RockFeedback staged another night of impressive new music featuring headliners, 20-piece alternative choir Gaggle at the carpeted, chandeliered and homely Shepherd’s Bush Hall. What you might have first thought ‘apocalyptic’ at the thought of the emergence of 21st century, youth-oriented choirs, here manifests itself in a haunting, chant led display of beautiful and beguiling new music.
Tonight’s gig was about a bevy of new songs and the notable introduction of a seemingly indispensable live drummer that surely enhances their stage presence, as if your eyes weren’t already locked-on to the curious magic-eye of a performance in the first place. The trick with this one is to just let it overwhelm you (the choral vocals, not just the visuals).
A theatrical element, including an almost medieval themed entrance from the back of the venue, walking one by one, dressed in oddly tribal, brightly coloured hooded robes (flags in hand) adds a cultured element to proceedings and sets the scene for the show ahead. It was no surprise to hear recently that they are writing an opera based on female histories.
Gaggle are another new post-dubstep, epic, heartfelt brand of pop anointed by glitchy beats and swarming basslines (similar to that of Samuel Chase). Chandeliers and bongos don’t even seem out of place around this mysterious gang. It is important to remember a conscious attempt to disguise their figures helps add a mysterious, all-for-one confident feeling to the performance.
The recent single ‘I Hear Flies’ pulses with a natural, authentic, energy live - more so than on record. A gift for dynamics, apparent in some of the new songs demonstrates a skill that if successfully embraced by lead arranger Deborah, should see her stock rise along with that of her current crop of protégés. The various backgrounds and ages of the women in Gaggle are probably their greatest strength. From early twenties to late thirties, one imagines a broad cross section of opinions at the drink fuelled gatherings, an academic outlook too - refreshing in (slightly alternative) pop.
A string of festival dates ahead this summer attests to their steady progressive rise in stature. The more adventurous festival goers will enjoy what is bound to be a small-stage highlight of the British Summer. We are seeing the emergence of the artistic middle classes.
Gaggle MySpace
'...Chant after chant builds and builds, as girl upon girl thrills and thrills.'
Monday, June 28, 2010
Friday, June 4, 2010
Dungen @ The Luminaire, 31st May 2010
In this, their only UK gig of this year, Dungen proved they are capable of creating the fabled “concert experience” with a ninety minute performance that saw them rise and fall through autumnal, colourful rock n’ roll riffs, piano interludes, psychedelica, hints of folk and extended flute solos. This loud and impressively dynamic group are at times note-perfect, but any thoughts of an overly-crafted-album-playback-gig are cast aside during the hazy and lilting musical breakdowns present throughout.
Although I might be pessimistic in thinking that any musical scene reminiscent of the psychedelic heydey of the 1970s will only be experienced in a fragmented, overstated fashion in the 21st century, it is still an entirely edifying experience to witness a band so at ease with their sound, sticking to what they know best whilst singing in their native language. Yes, I admit I mumbled along incoherently during 'Panda'.
The drums at times, to this untrained ear at least, appeared to come straight out of Sebastien Tellier’s ‘La Ritournelle’, but far more likely have their roots in late 60s and 70s psychedelica that lead songwriter and singer Gustav Ejstes finally found after teenage forays into hip-hop and later Jimi Hendrix. His voice, aptly described by Pitchfork's Nate Patrin as a "beautiful whine" is strong throughout, despite Ejstes' humble plea for us to enjoy the instrumental sections played by his Swedish colleagues more so than his vocal contributions. Their music doesn’t quite demand you investigate the influences, it just implies it heavily. I’ve had an enjoyable few days discovering bands such as the flamboyant 13th Floor Elevators, previously outside my radar. We suggest you take the hint too. Dungen have a wealth of material available, notably in their 4 most recent releases, 4, Tio Bitar, Stadsvandringar and Ta Det Lugnt available from the usual outlets.
Please support local record shops.
Listen @ MySpace
Although I might be pessimistic in thinking that any musical scene reminiscent of the psychedelic heydey of the 1970s will only be experienced in a fragmented, overstated fashion in the 21st century, it is still an entirely edifying experience to witness a band so at ease with their sound, sticking to what they know best whilst singing in their native language. Yes, I admit I mumbled along incoherently during 'Panda'.
The drums at times, to this untrained ear at least, appeared to come straight out of Sebastien Tellier’s ‘La Ritournelle’, but far more likely have their roots in late 60s and 70s psychedelica that lead songwriter and singer Gustav Ejstes finally found after teenage forays into hip-hop and later Jimi Hendrix. His voice, aptly described by Pitchfork's Nate Patrin as a "beautiful whine" is strong throughout, despite Ejstes' humble plea for us to enjoy the instrumental sections played by his Swedish colleagues more so than his vocal contributions. Their music doesn’t quite demand you investigate the influences, it just implies it heavily. I’ve had an enjoyable few days discovering bands such as the flamboyant 13th Floor Elevators, previously outside my radar. We suggest you take the hint too. Dungen have a wealth of material available, notably in their 4 most recent releases, 4, Tio Bitar, Stadsvandringar and Ta Det Lugnt available from the usual outlets.
Please support local record shops.
Listen @ MySpace
Wednesday, May 5, 2010
Three Trapped Tigers, Talons & Samuel Chase @ ICA, London April 29th
After witnessing Three Trapped Tigers electric live performance last year in front of an impressed if bemused Bloomsbury Bowling Alley crowd we were excited to get tickets to this RockFeedback curated gig in honour of the launch of new EP (EP3) at London’s prestigious ICA.
It was refreshing to hear some howls of approval as tracks from their 1st EP were played, tunes that I have spun so relentlessly one forgets how powerful some of the songs can be in a live setting. This made for an interesting counterpoint to some of the new tracks (‘11’ onwards) which appear to demonstrate an already maturing songwriting ability by showing something which wasn’t necessarily missing from earlier tracks. Whereas tracks from EP1 had a fervent, restless energy, this trio are now showing an ability to create soundscapes which haunt and engage in a way that allows you to wallow and interpret in a hundred or more possible ways. Surely there’s a filmmaker out there who needs some TTT to fill the overused DJ Shadow/David Holmes slot in their panoramic cloud/butterfly/Tube Tales style shots? Most impressive is how tight they are as a live act (notably, drummer Adam Betts) considering they’ve actually improved since the last time I saw them in February 2009. Despite having the word 'jazz' whispered around them, TTT pander more to a rock crowd with near perfect renditions of their work. The jazz connotation still rings true in terms of liveliness and spontaneity of melody. We urge you to seek out the entire back catalogue.
Also on the bill were two other talented acts, one slightly more eye-catching than the other. Samuel Jones, (who used to go by the name of Samuel and the Dragon) showed there is more to glitch than a bunch of boring middle aged guys with over-expensive home studio equipment. With deep, swarmy basslines and glitchy dub/ 2-step beats playing over his likeable croon (reminiscent of an English The Knife before the vocals are warped) his stage show consisted of colourful, futuristic visualisations being projected directly onto his being, whilst his sparkly outfit acts as a mirror ball, illuminating the crowd in a haphazard manner, much like the music itself; hard to pinpoint but beautifully engaging nevertheless.
Talons, young signings to Big Scary Monsters (also home to Luv Sic favourites Shoes and Socks Off) played the midway slot and despite a couple of languid songs they still manage to pack a punch just through sheer determination. The use of a violin in an almost math-rock context, is an inspired touch, but I think they need to be more precise with their song structures. There is still a lot to be admired however, as some of their earlier songs showed that when they don’t over think things too much they can echo contemporaries such as Explosions in the Sky with comparative ease given their fledgling status.
Three Trapped Tigers EP3 is available for pre-order now @ Blood and Biscuits
Listen to ‘11’ @ their MySpace
Samuel Chase @ MySpace
Talons @ MySpace
It was refreshing to hear some howls of approval as tracks from their 1st EP were played, tunes that I have spun so relentlessly one forgets how powerful some of the songs can be in a live setting. This made for an interesting counterpoint to some of the new tracks (‘11’ onwards) which appear to demonstrate an already maturing songwriting ability by showing something which wasn’t necessarily missing from earlier tracks. Whereas tracks from EP1 had a fervent, restless energy, this trio are now showing an ability to create soundscapes which haunt and engage in a way that allows you to wallow and interpret in a hundred or more possible ways. Surely there’s a filmmaker out there who needs some TTT to fill the overused DJ Shadow/David Holmes slot in their panoramic cloud/butterfly/Tube Tales style shots? Most impressive is how tight they are as a live act (notably, drummer Adam Betts) considering they’ve actually improved since the last time I saw them in February 2009. Despite having the word 'jazz' whispered around them, TTT pander more to a rock crowd with near perfect renditions of their work. The jazz connotation still rings true in terms of liveliness and spontaneity of melody. We urge you to seek out the entire back catalogue.
Also on the bill were two other talented acts, one slightly more eye-catching than the other. Samuel Jones, (who used to go by the name of Samuel and the Dragon) showed there is more to glitch than a bunch of boring middle aged guys with over-expensive home studio equipment. With deep, swarmy basslines and glitchy dub/ 2-step beats playing over his likeable croon (reminiscent of an English The Knife before the vocals are warped) his stage show consisted of colourful, futuristic visualisations being projected directly onto his being, whilst his sparkly outfit acts as a mirror ball, illuminating the crowd in a haphazard manner, much like the music itself; hard to pinpoint but beautifully engaging nevertheless.
Talons, young signings to Big Scary Monsters (also home to Luv Sic favourites Shoes and Socks Off) played the midway slot and despite a couple of languid songs they still manage to pack a punch just through sheer determination. The use of a violin in an almost math-rock context, is an inspired touch, but I think they need to be more precise with their song structures. There is still a lot to be admired however, as some of their earlier songs showed that when they don’t over think things too much they can echo contemporaries such as Explosions in the Sky with comparative ease given their fledgling status.
Three Trapped Tigers EP3 is available for pre-order now @ Blood and Biscuits
Listen to ‘11’ @ their MySpace
Samuel Chase @ MySpace
Talons @ MySpace
Tuesday, April 20, 2010
I Blame Coco @ Hoxton Square Bar and Grill, April 14th
Imagine Mr Hudson with more charisma and intelligent lyrics sung without the auto-tune, all filtered through a layer of eighties inspired Scandinavian electro pop, professionally produced and then performed by a smart, beautiful, conflicted young woman with an impressive, peculiarly tinged vocal and you're getting closer to understanding I Blame Coco.
Performing a shortened set consisting of mostly new songs from the forthcoming debut LP The Constant, her assured and enthusiastic performance belies that of her own supposedly introverted and (not entirely!) feral upbringing. With a stance and energy echoing the equally beguiling Peter Doherty (she was even slightly (some might say fashionably) late on stage) on one of his better nights, the accumulated hair cuts and clothes horses of Hoxton appeared to be enjoying themselves.
With a collection of simply structured yet powerful songs replete with suave synth additions and uplifting choruses of self doubt and alienation that consciously and succinctly describe the estrangement of modern masterpiece Wall-E, we are utterly enchanted but still aware of this developing artist's potential for burnout. We don't rate anyone we like so much too highly. This position as underdog won't last long as the A-List beckons, but for now we are in the happy minority of loving before everyone else starts liking.
The Mr Hudson and Peter Doherty comparisons are even more prescient considering her own contact with the two (Hudson as a teenage bandmate, Doherty as a friend) and she appears to have taken best of both worlds - a synthesized retro sound plus a fashion conscious, Guinness drinking elusiveness respectively - and left the more undesirable qualities behind.
The Caesar EP is available now at iTunes. LP The Constant expected June.
Performing a shortened set consisting of mostly new songs from the forthcoming debut LP The Constant, her assured and enthusiastic performance belies that of her own supposedly introverted and (not entirely!) feral upbringing. With a stance and energy echoing the equally beguiling Peter Doherty (she was even slightly (some might say fashionably) late on stage) on one of his better nights, the accumulated hair cuts and clothes horses of Hoxton appeared to be enjoying themselves.
With a collection of simply structured yet powerful songs replete with suave synth additions and uplifting choruses of self doubt and alienation that consciously and succinctly describe the estrangement of modern masterpiece Wall-E, we are utterly enchanted but still aware of this developing artist's potential for burnout. We don't rate anyone we like so much too highly. This position as underdog won't last long as the A-List beckons, but for now we are in the happy minority of loving before everyone else starts liking.
The Mr Hudson and Peter Doherty comparisons are even more prescient considering her own contact with the two (Hudson as a teenage bandmate, Doherty as a friend) and she appears to have taken best of both worlds - a synthesized retro sound plus a fashion conscious, Guinness drinking elusiveness respectively - and left the more undesirable qualities behind.
The Caesar EP is available now at iTunes. LP The Constant expected June.
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