FutureEverything Presents: Steve Reich @ RNCM, Thursday 12th May 2011

Ideas. Theories. Labels. There’s a scene in Annie Hall (or is it Manhattan?) in which Diane Keaton describes Ingmar Bergman as "too cerebral." Woody Allen does not understand how she can use this word to describe why she does not like a piece of art. He does not grasp the argument. Surely, the more cerebral a piece is, the more it challenges the systems and patterns which hold your perceptions of the world together, the better. At the risk of sounding somewhat like a Cameron Crowe movie, this can only work if the piece still speaks to its audience; if it has ‘soul.’

We started the night with Steve Reich up on stage himself, with percussionist Simone Rebello, performing ‘Clapping Music’. The word ‘minimalism’ means many things to many people, but no one could possibly argue with labelling this as minimalist. Two people, up on stage, clapping. No instruments other than their hands. It was composed in 1972 and must have been incredibly original at the time. But tonight it reminded me of Stomp. Sure, it challenged one’s sense of rhythm and, sure, it must have been technically incredibly difficult to perform, as one clapper claps one phrase repeatedly while the other shifts one note every few bars to become increasingly out of sync, before returning to being back in sync. And while that is technically impressive, I spent much of the piece just wincing at the possibility that one of the clappers might make a mistake and step completely out of sync (whether or not many of us would have noticed is a moot point). To bring Cameron Crowe back, this piece did not speak to me.

The second piece was ‘Cello Counterpoint’, a piece written for eight cellos. It can be played live by eight cellists, or by one cellist with the other seven parts pre-recorded by the same player. Tonight, we had the latter, played by David McCann. Again, I found myself thinking that the idea of playing live with a recording of oneself would have felt completely alien for many classical musicians when Steve Reich started to experiment with the idea in the 1980s. But hip-hop artists had been doing it for several years by then. And now the technique is employed in many different genres, and has been added to through the use of pedals and other instruments used to make recordings and loops of oneself so that one can create textures previously not possible as a solo artist. So why then do we return to Steve Reich for this idea? I found myself wondering about the cache of being an accepted part of the classical music canon, and whether this was the reason we still cared about Steve Reich and his innovations. These techniques that are now so widespread within the world of popular music, are they not somewhat gimmicky when transposed back the world of classical music?

And then I melted.

Finally, the angular phrasing, McCann’s jolting movements and head-nodding, the anxiety-inducing disharmony hit me. Yes, it spoke to me. And finally, the ideas, the theories mattered. I began to consider why it is that I had initially thought the piece would have been better had all eight parts been played live. What is it that would have been different? Obviously the sound would have been, but the feel would have been too.

Eight people playing one piece is the coming together of those eight people, to try to achieve some kind of harmony. Even if the piece is as disharmonious or filled with angular tension as this, the eight players create that tension together, after starting out as eight separate entities. When one person is playing, he/she starts out as one, and branches out to fill many different possibilities at once; a musical representation of the multiverse. The effect on McCann was visible; it felt as though he was not just playing with himself, but also against himself. There was a Sisyphean element of competition to the performance. Heartbreaking because he could never win.

The third piece was ‘Eight Lines’, performed by the RNCM Chamber Ensemble. On stage were two pianos, two string quartets, two clarinets, a bass clarinet, a flute and a piccolo. The pianists played separate but repetitive phrases, overlapping at times, while the others played repeating phrases that faded in, out and back into the tune. The overall effect was astounding. While each player or group of players repeated its own phrase or allowed it to grow sequentially, the sounds of the others around it caused it to seem to mutate, so that a single phrase or idea was reinvented. Its purpose, place and effect within the whole piece was reinvented without it having changed itself. John Adams said of Steve Reich that, “he didn’t reinvent the wheel so much as he showed us a new way to ride.” This sentiment was embodied within this one piece, as Reich repeatedly showed us new ways to listen, new ways to hear.

The final piece was ‘Different Trains’, performed by the Caecilius Quartet. This was a piece written for the Kronos Quartet, a meditation on Reich’s childhood sitting on trains across the USA in the 1930s and 40s, and on the fact that had he been born in Europe, those trains could have been taking him to concentration camps. It starts out as a quite jaunty piece, quite comical actually, quite appropriately for a reminiscence of one’s childhood. There are recordings of announcements from railway stations, a clipped “from Chicago,” or the elongated, “from Chicago to New York.” I say comical, because the tones of these announcements were then mimicked by the players on their instruments. It was a kind of mockery and an homage, both of the musicality of the announcers, and also of the call and response musical model.

We seamlessly moved into the second movement, where the recordings being played were no longer these benign sounds. They were air raid sirens and harsh whistles. Again the players responded with similar sounds, but it was no longer amusing mimicry. The sounds were adding up synergistically to create an overarching sense of fear and panic. I shifted around repeatedly in my chair, unable to find a comfortable position, a position in which I could sit back and be anaesthetised by the music rather than enervated.

Finally we reached the third movement, returning to the American train announcers, “Chicago to New York.” Somehow the call and response was no longer so amusing. It felt vapid, empty. I felt gutted, drained. But edgy.

And then it stopped.

Steve Reich may have invented minimalism. He may have invented, or at least discovered, the technique we now call phasing. He may have “shown us a new way to ride” and he may have done so more than once. His work is certainly cerebral, but what we saw tonight, is that the man has soul.

Words: Piyush Pushkar (http://doctormagiot.wordpress.com/)
Images #1 & 3: Simon Bray

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

We’re now deep into festival season with Sounds From The Other City and FutureEverything (look out for our Steve Reich review in the next few days) already having passed us by. But the festivities, along with the weather, are just warming up; here’s what to look out for in the closing days of May.

Tonight (Thursday 19th) at 6pm is the launch of Chorlton Arts Festival (CAF) in Chorlton precinct, as artwork created in line with the {this way: UP} theme will be unveiled by special guest, Chorlton resident and CAF Patron, Damon Gough (aka Badly Drawn Boy). BREAD Art Collective have positioned the artistic contributions in unannounced locations through the town; above eye level to provoke shoegazers into a varied view. Amongst the art portrayed will be a preview of a project co-curated by Doodlebug and Alexandra Arts, which takes a lead from JR’s Inside Out socially cohesive guerrilla art by asking local schoolchildren to take and pose for portrait photographs while considering what the area's parks mean to them.

Friday 20th is the first day of action at Friends of Mine’s three-dayer in a Cheshire field (FOM Fest 2011), which boasts Walls, From The Kites of San Quentin, The Fall, Toro Y Moi, Jim Noir, Working For A Nuclear Free City, The Longcut, plus plenty more besides.

All the while Chorlton Arts Festival will be ongoing until the end of the month; best to check their listings to pick out a selection of the live music, spoken word, literature, DJs, comedy sketches, visual arts, drama and participatory improv.

Retro soul maestro Bill Withers is the subject of a night in homage to his recording career at Soup Kitchen on Sunday 22nd, featuring recent documentary Still Bill, live performances (not by the man himself, albeit) and DJs. More music follows on Monday 23rd in the form of Three Trapped Tigers at Night’n’Day Café; the avant garde noise merchants have been booked in to top a bill ahead of Tall Ships by the ever-progressive and ambitious promoters WotGodForgot. That is unless you’d prefer the alt-folk dabbling of Hey! Manchester of a Monday evening; in which case they’re offering Juliana Barwick’s solo choir dreamscapes at Kraak Gallery, with past Now Then Manchester interviewee Najia Bagi providing support.

One for environmental activists next: Kindling Trust has organised a get-together for otherwise disparate groups all striving for similar goals. The Bull’s Head pub on Thursday 26th.

And soon enough there’s another Bank Holiday weekend. Wet Play and Hoya:Hoya are vying for attention on Saturday 28th; they have Deep Space Orchestra at Kraak and Brainfeeder’s mind-melting Lorn at Roadhouse respectively.

The standout for Sunday 29th / Monday 30th is Eurocultured, nucleated along the New Wakefield Street bars and inclusive of another veritable multinational line-up. The headline-grabbers are Scando-techno sextet Slagsmalsklubben, Israel’s Balkan Beat Box and the effervescent performer David Thomas Broughton, but fail to explore at your peril; Mind On Fire, Doodlebug and Hoya:Hoya are amongst those flexing curative muscle, with Naomi Kashiwagi, Aardvarck and Vieka all confirmed. Not to mention the must-see live street art.

Monday 30th is also the day to catch another festival: Dot to Dot.

Words: Ian Pennington

Post War Years @ Deaf Institute, Monday 9th May 2011

First up are openers, The Louche FC, who, on tonight’s evidence, are not a 5-a-side football team, but an intriguing gloomy shoegaze 5-piece. Their expansive guitar driven rock swells around the room, topped off by passionate female vocals that begin with the lyrical theme of death, but continue with a far more pop driven accessibility. A very exciting prospect, who are already attracting attention from those on high.

Next on is Golden Glow, whose repertoire averages around the plodding indie realm, all rather reminiscent of The Dears. When it does pick up a bit there are hints of Bloc Party and although there are signs of promise, the whole thing feels a bit underwhelming.

Where excitement was lacking before, we find it in abundance upon the arrival of Post War Years. Greeted onto a stage filled with boxes of trickery all linked together with a tangle of wires, the expectant audience is treated to a showcase set consisting of only new material. Whereas often in this scenario one is left gagging for one of the old hits, Post War Years deliver an amazing cacophony of fuzzy synths, frantic drums beats, soul shaking sub bass and an array of bleeps, samples and soaring synth melodies, completed by three part vocals that sail atop the washes of sound.

Whereas older material hinted towards the noodly guitar lines and brass stabs of Foals and Friendly Fires, new tracks display a far more cohesive song-writing approach; more reminiscent of Yeasayer, but without the weirdness. The final two tracks of the set are simply huge tunes, filled with hooks aplenty, catchy melodies and so much trance groove you can’t help but want more. Tonight Post War Years have displayed a collection of songs that will surely attract a whole host of new fans and, with the second album due in the New Year, hopefully catapult them into the limelight.

Words & Images: Simon Bray

Sounds From The Other City 2011, Sunday 1st May

This year’s Sounds From The Other City (SFTOC) festival sees that elusive guest not immediately associated with previous Bank Holiday Sunday afternoons in the Chapel Street locale; clear skies and sunshine. The blustery, extrinsic seaside breezes are forgivable given the lengthier-than-ever linear perimeter near the River Irwell (wind direction permitting).

The Islington Mill hub is the first stop on everyone’s SFTOC journey but with so much booked in to see it’d be hard not to plot your own unique path from there. First step along is a quick dip into the ground floor gallery space where Sonny Smith’s abstract ‘100 Records’ exhibition is housed. The jukebox centrepiece holds all the aural results of a project that has imagined, designed and storyboarded a century of conceptual musical acts. Browsing the end products of record sleeves and biographies, it’s easy to see how the lines of fact and fiction may have been blurred, while a satirical angle could lament the aesthetic roots and reasons behind musicians’ practise, as opposed to music for music’s sake.

Scheduled as festival starters, but over 30 minutes late on the HearHere / Bad Uncle stage, Dr Mahogany’s Goat Circus have a useful template for diminishing any such sardonic cynicism. A fluid sextet filed under jazz/world, they set the benchmark for the United Reformed Church’s Soundtracks From The Other City premise by composing beside a film, Baraka, which features scenes of expansive landscapes, terraced Asian paddy fields and a choreographed seated dance. Although unintentional, there’s an appealing audio/visual synchronicity early in the set as images fixate conga drum-led eyes, but the grip is loosened as they drift between songs, such as the Doors-esque rhythms of ‘Stomping Foot, Clapping Hand’, and interconnecting improv.

From then on there’s a sense of déjà vu as the aural weapon of choice is the sampler. The Mind On Fire curated Salford Arms begins with synth/drum duo Vieka’s glitch-hop under distinctively enunciated vocals (think caro snatch or From The Kites of San Quentin), who’re hampered a little by unwanted amp feedback and lead in with coin jangling samples similar to Pink Floyd and MIA. The subject of money is an appropriate topic for another band reliant on synthetic sound snippets, Money, who embellish atmospheric guitar effects with backing visuals of their own. Lyrical content with a mortal preoccupation is enhanced by a tortured delivery akin to The Walkmen’s records, while thudding bass à la Joy Division permeates the misty introspection.

Waiting next to the nearby grassy verge is a testimony to the eclectic nature of the festival. The Rhythm’N’Blood Mobile dubs lo-fi saxophone over bluesy tape recordings including ‘All Along The Watchtower’. Rumours have it that he lectures at Salford University and serenading passing punters as a one man band with a backline of four mini amps strapped to a trolley is an endearing hobby.

Where do you go from that? As it turns out, Day For Airstrikes is where to go. Back at the United Reformed Church, DFA are backed by Rita, Sue and Bob Too; managing to pinpoint a climactic ending as the film pauses with the male protagonist in mid-air, leaping towards a bed with Union Jack duvet. Planned or otherwise, it works well (and can be listened to here). And they’re another succumbed to the lure of sampled structures; replacing post-rock guitars of old, but maintaining their same slow builds towards apocalypse. A stark contrast to Veí, whose downtempo sampling orchestra transforms the Salford Arms into a meeting atrium for hollow glockenspiel clacks, disparate ivories and lonely strings.

Too much perambulation would seem wasteful, which is exactly what strides down to Peel Hall conspire to be as Willy Mason’s lure is strong enough to force a one-in-one-out scenario at which the queue doesn't look promising. One punter describes the show as “underwhelming”, but that really depends on your expectation ahead of the performance of one man and a guitar. The next stop certainly isn’t underwhelming. Easter have been causing a stir amongst post-rock purveyors and some good old-fashioned axe duelling belittles the need for rhythm guitars as instead intricate noodling harnesses the roaring feedback.

Another genre shift back to laptop connoisseur Neko Neko. His squelchy electronic samples solder to Moby-esque ambient soundscapes, while submerged progressions of swooshes and minimal percussive stabs sink indolently before giving way to melodic harp twinkles.

Denis Jones then tackles the Soundtrack stage; an improv whizz in his natural habitat. Opting for a simple film tracking ball bearing movements, Jones also opts for simple, steady loop layering patterns with acoustic guitar undercurrents and gradual introduction of electronic manipulations. The occasional recognisable songs, the typically soulful ‘Clap Hands’ being one, are supplemented by onstage collaborator David Schlechtriemen (aka The Pickpocket Network), who adds a disco remix monotony to the live compositions; the pair facing each other with gadgetry primed, evoking Fuck Buttons or worriedaboutsatan.

The finale is littered with uptempo electro of various persuasions. Capac at Salford Arms and Islington Mill festival-closers Anchorsong and D/R/U/G/S all sail aboard the good ship synth, navigating a sea of processed beats, while sandwiched between are Fixers and Rainbow Arabia. Firstly, Oxford’s Fixers take on a soundtrack to looped cuts from Mariah Carey’s Glitter by pounding their combined keys, and yet more samples – this time directly influenced by the post-Animal Collective acclaim boom. If SFTOC is an indicator for the sounds from all other cities bubbling under the mainstream radar then there’s plenty more sampledelica (?), samplecore (?), to add to this generation’s synthetic symphonies.

Apt then, is Rainbow Arabia’s headlining jaunt at the Old Pint Pot. Signed to revered German electronic music label Kompakt, the Afrobeat disco duo show themselves to be infinitely more energetic than a jaded and weary crowd; vocoded vocalist Tiffany Preston gyrates between elevated archways as her husband Danny operates a mini electronic orchestra. It’s an engaging spectacle for the Pint Pot’s poky viewing confines, which you’d expect given the endorsement from youtube-bothering politico MIA.

Words: Ian Pennington

Deerhoof @ Club Academy, Tuesday 3rd May, 2011

As I descend into the basement, I feel tired, edgy, and actually a little bit morose. Vague memories of the excesses of the weekend haunt my consciousness.

Deerhoof emerge without much ceremony, and seemingly without much charisma. The drummer takes a seat to the right, unsmiling singer stands to the left and two guitarists in the centre. And they start playing.

Fuck.

Art rock, math rock, experimental rock – in its quest not to be cliché, it can become exactly that. It can become frustrating, it can become obvious. But this, this is urgent, it is erratic, it is beautifully inconsistent. Greg Saunier’s manic drumming is filled with power, but not rage. It is perfectly controlled in its exuberant abandon. It does everything you expect a lead singer to do – ebb, flow, reach out, draw in, pause, return.

The pauses. Again and again we pause and then re-emerge from the pause, slowly, quickly. If a singer was to lead such changes of rhythm, direction and pace, it would be nauseating. Led by Saunier’s drumming, they are exhilarating.

So what is the singer doing? Satomi Matsuzaki’s inexpressive face is accompanied by an inexpressive voice, but high-pitched, dreamy and reminiscent of Japanese pop. With her comically energetic dancing opposite the mesmerisingly energetic drumming, I initially don’t realise the importance of the guitars. The boys in matching T-shirts, John Dieterich and Ed Rodriguez, are powerhouses of melody and bass. Their variations of rhythm and pace are less obvious than Saunier’s on drums, but equally affecting – some sudden, some evolving, some graduated. Some subtle, some less so. Their playing is jagged at times, while other riffs seem to draw from influences as broad as Hendrix, Steppenwolf and the sweet sounds of bubblegum pop. And of course, metal. Metal hardened by Saunier’s virtuoso drumming and softened by Matsuzaki’s unreadable voice. Urgent, erratic and wonderfully inconsistent.

Before their final tune, Saunier stands to make a speech thanking the support band, Milk Maid, for playing at short notice, and thanking the audience for coming. The cadence of his speech is stilted, filled with pregnant pauses. He speeds up, slows down, plays with the sounds he is making and the effect they are having on us. His speech mimics how they play, but less expertly. Deerhoof are playful, droll and full of ideas. Their set is a maze of compositional complexity created from the sounds of pop and rock.

Urgent. Erratic. Wonderfully inconsistent.

Words: Piyush Pushkar [Piyush also writes for Doctor Magiot]
Images: Courtesy of In House Press; photography by Sarah Cass

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

Thanks to Sounds From The Other City (review to appear very soon) and a subsequent hectic week, another preview has missed a large bite out of the month. But no longer must you wait!

This evening (Monday 9th) Post War Years stride the Deaf Institute stage with earnest indie pop, then tomorrow (Tuesday 10th) PVT make a prompt return to this city with support from From The Kites Of San Quentin and The Narrows (see penultimate and final paragraphs).

Soon after that, FutureEverything hits hard with a variety of live music (previously under the FutureSonic moniker) and plenty more besides (hence the Everything alteration). From Wednesday 11th ‘til Saturday 14th, the Now Then Manchester pop picks are Gang Gang Dance at Ruby Lounge (11th), Steve Reich at RNCM (12th), Das Racist at the Roadhouse (13th), King Kong Soundtracked by Sunday Best linchpin Rob Da Bank - and with support just announced from Veí(13th) - and Martyn / Daedelus / Kyle Hall at Jabez Clegg (14th), but you’ll seldom leave any FutureEverything show disappointed.

In the ‘plenty more besides’ column, the Handmade fair at Victoria Baths on Saturday 14th is a standout. It includes a fanzine convention organised by Shrieking Violet, Antony Hall’s physical oscillators and Fablab workshops. You’re better browsing the official website for more info on the whole four days...

Outside of the main FutureEverything programme is a one-off for Concrete Moniker’s The Electronic Exchange, who’re taking on a full band format in the Umbro Design Space HQ on the Friday. The following night at the same venue is another worthy option; Mind On Fire curating a record label showcase.

Saturday 14th holds a couple of other cards up its sleeve; spoken word specialist Kate Tempest’s funky backing band Sound of Rum have been booked in for a Deaf Institute show, while Contort Yourself return to Ruby Lounge with DJ Funk in tow. Tough choice.

The deadline for your Manchester Art Crawl submissions is Sunday 15th, so keep that one in mind. It’s a Manchester International Festival fringe event and is welcoming of “all visual, audio, digital and time based artists of all career stages. All non artists wishing to deliver ideas in a contemporary art context (information available via website),” so say the organisers, who’ll consider shows proposed to be staged from 2nd to 16th July.

If you’ve already submitted your proposal, mellow your body while sharpening your mind for a Sunday afternoon Scrabble Club showdown at Deaf Institute. Best to brush up on those match-winning two-letter obscurities before you go.

Onwards to Thursday 19th when Hit‘N’Run welcome back previously lauded Submotion Orchestra for a quick return to the Mint Lounge. Friday 20th at Islington Mill is hard to say no to; a free gig featuring Google-unfriendly Baltimore curios Thank You. Unless, that is, you’d prefer to attend a thought-provoking (and very relevant) greenroom theatrical show by Michael Pinchbeck named ‘The End’.

More events to follow later in the month, including Chorlton Arts Festival (which launches on Thursday 19th).

Bandcamp is proving more and more popular in cutting out the bloodsucking major label middle man and a couple of local tips on that bandwidth are The Narrows, whose single went live last month, the Well Weapon Records alt-indie compilation (and art fanzine) and Broken Bubble, who’ve been prolifically been distributing more than their fair share of high-quality ambient glitch-tronica; most recently with Macka’s bittersweet twinkly callousness Piano Works.
And finally, recent interviewees From The Kites Of San Quentin have challenged laptop remixers to rehash their upcoming single ‘Stoopid’.

Words: Ian Pennington
Images #1, #5 & #6: Courtesy of Well Weapon Records

Warehouse Project presents: Ape vs Metropolis, Friday 22nd April 2011

As Easter rolls around again and the Great British public take full advantage of the time off and good weather, there aren't many more fitting venues in the city than the Warehouse Project to take the partying to the next level. This second night of their annual Easter weekend sessions see Ape team up with Metropolis.

Arriving in the enormous main room, it is instantly obvious why people come from all over the country for these events - the atmosphere, sound and lighting are second to none. A surprise addition to the already impressive line-up, Artwork, takes to the stage to test the soundsystem's capabilities. Artwork is probably the least well known of the Magnetic Man trio, but no less capable behind the decks. His set is an eclectic mix of dubstep, garage and housey cuts and the audience take it all with equal enthusiasm.

Artwork's production partner Skream is next up on the stage. We know exactly what to expect and, as is standard, he never fails to disappoint. A particular highlight is a full sing-along, lighters-in-the-air rendition of his new release 'Where You Should Be'.

2am rolls around and we're in full swing. The tempo is about to max out and two of the best drum and bass DJs are in the building. Head honcho of Digital Soundboy Recordings, Shy FX, is first to the stage. Bringing his A-game to the table, his relentless mixing keeps the crowd on the crest of a wave for the entire hour - definitely one of the best sets I've witnessed from the veteran.

If Shy FX is King only one man can Ace him. Ram Records owner, and all round legend of drum and bass, Andy C is topping the bill tonight. It’s a flawless set with three decks on the go at all times, making it blatantly obvious why he is still regarded as the top dog after all this time. 2,500 ravers go all out for the entirety and are left begging for more afterwards.

At the end of the night the ravers shuffle out of the makeshift club, frantically chatting about the highlights of the night (Andy C for me) and plans for later. The Warehouse doors are now closed until the annual event restarts in September.

Words & Images: Gary Brown

Architecture In Helsinki @ Academy 3, Wednesday 13th April 2011

The intimate location of Manchester Academy 3 plays host to Architecture In Helsinki who drop in as part of a whistle-stop-trip around the UK in their current world tour.

The group hail from Melbourne, Australia, and brand themselves as modernist pop merchants who offer original, fastidious, light and soothing tones conveyed via decoders, hand claps, brass and synths. A broad spectrum of their work is on show tonight, including their newest album Moment Bends, which is very much a slick slice of vivacious electro-pop that pulls the band forward and a tad away from their jolly indie-pop routes. The construction of heavily synthetic, decoder-driven choruses, although slightly different from previous LPs Places Like This and In Case We Die, still holds dear their astute, spacey twinkles. Glimmers of 1980s electronic acts Soft Cell and The Human League can be heard in grand, atmospheric choruses like ‘Escapee’ and ‘Everything’s Blue’, in contrast to their rather bouncy, leisurely rhythm; a modern day twist on the genre.

Treats like Moment Bends’ single ‘That Beep’ have the crowd tapping their feet and nodding their heads in appreciation. As do the flowing, bouncy exuberance in tracks like ‘It’5!’ and ‘Yr Go To,’ and the soothing, passionate intricacies of ‘W.O.W.’.

Cameron Bird on vocals delivers clear and crisp tones and is supported by Kellie Barnes, who complements him well via a mesmerising high-pitched accompaniment. The group bow out with conviction and euphoria courtesy of Londonbeat’s ‘I’ve Been Thinking About You’, which sends a wave of excitement through the venue; a fitting conclusion to an upbeat set and animated, receptive audience. In fact, the maturity of their sound and their development as a band has seen an admirable progression since their formation in the late 1990s and this is glaringly apparent tonight, with their tamer, more brass driven roots being less evident.

On a sour note, while there are some great tracks on show, the energy in Architecture In Helsinki's songs isn’t matched by the musical expression and onstage vigour that you would expect to go hand-in-hand with this type of music. They often look a little static and lethargic. As the face of the band, vocalist Bird’s crowd interaction is minimal; looking quite humbled and passionate on the mic, his impressive falsetto is not mirrored by his stage work. By contrast, keyboard player Gus Franklin is the bright spark, absorbing much of the audience’s glare; his rhythmic dancing and colourful expressionisms could and perhaps should be shared by his companions.

Grumbles aside, this is a fresh performance from an experienced band on top of their game at the moment; more than a moderate acclaim in an age of vast indie-pop group disintegration after one good album. What Architecture do is deliver a sheer brand of glee and jingle-jangly fairground playfulness that surprisingly has a wider appeal than to teddy bear loving children.

What they do they do very well, but you wonder whether if they are to progress any further then they must cast aside the playful happy school prom band sound and move forwards to begin a new chapter. After 10 years, Architecture In Helsinki looks very different from humble beginnings as art students from Melbourne, but maturity is shining through and they are taking positive steps in their musical journey.

Words & Images: Brendan McFadden

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

Earlier this month I wrote a few words to report on the aftermath of the Arts Council England funding allocation; specifically its effect on Manchester arts groups. A major casualty, the article stated, was greenroom, which has since announced its closure to the public from the end of May. So a fitting way to start off this second instalment of April’s should-attend events waffle is with a greenroom event. Wednesday 20th is the launch of Blank Media Collective’s final exhibition at the Whitworth Street producing house, Who’s Laughing Now?, which takes on ideas within taxidermy such as personification, lasting images, death and guilt; relevant topics given greenroom’s situation.

On a lighter note, Islington Mill hosts the debut screening of Manchester based Fritz von Runte’s project merging Kubrick’s 2001: A Space Odyssey with David Bowie’s career output as a recording artist on the same night. That one will include a discussion about the film, Bowie2001: A Space Oddity, and the finer points of intergalactic references in Bowie’s music, while Thursday 21st welcomes another screening before a fancy dress disco.

Thursday 21st also beckons through another short stint for the Warehouse Project. The opening night is the pick of them with 2manydjs and Aeroplane topping the bill. More follows nightly until Sunday 24th.

Friday 22nd is another one at Islington Mill – a line-up composed of Scotland’s finest folkies. Fence Collective bring along Lone Pigeon and The Pictish Trail, while Song, By Toad Records cohort Jonnie Common offers a tune or a few in support. Red Deer Club Recordings, who’re co-promoting it, have some other worthwhile news: another Awesome Wells record (Carry On Awesome Wells), released on Monday 25th and containing wilfully askew bandstand park-fillers, whimsically oblique in its varied instrumentation and modern Animal Collective harmonies.

Back on track, there’s more to mention for the 22nd courtesy of Naive Melody residents at Charlie’s. Here’s a taster of their cosmic grooves.

Fast forward a little to Wednesday 27th and you’re met by a Bonobo show at Band on the Wall. See this if you can. Another gig the following night, Thursday 28th, is a Little Red Rabbit promotion in the form of Nick Cave sound-alikes Last Harbour at Sacred Trinity Church.

And so to the much-discussed Bank Holiday on Friday 29th. Without going too far into the anachronistically outdated reason behind the holiday, it has served up an enticing array of artistic options. Rotters Golf Club label ringleader Andrew Weatherall will take on the role of chief tune-selecter, mixing funky tech for Content at Joshua Brooks. Or there’s Mount Kimbie, who need no introduction to anyone familiar with this blog. Now Wave have booked them the Deaf Institute stage for the night.

More conjugally conscious are Islington Mill’s Off With Their Heads assorted festivities (including a tug of war between royalists and republicans) and an early afternoon Funeral Procession, a satirical stab at mourning the public services that have passed on in favour of archaic feudalism. Vive la République.

Moving onto Saturday 30th, Denis Jones headlines a show at Fuel Café, presumably partly as a warm-up for his Sounds From The Other City appearance, where he’ll be soundtracking a film on the Bad Uncle / HearHere stage. There’s plenty more besides; the festival has grown again, flexing more musical muscle down Salford’s Chapel Street.

Words: Ian Pennington

Interview: Touring with Dan Haywood’s New Hawks

In this brief interview conducted during February 2011, poet/singer/ornithologist Dan Haywood discusses critical reception of his 32-track triple-disc record (released on Manchester’s Timbreland Recordings in December 2010) on the eve of several UK dates with New Mexico’s A Hawk and a Hacksaw.

“Defiantly individual” [24/7 mag], Dan Haywood’s New Hawks has already been reviewed as a “cult classic” [24/7 mag]; monumental and rich. Performed live the experience can go from elegant to dangerous in a hair’s breadth.

Matched with the North American duo, these 'Hawk on Hawk' dates promise a night of aural migration. Whilst AHAAH take inspiration from Balkanic eruptions, New Hawks maps a new Highlands - chasing the ghosts of folk, rock’n’roll and psychedelia; found or spliced into the Caithness/Sutherland areas of upper Scotland. As Dan explains, “it's a kind of country music without much human history to go on, made from studying what remains - and examines the severed links rather than perpetuating traditions like folk tries to.”

Here, Dan converses with Tom Bramhall about the project, some of the players involved and what audiences can look forward to at the coming shows.

Dan, last time we spoke like this, the record was on the verge of release. It's a few months on, some reviews have been written. How have people responded?

It was on the verge of release then, and it's still on the verge of something now. But of what, Tom? Of what?

The record has had a fair amount of press. Mostly positive, but it hasn't been much fun for us because the reviews are so often just regurgitations of the label press release. The art of paraphrasing is fit as a fiddle. We're not really learning much.

I assumed it would be tough for people to get a fast, critical turnaround on a project so (apparently) big, but that said - it's no excuse for sloppiness… Could you describe an ideal reader/listener response?

No. But things that our small number of buyers have said have been more illuminating to us than any 'official' verdicts. That's the beauty of spontaneity. They're lucky enough not to be watching the clock and scanning the press release for clues. And illumination is what I need, because the album's still a bit of a mystery to me.

Fans have spread their words on message-boards. Some great, sensitive responses. I like how they've rallied on some of the more far-out comparisons.

Well, some press comparisons have included Fairport Convention haven't they? Because it's faintly folky. We have the wick Mikey Kenney on fiddle, but he's very much his own man, as opposed to Dave Swarbrick, (who's a little over-rated). Superficial resemblances.

Yet to read anybody weave you into a contemporary context though - which surprises me. I’d anticipated some critical reception off the back of the folk revival-revival vibe - I'm thinking about books like Electric Eden, Sweers’ Electric Folk and Brocken’s The British Folk Revival 1944-2002, etc… Bands like Trembling Bells.

There's time yet. We'll get woven into the past. And then the music'll be posthumously contemporary... Or something! I dunno...

The album's partly concerned with folk music; there are new songs on there about folk music... Also experimental songs that emulate folk... But it's not trad and it's not even folk-rock in the traditional sense. The album's too restless.

Folk Roots magazine declined to review New Hawks because they thought it "outside their remit". Man, it's about folk roots!

But what do I know?

You're set to tour the Kingdom with A Hawk and A Hacksaw…

Yes. We do about nine or ten dates with them in April. Some as a small band, some with the usual larger set-up.

On the surface it looks like a nice marriage. The two acts could be seen to share some similarities. It feels like AHAAS are exploring Turk, Euro and Balkanic threads in much the way you're mutating Anglo-Celt, American and again, European stuff?

Yes, you could be right. I'm interested how the music will relate each night. I look forward to it, because AHAAH fans are broadminded adults; open-minded, because their music truly crosses over... I'm hoping we can let our hair down in front of their audiences. Occasionally I tone performances down. Out of fear, see.

What's the fear?

Just plain, old-fashioned fear.

The shows seem to go full spectrum. I've caught you comic and sublime, always dangerous - each night seems to offer a different interpretation of the songs…

Thanks. Yes, it's like an old sex gang trying to spice up its love life. Some of the songs are innately restless, and different sides just come out without any warning. And to complicate things further we throw in more deliberate rearrangements and some tricks. Often there's no set list and the rest of the band chase me around all night. Bill (one of the drummers) hates it. Mind you, I sometimes think he hates everything. We've never done the same set twice... so we're rarely bored. For the April tour I've told myself that we should perform each of the 32 songs from the album at least once over the ten days - in the spirit of equality and to try and keep things fresh. I suppose one of the better things about being commercially woeful is that we don't have to do the greatest hits every gig.

Dan Haywood’s New Hawks play at Islington Mill on 14th April 2011.

Words: Tom Bramhall
Images: Courtesy of Dan Haywood

Tom Bramhall writes for po)))nies www.futurepizza.blogspot.com/