We've Got Photographs Of Men On The Moon

A form of currency when I was young was the C90 cassette - either home-made compilations or with the John Peel show taped on them. This was the very early 80s when indie music meant 'independent'. Cherished amongst my tapes was the one with Red Guitars on. And in particular their first single Good Technology.

Red Guitars had many good songs but this was the stand-out. There's a good history of the first incarnation of the band here. If you want to finish the story best to read this too but the second album/second incarnation of the band just didn't measure up. I saw them (first incarnation) live in spring 84 at Liverpool Uni. They were meant to be supporting The Smiths but Morrissey's voice gave out so Red Guitars got the headline slot. My memory is pretty hazy but I remember how good they were and how powerful Good Technology was live. It's a great song that somehow manages to be prophetic and retro, optimistic and apocalyptic all at same time.

I kept that tape for an awful long time but managed to get hold of the 12" version of Good Technology in the early 90s in (of all places) Hull at Golden Oldies second gand shop on Princes Avenue. By this point I had the album Slow To Fade on CD but without that great first single. Good to see there is an re-issue (still self-released) that covers both - see below.

And for a hilarious thread about the crapness of record shops in Hull go here.

GOOD TECHNOLOGY (12" Vinyl rip)

Red Guitars

Self Drive Records SD008

DIVE
MARIMBA JIVE
Red Guitars

Slow To Fade

All re-released with the singles included on GOOD TECHNOLOGY [BUY] and, I quote, "Get a free natural cleaning solutions chart with every order"

Dissolve in Scottish Rain

Late to the party as ever, I just started listening to Frightened Rabbit's The Midnight Organ Fight. Hearing they were on FatCat records I found a bit intimidating - I was expecting two laptops and lots of bleeps, clicks and whirrs. But no. This is a proper rock band. From Selkirk. And they play proper rock songs. I was hooked from the first listen.

Now if you wanted to make a crass and lazy comparison you could say FR are a Caledonian The National (listen to Fast Blood especially the first 40 seconds before the vocals come in and tell me it wouldn't fit in on Boxer). But who would make such a crass and lazy comparison?

There are the three things that draw me to this record, other than the consistent quality of all the songs. They are proper rock songs: spare, slow-building but also anthemic (hey a bit like The National). They also draw on a great Scottish tradition of self-deprecation and vulgar humour (Arab Strap comes to mind) - listen to Keep Warm below. Then what helps them stand out is Grant Hutchinson's voice. His delivery veers from bitter growl to plaintive despair. The songs are great depictions of anguish, rejection, illness and suicide with Grant centre-stage but almost wishing he wasn't there. A bit like that Matt Berninger from that other band...

It's an intense listen but well worth the admission price. Annoyed to miss them playing Night and Day last month (The Indie Credential has a write-up here) but good to see them back in Manchester for this. Roll on August.

KEEP YOURSELF WARM
THE TWIST
Frightened Rabbit
The Midnight Organ Fight[BUY] or [BUY]

THE YOUNG KNIVES @ MANCHESTER ACADEMY 3 18 MAY 2008

You know those free CDs you get with music magazines? Well as I am constantly reminded, they are not 'free' because you have had to pay for the magazine. There's no such thing as a free CD or a free lunch.

But somehow I ended up with free tickets for The Young Knives which was not a bad thing. I've missed them on previous visits to Manchester and was keen to see them live. Slightly worried that thus far I hadn't enjoyed the latest album as much as the previous one - they seemed to have abandoned the earlier wit and invention and concentrated on a catchy riff and a shouty chorus over and over again. Which wears after a bit.

But live? What more do you want - catchy riffs and shouty choruses?! So free of the polished but flat production of Superabundance, songs like Terra Firma, Up All Night and Light Switch had the 'mixed' (age/dress sense/sobriety) crowd shouting along enthusiastically.

In person they are a mix of self-deprecating but cocky, they have terrible dress sense (“he’s wearing slacks!” said Ms L with horror) but an air of confident coolness. And live the songs are excellent, played with conviction and punch. Not bad for a free ticket.

Set List:
Part-Timer
Fit 4 U
Counters
Terra Firma
Light Switch
I Can Hardly See Them
Loughborough Suicide
Turn Tail
Up All Night
Weekends and Bleak Days
The Current of the River
-----
The Decision
She's Attracted To

Support was not announced in advance. First up was Mon Ouisch (me neither) who were a four piece who played The Undertones song book with aggressive shouting over the top. Sounded pretty good if a little blunt until the song with the chorus “Hey you fucking fashionistas, you’re all fucking cunts” (honestly) when the bluntness outweighed anything else. Back to the drawing board…


And second support was Pete and the Pirates (see here and here). Much as I enjoy them live I still am looking forward to a set from them breaks 40 minutes (what would an hour be like?!). They played all the singles from the album (finishing with C’Mon Feet) plus some new songs: one about a cat, another a nautical tune. Excellent stuff – although playing to a small’ish crowd.

FIT 4 U
I CAN HARDLY SEE THEM
The Young Knives

Superabundance [BUY]

LOUGHBOROUGH SUICIDE

The Young Knives
Voices Of Animals And Men [BUY]

Sunshine on Pilgrim Road

Damn this fine, sunny weather we are enjoying in the UK at the moment. It doesn't really suit the sombre mood I was looking forward to listening to the new Willard Grant Conspiracy album in. Surely based on past performances, Pilgrim Road was going to be a long wallow in dark misery? Well....

I first heard WGC's The Work Song on a compliation (What Young Kids In London Are Listening To) from Mr N. I loved the song, bought the album but didn't fall in love with this straight away. It took several months, if not years, for the whole album to work its way into the brain. But I kept buying WGC, particularly their masterpiece Regard The End.

And so the new album released this Monday just gone. But it's something different; for starters the song-writing is a collaboration with Scottish composer Malcolm Lindsay, who also provides the arrangements - more chamber orchestra than rock band.

So after a couple of listens the thing that stands out is the small differences; rather than the usual deep-voiced growl, Robert Fisher's voice is almost a stately croon (and probably why a cover of American Music Club's Miracle on Eighth Street works so well. Wouldn't have thought it but ruminative Mark Eitzel rather than fire and brimtone preacher Nick Cave vocal style works here). Rather than brooding misery of the past what strikes me is the refined, delicate settings: the strings don't suggest loneliness or despair as previously but grace, even redemption. The whole thing is more graceful baroque than noir gothic. And certainly different from some of the last album Let It Roll where the guitars were definitely set to 'rock' on songs like Crush.

Two listens in it is early days and this not a review (I don't do reviews, just uninformed, biased, opinion) just some initial observations but so far I think it works. I suspect Pilgrim Road will be a slow burn but hopefully will be listening to it long after the warm weather has gone.

And will be interesting to see how this album but also older songs fare when played by The Pilgrim Chamber Orchestra. The UK dates are:
May 14 Manchester, Academy 2
15 Edinburgh, Queens Hall
16 Nottingham, Rescue Rooms
17 Bristol, Trinity
18 London, Bloomsbury Theatre

THE WORK SONG
Willard Grant Conspiracy
Mojave [BUY]

THE GREAT DECEIVER
PAINTER BLUE
Willard Grant Conspiracy
Pilgrim Road [BUY]

MIRACLE ON 8TH STREET
American Music Club
Everclear [BUY]

THE WAVE PICTURES @ NIGHT & DAY 3 MAY 2008

You can't go wrong with four bands for six quid. Well you can if a) the band you are going to see only gets a 30 minute slot and b) one of the other bands is Wild Beasts.

Arrived to catch the last few minutes of the final song by Spokes. Does exactly what it says on the post-rock tin. Sounded great - shame to miss them. Next up was Eyes Wide - noisy, punky, guitar thrash. None too subtle but this is where a 30 minute set works: similar but unfamiliar songs knocked out one after the other. Their roadie Tony tried to act as cheerleader/pied piper of pogo at several points but no-one was joining in. Again, none too subtle....

And then The Wave Pictures: in an eight song set they only played three from the new album which is out on Monday. Jonny the drummer claimed afterwards this is because "we have so many good songs". And he's right.

The three piece come across as unassuming even timid at first glance. And the first two songs felt a bit tentative. But they then nailed that chugging Modern Lovers rhythm perfectly for the rest of the set, only slowing it down for a ballad.


A sixty minute slot would have felt too short I reckon. And though the songs I didn't know (from the first album, future B-sides, new songs? Please enlighten me) were good, where was "Friday Night in Loughborough" or "Now We Are Pregnant"? In the end though, sheer enjoyment outweighs any frustration. So please come back to Manchester soon and stay a little longer next time.

Very rough set-list:

Swim

I Love You Like A Madman

Kittens

Feels

Leave The Scene Behind
Baby It's Alright

We Dress Up Like Snowmen
Strange Fruit For David

LEAVE THE SCENE BEHIND

The Wave Pictures

Instant Coffee Baby [BUY]

Which leaves Wild Beasts. Had previously seen them here and hadn't enjoyed it but prepared to give them a second chance. After all, they are signed to Domino who don't many mistakes do they? However they were terrible - again. A horrid mix of music hall, math-rock and Freddie Mercury. With braces. Got an appreciative response from the small-ish crowd but they lost me after the second song.

THE BAD REVIEW(S) & THE FOURTH ESTATE

Photo credit: Mark Mawston

Pere Ubu premiered its musical adaptation of the theater of Ubu Roi, Alfred Jarry's groundbreaking 1896 play and the theatrical precursor to the Absurdist, Dada and Surrealist art movements, at the Queen Elizabeth Hall, London, on April 24 and 25. The adaptation, written by David Thomas, features 10 new songs as well as various musical "interludes." Independent film-makers The Brothers Quay have devised a unique visual staging in the form of animated projections. Sarah-Jane Morris (ex-Communards, Happy End, etc) features as Mere Ubu, partnering David Thomas as Pere Ubu. Gagarin adds an atmospheric soundtrack by means of electronica. Band members perform various minor roles.

Last week's gig/event "Bring Me The Head of Ubu Roi" by Pere Ubu attracted less than favourable reviews. See here and here.

With a show like this and with a band like Pere Ubu press reviews are rarely going to be kind. They are hardly media darlings. My first reaction of reading some of these reviews of a concert I really wanted to see but failed to was one of relief. But the press rarely tell the full story....

Reports on the Pere Ubu forum were kinder (naturally) and more informative:
It was absurd, grotesque ... wonderful ... ubuesque! It was not a representation of the Alfred Jarry's play, it was a Pere Ubu (the band) show playing a "strange set-list" based on the play !The ten new songs are great, familiar and innovative too

Good stuff, I enjoyed it - always difficult to tell how much of the slapdash-ness is staged and how much genuine :-) The new music was good, too.

Report from David Thomas posted on ubuprojex.net:
Thursday night, opening night, was a bit of a shambles. For various reasons, it was the first time we were able to run thru the piece from beginning to end. And a number of structural and technical problems were exposed. The most disruptive problems were (1) on stage we were unable to identify fade to blacks at the end of scenes (the stage was dark to start with and a fade to black on an already dark stage, we discovered, is hard to determine. Confusion amongst on-stage cast and musicians ensued); and (2) since the play's narrative is driven by song lyrics the audience had a hard time making out what was supposed to be going on. (I have subsequently discovered that the narrative of a musical is not usually carried by song lyrics. Hey! Who's to know these things? I thought that was the deal.) In any case, I inserted brief narrative interludes between scenes for the Friday performance and this seemed to fix the principal issues. Friday went relatively smoothly though some noted that they missed the tension and chaos of Thursday's performance during which I tried to cover clunky bits by throwing "rages," which had always been the backup plan.

All of which makes me REALLY wish I had seen the concert. I'd rather see a brave experiment - with rages and slap-dashness - than miss it. And I'd much rather trust the opinion of a punter than a pundit.

THE BAD REVIEW
Bongwater
Too Much Sleep [BUY]

"All of our songs sound the same"

Well you could have treated yourselves to the new albums from Portishead, Tindersticks or The Fall today but surely there's only one album release today that matters (to those of a certain age....)

Probe 61 is "CSI: Ambleside" by Half Man Half Biscuit.

"Half Man Half Biscuit's 'nth album offers no departure whatsoever from their rather formulaic brand of tuneless caterwaul and whilst this 'mostly filler no killer' approach might appease the already committed fan, it is unlikely to attract any new friends. Somewhat inevitably, there is no myspace page to 'check out'".

On first listen, not as 'rocking' as Achtung Bono but all is relative. Every trademark HMHB component is present correct - if it ain't broke etc. And the last track - 'National Shite Day' - is one of their best. Even, if as they say on this track below, all their songs sound the same..

LORD HEREFORD'S KNOB

Half Man Half Biscuit

CSI Ambleside [BUY] or [BUY]

RADAR BROS NOT @ MUSIC BOX 16 APRIL 2008

You wait years for your favourite Californian slo-core band to turn up. Then they announce they are playing your home town on their UK tour. And then minutes before you leave on the night of the gig you get this message:

We're really sorry to have to tell you at such short notice but we're afraid that the Radar Bros. gig at the Music Box tonight has been cancelled. We're raging about the whole thing to be honest and the band are really disappointed - it's the promoter that's decided to pull the gig and there's nothing we've been able to do to convince him to change his mind. The band are coming to Manchester anyway, in order to do a live Marc Riley session this evening on 6 Music but we're afraid that the gig won't be going ahead as planned.

What a pisser. Not only really looking forward to this gig, I was downright intrigued what Radar Bros would be like live. I haven't followed them closely since The Singing Hatchet in 1999 until this year's album Auditorium - but have always enjoyed their dreamy almost soporific melodic songs. And that's part of the problem - sometimes listening to an album I lost track of the music and couldn't recall the last three songs at all. But Auditorium has proved different so far. Ah well just will have to imagine what it would have been like - and hang on for another five years.


SHOVELING SONS
Radar Bros
The Singing Hatchet [BUY]

HEARTS OF CROWS
Radar Bros
Auditorium [BUY]

MAVIS STAPLES @ BRIDGEWATER HALL 14 APRIL 2008

Well how did this happen? I often go to gigs and don't come back with any photographs (and the size of the Bridgewater Hall - 2000 seat concert hall - means a camera phone from the first circle just ain't gonna do the job) but I somehow managed to come back without my ticket stub. Despite the still-missing-box of from the 80s and early 90s I have managed to 'archive' all of my ticket stubs. Except this one. Damn.

Memory, as faulty as it is, will have to do. This was a fine concert. I was blown away by last year's We'll Never Turn Back album, but what would Mavis be like live? In the end, the style was close to that of the album but the selection of songs was much broader.

Mavis had a six piece band - guitar, bass and drums plus three backing singers. They stayed closer to the spare, gritty, almost bluesy sound of WNTB rather than a slick or more soulful take. This worked less well for the Staple Singers songs towards the end of the set but for songs from the album like Down in Mississippi or Eyes on The Prize or even some of the covers like Wade in the Water or the Buffalo Springfield cover, it worked just a treat. There was also a great instrumental section were the band were let loose on a medley of tunes including a raucous instrumental of Johnny Cash's Folsom Prison Blues.

However what really made this concert was two things. The first Mavis's voice - deep, throaty and guttural rather than as soulful as in earlier years but still with a soaring range. The second was Mavis herself. In addition to the songs she told stories on the civil rights struggle, of MLK (Why Am I Treated So Bad was his favourite song), of her father and family's fight against injustice that reinforced that Mavis not only sung it she had lived it. Her presence and her stature as a campaigner shone out along side her singing. It was a privilege to be in the company of such a woman. Long may she continue to sing and to campaign.

For What It's Worth
Eyes on The Prize
Down in Mississippi
Wade in the Water
The Weight
Why Am I Treated So Bad?
I'm So Lonely I Could Cry opening bars/instrumental slide guitar blues/Folsom Prison Blues
Marching on Freedom's Highway
Respect Yourself
I'll Take You There
----
We Shall Not Be Moved
Turn Me Around


DOWN IN MISSISSIPPI
TURN ME AROUND
Mavis Staples
We'll Never Turn Back [BUY]

MALCOLM MIDDLETON @ NIGHT & DAY 6 APRIL 2008

After seeing Malcolm before (here and here) knew what to expect but forgot just how good this would be. Malcolm claimed that the evening would be "indifferent" but he was just plain wrong.

Performing seated with acoustic guitar accompanied by Stevie on double bass and Jenny on violin/backing vocals (no fancy equipment changes here), he played songs from all four albums, a B-side or two plus several new ones. Including "Red Travelling Socks" (Bright-Eyes-meets-Billy-Bragg?) that he claims "should mark a new turn in my career"

I much prefer this setting for Malcolm's songs that the polished full-band production on parts of A Brighter Beat and Into The Woods. And the final songs played solo - especially Choir and Devil and The Angel were just heart-breakingly good. For someone so self-deprecating and almost at unease with the notion of performing, he puts on a bloody good show.

And managed to pick up a copy of the web/gig only release Live At The Bush Hall and get it signed too.
All in all an excellent evening - suitably aided by Night and Day's new Polish beer of choice Tyskie

The set-list (with a couple of omissions and guesses at titles for new songs):

A Brighter Beat
Fuck It I Love You
Week Off
Follow Robin Down
Blue Plastic Bags
We're All Going To Die
Pick Me Up
Shadows
The Loneliest Night Of My Life Came Calling
Point of Life
Toasting The Bad Times?
Stay
Red Travelling Socks
Somebody Loves You

------
Total Belief
(another one here?)

Choir
The Devil and The Angel

Several acoustic demos available to download from Malcolm's website here - you're life will be better for it.

A NEW HEART

Malcolm Middleton
Into The Woods [BUY]

DEVIL AND THE ANGEL

Malcolm Middleton

Live At The Bush Hall [BUY]

Support was from De Rosa who performed as a two-piece (guitar/vocals plus electric piano) - definitely worth investigating.

HATTONRIGG PIT DISASTER
De Rosa

Mend [BUY]

SEE THE BIG MAN CRY

I'm not a sentimental type but recent events amongst family and friends (involving family pets, turning 40 and themed cakes) have caused grown men and women to start blubbing publicly. And it's difficult not to be moved.

And the bloggers seem to be joining in too. First DominoRally posts Jim Reeves' "Old Tige" and then Moistworks posts "See The Big Man Cry" by Charlie Louvin. Spoken word personal histories, death and family pets: all great topics to bring a lump to the throat.

So here are my contributions to songs sentimental and teary - all guaranteed to start me claiming "I've just got something in the corner of my eye..."

The emotional damage this wreaked on a nine year child listening to the charts in 1974 still lingers.

SEASONS IN THE SUN

Terry Jacks [BUY]

As uplifting as it is moving and sentimental - nothing short of genius (and don't even mention the fact that Clarence was blind)

PATCHES

Clarence Carter [BUY]

First heard this recently on St Etienne's Songs For Mario's Cafe . A children's choir AND a woman crying. Thank god I didn't hear it when I was nine....

THE MUSIC BOX
Ruth Copeland [BUY]

SPRING CLEANING

"Do you really need to keep that?" is a question I have been asked all my life; and the answer is invariably "yes". Hence the notion of The Archive. It's more that just a record and CD collection; it's a justification for keeping all the shit I've accumulated.

Gig t-shirts come into this category. Some last for years, some only a couple of washes. And then there are the red T-shirts. Red is just not my colour. My pale, pasty skin (too much time spend indoors) looks EVEN MORE washed-out in red. Mrs A has had to veto any more red clothes. But what to do with all the red gig t-shirts? Especially when spring cleaning?

Well the answer is obvious. Take then out of the draw. Re-fold them. And put them away again. Because yes I really do need to keep them.

JUNKIE'S PROMISE

Sonic Youth

Washing Machine [BUY]

THE LONELY

British Sea Power
The Decline of British Sea Power [BUY]

MISTY'S BIG ADVENTURE @ MANCHESTER ACADEMY 2, 1 MARCH 2008

The hardest working band touring the UK at the moment? Back in Manchester but alas without dancer-cheerleader-mascot Volvo who went out for a pizza after a recent gig and never came back (I did see a woman nearly in tears at the news).

The usual bag of tricks from the band; added to tonight's repetoire was playing all their singles in chronological order. Nice touch - but "Dog Like You" should have been a single. And threw in a few new songs too like "The Start of the Century", "the Rainbow and The Cloud" and "Television's (?) People". One new song was described as "indie jazz" - luckily it wasn't.

The set-list:

Instrumental
The Long Conveyor Belt
She Fills The Spaces
How Did You Manage To Get Inside My Head?

Smart Guys Wear Ties
I'm Cool With A Capital C
Night Time Better Than Daytime
Hey Man
The Story of Love
Fashion Parade
The Start of The Century
Television's People
We Do! Do We? We Do!

A Dog Like You
Between You and Me
The Day The Kids Went Radioactive
Serious Thing
The Rainbow and The Cloud
Evil
Two Brains
Elevator Escalator Stairs
Never Stops Never Rests Never Sleeps
(and Crumpled Up Guy somewhere in second half)

WE DO! DO WE? WE DO!

The Black Hole [BUY]

FASHION PARADE

Fashion Parade single [BUY]

JIM JONES R.I.P.

Last week Jim Jones died of a heart attack at the age of 57 after many years of illness. Jim was guitarist with Pere Ubu, Home and Garden and many other Cleveland bands. I didn't know him, never met him and probably only saw him play once (Worlds in Collision tour 1993, London Marquee) but I feel strangely saddened at his death.

Read about his impact on the Cleveland scene and other musicians here. David Thomas of Pere Ubu is strongly against unauthorised posting of their material (see here) but I hope he doesnt't mind the following as a tribute to Jim.

FROM THE LIFE OF KING JOHN
Home and Garden
History and Geography [BUY]

"And now I get my fortunes told for free"

I've just started listening to the Robert Plant and Alison Krauss album "Raising Sand". It isn't bluegrass. And it isn't blues-rock. More like desert balladry. It reminds me a lot of Howe Gelb and Lisa Germano on the OP8 "Slush" album from 1997. It's only my first listen or so to Plant & Krauss but I'm not sure it will find a permanent place in the Archive.

But one song did stand out: their cover of the Allen Toussaint song "Fortune Teller".

Now I don't believe in seasonal postings. But let's make an exception and link this to Valentine's Day.

Several years ago now Mrs A and myself walked down the aisle after tying the knot to Benny Spellman singing "Fortune Teller". It was a register office naturally with us being atheists - and we don't have "our song" but this song was just too perfect not to be played. There are several versions about (notably The Who on Live From Leeds 1974) but nothing has topped the original Benny Spellman one to my mind. But the Plant & Krauss does come close.

So Happy Valentines Day Mrs A. I know it's only a blog post. But it's more than you got last year.

FORTUNE TELLER
Robert Plant & Alison Krauss
Raising Sand[BUY]

FORTUNE TELLER
Benny Spellman
Fortune Teller [BUY]

EAMON HAMILTON @ RUBY LOUNGE MANCHESTER 12 Feb 2008

One thing that is great about Brakes is hearing four musicians play short, sharp, fast and loud songs. With electrical instruments and amplification. So how was this going to work acoustically?

OK so obviously the electrical instruments, band and loudness were missing but what came through - mostly - was the quality of some of the songs. Given the brevity of some of Brakes songs (first single Pick Up The Phone clocked in at a mighty 24 seconds), it can be easy to dismiss them as a novelty. But listening to the songs played and sung by Eamon with just an acoustic guitar showed there is more to the songs than either noise or speed. The ones that worked tended to be the slowies and the "heartbreakers" (in Eamon's words) such as No Return or Fell In Love With A Girl. But even Spring Chicken and Heard About Your Band felt fresh, even lively, delivered acoustically. Some didn't fare so well including All Nite Disco Party despite audience participation (but to my mind this is their novelty song).

First time in Ruby Lounge. It is doesn't live up to the owner's own hype (see here). Worked well for three solo(ish) peformers and given small attendance (I reckon there was only 40-50 in) but would hate to see a band with a capacity crowd of 350 in. It's basically a spacious basement bar with a small, wide but shallow stage in one corner. The area immediately in front of the stage has two great supporting columns. So I guess you're OK if front and centre but further back or to the side could be a nightmare.

But I'm being picky. Great night despite low attendance. Three acts for £7 (shame about the exorbitant fees from See Tickets). First support was John Fairhurst. Played acoustic guitar and occasionally sang, accompanied by harmonica/spoons and bongos/tablas. Mixture of John Fahey-esque, almost trippy instrumentals and bluesy drawls. Couldn't help but imagine him being big on the festival circuit playing late night in a tent in the middle of nowhere.

Second support was The Voluntary Butler Scheme who had been playing with Eamon on several of these dates. VBS is one man - Rob Jones - with a very big fringe. Difficult to see his face through much of the playing because of his hair but also he moved between instruments fairly rapidly and had to concentrate fairly hard on this. For some songs he looped some percussion or guitar chords and then played guitar or keyboards over this. On one song he played kazoo and ukelele at the same time whilst beating a rhythm with his foot on a bass drum. Impressive stuff but the songs were pretty good too. Don't think anything has been officially released but bought the Tomatoes, Peppers, Garlic & Mushrooms CD-R 4 song EP of him at the end. It comes in a limited edition, hand-printed paper bag:

Songs reminded me of the playfulness of Aidan Smith, mixed with the bedroom romanticism of say Babybird or Momus (but not as artful). One to watch as they say.

Eamon's set:

Spring Chicken
Ring A Ding Ding
If I Should Die Tonight
"Don't Take Away My Space Man" (new song)
Heard About Your Band
You're So Pretty

No Return

Beatific Visions

Margherita

Pick Up The Phone

Cheney (three times)

"Thought, Thought Until It Had Been Thunk" (new song)
Fell In Love With A Girl
On Your Side
All Nite Disco Party
Hold Me In The River
What's In It For Me?
"Consumer Producer Chicken Egg" (new song)
Porcupine or Pineapple
NY Pie
Comma Comma Comma Fullstop

----

Take A Whiff Of Me (Leadbelly song)

HOLD ME IN THE RIVER
Brakes
The Beatific Visions [BUY]

TRADING THINGS IN

DYNAMITE
The Voluntary Butler Scheme

Tomatoes, Peppers, Garlic & Mushrooms EP [BUY]

PETE & THE PIRATES @ MANCHESTER ROADHOUSE 5 FEB 2008

First time I've ever had ticket number one? Pete & The Pirates played The Roadhouse tonight as part of UK tour in advance of their album coming out on 18 February. Having seen them at the End of The Road Festival and being very impressed (see here) hopes were high for tonight's gig in Manchester.

But probably the shortest set I've ever heard from a headlining band. It was good - don't get me wrong - but woefully too short. The new album is about 35 minutes long - and I think the set was shorter. Surely not right? And only one crappy photo because camera phone decided to have a hissy fit.

Early part of set was quite quiet (band and crowd) but definitely picked up. They've got some great songs (see all their singles). I've been struggling to think of a comparison band - always a mistake. The nearest I can get is The Undertones: nervy, clattery guitars; strong melodies but equally strong punkishness; very short; all about girls. But very English.

I thought the audience were really passive (surprisingly so) but maybe lack of familiarlity with the material? Appreciative but subdued. The band did get more into their stride but was over before they started - and no encores. All done by 10 pm - a good 30 minutes before the club night that was meant to be the reason for the 10.30pm curfew.

So next time: more of the same but longer.

The one that was written in Manchester apparently...
SHE BELONGS TO ME
Pete & the Pirates
Little Death [pre-order]

CLINIC IN SESSION BBC RADIO MERSEYSIDE 1 FEB 2008

This was a competition winners-only event at BBC Radio Merseyside's performance space. Well the performance space was more like an office foyer with bright lighting with some amps and musical instruments shoved at one end. The lack of an obvious stage, the harsh lighting and no bar meant that most people (about 50 or 60 or so in attendance) were milling around until someone (a BBC Radio Merseyside DJ) introduced Clinic playing their first hometown gig in over 10 years. Clinic entered in the usual surgeon's masks, olive green North Korean-leader-style suits plus mop-top wigs. They played a no-nonsense, tight 45 minute set with five new songs including FREE NOT FREE which is available to download free today.

There might not have been much atmosphere due to the 'venue' but it was an impressive performance with the new songs fitting in well with classics like Cement Mixer and The Second Line. Great appetiser for the April UK tour (dates here).

This was the set-list:

PET EUNUCH

CLINIC

Walking With Thee [BUY]

FREE NOT FREE

CLINIC

First single (available free from clinicvoot.org) from new album DO IT (due 8 April)

BRITISH SEA POWER @ MANCHESTER ACADEMY 2 27 JAN 08

Well after average (by BSP standards) show at Leeds was expecting more of tonight. In such a high state of excitement unfortunately that ended up drinking too much strong continental lager during the support slots. So blunted my critical faculties maybe - but I had a bloody good time.

Same set as has been played throughout this tour but from where I was (at the front, dead centre) felt much more energetic than Leeds - both band and crowd. Great performances of Lights Out For Darker Skies, Fear of Drowning and The Great Skua. Whether it was enjoyment or alcohol, ended up taking several photos with the camera phone.

And foliage even appeared for the encores:



The advertised running times all went to pot with These New Puritans coming on first. They were a bit flustered, having only arrived "ten minutes ago". Didn't appear to affect their performance but I do think they appear to have forgotten to unpack some songs. Lots of Mark E Smith-style shouting over pounding synth and drums - sounded good initially but didn't go anywhere really.

The Vanguard then came on for the second slot. Lots of local support so got a better reception and played a good set. Liked some of the early songs but by the end of the set familiarity had set in a bit for me. Worth seeing again though.

The BSP set-list:

Lights Out For Darker Skies

Fear of Drowning

Remember Me
Canvey Island

Down On The Ground

How Will I Ever Find My Way Home?

Blackout

Waving Flags

The Great Skua

Please Stand Up

Atom

Favours in the Beetroot Fields

Open The Door

No Lucifer

A Trip Out

The Spirit of St Louis
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True Adventures

Carrion

Rock in A

DOWN ON THE GROUND

British Sea Power

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