Beau and The Arrows // Fix // 04.04.11 // Happy Release Records

First appeared on Never Enough Notes on 4 February 2011

Beau and The Arrows have been knocking about since 2008 so like most bands worth their salt they have had to do some grafting to work up to this, their debut release. The band’s brand of atmospheric indie is nothing out of the ordinary but very palatable, its ambience and male and female harmonies sounding similar to bands like the xx.

“Fix” gets slightly hypnotic after a few listens, and as the band sing “I want you”, it does kind of make me want to follow them..somewhere. It would be intriguing to see if that atmosphere transfers to a live show.

Their album “Future Kicks” is scheduled for release in the summer and it will be interesting to see what more Beau and The Arrows have to offer.

7/10

 

Poppy and Friends//Live// 26.01.11//The Workshop

First appeared on Never Enough Notes on 29 January 2011

The Workshop is underground, tiny and dark like a good venue should be. Just need to ignore the ‘live nudes’ sign and the picture of the topless woman licking a record and it’s pretty much my kind of place.

Poppy and Friends are headlining Folkabout, a night of treats each one with their own twist on the folk genre.

Now, these reviews are normally all about the headliners and likeable singer-songwriter Richard Lobb and country crazies The Wagon Tales were great but Misty Miller really is ‘one to watch’. The 16 year old has a hauntingly soulful voice and her ukulele backed songs hold the room in silence.

While Misty is all about the sugary sweetness, Poppy and Friends’ brand of anti-folk has a slightly more shambolic edge while Poppy herself has a voice that could be compared to Alanis Morissette but with a little less angst…and from Bristol.

The double bass and drums are intense but slightly overwhelming. This is the second time I have seen this band and the second time I have strained to try and hear exactly what Poppy is singing which is a shame as, after listening to the band recorded, the lyrics are one of their major strengths. Songs like Tuesday have a comical honesty and you can imagine yourself right there in the story, which is what I love about folk music.

I think I must be going soft in my old age but there’s something about really sweet lyrics that I cant get enough of at the moment: Mandy’s Ice Cream has me in a nostalgic chuckle as she talks about the ice cream tax her mum used to make her and her sister pay to her when they were little – a lick of ice cream and half a flake.

7/10

 

Michael Lee // Face Forward // 18.10.10 // Crash Records

First appeared on Never Enough Notes on November 19 2010

Multi-instrumentalist Michael Lee was apparently inspired to take up music after a childhood in the sleep village of Longwick, Buckinghamshire. He started gigging at 14 and those long, quiet evenings in the countryside obviously led to him really enjoying learning his instruments and experimenting with different sounds.

Face Forward is a collection of Lee’s best songs from over a number of years which means it has a lot of of variety but it is confusing at times as it jumps between genres ranging from pop to folk to prog rock. The twinkly guitar riffs and summery grunge on tracks like ‘Land of Change’ and ‘Never Enough Time’ make me think I probably wasn’t the only one listening to Incubus albums on repeat as a teenager and and enjoying their easy going vibe, but Lee’s more ballady tracks like ‘Tired’ and ‘Mystery of Life’ are less satisfying: ‘Slow’, unoriginal and a touch wingey.

Lee plays most of the instruments on Face Forward and produced it himself, a labour of love with is quite indulgent at times: Tracks like ‘Despite’ reflect this, and the epic Face Forward a prog rock wandering piece of music which is the most extravagant track on the album.

This one may be an album more for fellow musicians than people that just like to listen to good music without agonising over the nuances. Face Forward is not altogether a bad album but now Lee has got the mixed bag of old favourites out of the closet maybe he can look to the future, follow his own advice and Face Forward….sorry I couldn’t resist!

6/10

CAS @ Feminism In London

From looking around the room a feminist could look like anyone. The women did not fit the stereotypes all too often associated with the feminist movement, ranging right through the age spectrum, gay and straight and of varied ethnicities.

There was also a significant number of men, not coerced there by women but fully engaged in the issues including those sometimes considered women’s domain – like maternity care and problems with the ‘sex industry’.

There was a workshop for men only on ‘Confronting Privilege’; part of a diverse programme that included feminist parenting, women’s internalised prejudice, reproductive and sexual health and workshops specifically for children.

One of the main attraction of the conference for Ctrl.Alt.Shift was the section titled ‘Reports From The Global Women’s Movement’, a panel of feminist activists, experts who have taken part in struggles around the world.

“If you’re not at the table you’re on the menu”, said Chitra Nagarajan in the day’s opening, and this is especially obvious in many places where war, poverty or corruption have caused dramatic imbalances in power.

Nadje Al-Ali started off talking about the Iraqi movement, where she said in many ways there has been regression in women’s equality. Leila Alikaramis told a similar story from Iran but pointed out, “Now women have showed themselves successfully in public life it is not possible to force them back into the private lives of their home.”

M&S Percy the Sexist Pig protest

Tsitsi Matekaire talked about how despite violence against women and forced marriage by kidnap being prevalent in Ethiopia, women are increasingly organising and fighting for their rights.

Katherine Ronderos also spoke about women’s resistance and told the story of the Feminists In Resistance movement in Honduras – an energetic and compelling campaign against the violence of the recent coup in the country.

Katherine also highlighted how inequality in sexual identity, ethnicity, class and gender is always interlinked and should be tackled in intersections instead of in isolation from each other.

Complex issues were also explored by one of the most exhilarating speakers of the day, Marie-Claire Faray-Kele, recently returned from the Democratic Republic of Congo as part of a group who travelled from the UK in solidarity with women who are victims of mass rape, a weapon often used in conflict there.

Marie-Claire painted a damming picture of how the exploitation of natural resources in the DRC by multinational corporations have led to displacement of people and how she thinks the presence of NGOs and the UN is adding to the problems in the country by disempowering women who want to stand up for their own rights.

Every person told an inspiring story of women and men working for gender equality. Cynthia Cockburn, who chaired the section, called on the audience to learn from these struggles of people who are often working in very dangerous and more restrictive situations than our own. As Marie-Claire pointed out “feminism is not just a Western concept.”

Whether in the DRC or on the streets of London many women and men are taking part in the gender equality movement. Lunchtime activism was also squeezed in outside Marks & Spencer in Oxford Circus, as 50 people dressed as ‘Percy the sexist pig’ descended on the store and gave out leaflets calling for a Boycott of the chain after they sub-let one of their buildings (in Bristol) to Hooters.

Feminism in London showed the growth of an inclusive feminist movement in Britain; for around half of the delegates it was their first Feminism in London conference.

The final speaker was Finn Mackay who received a stand ovation for her call to action, but for me movements for equality were summed up by Natasha Walter, who said, “Never stop believing that the future we want will become the present we are living in.”

Natalie McCool // Shoot Shoot EP // 25.10.10 // Hubris Records

First appeared on Never Enough Notes on October 29 2010

22 is not as young as it used to be in a music industry where as long as a child can talk (or at least make a noise) it has the potential of a hit single, but it is still an impressive age to have played with Paul McCartney.

While studying at the Liverpool Institute of Performing Arts McCool performed in front of Macca who was compelled to pick up an acoustic guitar and play along. She also lists Chris Martin and Mark Radcliffe among her fans and was head hunted to work with Steve Levine after he was on the judging panel for the young songwriters’ Make It Break It award – which she won.

This EP is short, only three songs, but it is clear a lot of thought has gone into it; each track is perfectly crafted, planned from beginning middle to end. The first two tracks: Shoot Shoot and Prophecy, with its mournful strings, are very dreamy but with a slightly dark edge.

McCool’s acoustic sound is slightly wild and conjures up images in my head of dark woodlands, the type you would expect beautiful elves to wander around. Sure enough, I am not the only one to have had this thought and a quick Google image search for McCool shows she does indeed have an ethereal quality about her and has been photographed among the flora.

If this EP is a taster of what’s to come then the future certainly looks interesting for McCool and hopefully as her confidence (or other peoples confidence in her) grows the music might start to sound more free and that wild, mysterious edge will become more obvious than some otherworldly photographs.

7/10

Review: Collapse

First published on Ctrl.Alt.Shift on October 26 2010

Director: Chris SmithAs you would expect from a film on economic and environmental ‘Collapse’ – this film isn’t a light watch.

Directed by Chris Smith, best known for his documentaries including American Movie and The Yes Men, this film takes a minimalist and slightly darker approach to his previous work. 

The focus of the film is Michael Ruppert, a former LAPD officer now better known for his reporting on corruption and criticism of mainstream media. It is shot in a dark room with very little light, Ruppert chain smokes as he is interviewed by Smith. The camera pans around him often close up so it is possible to see every wave of emotion that goes over his face as he talks about his life and work.

Ruppert is frank but very angry, a man who feels he has been ignored and unfairly treated by those with power. Energy is one of Ruppert’s biggest concerns, and he explains how he thinks society’s belief that we can have infinite growth has led to a naïve belief that we can have infinite energy. Energy, he says is becoming more powerful than money but when the sources we rely on, such as oil, run out we will need to be able to adapt to this new world.

Ruppert bases many of his arguments on the problem of peak oil, the point in time in which global oil reserves will go into decline. He highlights how peak oil predictions and signs of the recent economic crisis have been ignored by those in power for many years and how people voicing their concerns have been branded alarmist.

Much of the film seems to me to be disempowering to those who share Ruppert’s views but despite all the anger, Ruppert describes the power of community with tender emotion. He describes walking away from the problem and not doing anything as taking part in our own suicide, describing ways people can take control of their own lives to protect themselves.

Some people may see him as too paranoid, pessimistic or even extreme but there is a lot of sense in a lot of the things Ruppert says. He defends himself against accusations of being a conspiracy theorist saying that the thoughts that he promotes are more conspiracy facts and comments on the growing dissent he feels in the world and how ordinary people can use this movement and become part of it to effect real change.

This is the kind of sentiment that we, as activists for social change, need to take hold of. We can’t expect people to join a movement of hopelessness, we can’t expose problems without offering some solutions.

Chto delat? – The Urgent Need To Struggle

First appeared on Ctrl.Alt.Shift on October 22 2010

The event: Chto delat? (What is to be done?) – The Urgent Need To Struggle
Date: October 9 – October 24
Location: Institute of Contemporary Arts, The Mall, London, SW1Y 5AH
Price: Free entry

This project has been created by Tsaplya (Olga Egorova), Nikolay Oleynikov, Gluklya (Natalya Pershina-Yakimanskaya), Nina Gasteva, Vladan Jeremic/Rena Rädle and Dmitry Vilensky…

A dream for any political and cultural theory geeks; this exhibition even comes with a handy reader – a newspaper of texts to help further your understanding of the theoretical ground the artists have started from but can still be appreciated by those looking for something less involved.

‘This exhibition… tells the story of the struggle of ‘ordinary’ people against the government, the authorities, oppression, inequality but also the feeling of hopelessness that can engulf activists at their low points…’

The Urgent Need To Struggle is a modern take on old school leftist principles, which, as history seems to go round in circles, are still relevant today. It gives a series of thought provoking proposals on varied movements and works to unite cultural workers and all working people together in their struggles, rejecting any perceived artists’ pretention.

The view of artists as part of the wider workers’ movement is central to the work of Chto Delat, the platform of artists and thinkers who created this exhibition, and was “founded with the goal of merging political theory, art and activism.” They take their inspiration from revolutionary Russian working groups and basing their work on principles of self organisation, collectivism and solidarity.

These principles are immediately recognisable in this exhibition which tells the story of the struggle of ‘ordinary’ people against the government, the authorities, oppression, inequality but also the feeling of hopelessness that can engulf activists at their low points…

The room’s strong red, white and black colour scheme hits you instantly as does the main focal point: A cinematic screen faced by ascending double beds, an installation that wouldn’t look out of place as a bedroom on Cribs. There is also a viewpoint where you can attempt to sing a song called Partisans Forever – in Serbian – along with a video of people in white boiler suits. The walls are decorated with pages from the reader, an issue of Chto Delat’s paper, quotes from well known leftist leaders and images from the films that make up the main depth of the exhibition.

The amount of film content means the exhibition needs time to be explored fully. Each short film or trailer centres on a different struggle, many are bizarre and abstract fiction; whereas others are simple documentaries or a series of stills with commentary. Although many of the issues explored are very much in he present, history never feels that far away.

Chto delat have presented a valid and useful series of thoughts on the position or art in activism and the importance of cultural workers in the wider workers movement, although I can’t help thinking that some of the more conceptual representations of struggle, such as the musical films, echo exactly the type of pretetion they are trying to avoid.

The Urgent Need to Struggle is central to the Institute of Contemporary Art’s (ICA) current season titled ‘Dissent’; in which they ask whether culture can be a site for protests in a time of economic crisis. The season has included numerous events including talks and debates and a big focus on film with an artists film club and the regular screening of Collapse from American director Chris Smith.

dan le sac Vs Scroobius Pip // The Logic of Chance

First appeared on Never Enough Notes on August 10 2010

 Released on March 15 2010 on Sunday Best

The Logic of Chance is a collection of wise words on topics such as ‘Broken’ Britain, domestic violence, love and the perils of writers block for rappers.

Always recognisable and undeniably British, dan le Sac and Scroobius Pip create modern poetry, with an edgy soundtrack, The Streets for a new generation.

The duo have never skirted round issues which can put people off who think that music doesn’t need such obvious social content but it is always refreshing to hear artists that are not afraid to speak their mind. For every fan this may loose them there is probably at least one more that not only enjoys the music, a fast paced mix of electro, hip-hop and drum & bass, but also the viewpoints explored.

One album highpoint: ‘Cauliflower’, is a combination of Scroobius Pip’s spitting South East accent with the sweet and pure voice of US singer Kid A telling the story of a beautiful whirlwind romance with illustrative lyrics such as “still got a cauliflower ears from where her voice first hit me”. Such lyrics are what makes dan le Ssac Vs Scroobius Pip worth a listen, playing on modern references in a poetic way while staying funny and clever.

The duo seem determined to ‘make a difference’ and get through to people but it is hard to see how the kids a lot of it it is aimed at will ever hear these tracks. The Logic of Chance is their second full album release and although they have a lot of respect in certain quarters they are yet to break into the mainstream as is the conundrum that many artists challenging ‘the man’ find. Reach out to as many people as possible while possibly compromising on your music or lyrics or resign yourself to the background until the world is ready. Until then dan le Sac and Scroobius Pip are ready and waiting, discussing a very British state of affairs.


9/10

Drum Eyes // Gira Gira

First appeared on Never Enough Notes on August 7

Released on September 9 2010 on Upset The Rhythm

Gira Gira contains the kind of music that needs to be listened to after years of progressing through ‘relatively hard core music’ fan badges. For those who, like myself, only ever progressed to the hardcore music equivalent of the 25m swim badge this album could be difficult after repeated listening.

There is no denying the enormousness of this record, arranged like a soundtrack Dr Who makers would envy. Every instrument is played to within an inch of its life, with drums pounding prominently all the way through. As the monster awakens with opener ’50-50′ it builds to a ferocity which is futuristic and full of drama, providing a score to a scene where I imagine Drum Eyes stepping off their mighty space ship guns blazing and bullets flying everywhere in slow motion while they look menacingly on.

‘Future Police’ has keyboards that sound like a frightening Nintendo game, an intensity that continues throughout the rest of the album, which although it is only six tracks long does not leave you feeling short changed. Gira Gira is not just pure noise: there is melody, texture and some heavy beats giving a rich variety of sounds including a heavy metal edge on the track ‘Future Yakuza’.

The album is a far cry from the usual franticness of DJ Scotch Egg, the Japanese gabba music producer who heads up this collaborative side project along with members of bands including The Boredoms and Trencher. Gira Gira is straight up angry, psychedelic and slightly scary ear busting tracks, a thirty five minute assault on the senses. The intensity can be too much, but the question is: Can you handle it?

8/10