this era of technological mores.

Of this year’s fledglings, Now Wave have cherry-picked some of the brighter prospects around, with a running theme of two-guys-and-some-gadgets.


First on are worriedaboutsatan, a duo who’ve been around for a few years now (in fact, it’d be wrong to assume that any of those performing either at official or fringe ITC events have formed only a fortnight prior, but then it depends on whether your definition of ‘new’ is more closely aligned to that stated in the dictionary or by Edith Bowman). Facing each other with laptops primed, this time the set-up is one of a divided stage; as if competing in online Battleships. That is to compare it to the audience-facing Futuresonic appearance in 2007; an early slice of recognition for the pair. Since then worriedaboutsatan have also developed their sound, from post-rocky soundscapes to the more electronica-flecked, pulsing layers of clicks with flickering, flinching waves of guitar-infused echoes.

There are thicker, more muscular bass accompaniments in sections, such as those acting as foundations for the sample of Scuba’s ‘So You Think You’re Special’, but it’s the downtempo elements that resonate longest. Imagery conjured for the finale brings the sound of umpteen lonely drips amplified together for a steady shuffle along an underground rail track; slowly but naturally ceasing to a standstill.


Local two-piece D/R/U/G/S make their mark by shunting the tempo up a few notches courtesy of tectonic thumps and a smattering of ivory twinkles. Never ones to dwell on a beat for too long, the underlays bypass some Caribou and Four Tet’s ‘Plastic People’ in semblance, but always with a more imposing bassline artillery; up there on a par with tech trance bpms.

D/R/U/G/S, although due to appear on at least two other occasions during the ITC gigging window, have a buzz band appeal that attracts a roomful of wristband holders and, consequently, Walls’ audience is a whimper by contrast.


But Walls’ set is far more calculated, controlled and significantly less ADD than that of D/R/U/G/S, and although it’s not worthwhile comparing the two duos too far beyond the obvious personnel similarity, it’s hard to avoid linking the acts with only a short break separating them on the night. Signed to German electronic label Kompakt, Walls can command a certain respect, but also carry a certain expectation. Indeed their eponymous debut and its plaudits add to such anticipation in the diminished crowd, and it takes a while for the mellower tones to settle in with D/R/U/G/S’ rave-sparkers still ringing in your ears. But the slow-building static and cosmic iron lungs are a more fulfilling entity; Walls know where the speed dial can take them, but work themselves up to that level via restrained strata of vibrating pings and squashed minimal squeaks. When you reach the pinnacle it’s all the more rewarding than their predecessors’ musical Tourette’s.


‘Gaberdine’ exemplifies their steadiness, but there’s also the fuzzy Fuck Buttons-esque wake-up call of ‘Burnt Sienna’, erupting like the yawn of a Tyrannosaurus Rex.

Mount Kimbie are last on and attract some of the floating voter venue surfers back onto BOTW’s recently-pristine, now-blotched carpet. They drop initial beats akin to a low bouncing ball, which progresses as if thrown into a pond to ripple outwards; shivering the floorboards and forcing movement from the intrigued gathering.


This performance is not without its hitches, though. First of all, Kai Campos manages a wry smile at the first instance of unintentional silence, brought about due to guitar connection issues. Mildly chagrin expressions from Campos’s band-mate Dominic Maker illustrate the long pause later on while the aforementioned guitar DI is remedied; a ten-minute lull in proceedings that he jokes will be made available to buy on CD after the show. It’s nice to know they aren’t taking it quite as seriously as those who don’t stay to give them a second chance.

Despite the mishaps, the pair persevere with a modified set including Maker’s looped samples solo and a concluding effects-pedal-less version of ‘Field’ that sees a cleaner guitar join the echoing tongue clacks. The helium-voiced ‘Mayor’ is a standout with its live-specific builds, while the pitch-descending chimes leading into ‘Before I Move Off’ are met with appreciation from more than one animated audience member.


All of which can neither enhance nor damage the growing reputation of a duo who’ve become the namedrop of choice for many a post-dubstep commentator. And, as previously stated, ITC isn’t going to make-or-break your musical adventure, particularly when you’ve already released one of the albums of the year (Crooks & Lovers) via Scuba’s Hotflush record label.

Words: Ian Pennington
Images: Simon Bray

Silver Apples @ Deaf Institute, Wednesday 28th July

It’s a shame that this Now Wave / WOTGODFORGOT show falls during the sleepy summer gig months. The crowd is healthy enough and Silver Apples co-founder Simeon Coxe (often known simply as Simeon) is clearly appreciative of all the plaudits he receives, but, as innovators so ahead of their time in the late '60s, Silver Apples perhaps deserve greater recognition than from the fanatical few.

The journey begins, though, with a musician more than capable of filling Simeon’s sonic shoes, Denis Jones. Although the gathered few are sparse for his set, Denis enraptures attentions towards a blend of cacophonous crescendos through forthcoming album Red+Yellow=’s ‘Rage’, ‘Clap Hands’ and ‘Sometimes’, while the old favourite, debut album closer ‘Beginning’ is greeted by a knowing hush of anticipation; immaculately uplifting.


The short film, Play Twice Before Listening, sets the scene. Silver Apples originally recorded music in the late 1960s and disappeared for years due to the demise of the record label, KAPP, that had released their first two records. KAPP's sale and eventual absorption into MCA Records was shepherded along following an attempt to defend itself in a legal wrangling against major airline Pan Am, who took offence to the Apples’ second album cover and its depiction of a flight crash scene.

If that image was to prove prescient, it also symbolised the relevance of Silver Apples in an era defined by social change, political protest, technological advancement and, most importantly, the purported moon landing. Looking back, Simeon’s adaptation of vintage 1940s oscillating electricity machines into a primitive dance music arsenal renders a fitting soundtrack to such a phenomenon.

This is not a pension tour, though. The rekindling of the flame in the mid-1990s must have felt more like unfinished business. Although short-lived in one respect, with original drummer Danny Taylor passing away soon after in 1998, his death also led to the rediscovery of undamaged recordings for the third album, entitled The Garden, which was proposed for 1970 but waited nearly 30 years for release.

So, when Simeon, alone, takes the stage at Deaf Institute it feels like the continuation of something that has not yet reached completion. Kicking into a canned boom-chk undercurrent to cosmic wobbles, the fedora-clad innovator is noticeably grateful for his second chance.

Not bogged down by reliance upon too many hits in the back catalogue, Simeon is free to experiment; swooshing, floating, warping through many a musical galaxy; orbiting the SONAR-esque ‘I Don’t Know’ and the almost poppy ‘I Don’t Care What The People Say’.

Following the spiralling sonic lure of ‘Oscillations’, Simeon doffs his hat to salute raucous applause; ahead of its time in the '60s and still unique enough to merit recognition.

Words & Pictures: Ian Pennington

Now Wave presents: Four Tet @ Club Academy, Thursday 11th March, 2010

Now Wave have made a habit of booking hotly tipped independent music of late, and none more so than a constant forward-thinker of modern electronica, Kieran Hebden, aka Four Tet. What makes this show stand out from the start, however, is the quality of warm-up acts.

London duo Rocketnumbernine meander between Nathan Fake’s ambient side and a half-intensity Fuck Buttons, while offering the only acoustic performer of the night in drummer Tom Page, who adds a little extra weight to their walls of sound.


Next on, and looking out onto an already sizeable gathering, Pantha Du Prince eases into his set with echoing chimes that give way to processed beats. As the mixture of minimal chirpiness and increasingly driving bass foundations progress to floor-vibrating head-nodders, the hooded laptop operator leaves the stage oscillating in his wake.


The night belongs to Four Tet, though. To use a visual metaphor, his predecessors on the night only muster block colour when compared with Hebden’s multicolour mixes. ‘Angel Echoes’, the opener on latest album There Is Love In You, sets the scene as one for showcasing the new material. But putting it like that is too two dimensional and routine to describe the Four Tet experience. Hebden leads into ‘Sing’ with the help of what appears to be ambient pioneer Brian Eno’s ‘Bloom’ app on his iPod touch in an example of the constant tendency to shift live versions of his recorded tunes down twitchy, glitchy tangents. Every nuance is subject to change; the representation is far from routine.


After the set weaves through ‘Circling’, ‘Love Cry’ and ‘Plastic People’, the biggest hand-raiser of the night is introduced by way of a ribcage rattler of a pounding pulse. When this evolves into old favourite ‘As Serious As Your Life’ there’s a frenzy of movement; it’s hard to resist such rhythm.


Behind Kieran Hebden’s appreciative grin beaming towards the front row’s clamouring fanaticism is a man in his element. Indeed, his enjoyment shows through as those who remain in hope of a post-curfew encore are rewarded with a personal touch as he returns to shake hands with some who were undoubtedly blown away by what they witnessed.

Words: Ian Pennington
Pictures: Paul Green