Scribbles

by Felicity Pepper

[felicitypepper]

yellowbluepink by Ann Veronica Janssens

“A few rules. If you lose anything in there, it belongs to the museum. If you get lost in there, so do you,” the imposing Wellcome Gallery employee tells us. We stand outside the double doors to Ann Veronica Janssens’ light installation at midday on a quiet Tuesday. The computer monitor just past him shows a black and white thermal video from inside the room, where the faceless visitors cautiously move around as though they have only one brain cell between them.

Entering the room is kind of like entering heaven if you expect to enter heaven by passing through double doors and an unromantic PVC strip door curtain. My friends fall away from me as I walk forward into the dirty white fog. My first impulse is to run about yelling “CATHY!” at the top of my voice (– I do not do this). I expect to feel claustrophobic, but despite being in a clouded room with hidden strangers and my own anxiety, I’m strangely peaceful. The fog is mostly opaque and while it’s oppressive it’s also comforting, because as your sight becomes an unreliable guide the other senses take hold. You stand still and you can detect the other visitors; you can hear their soft voices through the fog.  After a while, you’re able to judge where you are by the movement of the mist, the colour of which changes as you pass through the room under the brightly coloured green, yellow and pink strip lighting.

The room is deliberately disorientating, the whole experience designed to strip away outside interruptions so that visitors can enjoy “the sheer wonder of being conscious”. I found it quite a meditative experience (disclaimer: I’m an unspiritual heathen) and it’s exciting to feel yourself adapting so quickly to such a change in surroundings. There’s a high that you get from the experience of having one sense repressed and the others heightened. A playful silliness eventually takes over. You start noticing how the floor is slippy – not so slippy that you’ll fall over, but slippy enough to pretend you’re in the misty scene from Swan Lake. A few careful pirouettes should be fine. Your boyfriend is busy pretending to swim through the fog. Your friend suggests playing tag (ground rules: no running) and it’s disorientating and hilarious as you hide and hunt through the fog with your heart in your mouth.

It’s sometimes hard to say if an installation of this kind will be gimmicky, but it really seems that Ann Veronica Janssens has created something special here. yellowbluepink is part of the States of Mind season, which is aimed at enabling greater understanding of what human consciousness is and how it does. Science isn’t something I have a particularly good grasp of so all I can judge this installation on is how unexpectedly safe and connected it made me feel – to both my surroundings and myself. It was a bit like being inside a big cloudy womb.

Go to yellowbluepink. Walk around in the fog with your phone on airplane. Stand still. Take it all in. Listen. Breathe. Then maybe find your friends and play tag for a bit. It’s your new happy place.

-Published January 2015

Words and photos by Felicity Pepper

http://www.smithsmagazine.co.uk

[felicitypepper]

DAN LE SAC VS SCROOBIUS PIP

Earlier last Saturday, a photo appeared on Scroobius Pip’s Instagram of the RATS shop (“Rehoming Animals Telephone Service”, by the way, if you’re interested.) down Greyfriars in Bedford. “#RAT” hashtagged Scroobius Pip. “F*ck off, you beardy c*nt!!” shouted the man in the photo. Luckily, this typically local welcome was disregarded completely. These are humble men - despite sell out tours and hundreds of dedicated fans, they remain approachable, chatting at the merchandise stand both before and long after the gig has ended. They’re not taken in by their own hype.

The Corn Exchange audience are initially entertained by Sarah Williams White, followed by Itch (previously of the King Blues) and by the time the headline act come onstage, opening with Stunner, the crowd are bubbling over with excitement. The stage is vaguely eerie, lit as it is with stark simplicity, which almost makes the scene akin to a black and white photograph. Dan le sac and Scroobius Pip are the epitome of unfaltering tenacity as they furiously conquer the room, the former completely absorbed by his gadgets, with a fluffy panda hat perched on his head (later, after Sarah Williams White borrows this during Cauliflower, Scroobius Pip will also try it on, before returning it to the owner in comedic disgust: “It smells like girls” “Girls are gross” replies dan le sac.).

Lyrics spit from Scroobius Pip’s mouth like wildfire and his witty repartee in between tracks keeps the Bedford audience amused. They are blinded by his sharp intelligence and when he swings the microphone towards them during The Beat That My Heart Skipped, the room erupts. Get Better and Gold Teeth sees the crowd, in Pip’s words, “get bouncy”; jumping about in the purple lights that envelop them.

They finish the set with an atmospheric performances of You Will See Me and Thou Shalt Not Kill, during the last of which Scroobius Pip employs the use of a massive bible to “read from” - hardly needed as the crowd shout the lyrics to the pairs best known track from start to finish - and then depart on an encore (Introduction and A Letter From God To Man) that leaves the audience exhilarated and desperate for more.

-Published February 2014

Artrocker (artrocker.tv)

(Photo by Kane Howie)

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ART BRUT

“Haven’t read the NME in so long

No longer care what genre we belong

Haven’t read the NME in so long

WHO CARES what genre we belong”

Art Brut have matured into one of the best live bands around, not only with their music, but with the interaction they have with their audience. The lyric change in their live version of Bad Weekend (previously: “don’t know what genre we belong”) expresses perfectly the disinterest they have in being “cool”; in anything other than creating music they love and simply enjoying themselves. The band always have been highly original compared to a lot of bands out there and this lyric change stood out as fully rejecting the current hipster music scene and every twee little labelled genre box that certain musical outlets present us with.

“We can’t work out if we’ve played here before?” asks Eddie Argos, putting his foot up on a speaker and leaning towards the audience, who are insistent that the band have indeed had the questionable pleasure of playing in Bedford before. “Well, thanks for the hallucination!” he eventually announces, to appreciative laughter. Argos’s intelligence is obvious as he freestyles with an unending charisma. Even when he isn’t talking directly to the audience, he still is, with that unique and expressive speaking-singing way he has. “I’m very old now,” he sardonically explains, before the band fling themselves into another song. “So after three songs we have to do a slow one. I sing this one...kind of.”.

During Modern Art, Argos climbs down from the stage, into the middle of the audience, telling a long winded, hilarious and possibly ever so slightly exaggerated story about going to the Van Gogh museum in Amsterdam and being reprimanded for attempting to touch the art. “If you go to Amsterdam,” he concludes, “Don’t lick the paintings.”. He then proceeds to coerce the audience into crouching on the floor for ten minutes while he talks at them, before insisting that they jump up and celebrate their favourite painting.

Argos continues to chatter around the songs, informing the audience that Emily Kane, the legendary namesake of the same song, turned up at an Art Brut gig a few years ago and, in a lovely twist of fate, her and Argos are now friends. These stories and tidbits that Agos throws so willingly to the audience are part of what makes an Art Brut gig so memorable and inimitable.

The entire band are full to bursting with energy and one of the things that makes them a pleasure to watch and keeps them so fresh is their unstoppable enthusiasm on stage; constantly moving, their happiness infectious. If ever a band could be described as absolutely electric, it’s this one.

- Published December 2013

Artrocker Magazine Issue 135

(Photo by Kane Howie.)

[felicitypepper]

TIM BURGESS

(Note: incorrectly credited!)

Published October 2013

Artrocker Magazine Issue 133 - October 2013 

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PUBLIC SERVICE BROADCASTING 

BROKEN DC

Published August 2013

Artrocker (www.artrocker.tv)

(Photos by Kane Howie.)

[felicitypepper]

PETER DOHERTY LIVE - “Pete hasn’t shown up for his last two shows” “Apparently he went on a bender and fell asleep outside the petrol station at Toddington services” “Apparently they found him sitting on top of his Jag, in the middle of nowhere, with Macualy Culkin, strumming on his guitar” “The bar’s not letting anyone have glass bottles in case he’s rubbish.”.

The mood at Esquires last night was predictably tense. The promoter paced around worriedly. A burly looking man announced that he’d cry if Pete didn’t show up. Everyone chain smoked in the car park.

Then suddenly he was there, sauntering past us to the performer’s entrance, tall, skinny, and pale like a ghost, iconic captain hat hanging tipsily off his head, shaking a few hands, hugging an excited body or two – and then he walked into the door with a smack.

He appeared on stage in the same – albiet less painful – way, charmingly crashing into the last of his friend Alan Wass’ set and throwing his arm around him. Then he launched into two hours of almost non stop playing; typically flouting the smoking ban and delightedly accepting a QPR shirt from a fan.

There were obvious Libertines’ classics like Can’t Stand Me Now and What a Waster; and heartbreakingly stunning renditions of Music When The Lights Go Out, For Lovers and Albion (“Luton! Bedford!”). He ended with a triumphant Fuck Forever that saw the crowd surge forward euphorically and belt their little hearts out. And then with a doff of his hat and a wave and a thank-you-Bedford-you-were-wonderful, he disappeared backstage.

I’ve seen Doherty several times before, but this was by far the best gig I’ve ever been to (in the history of all gigs, ever). He was electric and unstoppable (even impressing everyone's favourite Pad doorman), and the reaction of the crowd was beautiful. There was a lovely atmosphere; the crowd were collectively beaming (“He actually turned up!!”), and any pretensions were dropped as everyone gave themselves up to the music. The man’s a natural gamble, but when he’s on form he’s remarkable. He’s a poet with incredible stage presence and an inimitable way with a guitar and, although I didn’t want to bring this round to the inevitable, you can’t help but hope that he does quit the drugs, and soon, because he’s such a rare talent.

- Published on www.itno.co.uk on 23 June 2013.

(Featured in June/July Editor's Choice.)

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DAVID BOWIE - WHERE ARE WE NOW - In the wee hours of this morning – his sixty-sixth birthday – David Bowie surprised the world by releasing a new single and announcing his twenty fourth album, to be released on 12 March.  It is a spectacular return to form from a man who many had feared had slipped into permanent retirement.  The video is typically peculiar but Bowie is uncharacteristically dressed down, in a simple t-shirt and jeans, somehow giving a more stripped back, honest feeling to this piece of music.

The song itself is utterly beautiful; Bowie’s familiar, heartbroken voice fluttering emotionally over the piano and lush synths. It’s perfect.

- Published on www.itno.co.uk on 8 January 2013.

(Featured in January Editor's Choice.)

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FOALS - INHALER - Foals have gone in a different direction with their new song, Inhaler, from their forthcoming album Holy Fire. The vocals are a lot softer than usual and the music seems more organic and “instrumenty” than previously.  Think less fast paced but just as exciting. While their earliest stuff will always remind me of waving a glow stick about on the dancefloor, Inhaler is a more mature and less hipster step in the right direction for the Oxford band.

(The official Dave Ma directed video is currently exclusive to NME. Nice jacket, Yannis.) 

- Published on www.itno.co.uk on 6 November 2012.

(Featured in November Editor's Choice.)

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CHILDHOOD LIVE - Childhood are possibly the nicest band I’ve ever had the fortune to come across. It’s so easy for bands to take the ‘Johnny Razorlight route’ and become total tits as soon as they start to attract any attention, and these lads are successfully avoiding that.

Clearly exhilarated after their slot supporting the Palma Violets at Bedford Esquires last night, Daniel and Leo from the band bummed two cigarettes off my friend, before launching into a friendly conversation about absolute rubbish that only made me love the music more. It’s so much easier to adore music when the band members aren’t complete idiots - a sentiment that I don’t think enough bands quite understand.

Childhood are perfect live, with every song having its individual moment, and a singer who’s so effortless that at one point it seemed he might even be miming. They clearly enjoy themselves on stage and there’s absolutely no pretension. Their music is playful and they are completely affable, whipping the crowd into a lovable chaotic frenzy. I really look forward to hearing more from this band. 

- Published on www.itno.co.uk on 27 October 2012.

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PALMA VIOLETS LIVE - Palma Violets have been touted by NME as The Next Big Thing – that’s not an easy title to carry on your shoulders, but they wear it well. At Bedford Esquires last night Best of Friends and Fourteen had the crowd dancing themselves into happy, blundering oblivion and the band managed to be authentic without the pretentious, unapproachable affectation that comes so easily to “next big things”. For that alone they have to be admired; individuals make a band, and if you’re a dickhead then people aren’t going to warm to you and therefore they’re not going to want you to succeed. Everyone wants Palma Violets to succeed – you only have to look once at their excitable, rather bouncy (and largely female) fanbase to see that. They’ve been compared to The Libertines – well, which band hasn’t – and they definitely do have that “Everyone and Everyone” approach towards their music and their fans.

Palma Violets are completely wonderful live and they’re obviously making music because they love it and not because of some great accolade they might get from it. They’re electrifyingly fresh and they’re different because they’re willing to have fun. These guys are the real deal – ignore the NME hype, ignore my review; just go and check them out so that you can find out for yourself, because you won’t regret it.

- Published on www.itno.co.uk on 27 October 2012.

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ADELE - SKYFALL - The latest Bond girl on the block, Adele has unveiled Skyfall, the title track of the new Bond film.  It is typically 007: powerhouse, epic. Recorded at Abbey Road, it’s atmospheric and full of expectant danger. Adele’s vocals are beautiful, as ever.

In a statement, Adele says, “I was a little hesitant at first to be involved with the theme song for Skyfall. There’s a lot of instant spotlight and pressure when it comes to a Bond song. But I fell in love with the script and Paul [Epworth] had some great ideas for the track and it ended up being a bit of a no brainer to do it in the end.

It was also a lot of fun writing to a brief, something I’ve never done, which made it exciting. When we recorded the strings it was one of the proudest moments of my life. I’ll be backcombing my hair when I’m 60 telling people I was a Bond girl back in the day, I’m sure!”

Bond films are in a league of their own when it comes to the opening credits, which are almost as anticipated as the actual films themselves, meaning that they have to cut the mustard. Adele has successfully cut the mustard.

Skyfall the film is out on 26 October, and here’s a quick taster.

- Published on www.itno.co.uk on 5 October 2012.

(Featured in October Editor's Choice)

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INTRODUCING: TEMPLES - After hearing the opening chords to infectious The Golden Throne (which is not, as I originally thought, a song about a very posh toilet) you will find yourself hooked on this neo-psychedelic duo.

Made up of hair, jeans and cheekbones, London based Temples are a relatively new band whose début gig was at this year’s Green Man festival. Thomas Edison Warmsley and James Edward Bagshaw (whose curly mop of hair lends to him more than a passing resemblance to a young Bob Dylan) were, until recently, of band The Moons, who have been playing support for Liam Gallagher’s band Beady Eye over the past few months.

There’s something relaxing but exhilarating about Warmsley and Bagshaw’s music – which is synthy, swoony and more than a little bit sixties. Temples are retro, but fresh, and utterly wonderful.

- Published on www.itno.co.uk on 2 October 2012.

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SMOKE AND JACKAL - NO TELL - I saw the impressive Nashville band Mona at Bedford Esquires, back in March last year.  The atmosphere was electric and it was one of the best gigs I’ve been to.  Everyone present had a sense that they were seeing something pretty sexy, in more ways than one.

Mona have drawn frequent comparisons to King of Leon, and after touring together the bands are close friends, so it only makes sense that a collaboration of some sort would happen.  In this case, it’s Nick Brown  (Mona’s singer) and Jared Followill (KOL’s bassist) who have teamed up to create a “musical side project” in Smoke and Jackal.

No Tell is exactly the kind of song that you want to listen to while driving on a hot summer day – fast, with the windows down.  Honestly: this isn’t better than Kings of Leon or Mona separately, but it’s still a fantastic listen, and I’m really looking forward to the release of their six track collection, simply entitled EP1, on October 15.

- Published on www.itno.co.uk on 23 August 2012.

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TAME IMPALA - ELEPHANT - Tame Impala have upped their game with Elephant, the first single from their forthcoming second album, Lonerism. As soon as the song starts you can feel it vibrating through your consciousness; Elephant has the feel of a synthy, psychedelic Black Sabbath about it, with a stoned, sixties John Lennon on vocals.

Singer Kevin Parker has said that Lonerism is the kind of album he has always dreamed of making: “I knew it was gonna be a whole lot more indulgent and decadent.  And less restrained.  I was like, ‘fuck it, I can’t be bothered.  I don’t wanna hold back from doing crazy shit anymore.’”.

- Published on www.itno.co.uk on 27 July 2012.

(Featured in July/August Editor's Choice.)

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INTRODUCING ZZ WARD - Raised in Roseburg, Oregon, on a musical diet of Muddy Waters and Etta James,ZZ Ward caught the music bug early and started playing with her father’s blues band. Later, she fell in love with hip hop and began performing with local rappers - now she says she’s “married” to both the blues and hip hop. Through a chance click on Youtube I happened upon her latest offering, Put the Gun Down, an unashamedly catchy tune that already has upwards of 68,000 views after being put up only two days ago. Her previous release, Overdue, is about the death of a relationship, conveyed through an angry harmonica and the slaughter of cute little bunny rabbits. 

ZZ Ward has been a busy girl: during SXSW she played 3 shows daily and she’s currently touring the US.  Acoustically, she is flawless; her voice is rich and soulful and she seems more comfortable slumming it on stage with her guitar and band than she does in some of her music videos, in which, I feel, she’s been polished a little too much.  This sort of music craves a certain raw beauty, or, as she describes it herself, “dirty shine” (which she has, in buckets).

Listen to ZZ Ward’s EP Criminal and Eleven Roses Mixtape here. Find her on facebook, youtube, tumblr and twitter.

- Published on www.itno.co.uk on 20 July 2012