Monday, 6 September 2010

Gig Clash Time

I haven't been updating this blog due to being unable to make the copy / paste controls work. I used to write most of it offline and then post it by copying, but presumably they've disabled that to stop people copying things from other websites?

Anyway Grinderman are soon playing Manchester Academy which will be a good gig, sadly the same night Nancy Elizabeth is playing Band on the Wall, and soon after on October 1st John Tchicai and Tony Marsh are playing the Carlton Club (113 Carlton Road, Whalley Range).

The new Swans album (out towards the end of the month) is awesome. They're also touring in October, as are Melt Banana, The Ex, Mudhoney, Killing Joke, Einsturzende Neubauten.
Neubauten and Killing Joke play London on the same night!

I'll just have to make like a Meat Puppet II and
"Split Myself in Two"

Looks like The Ex and Melt Banana are playing Islington Mill on October 20th which should be the best gig Manchester gets in 2010.

Wednesday, 24 March 2010

Pavement "Quarantine the Past"

Music scene's crazy, bands reform. This May there's another one, a special old band.

It surely can't have escaped you that Pavement are on the reformation trail, playing a sold out tour of Brixton Academy and showing off their good taste in music curating the ever excellent All Tomorrow's Parties festival. They've also compiled a damn fine collection of some of their best songs. It hangs together really well and was obviously sequenced by someone who knows the songs very well, as the way some songs compliment each others' endings and beginnings makes it seem like an album proper rather than a compilation. The day my CDR promo arrived in the post was the same day drummer Steve West's other band Marble Valley played at Dulcimer in Chorlton, and he told me Stephen Malkmus was mostly responsible for quarantining the past, which explains the way it all seems so seamless. He also told me the 23 featured songs give a pretty good idea of the set they'll be playing in May. This old interview dates back to the time of their fourth album and I thought I’d resurrect it here as Scott and Stephen discussed A Date w/IKEA and Embassy Row, both of which appear on the compilation.
I first spoke to Pavement back in the Slanted And Enchanted days. Squatting outside the Boardwalk on a warm summer evening, Scott Kannberg aka Spiral Stairs told me how he preferred the Replacements to the Fall.
Next time they were supporting Sonic Youth on the Dirty tour and just before the Leeds show I recorded some of the wit and wisdom of Stephen Malkmus and errant ex-drummer Gary Young. With hindsight it’s now clear that Steve was beginning to tire of Gary’s incessant wackiness. When Gary ranted about how he’d survive a nuclear war by finding a way to cook dead animals that would eliminate the radioactivity from their bodies, Steve joked exasperatedly, “You’ve got to shoot them right between the eyes with a silver bullet.”
Apparently Gary was kicked out of the band after pulling a gun on Steve. There’s only so much alcoholic unhingedness you can take and that was the last straw. These days he’s making dog kennels and selling them to passersby on his lawn in California.
With the release of their second album Crooked Rain, Crooked Rain Pavement became the band that everyone wanted to talk to. At another show in Leeds interviewers shuffled backstage in a conveyer belt of continual questioning. I waited while a man from the radio pontificated at length to an increasingly bored looking Steve Malkmus, accompanied by ever affable drummer and latter day keyboard player Bob Nastanovitch, who later told me how happy he was to be living a range life in Kentucky.
With Pavement’s members increasingly spread out over a continent it must be a nightmare organising rehearsals. Any doubts about the viability of such a situation were allayed by the excellently divergent three sided Wowee Zowee album which had some of their best songs yet. However on the tour that followed they seemed relatively lacklustre and almost burnt out. So it was an especially joyous occasion when they packed out Liverpool’s tiny Lomax club sardine like and trotted out a bunch of new songs with the playful zest of their earliest shows. They even chucked in a cover of the Fall classic The Classical which was ironically almost unrecognisable in it’s sprightly mutation. “He hates us, he hates us,” moaned Steve after they finished it, but if anything this stunning reinvention was proof as if it were ever needed that Pavement are no mere plagiarists. However this was not the intention behind covering the song.
“It was fun to play and it’s an easy song. It’s four notes,” Scott told me backstage before their show at Manchester University, “The first time we played that was in front of fifty thousand people at the Tibet festival in San Francisco. We wanted to play a bunch of covers that day. In Liverpool we played it because we heard that Ian McCulloch was going to be in the audience. We knew he was a Fall roadie back in his day.”
Despite Mark E. Smith’s assertion that Pavement have never given the Fall credit as an influence it is well documented that they are fans. Scott’s enthusiastic enough to have not only a favourite Fall album but a top three: Grotesque, Bend Sinister and Extricate. He lost interest in them more recently but did buy and enjoy The Light User Syndrome.
“They’re the Guided By Voices of England!” proclaimed Scott, obviously referring to both bands’ longevity and lo-fi origins rather than any great musical similarities. MES would probably have a rant or two about that quote! Another thing he said was that Pavement would all bugger off to be accountants in a couple of years.
“I don’t understand that because there’s all these other bands,” complained Scott, “We just got offered to do this V97 festival and there are all these bands like Reef and Ash and Kula Shaker who sell way more records than us and I’ve never heard them before [lucky man]. We’d be way down the bill. They’ll be accountants, not us!”
Of course these days Pavement are a well established band with their own pack of imitators, the so-called “Pavement bands” such as the blatantly plagiaristic Sammy and the more tongue in cheek Urusei Yatsura. The one’s who really get Scott’s goat are Weezer.
“If it’s done in good humour it’s fine. I think Weezer on the other hand don’t do it that way. I think they’ve been created by some A&R person to be big. They’re terrible. It’s watered down and it’s got no soul. I could go off on them...”
Pavement have got soul. And style (miles and miles). They strive to make a bigger impression on the world than just entertaining their fans.
“We’ve always been more than entertainment. We’ve always wanted to make records that did something. I don’t know what we want them to do but we want to be part of rock history. That’s what we strive for: to make records that in twenty five years time someone will pick up or will know about them and say, “This is classic” like you can now with a Fall record.”
However Scott feels too much importance is placed on singers and the songs they sing. Like throwing things, kicking balls and dancing, singing and playing musical instruments can be viewed as an essentially childish activity, but one that human beings take very seriously.
“I think starting out it is (childish). But I think as time goes on it becomes, not more of a statement but kind of what you are. So you take things a little more seriously and you don’t treat everything as just a good old time because it gets to you. I would rather personally be at home hanging out with my wife and my friends. Nothing against you doing this interview, but going through Europe and touring was really fun the first few times but the eighth time you’ve seen it all before. The songs are fun to play live.”
And the songs are obviously what it’s all about. Scott sang two of the songs on Brighten The Corners, Passat Dream and A Date With IKEA, which has the enigmatic opening line “The actress is always breaking things.”
“That song is really about the West Coast of California where I live and people’s perception of the West Coast. That line was taken from this Everclear video I saw. They had this really slick video with this really beautiful model and in the video she’s breaking things. She’s supposed to be the girlfriend of the guy in the band. It’s really bad. That was my perception of what people probably think of California: models, actresses and LA. That’s totally LA. “The fitness coast” is what I call California. It’s about coming back to California from this other perception. It’s kind of based on this weird book called The Magic Lands, about all these things that brought people to the West Coast like Disneyland and Sun City. The title doesn’t have anything to do with the actual song, it’s just a good title I made up.”
Passat Dream is all about a car: “Passat is a type of Volkswagen. They have these agencies that make up names for brands of car. All the time they make up new names. That song’s about people’s perception of cars. Where I live I don’t want the type of car these people have. I want this other car that people think is ugly, Passat.”
We’d commandeered the Pastels dressing room for the interview because it was the quietest spot backstage, and when Steve Malkmus rushed through on his way to an important date with a scrabble board Scott grabbed him so he could explain some of his intriguing lyrics.
So I asked Steve what Embassy Row was all about, with its “men in dashikis with their leftist weeklies” A dashiki is a brightly coloured African shirt, by the way.
“It’s written from the perspective of a guy from America who’s been given an embassy post in an obscure country he’s never heard of because he gave a lot of money during an election. That’s how you get a post like that. He doesn’t really care about these people. He’s looking at them and he’s like, “Who are these common or weird little foreign people in their dashikis with their leftist weeklies?” It’s written from the point of view of someone who thinks of being an ambassador as a holiday. So he’s like, “Come visit me at my converted castle of Moorish design. Come stay the weekend and we’ll have some Martinis and relax.””
There’s a character called Conrad Hilton mentioned in the album’s closing track Infinite Spark who is in fact a Mormon who owns a lot of hotels. That song seemed to me to be about claustrophobia and overpopulation.
“Well, initially it is, yeah. It’s also about the expansion of the Mormon church. There are these people and they’re trying to proselytise and they also build these really strange churches, with strange architecture all over the city building out from the church, and they try to take over everything. But they’re a very hardworking group of people and they’re very successful. The Mormons are very successful but they have to give ten per cent of their wage to the church or even more.”
In fact there’s a good deal of religious imagery on Brighten The Corners, especially on that song and Transport Is Arranged.
“There is more than you would think for someone so apparently atheist as me. I had this interview with this Jewish paper and evidently they thought I was Jewish because I was in the band the Silver Jews. We went through the whole thing and then he said, “So tell me about your faith and what you believe.” So I lied and said my mother was half Jewish but she renounced (her faith). I made up this serpentine lie and felt really bad after it.”
That night Pavement surprised everyone by playing a cover of the Velvet Underground song What Goes On. The Velvet Underground are another band they’ve had a lot of comparisons with, and this time around Type Slowly is the song that has definitely been influenced by that band. What Goes On strikes a balance, being on the album that came between Scott’s favourite, White Light/White Heat, and Steve’s favourite, Loaded.
They’ve also covered The Killing Moon, perhaps the most famous song written by another band that’s been a big influence on Pavement, Echo And The Bunnymen. They recorded it for “The Evening Session” and it’ll eventually see the light of day on a Matador compilation. They were planning to release a compilation of Peel sessions, but these have now emerged as extra tracks in the expanded reissues double CDs of their albums. The first session included a full band version of Here and three other songs that have never been officially released, whilst the second was entirely improvised after Gary Young failed to turn up at the BBC studios.
Scott’s also a big REM fan and thinks it would be great to quit touring for a while like they did because, “Playing live takes its toll.” He’d like to be in their position but wouldn’t be happy with the kind of marketing ploy that had no less than six singles released to promote Automatic For The People.
“That’s fucked up because that band seem like a band that cares about what they put out. There’s no reason for that. They’re just trying to sell the record. I think if we ever got in that position I don’t think we’d lose that kind of control.”
They recorded Brighten The Corners with old REM producer Mitch Easter partly because they love Murmur and Reckoning but mostly because he’s got a great studio and is a nice guy. We spoke a while about the relative merits of REM records: Scott rates the first three and Automatic For The People as their best and Monster as their worst records. New Adventures In Hi-Fi was currently his favourite record to clean the house to.
Finishing with a cryptic question, I asked Scott just what you should keep under your best friend’s arm.
“Your hand. Your own arm is your best friend. If you didn’t have fingers or anything... to be even more cryptic!”

Thursday, 18 March 2010

April Gigs in Manchester

1 Ala Muerte / The Death of Her Money - Fuel

5 Mount Eerie / Irma Vep - Ruby Lounge

6 Last Harbour - Deaf Institute

11 Russian Circles / Earthless - Islington Mill

15 The Total Vermin Recording Company presents
Islington Mill, James Street, Salford M3
£4 Entry on the door
Moon Unit is a soaring and pounding space rock group from Glasgow, Scotland, with forthcomingLPs on Blackest Rainbow and Krayon Recordings. Previously having swung through these parts asNackt Insecten Trio, the now more democratically-monikered group, consisting of Ruaraidh Sanachan(Nackt Insecten), Andreas Jonsson (Lanterns) and Peter Kelly (Sexy Entourage), are back to openyour third eye. Prepare for electronic meditation and heavy levitation.
If you’ve caught Irma Vep before, you’ll know the score. Edwin Stevens, a welsh Jim Morrison foryour generation, and his wee gang of reprobates twist blues and folk forms into perplexing futureshapes, extended song-trees of self-absorption/annihilation.
Barbarian siblings CK Dexter-Haven (Giant Tank, Hockyfrilla, Smegma(!)) and Smear Campaign(Ghost of an Octopus, Mid Leopard Violet Prism, The Gamecock) lock malformed horns as Tube ofMould, oozing psychedelic primitivism and sensory displacement. Lock up your livestock!

18 Master Musicians of Bukkake / Boann Quartet / Bill Horist - Islington Mill

22 Lone Lady - Opera House (with Chris Cunninghman and These New Puritans)

23 Boann Trio -Fuel

25 Mark Lanegan - Academy

25 Gil Scott Heron - Opera House

If you are reading this and know of any other good Manchester gigs that I haven't listed feel free to let me know by email

Friday, 5 March 2010

Spring Things

These are the new releases I've been enjoying listening to since last I made a list of new releases I'd been enjoying.

Since 'Red Line' every Trans Am album has had its moments but veered into corniness. No such problems with this album that supposedly started out as a soundtrack commission for a sci-fi film but ended up as the best Trans Am album in ages. I played this four times straight when it arrived it was that good. The closing title track from 'Liberation' had Trans Am flying apocalyptic helicopters out of a TV and into ambient dead air, sounding like the theme tune to a documentary about the end of the world as we know it. This exciting album finds them tracking back to futureworlds in terms of focus, vision and editing nous. If there had been a film to go with this rocking masterpiece would have upstaged it totally. No wonder the original mission was aborted! Out April.

Most trips to Liverpool seem to involve a Mugstar gig, even if I wasn't suspecting it, they so often turn up supporting other bands. They get better all the time, and have increasingly untilised psychedelic projections in their live show. This second album will no doubt get them more comparisons to lots of obscure German bands from the seventies who they are probably much better than. Importantly Mugstar also exist right now and play good gigs. The word 'cosmic' may appear relevant, as these bass driven jams are the perfect soundtrack to rockets docking in space, except sound doesn't travel through a vacuum so check them out on this planet first. This sounds perfect to play before or after the Trans Am album. It would come as no surprise if Mugstar were to support Trans Am at Liverpool's Kazimier in May.

The fourth Pontiack longplayer is heavier than before, but more immediate and melodic. This sounds highly complimentary to the Retribution Gospel Choir II album, which is going to end up being my favourite album from the first quarter of the year. Its a shame they aren't touring together as it'd be a near perfect match. Pontiack are touring with labelmates White Hills however, and playing the Ruby Lounge on March 7th which promises to be a killer show.








One for hardcore fans as the two remixes are inferior to the originals from the album, but pleasant foot tappers nonetheless.

And some albums released in the past decade that I've enjoyed listening to for the first time in February 2010 are

Getatchew Mekuria and the Ex 'Moa Anbessa' (Terp)
The Ex 'Building a Broken Mousetrap' DVD (Ex)
Jon Langford and Kat Ex 'Katjonband' (Carrot Top)
Do Make Say Think 'Other Truths' (Constellation)
Condofucks 'Fuckbook' (Matador)
James Blackshaw 'Litany of Echoes' (Tompkins Square)
Sentridoh 'Songs from Loobiecore 2.5' (tour CD)
The Villagers 'Hollow Kind' (Domino)
Marble Valley 'Super Sober' (Indikator)
Dan Friel 'Sunburn' (Velocirecords)
Melvins 'Chicken Switch (remixes)' (Ipecac)
Asva 'What You Don't Know Is Frontier' (Southern Lord)
Sunn O))) 'White 2' (Southern Lord)
I.S.O. 'Gravity Clock' (Amoebic)
Rolo Tomassi 'Hysterics' (Hassle)
June of '44 'In the Fishtank' (Konkurrel)
Zomes (Holy Mountain)
Celibate Rifles 'A Mid-Stream of Consciousness' (Munster)
Carbon/Silicon 'The Last Post' (Carbon/Silicon)
Jack Medecine, Daniel Johnston and Ron English 'Hyperjinx Tricycle' (Important)
Black Dice 'Broken Ear Record' (EMI)
Mars 'Complete Studio Recordings 1977-78' (No More Records)

The Ex Tour and Interview

At the start of February I went to see the Ex play five gigs around England. It was hard to believe that it had been six years since The Ex had toured this land. The first time I saw them was at the Manchester gig on their 2003 tour and I was so enamoured of their energetic performance that I decided I had to see as many gigs as possible on their winter tour. After all, I might be waiting another six years for more! For this tour they hooked up with a four piece brass section called Brass Unbound, comprising saxophonists Mats Gustafsson and Ken Vandermark alongside trumpeter Roy Paci and trombonist Wolter Wierbos, who were both part of Ex Orkest, an expanded orchestral project documented on the fantastic 2001 live album "Een Rondje Holland." This alone meant that it promised to be even better than the previous tour, but they'd also brought along the brilliant Bristol based Zun Zun Egui as support. Travelling to Birmingham, Brighton, London, Manchester and finally Liverpool where I interviewed the Ex before the gig, something that became apparent was that they attract a great friendly crowd to their gigs. More people were dancing at Manchester's Deaf Institute than any other gig I'd been to there, and in Liverpool it seemed the whole room was moving to the music. Their drummer Kat was so enthused by that crowd's reaction she thanked us all for dancing so much. Even the freezing temperature of the unheated venue and the drunken man loudly banging a beer bottle out of time couldn't spoil the atmosphere. It was nice to run into a fair few folk who I hadn't seen for a while as I travelled the land.

The interview will appear on the next update of Perfect Sound Forever

Wednesday, 27 January 2010

February Retribution

There aren't many gigs in January, and apart from Sheffield progcore quintet Rolo Tomassi I haven't been out to experience much live music. This means I've been able to almost catch up with listening to all the new releases and cheap charity shop promos I've accumulated. These are the spinning discs due to be released in February 2010 that I have been enjoying:

1. Retribution Gospel Choir II (Sub Pop)
The second album from Alan Sparhawke's other trio is harder rocking and more experimentally produced than their debut, and an early contender for album of 2010 status. This could even be the best thing he's done, so all the Low fans who missed the half full Retribution gig last time they came to Manchester should be advised that they are back on March 11th.

2. Plank! - La Luna EP (Akhoustik Anarkhy)
I have a CDR of this so I'm not sure if I've spelt the name of the label corrrectly, or if this EP is really called "La Luna" but that's the first instrumental, which will be familiar to anyone who has heard the numerous gigs Plank have played around Manchester in 2009. These tunes have both mutated and been surpassed by new ones, but this forms a fine document of their genesis; the final piece is a more keyboard led doodle that was birthed before bassist Ed got on board and has never been played at a gig. The other three songs have formed the backbone of their set. They had no reservations about me flinging comparisons to Mogwai, Battles and most obviously Neu at them after the first time I saw them at Islington Mill, and these have all certainly been influences on maybe Manchester's best band right now. No frills, just great tunes and fine musicianship make Plank worth walking. If you like this be sure to check out Ed's other band, the funkier FTSE 100. Guitarist Davey Rowe tells me release date is 19th April but you can buy a copy off the band at their gigs before that.

3. Lonelady - Nerve Up (Warp)
Check next issue of Flux magazine for a very very short drastically edited interview.

4. Jack Rose - Luck in the Valley (Thrill Jockey) RIP
Guitar pickin' master two years my junior passed away due to heart attack.

5. White Hills (Thrill Jockey)
Heavy psychedelia

6. Cluster - Qua (Klangbad)
Two old Germans show younger technoids how it should be done.

7. BJ Nilsen - The Invisible City (Touch)
Ominous ambience with chairs scraping all over the world.

8. Anna Kashfi - Survival (Little Red Rabbit)

9. Charlie Alex March - Home / Hidden (Loaf)

10. Nedry - Condors (Monotreme)

11. Puerto Muerto - Drumming for Pistols (Fire)

12. The Album Leaf - A Chorus of Storytellers (Sub Pop)

March releases I'm enjoying:

BARDO POND - Bufo Alvarius (Fire reissue)
PAVEMENT - Quarantine the Past: the best of Pavement (Domino / Matador)
GALAXIE 500 - Today
GALAXIE 500 - On Fire
GALAXIE 500 - This is Our Music (Domino double CD reissues)
AUTECHRE - Oversteps (Warp)
TO ROCOCO ROT - Speculation (Domino)
ROBIN HITCHCOCK AND THE VENUS 3 - Propellor Time (Sartorial)

Thursday, 14 January 2010

Radio Angels Mutate Turntables

2009 was the first year since 1988 that I didn't set foot in Liverpool, so it seemed fateful that the first gig I attended in 2010 was there. On the way to Piccadilly station I stopped off at Vinyl Exchange where they were playing a tortuous CD by Sexton Ming that sounded like a senile git trying to sing very badly in the bath. Fortunately I was distracted by my old friend Bess Keloid who turned up and hit the fifty pence rack, and I directed him to one of the three excellent Pascal Comelade compilations still lurking there. I found four more 50p CDs that turned out to be mediocre, and better bets at two (Swell) and four (Slint Glenn Rhoda). I also purchased the last two Pascal Comelade promo CDs. Hermana PR seem to have sent a huge number of these to dolts who don't take off the shrinkwrap, let alone listen to them. So far I've given copies to Hugh Cornwell and the Flaming Lips, which might be more potentially helpful to Comelade than ignorant music journalists who don't like listening to music. Later that day I gave a copy to Philip Jeck who assured me he'd give it a listen. I gave the other copy to a guy called Ross who ran the vinyl hack workshop at the Bluecoat that I'd missed earlier in the day. I've still got a few more of these, so if anyone wants a Pascal Comelade CD send me an email and if you can meet me at a gig I'll give you a copy. Jean Herve Peron and PJ Harvey sing on one song each, and there are very idiosyncratic covers of the Gun Club and "Brand New Cadillac."

First call in Liverpool was Probe records, where I hoped to find a copy of Flipper's "Love" album which was supposedly released in May 2009. Plastichead have done such a pitiful job of distributing it however that no record shops in Manchester, London or Liverpool are stocking it. They all have the Domino reissues of the early Flipper albums that I already have two or three times over, and Vinyl Exchange even has double CDR promos of "Public Flipper Limited" for a mere quid. All I could find was a secondhand copy of the first Ed Hall album for quid and a free paper with a very positive review of Mission of Burma.

Janek Schaefer's retrospective exhibition at the Bluecoat was pretty good, but one room was way more interesting than all the others put together. Three trios of turntables had been set up to play singles of recordings of droning cello, violin and piano and as they stopped and started and recombined they sounded beautiful. I sat in the room for a long while, listening to the needles dance over the vinyl bumps reproducing the chop and hum of invisible instruments. There was another room with a post bag that played recordings of a package in postal transit that had been edited into a seven inch single and released on Matt Wand's Hot Air Label. Another room had a bunch of old TV's with no images playing recordings of audio from broadcasts from the last day of analog TV in Liverpool. There were also inactive snazzily customised turntables. The generous bowl of carrot and ginger soup I ate in the cafe was piping hot and delicious, and then it was time for the performances to begin. First noisician was Vasco Alvo, playing an AM / FM Keyboard 6. He mixed snatches of radio into a mutating soundscape. Next Philip Jeck, who I've heard many times in the past, was introduced by Janek Schaefer as "The Master." Fortunately he didn't kill anyone by shrinking them, but he did wield a damaged bass guitar which he plucked occasionally to add more deep throb to his looping constructions of cranky keyboard, skipping records and semi-funcional effects pedals. Jeck was the main reason I'd travelled over, as he always makes a fantastic noise, and the intermittent addition of bass guitar worked well. Whilst recognisably a unique Jeckscape, this wasn't that similar to anything I've heard form him previously. There was a bit of a gap whilst Janek Schaefer set up his radios, and the DJ played a song I mistook for AC Marias, before realising that it wa actually "In My Garden" by Swans.

Janek Schaefer's "Phoenix and Phaedra" utilised surround sound to project a mix of multiple radios and Indian drone box, building from almost total silence to crescendos that had some poor old codgers sticking their fingers in their ears. They'd probably drop dead at a Lightning Bolt gig if this was to much for their delicate balance organs! There was no visual focus as Janek mixed from the desk on the balcony and the front stage where Philip and Alvo had set up was almost deserted. Towards the end a swarm of angels fluttered down from on high to do not very much at all.

On the way home there was a pack of dopey drunken retards on the train, one of whom paraded up and down the aisle naked, showing off his hideous spotty arse and circumcsied penis to everyone. One of his friends knocked my hat, under some delusion that he was funny, then later this moron started on a meek and mild character in a hood calling him a towel head and a suicide bomber. Unfortunately we were stuck in the company of these pissed arseholes for an extra fifty minutes as another train had broken down on Warrington station, blocking the line. What was even worse was the heating was not working and it was impossible to communicate a request to the driver to switch it on. By the time I alighted at Oxford Road I couldn't feel my toes, despite wearing three pairs of thick socks, so I got a complaint form to fill in. The police unsurprisingly seemed totally uninterested in getting the CCTV footage looked at in much the same way that they wouldn't check it when some stupid kids tried and failed to mug me near a camera. It's good that the fire service isn't quite as lackadaisical, isn't it?

There was a silver lining however; as I walked home in the middle of the almost car free roads, Radio 3 broadcast an interview with Keith Rowe about his use of radios in an improvised composition which they then transmitted. This was highly synchronous with my experiences that evening, and made the freezing walk home tolerable. On returning I counted my toes and was pleased that I still had ten.

Thursday, 7 January 2010

My Favourite Gigs of 2009

The only reason to live in Manchester is the huge amount of gigs that happen in the city, so its funny that nearly all the most memorable ones I attended in 2009 happened in other places. These were my gigging highlights of 2009:


I've probably written more than enough about this already, but both All Tomorrow's Parties Nightmares plus the In Between Days added up to ten days solid gigging. I managed to extend that by going to see Josh Pearson and Six Organs of Admittance in Manchsester before departure and Sunn O))) on the way home. I witnessed eighty live performances in thirteen days, only counting bands I watched for twenty minutes or more. Could this be a record?


Wire were playing three gigs in Spain so I headed south to Barcelona for the five days before they hit town and had a real cool time hanging out in the castle on the mountain by the sea. After following them to Europe's highest capitol city Madrid, the trail ended at El Puerto de Santa Maria, a small seaside town close to Cadiz, just south of Portugal. In early October the weather was so hot that it would make front page news in Britain in August. The sun roasted me lobster red, and I saw Wire play a unique unrepeatable gig under a clear starry sky in an old monastery. Despite playing a slightly truncated set, they played the most intense gig of the tour, and came pretty close to being as perfect as they were playing the "Send" album in a black old East German bunker in Berlin. I met lots of friendly Spaniards and had a great time by the sea. Walking in a fenced off forest I found a chameleon and a lynx! I also saw Howe Gelb, Silver Apple, Heavy Trash and some good Spanish bands I'd never heard before.


If someone had told me four years ago that I'd see four Magazine gigs in one year, I wouldn't have believed them. This was an unlikely reformation, as guitarist John McGeoch is dead. However as soon as Pete Shelley's unmistakable black hearted riff to "The Light Pours Out of Me" burned from the Academy PA on Valentine's day, it was obvious they'd found the right man to fill his shoes. Noko had played guitar in Luxuria with reluctant singer Howard Devoto, so made a much better choice than some celebrity guitarist with suspect baggage. The only thing I could possibly criticise in his playing was that I'd like to have heard more distortion on "Shot By Both Sides" but on the second Manchester gig, I'd wormed by way to the front of the crowd and was too lost in music to notice. The look of incredulous pleasure on Devoto's face at the phenomenal applause of the homecoming crowd hinted that more Magazine action could well follow. In the summer they charmingly elected to play a gig in Sheffield on my birthday and the best birthday present I've ever had was hearing an immaculate rendition of "Philadelphia," a song that hadn't featured in the February set. They did indeed make me feel healthier. Then they returned once more to play "The Correct Use of Soap" to a standing and shuffling ovation at the Bridgewater Hall, pulling the surprise stunt of not playing "Shot By Both Sides" but boosting the encore with "Give Me Everything." Rumour has it that they are now working on new songs. Maybe it's right to be nervous now?


My first trip to Blackpool, and what better reason than a sixteen song blast of classic Killing Joke "Madness?" OK so there were a load of drastically inferior bands to watch before they blasted the ballroom with a short sixteen song set, but the original line up has a unique chemistry that surpasses all other bands in sheer intensity. See review earlier on blog. I'd dreamt this gig years before, except in my dream I was watching from the balcony and here I was near the front on the Geordie side to catch maximum six string shockwaves. They are touring Europe in April and have spent the winter recording a new album for release in 2010 on Spinefarm records.


Another band back from the dead, re-igniting their not so final flame, and fiery as ever. They played no new songs, but didn't really need to as there were still so many great ones from their five albums and singles that didn't make it to the "Chemicrazy" heavy set. It's a good thing they're back. Check out the All Tomorrow's Parties review for more.


It was great to finally witness Jello Biafra fronting a rock band. I'd seen him in spoken word mode before, but this Sheffield sojourn was way more fun. Typical of Jello, he didn't rely on oldies to prop him up and the band blasted out new songs that were so new they aren't even on the album that came out in October. There were three Dead Kennedys songs in the set, but the proof was in the songwriting. Who cares what some vendetta-minded judge says when Jello continues to write song after song and his old corporate whore band mate East Bay Ray writes none at all. Who really wrote the Dead Kennedys songs then? I don't hear that pathetic dweeb Ray coming up with any new material, but maybe he's just too busy making advertising jingles for Nike and Walmart.


Another Sheffield gig reviewed earlier on this blog, as is the Jello Biafra gig. You will never play guitar like J Mascis, but no need to give up just yet. Further down reformation road they've made two great albums that do nothing but boost their formidable reputation and live they are better than they ever were.


Not even two dopey shazzas shouting at each other during the quiet bits could ruin a stunning set drawn from both the PJ Harvey and John Parish albums. I was quite ill at the time and this made me feel a whole lot better. I think it was the first gig I'd been to at the Ritz since The Fall played one of the last gigs of the second Brix era there. As they ended one song very quietly, an ignorant bartender tipped a load of bottles into a bin making a huge crash. John Parish's broad grin, as he gripped his comically tiny ukelele, was a picture.


I was too sick to follow them around the country to other gigs as I usually do, but Melt Banana remain one of the greatest live music experiences in the known universe, even in a stupid venue like Satan's Hollow. The stage is too low, and fat bouncers kept blocking the meagre view of the band. The last time they played Manchester they sold out Academy 3 so it seemed odd to play this inferior venue. The funniest thing I heard anyone say from on stage was when Yako introduced them as Melt Banana Lite and they cranked out a cacophanous deluge of noise in darkness with flashlights on their heads. It's a shame they don't play a bit longer!


See earlier on blog. The whole of "Hoover Dam" and "Rattus Norvegicus" plus a five song encore from a sixty year old really put to shame all these younger bands who think a five or six song set is long enough. Short sets don't leave me wanting more so much as they leave me thinking the band doesn't respect the fact that I've spent an entire evening of my life going to listen to them. His second Manchester gig of the year was so much fun I went to Birmingham to repeat the experience the very next day.


The Drones have a level of intensity that bands don't get without hitting the road and playing gig after gig in every town that they can get to. Snowman were nearly as enjoyable which was nice as I'd never heard of them before, and Manchester's Last Harbour played maybe the best gig I've seen them do. It's a shame the Roadhouse doesn't book a few more bands that are actually worth going to see, they seem to average two or three worthwhile gigs a year which is a bit pathetic.

Some other great bands I went to see that year: Retribution Gospel Choir, Arbouretum, Gang Gang Dance, Part Chimp, Soulsavers, Oneida, Therapy?, Flaming Lips, Obits, Night Marchers, Yo La Tengo, Daniel Johnston, Mark Eitzel, Oxbow, Sleeping Dog, Gnod, FTSE 100 and a whole lot of Plank!