Antiquarian book dealer, illustrator, singer, taxidermist.
READ MOREYour worst fears about ‘Nothing’ are probably right. The late-year, post-album extended-play sounds like the runoff of a few constructions that didn’t make the cut for ‘Dedication’.
It’s hard to fathom that British Sea Power now have five albums under their belts.
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The Oh Sees
The Luminare, Kilburn
London
05/06/10 |
“There’s a shitload of people here,” drawls Thee Oh Sees frontman John Dwyer, addressing said people who are crammed, nose-to-armpit, right up to the edge of the stage. “It’s HOT!” That, Mr Dwyer, is the understatement of the decade. It’s the kind of hot where you can feel the rivulets of sweat streaming down your skin and, under the circumstances, hope to Buddha that the sweat in question is your own. The band launch head-on into a set of fuzz-infused garage, laced with psychedelic guitar riffage, and bristling with clear, focused energy – and they are relentless about it. The gig is a marathon of sweltering, squelching punk tracks, many from recent album ‘Help’, complete with impromptu drawn-out, bluesy endings that drummer Mike Shoun bravely bashes his way through, even as the other Oh Sees are tacking on a few more reverb-heavy phrases, just to see if he can make it. “You guys getting tired?” asks the drenched Dwyer, before throttling his guitar through thirteen-minute track ‘Warm Slime’, holding his mic up to the amp and grooving off the delirious shrieks of feedback. Between the heat and the unrestrained intensity on stage, tonight feels like the end of the world – and what a way to go.
By Polly Rappaport
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Originally published in issue 18 (vol 3) of Loud And Quiet. June 2010
The best shows are most often those where artist and audience fall into a frenzied feedback loop of mutual appreciation.
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Save for an old electronic keyboard and a delay pedal that makes singer Kamal’s vocals ping-pong out of the room, Flamingods don’t do instruments with wires.
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Sisters Hannah and Colette Thurlow famously named their bristly, glowering rock band after a favourite moment on a Melvins song, 2 minutes and 54 seconds in, to be precise.
The man formerly known as MF Doom returns to the Roundhouse for a sold-out show, barely a year after his debut European performance in the same venue.
In the studio, Caged Animals (Soft Black’s Vincent Cacchione’s new baby) deal in a faintly cloying, suburban youth-channelling indie with a twist.
Despite the days of Union Jack plastered guitars and weather-worn parkas being a prerequisite of any northern based guitar band being long gone.
“It’s hard to believe that in this very room they used to have gladiators fighting to the death,” exclaims Metronomy main-man Joe Mount.
This week we’ve been listening to new music from The Proper Ornaments, The Weeknd, Electricity In Our Homes, Sunless ’97 and Ceremony [pictured].
LISTEN HEREDropping his iPhone was the best thing that ever happened to Reef Younis.
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