‘One Eyed Girl’ is the second single released from the soon to be released album ‘Burn the Beauty Queen’. You can read my review of the first ‘My Size’ here.
If you thought ‘My Size’ was great – and I did – you’re going to love this. ‘Mutant grunge surf’ is what I thought as I listened to the start (honest I did, my mind sort of works like that) as a stonking great bass riff gets you going. The playing on this track is great, the bass throbs away, the guitars are great – especially during the breakdown. Lauren’s vocals are … well she’s displaying the full-on ‘Lauren range’ – sometimes in one line. Just incredible.
And just when you might be thinking well this is great but where is it going with this, there’s a frankly ‘Zepplin-esque’ breakdown. It’s all slightly eastern sounding guitar and screaming vocals.
It’s not as immediate as ‘My Size’, that grabbed me on the first listen. This took me two listens. And it survives the repeated listening that reviewing something needs, there’s always something new that you notice. I’ve said it before – and I’ll probably say it again – but if this is an indication of the quality of the rest of album we are in for a treat in September.
The video – produced by Lauren – is four and a half minutes of madness. I frankly have no idea of what is going on or how it relates to the song, And I’m not even going to try and work out what the song is about either, when the song is this much fun does it really matter.
The single is available on iTunes, Amazon & Google Play
Prior to this year’s Download, Royal Republic – who first joined forces in Malmo Rock City in 2007 – appeared over here with Theory Of A Deadman; now the Swedish party-starters (vocalist / guitarist Adam Grahn, guitarist Hannes Irengård, bassist Jonas Almén & drummer Per Andreasson) are back to play shows of their own, continuing to fly the flag for third studio album, ‘Weekend Man’, released earlier this year via Spinefarm Records.
Comments Grahn: “A wise group once said, ‘being in a band is like being in a relationship, and concerts are like sex’. The return to Download Festival was nothing short of orgasmic on our part, and by the time Royal Republic hit the shores of the UK again in October, the nymphomania will know no limits!”
‘Weekend Man’, crafted in Berlin’s Fuzz Factory Studios by producers Christian Neander & Michael Tibes, sees the dapper Republic-ans delivering their customary rock thrills with even greater gusto – a bold statement of wild-eyed intent founded on big hooks, mountainous melodies and a signature sense of fun. Generally speaking, the aim is to put smiles on faces, but now an’ then a deeper, darker side peeps through, as displayed on the band’s latest video – an “epic tale of love, death & desperation” shot in support of new album track ‘Any Given Sunday’ and featuring legendary Swedish soap star Gunnar Mosen.
The concert had a Shakespearean theme and combined classical music with songs from “Kiss me Kate” and “West Side Story”. Actors Claire Benedict and Antony Peter also gave us some wonderful spoken Shakespeare, beginning with a sceptical interpretation of sonnet 18, ‘Shall I compare thee to a summer’s day?’ This was followed by the choir with the satirical ‘Brush up your Shakespeare’. The actors then played a scene from “Twelfth Night”, in which Viola convinces the self-pitying Orsino that women can love as much as men can. Then came a song of the period, ‘Love is a sickness’.
Antony Brannick and Jenny Sheldon played a piano arrangement of Tchaikovsky’s ‘Romeo and Juliet’ fantasy overture. This contains some of Tchaikovsky’s loveliest melodies, and expresses moods ranging from love to fury, finally ending sadly but peacefully, suggesting the reconciliation of the lovers’ families once all is lost.
The choir then gave an atmospheric rendering of three of Shakespeare’s songs, set to music by Vaughan Williams. ‘Full fathom five’ is sung by the sprite Ariel to torment a shipwreck survivor. The eerie “The cloud capped towers” might refer to the illusion of the stage – perhaps also of the world? “Over hill over dale” suggests the energy of the teasing spirit Puck.
The second half began with Elgar’s joyful ‘The Dance’ – nothing to do with Shakespeare, but providing a lively mood. Then the actors spoke the prologue to Romeo and Juliet. The musical version of this, “West Side Story”, supplied the choir with two satirical items, ‘America’ and ‘Officer Krupke’. Then we had a passionate but restrained spoken scene from the play itself – the first meeting of the lovers. The choir picked up on the mood with two beautifully rendered songs from the musical: ‘One Heart’ and ‘Somewhere’.
The show ended with sonnet 138, about lovers who lie to as well as with each other. Criticism is followed by reconciliation.
When I originally agreed to write this article it was because it’s being organised to raise awareness of an issue I heartily support. Especially as several of the performer for this event are affected by autism – either personally or through their families – and a number of my own friends are affected by the strains of living in a world where they’re made to feel that they are ‘different’, while the rest of us somehow pass as ‘normal’ (whatever that may be). And I’ve always been very aware that music crosses all those divides. You love something which I hate, I hate something which you love. Or we both love something – and you love it because of the way it’s technically put together and I love it because it makes my emotions go a bit weird. Because music’s like that and nobody has the same reaction as anybody else, and that’s the whole beauty of it.
Anyway, since Dark Matter put this gig together I’ve somehow got myself even more embroiled – because I made a silly joke about the gig needing a middle aged poet banging on about having ME/Chronic Fatigue, and somehow this comment was taken seriously by Lou Karwowski, founder of Dark Matter. So now I’m going to have to be even more careful what I say about them, or otherwise I’m going to be booed off before I even get on stage…
The headline act of the night is Daniel Wakeford– Singer/Songwriter from Brighton – who is starting his tour with an appearance at the Golden Lion. I guess I’m one of the few who didn’t catch Daniel’s show-stealing appearance on Channel 4’s The Undateables, but I know his music is being very well received Mike Watt (Minutemen / The Stooges) says: “Daniel’s got words he sings that really inspire me, great stuff for a tour’s last gig – thank you big time, Daniel.”
According to his press release Daniel ‘’has been writing and recording music since 2009. Working alongside musician Tom Cook, Daniel brings lyrics and a melody to him every Friday and within an hour and a half a song will be created. Taking this approach Daniel has amassed an impressive back catalogue, in excess of 60 songs. 10 of these songs have been taken to Metway Studios in Brighton, re-recorded, given the time and attention they deserve and compiled to create his first album proper, The Songs Of Gigs. His songs are about his life and the things he loves, from his family and friends, to bad feelings and Beethoven.’’
Daniel’s album, ‘The Song of Gigs’ will be released through Carousel, the learning disability arts organisation that supports him as an artist. Alongside this Daniel has teamed up with Constant Flux, with funding from Arts Council England, to put together a tour to promote his album.
Founder of Dark Matter, Lou Kawowski has a background of working with people with disabilities and feels passionately about positively influencing the public perception of disability, to break down barriers and quash some of the stigmas that exist out there. ‘We support an inclusive platform in the arts and are thrilled to be involved in this pioneering project with Daniel and Constant Flux that has been made possible by funding from the British Arts Council,’ she says.
The two support acts of the night (after my own stab at poetry) will be Crosswind Blizzards, a recently formed new punk/dark folk band from Hebden Bridge, and Cosmic Slop, who describe themselves as ‘no shit like it’ who hail from Bacup,
‘I feel really excited about doing this gig because it raises issues that are important to me – there are two of us in the band who have children with disabilities, and it really touches a cord… Because it’s something we live with every day,’ says Skye Shadowlight, who’ll be playing a three string cigar box guitar in Crosswind Blizzards. Skye’s 12 year old daughter, Libby, who will be joining the band for a couple of songs on stage was diagnosed with autism at 5-years old.
Skye Shadowlight
It’s hard for children with autism to fit in, Skye explains, because they don’t understand the rules that the rest of society expects them to conform to. ‘I had a funny upbringing and I’m hardly conventional myself, but there are things these children get wrong on a daily basis and you want to help them understand that there are some rules you have to follow. Music is an escapism from the pressures and stresses of trying to fit in, but it’s also a way that my daughter can connect in a world where sometimes she feels like she’s an alien.’
While I’m talking to Skye her daughter Libby is in the background, and I ask if I can have a word. Libby comes to the phone and is an incredibly articulate and thoughtful girl. ‘I have a disability – I have ASD,’ she tells me. ‘Music means everything to me. I’ve been singing forever and I can’t seem to stop. I found a song abut puzzle pieces which is the symbol of autism…’ Libby pauses to sings to me on the phone – and then explains it’s called ‘Take on the World’, the theme song from a show called Girl Meets Word.
Libby
Libby explains: ‘The girl in the show is always so happy but everything is going crazy and she doesn’t know what to do. It’s important to me because I have autism… Most of the time everything is against me but sometimes everything is going perfectly… ‘
Libby says she wants people to know how much music matters to her, and she wants opportunities to share her voice. ‘I want to get myself out there and make myself heard. No matter what, you got to follow your dreams and never give up…’
Music is a brilliant leveller, according to Simon Partridge lead guitarist with Cosmic Slop. ‘‘It isn’t right or wrong but personal and expressive. You hear and feel and make your statement. Everyone does it differently and when a group of people do it together a new identity is formed.’’
Simon says it was years after he’d learnt the great Black Sabbath riffs before he realised that Tony Iommi didn’t have the ends of two of his fingers, and this had helped define his style. He also discovered that Django Reinhart ‘the gold standard in jazz guitar’ was playing solos with two fingers that most people would never be able to do with four.
‘It’s no surprise that music therapy continues to grow as people discover further ways in which music can heal and help all of us. A prominent example recently has been the use of music and sound within dementia groups to activate memory,’ Simon says.
David Foulger, Cosmic Slop’s drummer believes passionately that people who are musicians who also happen to suffer from a disability need more help financially, and support from the community so they can practice and perform their arts. ‘This should be a fundamental human right because of the therapeutic effects music or any artistic endeavour can have on them,’ he says.
Last but not least on Saturday night will be dancing to Dark Matter’s own DJs. And all this is being put on for free – so it’s guaranteed to be a pretty amazing night. So long as you arrive after my poetry.
You never know quite what you’re going to get when a band describe themselves as post-punk; it covers as the band themselves say ‘a multitude of sins’. Vukovar are a post-punk band but that’s post-punk in the original post-punk way for at least some of the time. You know – Joy Division, Siouxsie and the Banshees, Gang of Four, Sisters of Mercy – that sort of thing, but then you find yourself thinking of the more esoteric musical products of Tom Waits, hints of The Band of Holy Joy, then psych, and then …
The problem with reviews is that we are charged with giving you some idea of what a band sounds like. With Vukovar the only way I can do this is to list a huge number of bands – some of which date back to my youth in the late 70s and 80s – which would just make it sound like it’s a mess. Where in reality it’s far from a mess, it’s a carefully crafted set of songs. Luckily you can preview the songs on Bandcamp (which I have embedded below).
The music is bass heavy, shards of guitar, gunshot drums, strange keyboards. There’s shouted vocals, whispered vocals, spoken passages, ethereal backing vocals. It bites deep into your soul. It’s intoxicating. It’s magnificently majestically gothic – not goth, there is, of course, a difference. Although on reflection …
Vukovar are from ‘the brutalist wastelands in the North of England’ which doesn’t help us pin them down geographically but does help us sonically. There is a bleak brutal element to their music but this is contrasted with, as we will see, by a delicate sweetness. ‘Voyeurism’ is the band’s second album. They describe it as a soundtrack to a film that’s not yet been made (you can learn more about this on their Bandcamp page). And yes, it does have a certain film soundtrack quality. You’re going to get the most from this if you listen to the whole thing, it deserves that dedication.
As the titles roll we hear ‘You’re Not Alone’. It’s an introduction, a scene setter. Perhaps it is telling us, the lonely listener, that we have the band with us. In doing that it reminds us just how alone we are. What it doesn’t do is indicate in any way at all what the rest of the album is going to sound like.
After this tone poem the first track proper ‘Masterpiece’ is going to be shock. It opens with a walking blues bassline, a ringing guitar motif. Disconcertingly it speeds up and down. There’s what we might call a ‘range of vocal techniques and sounds’. There is rather splendid use of metallic sounds. Listening to it I find myself imagining whirling round and round.
‘Quiet’ is where I found myself thinking of Tom Waits. It’s almost impossible to describe, the best I can up with is mutant jazz. It’s all sparse keyboards, weird shouted vocals, jerkiness. Oh and there’s a spoken ‘found’ introduction too.
Then there’s two short tracks ‘Into Your Arms’ and ‘The Fog’ which I can only describe as beautiful. I will leave it at that.
‘The Blood Garden’ in stark contrast to its title is a sweet delicate song that’s to be frank psychy. It had me thinking of the Polyphonic Spree, but it’s so much better people. This is a song of two parts – the first slow and the second fast. You’ll be swaying and then dancing madly.
And then we come to the nearly nine minutes of ‘Irreversible’. You are going to be battered by this. It’s bass booming, metallic cymbal, nasty synth sounds. Virtually monotone vocals – except there’s a moment when the singer almost loses it halfway through, he sort of has to bite off a chuckle. It builds and builds to screams, yelps, washes of noise and tapers out on a nasty synth pad. The first time I listened to it I thought bloody hell that was lovely. Vukovar do that, their music is terrifying but lovely all at once.
‘Little K.’s Final Reflection’ – the final track – is … is … just to impossible to describe. It’s psychedelic post-punk. It swirls, it jerks. I would go as far as describing it as epic.
This isn’t easy music, it’s music that you need to listen to, I mean really listen to. It’s complex. You need to put the time in. Do this and it’ll reward you.
You can buy the digital downloads of the album from their Bandcamp page but the album is also available on CD which comes in a luxurious velvet bag.
Upcoming live dates in or near our area
9th July The Willow Festival
15th July Zanzibar, Liverpool
10th August The White Bear, Barnsley
19th August Wigan Live Festival
17th September ZooBar, St Helens
24th September Maguire’s Pizza Bar, Liverpool
12th November Golden Lion, Todmorden
Short but sweet. That’s largely what I should say about OnDeadwaves brief supporting set. At only half an hour in length the band, fronted by keyboardist Polly Scattergood and guitarist James Chapman, delivered a small number of tracks—I was nowhere near the front, it was a packed house, so was unable to get hold of the set list—which had the enchanting feel of soulful, mellowed out rock at its centre. This though, for those awaiting the arrival of M83, the night’s headline act, was, it seemed, perfectly acceptable. They applauded and cheered in all the right places. And, as OnDeadwaves moved seamlessly through an alluring wave of engaging tunes, their influence grew, taking hold, leaving those that watched with an unmistakeable sense of feel good factor. Excellent support for an excellent gig.
Spangled guitar, grooved out rhythms and glorious harmonies marked out an evening dedicated to Arthur Lee, original Love front man, and the ten year anniversary of his passing. Even Johnny Echols, Lee’s childhood friend and lead guitarist in the band’s earliest incarnation, was on hand to conjure the captivating riffs and exquisite guitar solos synonymous with a band who are icons within the genre of late sixties psych-rock. And it was within this vibe of Woodstock infused nostalgia that we, as an audience, in awe of heroes, escaped along a dreamy, psychedelic rabbit hole together. One leading to bold, pumped up basslines, sweet waterfalls of guitar and the eternal sunshine and positivity of the Californian coast. This was the sound track of Cameron Crowe’s—film maker and seminal sixties music journalist—formative years. This was a band who were the musical contemporaries of mammoths, Creedence Clear Water Revival. This was an accomplished band, an accomplished band performing a raft of tracks from their enviable back catalogue; Love, De Capo and Forever Changes. This was not pastiche, an eighties or nineties attempt at recreating the sound of an unrivalled and unique era—Love’s influence upon bands who flourished throughout this period is notably clear. This was genuine. The real and exclusive deal. A point proved by their raucous and decisive sign off.
Love, at the Ruby Lounge, was certainly revisited.
This string quartet ,Mandhira de Saram (violin 1), Richard Jones (viola), Patrick Dawkins (violin 2) and Valerie Welbanks (cello), demonstrated their artistry and teamwork in a variety of relatively modern and challenging works. Alfred Schnittke’s string quartet no 3 had rapid changes of mood and veered between harmony and dissonance. It was followed by Witold Lutoslawski’s string quartet in which the parts for the four musicians do not have to synchronise. The effect is sometimes chaotic and sometimes energising.
The second part brought a more familiar work. This was the second movement of Samuel Barber’s string quartet in B minor, opus 2, also known as the Adagio for Strings, melodious and solemn.
Then came a world premiere of Tim Benjamin’s String Quartet no 3. This varied in mood between tense and serene, with eventually a feeling of hopefulness and a strong ending.
The audience approved, and demanded an encore, which was a lovely celebratory piece by a Malian composer, foregrounding the cello.
The first three works in this concert were all by French composers. The orchestra demonstrated its ability in interpreting the various moods.
‘Prélude à l’aprés-midi d’un faune’ by Claude Debussy was mostly serene and luxurious, foregrounding the woodwind and including a harp.
It was followed by Maurice Ravel’s challenging piano concerto in G major. Soloist Riyad Nicolas performed with sensitivity and power, ably supported by the orchestra. The piece opens suddenly, building to a “follow that” theme with the brass. The piano enters meditatively, and a jazzy feel emerges. The mood develops to raucous, then eerie. The second movement is more peaceful. The piano appears to be floating above the agitation of the first movement, and the cor anglais takes over to a continuing waltz rhythm. The last movement is busy, with the piano chasing up and down the scale, and the piece ends with a drumbeat, as suddenly as it begun.
Hector Berlioz’ ‘Hungarian March’, part of his ‘Damnation of Faust’ used a theme by Janos Bihari commemorating Hungarian military leader Rakoczi – Berlioz was going to Hungary and was advised to use a Hungarian tune. He picked the theme up and ran with it and this stirring march was a success.
Amilcare Ponchielli’s melodious “Dance of the Hours” gives moods associated with times of day – the music starts with dawn and gets deeper as night advances, then celebrates the arrival of another day.
The orchestra then played Tchaikovsky’s concert suite from his ballet Swan Lake, followed by the finale of the ballet. The opening gives the feeling of the peaceful lake, and goes on to include the lively, rhythmic dance of the little swans, a long-term favourite of this reviewer. (If all the swans are enchanted maidens, where did the cygnets come from? But can you blame them?) Then there is the lovely violin melody of the lovers’ pas-de-deux. There are also the dances of candidates from various nations auditioning to be prince Siegfried’s fiancée.
The finale is intense and powerful, as the magician confronts the lovers, but in the end affirmative.
Something is afoot in Manchester this week, people are wearing strange hats, pubs are so full the patrons are spilling out onto the pavement and there’s a feeling in the Mancunian air that something good is coming. A friend visiting from Switzerland asks me, “Why do all the men in Manchester walk funny?” That’s the Stone Roses effect, I tell her. It’s only temporary and normal service should be resumed next week.
And so to the Etihad Stadium, my sole reason for visiting prior to tonight has been to watch Manchester City so it’ll be interesting to experience it as a concert venue. My companion for the evening is 10 years old, this has pros and cons as I find out over the course of the evening.
The Coral
An impressive range of support acts have been lined up for The Stone Roses four night’s residency at the Etihad. I miss The Buzzcocks but arrive in time to catch The Coral. Playing songs from their latest album, ‘Distance Inbetween’ as well as older material; the crowd seem to prefer the oldies. With the opening bars of ‘In the Morning’ it’s almost as if a switch has been flicked, whether it’s familiarity with the song or the alcohol kicking in, the crowd suddenly become alive. I even see pints of beer being chucked into the air and there’s still two hours until the main act appear.
Public Enemy
Backed by a full band, Public Enemy do an excellent job of warming up the growing crowd who obediently follow Chuck D’s orders to do various hand gestures, wave their arms in the air and join in with songs. Public Enemy have an extensive back catalogue and we are treated to favourites such as ‘Bring the Noise’ and ‘Don’t Believe the Hype’ amongst others. They also pay respect to Prince with the opening bars of ‘Purple Rain’ and a few heartfelt words. Referring to recent violent events in the UK and elsewhere, the band call for peace and unity demonstrating that Public Enemy are as relevant politically today as they always have been. They leave the stage with a heartwarming, “Yo Manchester! Public Enemy has always got your back” and it’s clear that they have won over a lot of people during their performance if the applause is anything to go by.
Stone Roses
It’s getting close to 9pm and the waiting hordes are growing impatient, there is a real excitement within the Etihad and when the Stone Roses walk out the crowd goes wild. Reni’s drums and Mani’s bass come together forming the distinctive intro of ‘I Wanna Be Adored’, closely followed by John Squire’s distinctive guitar and then Ian Brown, accompanied by approximately 60,000 adoring fans joining in. Ian Brown’s vocals. There I’ve said it, the much scorned vocals, often out of tune and frequently flat but does it really matter? Not if this crowd’s reaction is anything to go by, I get the impression that people aren’t here for a perfect vocal performance. They’re here for nostalgia, to come together and to sing their hearts out.
The band plough through their back catalogue with smiles all round, they genuinely seem to be enjoying this. The backing vocals of the crowd are still strong. ‘Sally Cinnamon’, ‘Mersey Paradise’ and a personal favourite ‘Where Angel’s Play’ are all here. A revamped ‘Bye Bye Badman’ is dedicated to ‘the authorities’ reminding us that they are not shy about being outspoken. Similarly, with the decision to include ‘Elizabeth My Dear’ in the month that the Queen celebrates her 90th birthday. It was at this point that I took notice of the lasers and amazing backdrop and visuals, up until this point I’d been too preoccupied with watching the band. It was great to be able to watch Reni at work close up and on the multiple giant screens, probably the only drummer I’ve ever paid much attention to. I didn’t think it was possible but a gloriously funky ‘Fool’s Gold’ gets the crowd going even more, a never faltering Reni and Mani providing the solid rhythm.
Stone Roses
The band’s last single, ‘All For One’ has divided opinion amongst fans, personally I hoped it would sound better live and now was the moment of truth. The mosh pit antics and the voices of thousands singing along as if they’d known it forever was a pleasure to witness, although judging by the number of people taking a loo or bar break here, it has a long way to go to be as popular as the older songs.
It’s John Squire’s turn to shine during ‘Love Spreads’ and he certainly does. Bearded and with his long hair covering his face he looks different these days but his guitar playing remains as impressive as ever. It turns into an extended funk-a-long which some could consider to be self-indulgent and perhaps use it for another loo break but nothing can stop this crowd. ‘Love Spreads’ is one of three songs from ‘The Second Coming’, sadly ‘Ten Storey Love Song’ isn’t included which is surprising considering how popular it is. Brown dedicates ‘She Bangs the Drums’ to ‘all the ladies’ as he beams and struts around the stage. Up until now I’ve been really impressed with Brown’s vocals, he loses it a bit on ‘She Bangs the Drums’ which doesn’t matter because the crowd step up and take over once again.
‘This is the One’ sees an entire stadium of people jumping up and down and I take the opportunity to leave my seat to join the madness on the pitch. As ever, the band finish with ‘I am the Resurrection’ and despite some more wobbly vocals it makes for a euphoric ending.
Reminiscent of the so-called 1989 Summer of Love, people are hugging, dancing and random acts of kindness are everywhere ranging from the person next to me buying me an unexpected drink because he could see I had a child to look after, to the scary looking bloke who approached us and then smiled and presented my companion with his bucket hat, I also watched as a younger man stepped forward to assist an older man climb the steep steps.
An impressive firework display is accompanied by newest offering ‘Beautiful Thing’ played through the PA as the stadium empties. I’m struck by the number of young people here, Heaton Park seemed to be full of 40-somethings reliving their youth. Tonight there are lots of teenagers and people in their 20’s who appear to have as much love for the band as the older fans. For a band that comes and goes, often without warning, tonight has confirmed that they have a huge and loyal support, it would also appear they have acquired a whole new generation of fans.
