Pulp, Doncaster Dome, 26th November 1998

So the last plug on the blog for my own art but this one is kind of a gig review anyhow.
  
My MA work has focussed on the first gig I ever attended Pulp at Doncaster Dome, 26th November 1998 and uses it as an exploration into the banality of internet culture and modern societies obsession with nostalgia and sentiment, no matter how attainable or worthwhile.

The 17 songs that Pulp played that evening form the circular wall pattern and are accompanied by a series of foil prints, positioning these ridiculous binary shapes alongside Yugoslavian war memorials (not dissimilar in structure to Doncaster Dome itself). In Simon Reynolds Retromania he talks about the (pop) moment becoming a monument which is what I kind of wanted to recreate. A ridiculous, religious like experience that totally misses all the important parts out.  I remember very little of that gig in 1998 but after a few clicks on the net I can find every detail about what happened.

Why are people at gigs viewing the entire event through a mobile phone screen? A desperate need to archive everything. Why listen to a ten track album when you can listen to 5 seconds of every song ever made on the internet? Saturation point has arrived. 

Anyhow, the flowers were a nod towards Ringos 'Welcome Back to the Beatles' floral drumkit surprise (re-imagined on Oasis' Don't Look Back in Anger sleeve) and the video can be seen beneath this image.

An artist statement can be found HERE on my website which should hopefully help to explain it a bit better, but for those who prefer their art just with their eyes there is a bunch of photos below. I passed.

@sickbookies

 

 

And with regards to the 'best album of the nineties' debate raging on this blog This is Hardcore would probably be up in second place behind Loveless in my list. But more of that to come no doubt...

Something for the Weekend #6 Tim Burgess / Dan Tombs

Cracking official music video for the new Tim Burgess track made by psychedelic visual artist  and mate of mine Dan Tombs. Feels like doing the Divine Comedy on mushrooms.

The Green Man Festival

'Great things are done when men and mountains meet. This is not done by jostling in the street' William Blake

A cursory glance at your standard Green Man line-up would do little to deter the hordes from their annual pilgrimage to Reading, Leeds and the auto-tune orgy that makes up the modern V festival gathering.  A festival headlined by Mogwai, Feist and professional grumpy sod Van Morrison is unlikely to bring the youth flocking into the Brecon Beacons, but one imagines that Green Man's organisers more than like it that way and, if you scratch that line-up a little deeper than the top of the bill, there were plenty of thrills to be had at this year's bash, and a feast of new sounds that are unlikely to have made it onto Fearne Cotton's i-pod.

The persistent rain on Friday saw a larger than expected crowd gather for Remember Remember's afternoon show in the Far Out tent, but more than a few converts were made by their dark, long and quite lovely rumblings, with glorious outbursts of melody compensating for the sun's stubborn refusal to show itself.  Most of those present hung around afterwards for Toy's set, which clipped along at a fair lick and pleased those of us who still find thrills in the sight of young men with hair playing essentially the same song for 40 minutes.  Toy's name has been mentioned in the same breath as The Horrors since their emergence this year, and comparisons are there to be made, but at present they lack the elements of light and shade that have made Badwan's mob such serious big-hitters.  They have some potential, however.

Slow Club threatened to part the clouds on the main stage later in the day, bringing large parts of last year's breakthrough "Paradise " album to Wales and making this whole festival playing malarkey just seem like so much fun. The sun, however, finally raised its head for Dexys, who were by far the best dressed people in Glanusk Park over the weekend. The chemistry between Dexys' commander in chief, Kevin Rowland and his female foil, Madeleine Hyland was incredible to watch as they duetted on the two stand out tracks 'I'm Always Going to Love You' and 'Incapable of Love' from new album One Day I'm Going to Soar. However, it was the pantomime-esque rendition of 'Come on Eileen' that brought the crowd to their feet - though I was disappointed not to see anyone adopting the traditional 'hands clasped behind your back' dance that was synonymous with this song at school discos up and down the country during the early eighties.

The day's genuine, pop-star-in-the-making moment came with Cate Le Bon's headline set on the Walled Garden stage.  Le Bon has the look of a pop star, genuinely otherworldly, and with this year's magnificent "Cyrk", she has demonstrated the chops to move onto bigger stages than this in the years ahead.  She berated the audience for being there when Mogwai were playing at the same time, but in truth she must be aware that what was on offer here was more than enough to divert attention away from the post-rock veterans.  A stunning "Ploughing Out Parts 1 and 2" built to a magnificent climax and closed the day in exuberant fashion.  It can't be long before Florence decides that a few psych-folk influences will be necessary to see her stay anywhere near the same ball-park as this wonderful performer.

Why Sweet Baboo is not a household name is an absolute travesty. Kicking off the Mountain Stage proceedings on Saturday morning, the hardest working man at this year's Green Man (he also rocked up to play with Cate le Bon and Slow Club) didn't let a disappointingly sparse crowd put him off his stride. Van Morrison's early evening headlining slot is played out in glorious sunshine and doesn't disappoint as the grumpy old git turns out a greatest hits set to the biggest crowd of the weekend. From Brown Eyed Girl to the garage classic Gloria, Morrison wastes no time with any banter and after 75 minutes is whisked away in his helicopter over the Brecon Beacons before his band have brought the set to a triumphant finish.

With Morrison already tucked up in bed, it was left to Metronomy to close Saturday's proceedings on the Mountain Stage and they did so with aplomb. The evocatively infectious 'The Look'  and 'Everything Goes My Way' from last year's Mercury nominated 'The English Riviera' are standouts in a set that showed off the diversity in Joe Mount's songwriting repertoire. Though an overheard aside that they sounded a little like "Kraftwerk meets Bucks Fizz" did seem a little cruel.While not the official headliners, Metronomy's set felt like the perfect way to end the day...until, that is, we stumbled upon Pete Paphides 'Vinyl Revival' disco in the walled garden.  For three hours, Paphides had us shaking a wellington clad foot to the likes of Dee-Lite, Bob Dylan, ELO and....Hanson. Despite the mud, the appreciative crowd were throwing shapes as if they were on the sprung dancefloor at Wigan Casino and were sorely disappointed when he was hauled off at 3am.

Following a very late night, there was no more perfect antidote for easing ourselves back to normality than King Creosote & Jon Hopkins who played the sublime 'Diamond Mine' in its entirety. The beautifully crafted songs helped to clear the fug from our heads, while a sublime cover of U2's 'Running to Standstill'  just as three para gliders made their lofty descent into the festival site was mesmerising. Sunday also saw the Far Out Tent once more rammed to the gills, but, with the sun blazing down over Sugar Loaf Mountain, this time it was more than inclement weather that drew in the masses to catch Alt-J's terrific set.  With the songs on 'An Awesome Wave' now sounding much more bedded-in than the last time they came onto our radar (when supporting bedfellows Wild Beasts in March)  it quickly became clear how much they have grown as a band, and this show saw them greeted like all-conquering heroes.  With 'Breezeblocks', 'Tessellate' and 'Matilda' being bellowed back at the band, the celebratory feel to show felt as if this band will be further up the bill the next time they visit Glanusk Park. 

The surprise hit of the weekend, however, was Merrill Garbus' tUnE yArDs. Through some innovative vocal looping and the cacophounous squalling of saxophonists, Matt Nelson and Noah Bernstien,  the band's layered grooves and funky beats had everyone on their feet and lead (unusually for that time of day) to the band returning to the stage for a mid-afternoon encore. While The Walkmen belting out a rousing rendition of 'The Rat' gave us that extra boost to see us over the finish line. 

Now ten years old, Green Man has carved a successful niche into the UK's festival landscape and, by navigating a path away from the Killers/Kasabian/Foo Fighters/Muse treadmill, it continues to bring surprises and revelations in equal measure.  As a reminder of the depth that continues to exist within the realms of so called "alternative" music, it is pretty much without equal.  Long may it reign.  And rain.

The Gallones Brothers 

Something for the weekend #5 G O A T : World Music

Uh huh... best looking record in like forever. And the most exciting thing I've heard since sliced... goat. The W's and M's have been totally punched out dude!

 I've read about a zillion pro-plus reviews of this beast in the past few weeks and would have to agree that this is total bat shit crazy. In the best way a 30 minute orange vinyl could be. Basically the reviews go along the lines of: 

GOAT are an unknown entity from a historically voodoo-friendly part of deepest, darkest Sweden (stay with it) and they make a ritualistic, psych rock,  krautROCK, afro beat, looney fucker 'W O R L D  M U S I C' NOIZZZZ. Basically A soundtrack cooler than 'Live and Let Die' for 'Live and let Die'.

Y          RECOMMEND ......

L

H

G

I

H

I

@sickbookies

Savages, The Cockpit, Leeds

In 2007, the now defunct Observer Music Magazine published two of my letters. One of the letters won me the star prize of a six month subscription to the Rough Trade album club. But it was my second letter that gave me the most satisfaction by seeing it in print. In fairness, it wasn't actually a letter, but a question in response to a review by Paul Morley of the latest LCD Soundsystem album Sound of Silver. In his usual egotistical and bombastic way, Morley more or less used his 750 word limit to list a number of bands and albums of who he felt the new LCD Soundsystem record sounded like or was inspired by. I read the review four times and wasn't clear whether he liked the new album or not. Hence the reason why I fired off the following email to the editor:


Could you tell me if Paul Morley's review of the new LCD Soundsystem album was a favourable one? 


I thought back to this letter on Saturday night as Savages brought to a close a barnstorming 9 song set that would have put Morley's 'I'm going to show-off my encyclopaedic knowledge of popular music by listing every band/song/album I can think of and pass it off as a review' approach to criticism into overdrive. While the band wear their influences on their sleeve - Siouxie Soux, Joy Division, Squirrel and G-Man period Happy Mondays, Patti Smith - their intense sound also singles them out as something totally unique and refreshing when compared with the current crop of 'buzz' bands (Alt-J, Django Django et al).


The relatively low stage in room 3 of the Cockpit, means the more vertically challenged members of tonight's audience don't get to witness the intense stage presence of lead singer, Jehenny Beth, whose passionate and intriguing approach to lead singer duties means those who are able to, don't take their eyes off  her throughout the 40 minute set. Beth yelps and shrieks the band's dark and brooding songs with an intensity that has seen her being lazily compared with Ian Curtis. I have to admit, I did't know what she was singing about, but I got the impression that she meant every word of it. The two stand-out songs from tonight's set Husbands and Flying to Berlin show off the dynamic between Beth and guitarist Gemma Thomson who cranks up the intensity on stage with a wave of white noise. The rhythm section, however, is what takes the band to another level. Bassist Ayse Hassan's trembling bass-lines and Fay Milton's infectious post-punk drumming provide the band's power and what makes it very difficult for anyone in attendance tonight not to nod their head or shake their hips along to the pulsating sound of the best new band in the UK.


Set list

Something for the weekend #4: Octagon Court

Hold on son! I hear you cry. TWO weekend recommendation posts in one afternoon? And another push for one of your mates bands with vague Norwich connections?
Nil desperandum as this is an ABSOLUTE BEAUTY of a tune and the video is equally brilliant.

@sickbookies

Something for the weekend #3: Olympians

As far as I'm concerned this should be the last time the 'O' word is mentioned on the blog, but it seems a shame that on this particular weekend we should miss highlighting this lot who I reviewed a few months back. Great video too.

You can download a bunch of their stuff, some of it for free, at their bandcamp which is....

......
          .........
                                   .........HERE




@sickbookies

Velvet Owl Single of the Week

Mystery Jets - Greatest Hits

Unlike the protagonist in this cheery little number, my own series of failed relationships were sound-tracked by the likes of T'pau, Whitney Houston and M People - all of whom I saw live at least once in the company of an over-excited girlfriend. I can smile about it now, but at the time it was terrible.

Something for the Weekend #2: Darren Hayman goes Mogwai

Well, not exactly. Its just he isn't doing any singing... and anyone who knows any of Hayman's output of the past 15 years (from late 90s cruiserweight indie what-nots Hefner, the criminally overlooked  The French, his acoustic/piano led solo stuff or his fifty billion electro laced side projects) will know that Hayman is probably known best for his lyrics. But this new album about Britain's long-lost outdoor swimming pools doesn't have any. Uh-oh!
Anyhow the video to this first track Super Swimming Stadium is a nice way to spend 5 minutes of your time, particularly with the 'O' word about everywhere at the minute. So give it a whirl(pool) and click on the image below. (Which is of the lovely looking limited to 500 blue vinyl package version, out in August.)

@sickbookies

Velvet Owl Single of the Week

Beachwood Sparks - Forget the Song

Prolific songwriters they may not be, but when they do produce the goods, Beachwood Sparks are a joy to behold. Following a 10-year long hiatus, the band are back this summer with their new long-player The Tarnished Gold. Expect to see it feature in 'best of 2012' lists come the end of the year.

Honor Blackbelt

Velvet Owl Single of the Week (2)

James Yorkston - I Was a Cat From a Book.

I Was a Cat From a Book is the new album by James Yorkston and is his first since 2008's When The Haar Rolls In. The vinyl version of the record includes a backgammon board on the gate-fold and some exquisite backgammon pieces.

http://www.dominorecordco.com/uk/landingpage/22-05-12/james-yorkston---i-was-a-cat-from-a-book/

Velvet Owl Single of the Week

Father John Misty - Hollywood Forever Cemetery Sings

Former Fleet Foxes drummer, Josh Tillman, has been releasing his own albums for a number of years now, but this is his first under the guise of Father John Misty. Picked out at the start of the year by Stool Pigeon as one of the 25 'hottest pieces of indie real estate' for 2012, Tillman draws inspiration from the great singer-songwriters of Laurel Canyon to create one of this year's most outstanding records.  

Something for the weekend: WHY? R BAK

My favourite Californian indie-hip-hopsters Why? are back in action with a new EP entitled Sod in the Seed with the lead track available through the link bellow. Sweet way to spend a drizzly Friday afternoon.

WHY? - Sod in the Seed by City Slang

@sickbookies

Velvet Owl Single of the Week

The Antlers - Drift Dive

This blissed-out track from The Antlers new e.p. is the perfect soundtrack for balmy summer evenings. It's a shame, therefore, that the band have decided to release it in the autumn. 


What? Shut up!!! July? 


*looks out of the window*


But it's pissing it down out there! 


You should be ashamed of yourself, Britain! 

Some albums of 2012 (Jan-June)

With the football seemingly over (53 mins: 2-0) I thought I ‘d knock together a vaunting, mid year run down of what new music been on my turntable.  (The word ‘new’ unfortunately means putting aside a plastic obsession with Throbbing Gristle, The Human League, Blancmange, Chapterhouse, Orbital, The Teardrop Explodes, the Housemartins and the best of the Beatles).

Where to start? It’s hard to look beyond French electro-pop duo Yeti Lane’s Grandaddy-shagging (gilf?) album the Echo Show, particularly after their blinding set at the Art Centre last week. I did my best to blow my mind and they duly finished me off. The Echo Show is a must.

Despite loving the first five (5?!) Graham Coxon records as much as any one of my age and indie-orientation would do, I must confess to loosing interest in his past few outings. But this new one is fantastic. He sounds frantic and de-hinged and ironically like he is the age I was when I first dreamt of making a Telecaster sound like that; about 13. A Peter Pan of Pavement rock. And some bits go loopy and sound a bit like CAN. (A good time to mention that although I haven’t got/got the time to listen to the new CAN Lost Tapes- by all acounts it’s a belter and although I’m dead against adding to the overload of lazy and expectant links to music on the net, this ‘new’ CAN track, ‘Deadly Doris’ HAS to be heard). Funky little bleeder...

(68 mins- the italians have started the injured face routine).

Back to the ‘charts’ and in April I charped on about how much I loved the Pre-New’s album, Music for People Who Hate Themselves and I’m not budging; it is so much ruddy fun. Both for the Mars-munching, gun wielding nonsense lyrics but also for the glam-Fall noize they make. It has also added to the fact Earl Brutus are moving up my best bands of the nineties list at an alarming rate. The Pre-New's recent 6 Music session was fantastic also. (And album cover prize winners too). Phew.

A decent third effort from Errors, but Have Some Faith In Magic isn’t yet providing the enchantment that previous efforts or indeed the title suggests. The Echo Lake EP Young Silence of last year got me ready for their recent full length Wild Peace and it lives up to the lovely dream-like Cocteau Twin pop of its predecessor.

All the Saints despite their stupid name made Intro to Fractions which although not likely to win most original album ever does sound like a whole bunch of bands I like (namely My Bloody Valentine, Jesus and Mary Chain, BRMC). And they do it pretty well. AU's title track to their album Both lights is called EPIC and that makes total sense to the overall sound of the album- it's big. It's one of my favourite albums of the year (thus far) and despite a few dodgy, overly-orchestral fuckers in the middle, is a real worthwhile listen.

This weekend has been all about BEAK>’s new album >>. It seems Geoff Barrow kept a bit back from his production witchcraft of the second Horrors masterpiece to make a return album for this Portishead side project. Not sure how it stands up to their first album yet (which was reet good) but the track Wulfstan ii might be one of the best things I have ever heard. Stream the album here. Also Barrows other side project-  Drokk - made an album which sounds like a glorious head-fuck (in a good way) for fans of the Bladerunner soundtrack. Noice.

Alt-J’s new album, from a couple of listens, seems like a solid effort and like the Wild Beasts whom I saw them support recently, are probably better on record than live. I LikeTrains made a good un’ with the Shallows and as too it seems (from a few listens anyhow) did A Place to Bury Strangers with Worship. Very loud seems like the best advice for listening to that one.  (Torres makes it 3).  Luke Abbotts Four Tet electronic wizardry on Modern Driveway has been a treat of late. Oh and My Bloody Valentine re-released Loveless with a bunch of previously unheard F-off good b-sides. Didn’t they do well. Twenty twelve you are spoiling us. But ambassador I'm ready for more. Well I'm not and just want to go and dance around the kitchen to that CAN song again, so to round off in the lamest way I have also heard things of varying levels of decent to good from Sebastian Tellier, Liars, Richard Hawley and PiL (surprised on that one being any good) which you'll just have to go and find out more about yourselves. Whilst in negative news I couldn't be bothered to do the new Spiritualized album just yet.

And finally the new Fall album is fucking brilliant too. Oh wait; they haven’t released one yet? Well when they do I’m sure it will be like the others. Here’s looking forward to the next six months and I will round this drivel off with anticipation for an album (September release I believe) to accompany what is my track of the year at this mid-point (you HAVE to do this one). No-one knows much about GOAT except they are from a Swedish village infamous for Live-and-Let-Die-style voodoo shit and they have a song called GOATMAN!!!!! And i'm off to see them in October. What is there not to like about that wah-wah humping rawk? (four-nil. Spain win I guess.)

@sickbookies

Zun Zun Egui, Norwich Arts Centre

Two months ago a confused and confusing band arrived at the Norwich Festival, with confused and confusing songs and an even stranger ticket pricing policy. Not many people were there, but those few, those happy few, were treated to something rather splendid. An evening of multi-lingual, peppery and punctuated pop tunes that left you feeling that you’ve just been hugged by an over-familiar stranger. It was odd, unexpected, but you walk away smiling.

It is very difficult to categorise ZZE, they are described in various reviews and media as ‘avant-garde’ – a word all velvet owl should be very wary of. I don’t think the music is avant-garde, it’s just mental. It selects riffs from the Red Hot Chilli Peppers and merges them with synthesised psychedelic keyboards and an occasional heavy rock drum style -  and vocals that are entirely their own.

There were several misses in the set, and it felt that the songs that were their single releases were more formulaic, and therefore less engaging – sexy worms are an intriguing topic; however the rising and falling chorus quickly tires (Song – Fresh Fandango). But when they get it right, it’s hard not to be drawn in. You’ll have to pay attention though as even the more melodic songs do not linger. Make the most of the engaging rhythm or the striking chords because once the song has moved on it’s not going to come back to them. These keep you guessing and sometimes regretting that those little musical moments have gone, but you’ll often be surprised as something even better suddenly emerges. If you stay with it, you’ll feel rewarded.

Zun Zun Egui have carved themselves a strange little niche, but if you can find a way in, you find it is a cosy place to be. As the set continued, they took you along with it. They enjoy what they are doing and seem to want everyone to enjoy it with them. Their set is not a cerebral journey of self-reflection, but rather an expression of something quite rare. It seems to be a simple statement that music can make you smile. Make you realise that sometimes lyrics are just part of the bigger picture. Looking at the sparse crowd I think it unlikely there were many speakers of Creole or Japanese (both occasional lyrical choices for the band); however at the conclusion of the set I don’t think anyone cared.

They felt like they had been hugged by a stranger, speaking in several languages, with an unkempt beard and confusing ideas, but the hug was sincere. It felt good.

Maybe they are avant-garde…

Zun Zun Egui are playing at a few festivals this year – Latitude (15^th July) and The End of the Road Festival (31 August). This band is built for outdoor drinks and fine weather. If you can get there, see them, give them time, and enjoy it.

Album: ZUN ZUN EGUI – KATANG

http://bellaunion.sandbag.uk.com/Store/DII-9499-6-zun+zun+egui++katang.html

Pete

Velvet Owl Single of the Week

Chromatics - Kill for Love

Remember that 80s revival thing that took place a couple of years ago? Headed up by La Roux and Ladyhawke, for a few months the airwaves were awash with electro pop reminiscent (to some of us at least) of those nights at the youth club disco, dancing to Kids in America by Kim Wilde while trying to not let anyone step on our pristine Puma G Vilas.  Although a couple of years late to the party, this Chromatics single offers an alternative take on the 80s - think less Now That's What I Call Music and more Factory Records Sampler - the stuff we listened to in our bedrooms as we tried to remove the muddy footprint from our trainers with a pencil rubber.  

Velvet Owl Single of the Week

Euros Childs - Spin That Girl Around


6 Music presenter, Marc Riley, has been playing this every week for the past two years. Now finally available to purchase, this simple yet effective tune will stay in your head for weeks. 

Pulp, Doncaster Dome, November 1998

My MA project is focussing on the first gig I ever attended: Pulp, Doncaster Dome, November 1998. Adjacent is a sneak preview of a part of my exhibition, Disco 2012: a list of every word of every song (17) sung by Jarvis Cocker on that evening in South Yorkshire made into a loop of eternally banal glitches and rhythms.


A better explanation can be found here but to experience the work in progress of the disco follow this link here

NB: Please do not read the lyrics whilst listening to the recordings

@sickbookies