What happens when you gather four of the most talented local musicians on one stage to perform an album written by one man? Chris gives Michael Blackwell's personal offering a listen, both on record and live.
It may come as a shock to some to see me write this.
Michael Blackwell, long lauded as one of the most talented songwriters and guitarists of the North East, has gained quite a loyal following. Eschewing band politics, he has gone fully solo, where he truly calls the shots without having to worry about equal say of other members.
His debut album, 'Brave New Soul,' was recorded somewhat without much fanfare except for the odd Instagram photo. A rather understated black and white photo adorns the cover, and the whole package seems quite reserved and modest image-wise. However, as soon as the music starts it is clear that these reservations do not extend to the tracks.
Recorded and produced by Paul Frost, the album shines through my speakers. Clean, crisp, and with a depth many unsigned, local artists could only hope for, the album is formidable for sound alone. Soaring vocals, guitars floating around left, right, and centre, and catchy riffs and rhythms have all led to a solid creation. Michael's powerful vocals sit comfortably on top with effortless ease along with the instruments, creating an atmosphere akin to Incubus in places.
However powerful and well produced the album is, it does feel rather clinical. This isn't a reflection on Michael, but more a trend in modern recordings where everything is layered, things are added, taken out, morphed, and warped in ways that could never have been done even ten years ago. Whilst it can lead to epic soundscapes, it often leads to human emotion and feel being sapped from the record. Whilst the album really does shine, I would have loved for more imperfections to really add some human edge.
Stand out moments are 'The Truth Is' and its breakdown, dirty bass, and driving drums, 'Brave New Soul' and its Placebo-esque drums and guitar leading to disjointed guitar bridges into the driving chorus, and - for me the best track on the album - 'Lady Grey' and its gritty feel alikening to Absolution-era Muse, with a shiver inducing fade out at the end.
A formidable album from one of the most talented musicians the North of England has to offer.
ALBUM LAUNCH SHOW
What album wouldn't be an album without a launch party? Breaking away from usual local traditional venues such as central Newcastle or Durham places, Michael hosted his at a never-before-used-for-a-rock-show venue of Seaham Town Hall. I found this odd at first, but the room was kitted out with an impressive stage, and even more impressive sound and lighting.
Support came from Jen Stevens of Jen Stevens and the Hiccups. She was, unfortunately, very out of place in this setting and, without her band, I found to be quite bland. I've seen Jen before with her full band and have been completely blown away by the amazing timbres and dynamics that they have as the whole unit, but as just herself I found all the songs sounded pretty much the same and there was no real shining moment, which was really quite disappointing as I am a fan of Jen and her work, and really love the full band. If I'm honest, I felt quite conflicted writing this paragraph.
Hitting the stage, Michael and his band - made up of Lee Tuck (The Karma Heart, Sound Divide), Ani Sandwith, and Danny Needham (The North East's most mental drummer by far) - kicked into track after track from the album. Having heard the album prior to the gig, I thought the show would be more of the same as I know Michael to be very good at recreating recorded sounds live.
I was wrong.
Turning up the 'grit factor' to 11, the entire band completely upped the ante on the recorded versions of the songs, adding in that completely human feel and imperfect brilliance that the album lacked. More noise, distortion, and improvised solos really belted out what I felt the album was holding back from. The onstage image of cold blue and white lighting and all-black outfits and instruments was surely imposing and well choreographed.
Michael's stage presence mixes the image of Brian Molko (Placebo) and Matt Bellamy along with his own idols into a very coherent and impressive sight as he commands the stage, guitar, and microphone with a slick ease from years of frontman practice. Lee Tuck's own grace on bass caught my attention on many an occasion as his own little area was trampled underfoot and with a wall of distorted bass. Ani Sandwith, whilst being tied to a piano, held her own with powerful backing vocals - adding a brilliant element of female harmony to the mix. However, I found myself staring most of the time at Danny Needham and his ridiculously high cymbals, and wondered quite how he doesn't destroy that beautiful transparent drumkit with each heavy hit.
The show itself was slick, well produced, well presented, and fantastic from start to finish. My only criticism is perhaps it could have been held in a smaller venue where the audience didn't have the option of milling around near the bar rather than the stage. A stand out quote came from Lee himself regarding how dirty the bass was, "I was in practice and Michael kept saying 'could you make that a bit dirtier?' and I was stood there going 'it's already f***ing dirty as hell!'"
Michael's album, 'Brave New Soul,' is available on iTunes.
Our good friends in Great Man Theory have just released the video for debut single, 'Let Him In.' This slick, formidable, and engrossing first release shows immense promise from a band going from strength to strength as they grow.
Video shot and directed by Michael Gribbins, 'Let Him In' recorded and produced at Broadwater Studios
Following a feedback intro and scratchy guitar riffs from Rob Jarvis, four counts on the hats from Matt Absolon (best surname ever) launches the band into a barrage of riffs and rough, gritty, and powerful vocals from imposing frontman, James Smithells. Rob Steer brings in a beefy bass end, completing an all round gritty, raw, yet full sound. Harmonised oohs and aahs float around behind the grit of Smithell's vocals during the chorus, and the inventive drumming from Absolon keeps your head nodding to the beat.
In the context of the local music scene, Great Man Theory are still a relatively new band, and are all insanely young when you consider the maturity and musicianship of their debut single. In a music world where bands are returning to the stadium sized rock anthems harking back to the days of Guns 'N' Roses, Aerosmith and their contemporaries, Great Man Theory are eschewing the 'look at me' solos and swagger in favour of insightful lyrics, concise songwriting, and energetic rhythms.
With a style that reminds me of the better days of Pearl Jam, and Black Stone Cherry, with the production and styling of a seasoned band, Great Man Theory's debut offering is more than a simple hello, it is a shot of excellent music straight to the heart of local, nay, brilliant British music.
Check them out live at The Cluny on May 31st, the single is available on iTunes now.
The Butterfly Cabinet, Newcastle Upon Tyne. 08/04/2013.
Photos by Chris Walton, Words by James Armstrong
For those unfamiliar with the music of Simon Taylor, a creative blend of continental jazz and swing present the audience with a charming journey from country to country. An elegant collection of stories exploring the sights, the people and the life lived by this unique song writer. This provides a fresh experience, breaking away from the usual writing styles and subjects that can quickly become tiresome. New song 'Corazon' proves to be a crowd pleaser, featured on the up coming EP turned album of the same title, due out in the Summer.
The band play comfortably together, going hand in hand with the surroundings. Each person bringing a unique quality to the performance, introduced to the audience and exchanging improvised jams.
The set is brought to a close with an older song written by Taylor, 'King of Barca'. A song I've heard before on numerous occasions, and in various incarnations over the years. Nonetheless, the energetic piece of Latin tellings is a perfect ending to the evening.
Artist Feature: Ten Questions With... Simon Taylor & The Sundowners
Who are you and what do you do?
My name is Simon Taylor and I write and perform Latin/jazz & funk originals solo and with my band Simon Taylor & The Sundowners. I recorded an E.P with my band back in 2011 under the pseudonym Lullaby Rhumbas and started performing live under our current guise last year. We have since been gigging across Newcastle and recording an L.P.
What first got you interested in Latin music?
I’ve had an interest in Latin culture for about as long as I remember. When I was a kid I used to wonder what that exotic mass below America was over the Atlantic and dreamed of going there (I still haven’t). Then I went to Spain when I was 10 and something just clicked as it representing all that seemed exciting and wonderful. I finally got around to checking out Brazilian music when I was about 20 and was blown away by the melodies of Antonio Carlos Jobim. So complex but totally easy on the ear. Then I branched out a few years later into a more thorough investigation of Spanish, Portuguese and Brazilian music and artists. That was probably the bedrock for what you hear in some of my songs today.
What influences your writing and composition outside of music? Any films, specific experiences?
I studied film down in Kent when I was younger and that has certainly influenced my music and the visual side of things. I particularly liked the films of Jean-Luc Godard and Michelangelo Antonioni. These films were suffused with equal parts melancholy/ ennui and joie de vivre, which was interesting. Outside of film, my music is very influenced by my travels abroad. I’m interested in creating an Anglo-Continental musical hybrid, the aural equivalent of the Channel Tunnel. Also, we like women.
How do you want listeners to feel or react when listening to your music?
It depends on the listener really. Our music can be quite languid but as a restless person myself I’m very awake to the idea of not boring an audience. I feel you have to use repetition very sensitively. Some people get a good idea then bash the listener over the head with it. That, to me, is boring.
How do your live performances differ from your recorded material?
When we play live we try and bring across the humour of some of the songs. Much as we love what we’re doing it’s nice to connect with an audience on this level, conspiratorially.
What can we expect at the Butterfly Cabinet on Monday?
The Butterfly Cabinet is a beautiful grand old building and we hope our retro sounds transmit nicely through its aged rafters. We’re going to try and chill out its patrons on the 8th and just when they’re getting cosy, hit them with a Latin uppercut!
Which local artists have been grabbing your attention lately?
Daz & Berta are a local duo who perform Catalan folk songs and jazzy ballads and they are great live. Berta is a very charismatic performer and I really enjoyed them when I saw them at Bar Loco a couple of months ago. From a more local perspective Lauren Reavley writes lovely folk songs with a bit of John Martyn in it. Also more established names in the scene like Lesley Roley and Ben Watson. Holy Moly & The Crackers are great live too. Ah, I could go on…
What is your favourite live music venue in the area?
I enjoy playing and watching live music at Bar Loco as there’s a friendly atmosphere and it feels like playing in your living room to a bunch of cool people.
The Bridge also has a respectful audience and I like Ernest Café behind the Biscuit Factory.
What do you think is lacking in the live music scene in Newcastle?
I think there is a problem with talented local artists not getting paid. It is up to all artists to find a platform for their music and to promote it properly but I think the area could benefit from a venue that acts as an umbrella for non-rock and pop acts and sees they get paid for performing original material.
What needs doing to bring more attention to the live music scene in Newcastle?
As you get older you start to become more suspicious of the idea that you need the people in London to come along and wave their magic fame wands in your face. Newcastle is a very pleasant city with a great local cinema, fantastic beaches twenty minutes away and a much-loved football team. I think as a city it speaks for itself and has done a good job drawing attention to itself in, usually, a positive way. If people want us they know where to find us.
What’s next for Simon Taylor & The Sundowners?
We’ve just about finished recording our debut L.P “Corazon” and we’re really looking forward to that coming out in the Autumn. We’ll soon announce a launch night at the Bridge and can’t wait to get these songs out to as many people as possible.
Catch Simon Taylor & The Sundowners tonight at The Butterfly Cabinet, Newcastle Upon Tyne.
Great Man Theory joined us in the living room for a video interview and a few acoustic tracks. Here is a COLONY exclusive of their brand new track, "River Blind."
How would you describe the sounds you make to someone who's never heard of Joseph Curwen?
Your work falls into genres and categories that most people won't have come across casually. What first got you interested in the area of music you make? Any specific artists or performances?
I've been a horror film fan since I was a child. I remember watching weird horror films, like Hammer House of Horrors etc, that would be described as eery rather than scary, with my Gran. The suspense created using dissonance (especially flattened 5th + flattened 9th chords) always captivated my attention. My musical background is as an electric bassist, I've played in everything from wedding function bands to brutal doom bands, the one constant in any musical environment being that a rich, deep bass tone is a highly effective tool at affecting the audience, be that getting them dancing or pinning them to the floor with volume. I remember watching Sunn 0))) at the Sage a few years back, and I could actually feel my lungs moving in my chest.
I really got interested in ambient music in my early University days, when my friend handed me a copy of "Apollo" by Brian Eno. This really opened my ears to the effectiveness of soundscaping. Next came Aphex Twin, in all his different guises, who was the soundtrack to various drug experiences. "Ambient Works 2" in particular was a favourite amongst my group of friends when we were on the wrong end of trips. To this day, that album has a power in it's simplicity that not many albums have, and the visual mix done by Stakker for MTV in the early 90s (http://www.youtube.com/watch?v=PuK3yspOKKc) was a big influence on my understanding of the power of synchronicity between audio and video in music.
I worked at a landfill site one University Summer, and it basically allowed me to listen to music on my headphones all day. It was around that time I really got into Autechre and Merzbow, and the generally noisier end of electronica. I remember one day in particular, listening to "Cycle" by Merzbow and standing on top of the mountain of rubbish, watching the JCBs drive around, thinking what an intense experience it was. The sound in my ears really affected the way I viewed my environment, and I've tried to utilise this kind of oppressive feeling when composing tracks.
When I was younger I played in a noise band called "Beautiful Teenage Lesbians" (an American Psycho reference) that created noise and drones using old radios, keyboards and pedals that always seemed to ignite the meagre crowds we played to. I remember playing a gig at the old Tyne-Tees building before it got pulled down that turned particularly berserk.
In addition to this, towards the end of my University days I read a book called "Noise/Music: A History" by Paul Hegarty, which is a comprehensive overview of noise in music, going all the way back to the Musique Concrete movement of the 1940s. This inspired me to explore new and old soundcapes, sound art/installations, and the way noise making techniques have evolved with technology. It also helped me to redefine what I thought of as being musically or creatively valid. At the tail end of last year I decided to rest my bass for the time being, so these days I make purely electronic dirge.
Following recurring themes in your music, it's safe to say that you have certain imagery in mind when composing. For those listening to your soundscapes; are you trying to imply these imaginary surroundings onto the listener or would you prefer that they make up their own interpretations?
My usual method when creating a new album is to read an HP Lovecraft story and try to capture the feelings it evokes in me. For instance, "Harley Warren's Tomb" is based on the HP Lovecraft tale "The Statement of Randolph Carter", which is about two men who hear of an ancient mortuary in the Big Cypress Swamp in Florida. They travel there, and Harley Warren insists that he explores it alone. Inevitably, he doesn't return and Randolph Carter runs for his life. This inspired me to create a series of soundscapes based on the feeling of being in an ancient underground tomb, with the constant hiss of static and the shifting bass tones of the deeper earth below. This is just my personal inspiration, and with abstract music comes the necessity of giving the music some form of context to give it validity, so I would prefer listeners to take what they personally feel from the pieces, whether they are fans of Lovecraft or not. I think saying "that's a series of really weird intimidating sounds" is just as satisfying a response as "this is great, it really captures the sense of dread and foreboding", as it means both listeners were affected in their own way. My rule of thumb is that if I can listen to an album while wandering around in the dead of night, whether in the city or countryside, and it evokes a sense of urgency in me, I've captured a mood succinctly.
Describe two locations or situations that would be the perfect for listening to your music, one real and one fantasy.
Any of your Durham based readers may be aware of a pathway that follows the river Wear from near the Sixth Form centre all the way to Finchale Abbey. I used to walk this way a lot in my chemically assisted wilderness years, and can testify to how eery it gets at night, especially close to the Abbey itself. I guess areas like that, that are relatively untouched by modernity and artificial light, often are. There's a feeling of the truly ancient there that my pieces would be the perfect soundtrack to. Some things are genuinely lost to the mists of time, and hence are inevitably unknowable, which is a recurring theme in Lovecraft's work that strikes a chord with me.
I guess the obvious answer to the fantasy location would be for someone to actually be in one of Lovecraft's weird landscapes and report back to me whether my music is suitable while there.
Are there any other similar musicians in the area you're enjoying at the minute? This is a good chance to let our readers know about what's going on outside of the ordinary.
At the other end of the ambient spectrum is Slow Clinic. I really enjoy his stuff as a lighter alternative when I'm in an ambient mood. I have recently come into contact with a band called Dead End Street Band that are interested in putting on a gig with me. They create noise using keyboards and pedals etc and are canny good at sounding harsh as fuck. I've recently been shown The Xenaxium, who've I've been enjoying the past couple of days. I also like Basic House, who is a lad from Middlesborough who has a unique take on dance music. He also runs Opal Tapes, who have some really interesting stuff on their Bandcamp pages. Away from noise/ambient stuff, I've recently been enjoying Mike Vest from Bong's new band HAIKAI NO KU, who are like a psychedelic blues band. My mates in Pigs Pigs Pigs Pigs Pigs Pigs Pigs are another heavy band that I'm buzzing off. They recently had their debut recording mastered by James Plotkin of Khanate, and it sounds absolutely class. My mate Stig has recently uploaded his entire back catalogue (more than fifteen years of music) onto SoundCloud, and I've been making my way through that. It's like melodic electronica, and is perfect morning music for when I'm doing my day job.
The use of visual elements adds further depth in support of your music. Is this important regarding drone and noise based music?
I think it can give the music a sense of context and immediacy that just listening to the music may not provide. Having watched experimental performers in the past, the use of visuals is a great tool for evoking a particular mood. This is especially true if what the performer is doing is quite dull to watch. When dancing in clubs, you feel more euphoric when there's coloured lights swooshing over everyone, and doom gigs feel heavier with minimal lighting. I don't think impressive visuals should be used as a cover up for lack lustre music, the fundamentals of the sound should always be there, with or without this extra element, in any genre of music.
Personally, I've always had an interest in the medium of Video, and have made several videos for bands I've played in previously, so making videos for Joseph Curwen just felt like a natural continuation of this. Again, I take my initial inspiration from HP Lovecraft stories, and manipulate these ideas into my own personal vision. I use a similar approach in my videos as in my music, I take small scraps of found material, and digitally saturate and manipulate them until they're something else. I guess if someone is new to drone, or experimental electronica, or any other umbrella term for this field, and is exposed to the videos rather than the music first, and hence are stimulated both visually and aurally, they might be able to grasp what the music is about more quickly and/or thoroughly. For example, my Mam can hack watching the videos I make for a lot longer than the music.
For anyone that's interested in experimental video, my good friend Toby is involved in a project called ScartVideo that are doing some very interesting things with video layering. I recommend anyone check them out.
The image above is the cover for Curwen's latest full release, 'Nocturnal Rites', available as a 'name your price' download via this link: http://josephcurwen.bandcamp.com/album/nocturnal-rites
The written works of HP Lovecraft are a big influence on your work. What else inspires you to get creative?
I read a lot of books, and have done since I learnt to read. Over the past few years I've read a number of the classics, including Crime and Punishment by Dostoyevsky, which absolutely blew my mind. If anyone needs a jolt about their life, creative or otherwise, I recommend they read that. If I made a drone piece about that, it would be one single piercing tone that lasts for five hours it's so bleak from start to finish.
If any of your readers are unfamiliar with HP Lovecraft, he was an American author who was active from around 1915 to 1935. He's considered by many the father of modern horror stories. His tales are weird in the true sense of the word, and evoke a very odd feeling when read in the dead of night. His tales are often about shy or fretful people in truly horrible or alien scenarios, which inspires me to make music of a very eery or oppressive nature.
On a more personal note, I subscribe to the theory that all problems can have their solutions worked out on a long walk, so I often go for midnight strolls around Newcastle and North Tyneside. I grew up in the wilds of County Durham, and have always appreciated being able to get out into the countryside, knowing the nearest human being is miles away. There's a disused railway line near my parents house that I have walked down plenty of times. There's a particular spot where I like to sit and contemplate, where the only sounds are the wind and the distant low rumble of the A167. Being surrounded by these sorts of ambient sounds is a big influence on my creative thinking, and using field recordings of various environments is something I've recently been exploring. "The Amulet of Leng" from "Pale Watching Moon" is a recording of the Metro I made on my phone, manipulated to sound like a weird didgeridoo.
Another thing that inspires me is Music Technology itself. My set up includes Audacity, Cubase, and Ableton on my computer, and RD3 and SPC by Mikrosonik on my Android phone. The genesis of Joseph Curwen came from wanting to see what modern music composition software is capable of, after a number of years of playing in various bands. Using this "digital studio", I run my sounds through a 1980s Technics Stereo Amplifier and KEF Q-Series Floor Standing Speakers. These were top of the line in their hey day, and still sound richer than most studio monitors I've been exposed to. This set up in itself inspires me to make music.
Do you see yourself venturing into the works of other horror writers, or even further afield?
Not as Joseph Curwen. Like I said earlier, giving abstract music a context gives it some form of validity and a springboard for listeners to work off, so using HP Lovecraft as my inspiration to make all of my evil drone music gives it a thread of narrative, and makes it a more cohesive body of work. I know from previous experience that the most musically satisfying projects are put to rest before they turn sour, so when the day comes that I've exhausted all of HP Lovecraft's material, and have no more drones to make, I'll retire the project, but for the moment I'm genuinely buzzing off making weird noises, and the response people have been giving me after listening to it.
I also make more beat driven music under the name Rave Tape, which evolved from experimentation with music software in other ways, which may see the light of day when I think it's fit for public consumption/peer validation.
My bass playing exile has recently come to an end too, and I'm currently in the process of starting up a new live band.
What are your opinions towards distributing music? Are recent physical format revivals a good thing, or should future releases focus more towards online releases?
For me personally, my main outlet for sales is BandCamp. I've deliberately set it up so fans can pay what they want. I think this is a great business model, as my main perogative is to just get my music out there, and it's an excellent bonus that fans can download the albums in FLAC quality, as sonically dense tracks suffer badly when under MP3 compression. If my fans want to pay me for my work, I'm not going to turn their money down! I would say that approximately 10% of the downloads from my BandCamp page are paid for. I would be lying if I said it earns me a living, but it pays for my beers on a weekend and I'm not gonna winge about that like.
I am a big believer in social media being a powerful tool to use for music distribution. When I post new releases on to my Facebook page, or Twitter feed, fans can immediately click on the link and immerse themselves in the music, and feedback to me in real time. I think this level of interactivity between musicians and fans is very healthy, especially at the grass roots level. I would rather get an email saying "your music is absolutely shite" than nothing at all. Twitter in particular means that I can send links to people I respect quickly and easily. Whether they bother to listen is another matter! I sent an email to Paul Hegarty, author of "Noise/Music: A history" telling of my gratitude to him for writing such an informative book, and now he follows me on Twitter, which was a major vote of confidence for me creatively.
I think physical format revivals are a good thing, as it is true that there's nowt like holding the physical product in your hands and actually playing it on a decent sound system. I think high audio quality services such as BandCamp etc have nullified this slightly, as CDs have simply been superceded by a more portable equivalent digital format, but Vinyl will always have its fans due to it's rich analogue sound. I know a lot of classic metal albums are available on YouTube, in HD quality, but they still sound shite compared to dropping the needle on the wax and really feeling their power.
I've been reliably informed by an Audio Engineer friend that due to the digital saturation of the low end of the audio spectrum in a lot of Joseph Curwen material, it will be difficult to effectively cut it to vinyl, but I would be over the moon to get some of my stuff pressed in the format.
Thank you for taking the time to answer these questions. Is there anything else you would like our readers to know about you?
No problem at all. I enjoyed the opportunity to allow your readers a brief glimpse into my musical world, so thank you too. All I have to add is that I am part of performance art collective/fictional band STABBING LES who have our video launch at Northern Chapter on Pilgrim Street on Friday April 5th. Come along, it's gonna be mint.
In this Artist Feature, I will be taking a look at Newcastle based drone and soundscape maker Joseph Curwen. Drawing influence from the horror works of HP Lovecraft, noise sculptor Curwen unleashes a wealth of deep and evolving textures that both unsettle and intrigue the listener. The alias of the North Eastern experimental musician also comes from the work of Lovecraft, 'The Case of Charles Dexter Ward', published for the first time posthumously in 1941. To truly appreciate the work of Joseph Curwen, the listener must fully immerse themselves into the music.
In his latest video offering, Curwen presents a fifteen minute exert of a soundscape, supported by grainy visuals entitled 'Exham Priory'. Taking the title from HP Lovecraft's 1923 short story, 'The Rats in the Walls', the piece is rich with unnerving tones and a powerful low end resting on a bed of distorted noise and artefacts. The video (link below) is available to watch on YouTube via Curwen's official channel. The full release of 'Exham Priory' was released earlier this month and can be found on the artist's Bandcamp.
http://www.youtube.com/watch?v=OsJbihiAYsA
What I find striking about the already vast back catalogue of Joseph Curwen is the immediacy in which these twisted soundscapes present. With a lot of drone music, it's often a long and sometimes boring progression from the start of a recording to any point of great interest. When listening to 'At The Mountains of Madness', also put out earlier this month, opening track 'Dyer' does just this. An evil concoction of dissonance, augmented tones and un-earthly sounding reverberation take over the listener with an alarming sense of urgency.
Sitting comfortably in the niche are of noise and drone, Joseph Curwen succeeds in creating dark, sinister and anxious atmospheres. Lovecraft would be proud.
Tiny Lights Records and Acrobatic Society Present: 'Kick Me I'm Down' EP Release Party
08/03/203, The New Bridge Project.
Words by James Armstrong
The New Bridge Project space offers an interesting live music venue. The open plan of the main room displays unique examples of local artists who frequently occupy the space. Dimly lit with lamps angled upwards and a TV showing static, the DIY nature of the venue gives an eager sense of readiness for the performances to come. Newcastle based Tiny Lights Records present the release of Acrobatic Society's 'Kick Me I'm Down' EP launch, supported by a collection of varied local acts.
Although all familiar faces, as a band, Yellow Creatures are relatively newcomers to the Newcastle music scene. Consisting of four members, Yellow Creatures kick off the evening with a highly energetic start. Their songs are straight to the point, sometimes aggressive and more than exciting to a mainly unsuspecting audience. Immediately, people are dancing. Yellow Creatures present to a growing crowd of onlookers a tasteful blend of garage influenced rock n' roll, with just the right amount of catchy rhythms and clever vocal hooks. The addition of raw sounding keyboards and synthetic elements also prove highly complimentary to the already interesting sound. For such a new band, this being only their second live gig, Yellow Creatures have certainly made a lasting impression as a band to watch out for.
O'Messy Life - http://o-messylife.tumblr.com/
A well known name stretching far beyond the North East, O'Messy Life open with a laid back, distant introduction before hard hitting rock wrapped in walls of sound fill the Newbridge performance space. At any time O'Messy Life can be loud and upfront, but at the same time the set remains revealing and delicate. Such a contrast makes this Northern quintet stand out. O'Messy manage to write and perform songs that appear as more of a ballad than anything else with sing-along choruses, a sense of melancholy whilst still appearing hopeful in the end. The band went on to present bassist Thom a cake as a farewell gift, a friendly gesture that is received well by everyone in the room.
Fawn Spots - http://fawnspots.tumblr.com/
After hearing Fawn Spots during their soundcheck earlier in the evening, it's surprising how much power can come out of a three piece without the need for a bassist. With clear resemblance to some of the noise and punk releases that took over NYC in the late 90s, Fawn Spots went on to assault the audience with speeding bursts of distorted hostility, creating frantic dancing, awkward headbanging and startled ears. The band themselves address the crowd with surprisingly shy mannerisms, not something you would first expect from such fierce performers. It's a mystery how strings were the only things broken by the end of Fawn Spots' set.
Acrobatic Society - http://www.facebook.com/acrobaticsociety
As Acrobatic Society begin to play, a wholesome wash of sound blankets the room. Pounding drums and growling bass lines set the foundations for the already well orchestrated performance, complimented by the appearance of violin stabs and cleverly harmonized vocal sections. It's hard to fault the performance, Acrobatic Society prove to be noticeably unique yet highly accessible to any audience. The highlight of the EP launch is new song and single 'Deek It', bringing the the room to eruption. The songs of 'Kick Me I'm Down' translate comfortably in a live environment, delivering the rawness of the recorded EP with further intensity. The interaction between Acrobatic Society and the audience is pleasing, as is the honest appreciation for those in attendance. Sadly, the remaining minutes of the set were cut short in compliance with curfew restrictions placed on the venue. Rules are rules, and understandably they are met with many frustrations.
As the lights in the main room of the New Bridge building return, punters leave and the bands begin to dismantle the make-shift performance space, the interesting line up and mix of genres proved highly successful. Tiny Lights and Acrobatic Society are responsible for a highly enjoyable night had by all.
'Kick Me I'm Down' is out on Tiny Lights Records, and can be purchased as a CD or digital copy here: http://tinylights.bandcamp.com/album/kick-me-im-down
As Acrobatic Society prepare for their 'Kick Me I'm Down' EP release party on Friday, I was able to speak with Scott Harrison and Adam Pearson, getting to know more about their new EP ahead of the event.
Photo by Sara Morris
First of all, a big congratulations to you and the band on the 'Kick Me I'm Down' EP. It's a brilliant collection of well written and interesting songs.
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'Kick Me I'm Down' shows clear development from your previous work and releases. What gas caused such a noticeable change in your musical output?
A. I'm not sure really. I think there was just a bit more of a sober pulling in the same direction from all of us. It's far less disjointed than the last work because I think we've settled into our skin as a band a lot more. The editing process of the songs, although being the most frustrating thing I've ever had to do, cannot be overstated enough though. We truly did work these songs to the bone, pulling them apart, re arranging them, so we knew exactly what each bar offered to the whole composition. Everything there is there for a reason.
S. For me personally, it was a sense of freedom garnered from the fact we had established somewhat of a name for ourselves. Even though the number of people that know us is still relatively minuscule, I felt it maybe gave us confidence to persevere with ever more eclectic sounds. It also helped that as we progressed with the song writing process we also began to understand how to utilise the technology and production instruments at our disposal.
For those unfamiliar with your music, what would you like them to take away from your new EP?
A. I'd be quite happy if, at the end of the last song on the EP, they are struggling to peg us down. But less narcissistically, I don't know, to feel a bit (un) comfortable concerning the thoughts and feelings expressed on the EP. It's quite hard to get away with being sincere in art at the minute I think. A lot of sentiment is diluted, as if people are afraid of putting their neck on the line and subscribe to something honest. We aren't re-inventing the wheel, but it'd be cool if we could get across that it's alright to wear your heart on your sleeve, even if it breaks your arm.
S. This sounds very cliche'd, but honestly....whatever the fuck they want. When I listen to a piece of music I don't want the composer of that music to thrust in my face what I'm supposed to feel, or take away from it. It's all subjective, read into what you will. I know what it's about, the listener doesn't have to. In a strange kind of way, a certain ambiguity can lend itself beautifully to the music, meaning something very personal to the person on the receiving end. Either that, or just fucking dance to it.
How do you think your newer material will be perceived by your already existing audience?
A. Hopefully a more fluid, coherent piece.
S. I would like to think they'll think it's a skewed yet natural progression, leaving them intrigued as to what we'll conjure up next. There's a wealth of interesting lyrical themes going on throughout the EP.
Do you prefer to take a concept style writing approach when working on new songs, or do you find inspiration from a variety of different events?
A. I suppose any collection of art written in a particular time frame is to a certain extent conceptual, and belonging to a drawn out moment. I tend to take a rather mathematical approach to lyrical structure - mapping out a melody, syllabic pattern, phonetic rhythm and cadence. Once that is done, semantics come into it as I can hear where is stressed and unstressed in the lyrical template, and work from there on what image impression suits the music, and what sentiment can be expressed according to the template that has been drawn out, and the affect of the music itself.
S. I can only speak personally, but I think they're a pastiche of different feelings at different times melded together in a twisted stinking melting pot. Once the they're all melted together in some kind of rancid jus, only then do I realise what they actually mean, what they're about and what they mean to me. I'm also actually a dab hand in the kitchen.
Being confident to push your boundaries as musicians and song writers is important, not only for listeners but to yourselves as well. What do you enjoy most about experimenting together as a band?
A. The feeling of being out of our depth when playing something. Listening to something completely different to what tend to make, and then seeing that influence when writing. For instance, I listened to shit loads of Vivaldi in January and ended up intentionally writing these compositions with samplers and feedback with some peaks and troughs and rises in melody that I could tell were just a blatant rip off! But, with a different mask, it sounded completely different. I mean, none of it will be used for anything because it's probably shit! But I like that feeling of not being in your comfort zone I guess, and trying different things. I think one of them I just covered the first concerto in D using a Poly Octave Generator and a lot of reverb and distortion... I don't think it's acceptable really.
S. Collaboration is a beautiful. One of the most wondrous things there is. Not one song written would be the same if it wasn't for the people writing it coming together to create it. The freedom as close friends to inform one another if something is shit also helps. However, on the contrary, the negative reaction this can also create I feel can help fuel the process.
Tiny Lights is a great label boasting a variety of exciting new talent. Who else on the TL record label roster have you been enjoying recently?
S. At the moment we're both enjoying Fantasy Rainbow, Gum and The Union Choir. Definitely worth giving a listen.
And finally, what is the next step for Acrobatic Society?
A. Another release at the end of this year. We are currently working on demos for new songs. I'm really excited with them. This is the fun part, the tabula rasa, before the editing, where we can just catch ideas and see where we go with them. No pressure or any real effort ... lovely.
S. To hopefully succeed in my quest to not be stuck in a soul destroying, shit scrubbing, banal, bollock grating job and to continue playing the music I love with the people I love to people around the country who will hopefully grow to love it as much as we do.
And another release in the very near future as it's taken us an eternity to get this melting clown tart out.
GREAT MAN THEORY // SINGLE LAUNCH GIG // 22.02.13 // CLUNY 2
Features of our first "Music Recommendation" bit, grunge / blues alt rockers GREAT MAN THEORY released their debut single, "LET HIM IN" on 22nd February, I was invited down to the show to photograph, video, and maybe do a bit of writing about this powerful band.
Photo: Chris Walton
The Cluny 2 is an odd venue, down some very clinical feeling stairs, into a very clinical feeling black, underground room, which used to be a theatre - and it shows. There is a feel of sleek, professionalism about this room, which - from my own experience - sometimes doesn't mix well with rock music. Tonight was definitely not the case!
Supporting, and opening, the gig tonight was LAST TRANSMISSION, a straight up rock band based in the area. Their set featured originals and a slick cover of Led Zep's 'Immigrant Song' thrown in for good measure. Well rehearsed and with a lot of talent, especially from the ear drum smashing crack of Adam Forster's snare - which I know from experience would definitely not have been coming through the front of house mix - cutting through the entire band, if anything you should catch these live just for the spectacle of Adam's blur of hair and arms! Slick solo work from Richie on lead guitar built on top of the rhythm provided by Michael and Dan on guitar and bass respectfully, and with some powerful vocals to boot. One to watch, if a bit lacking in energy tonight, with every member seemingly glued to the spot. They have just released debut EP, 'ALL THE TIME IN THE WORLD' - available on iTunes / Amazon / Spotify.
The main act tonight, of course, being GREAT MAN THEORY. I handed my pint to Jess behind the merch table to look after, or, at least, I think I did - the room plunged into complete pitch black before the exchange could be made, making it nigh on impossible. But I guess that was my cue to turn around, to see a single spot on James Smithells centre stage, playing some clean chords as the rest of the band - Rob Jarvis on guitar, Rob Steer on bass, and Matt Absolon (best surname ever) on drums - filtered on stage around him. Following this clean introduction was a ball sack rippingly awesome kick to the groin of grungy, bluesy, rocky goodness. The next hour or so was a cacophony of wailing solos, bass walking all over the fretboard, vocals soaring high above the assembled masses, and drums pounding into our chests. James Smithells' aura as a frontman is a spectacle to behold, as imposing as he is tall, he commands the crowd with cheeky wit and very British sarcasm as Rob Jarvis supplements this with a tongue in cheek attitude. The band have come a long way since I first saw them in the Three Tuns, and have moulded themselves from being clearly a garage band into a fucking stellar act on stage with a sound that gels as well with each other as it does the crowd.
The set roared on, and the room heated up to the point Jarvis simply had to lose his shirt, and then the band started placing bets and dares on each other, goading the crowd to force James to remove his shirt - he didn't oblige, but he did run off stage into the centre of the audience as part of a dare placed upon him by Rob. Counteracting that dare, James commands the two Robs to play on their knees for the next song, resulting in a hilarious yet very rock 'n' roll display on stage. All the while, Matt grins like a cheeky lad from the back.
All in all, the night of music from Great Man Theory was spot on. Their single, "Let Him In" is available now, and is well worth a listen!
BETH MACARI // EP LAUNCH SHOW // 17.02.13 // HOOCHIE COOCHIE
When I first saw Beth Macari live, it was just her and a guitarist on stage. She was clearly new to the live scene, and the show was very laid back and quiet. Fast forward almost two years, and the scene is something different entirely.
Photo: Lee Tuck
We're at Hoochie Coochie in Newcastle, and the stage features a full drum kit, percussion section, guitar, bass, microphones for backing vocalists, and two saxophones. Beth has come far, and this is her night. The venue is rammed wall to wall, and I feel very under dressed in t-shirt and jeans. There are some beards and suits to be envious of in here, that's for sure.
When Beth took to the stage, the venue was filled with some of the slickest, most well rehearsed and impressive soul music Newcastle has seen in years. Beth knows how to do a show, and with a large amount of modesty and humility, referring to having a "right sweat on" and a laugh with the audience in between songs, as well as being very visibly grateful on stage to have such a talented and well rehearsed backing band.
The entire show was a pleasure to experience, and I couldn't help but feel proud for Beth after knowing personally all the hard work and dedication she's put into her music. Her band are professional and talented, with a great image, and clearly having fun with her music, and she's commanding the stage with a captivating presence.
The only real criticism I can say for the night are that the reason we were all there, Beth's voice, was lost somewhat in the mix through the PA - I could hear the power and the notes perfectly, but not the words, which was a great shame. No fault of Beth's, but the venue's own limitations.
Beth Macari's EP is available now on iTunes (and she's currently in the top 100 soul artists!)
Continuing our recommendation of music, here's the second written by Chris.
WARNING!
If you like eccentric frontmen, bassists that jump around like crazy, and tight drums, then you'll like WARNING!
A three piece rock outfit from the Newcastle area, UK, fronted by Nathan Newton and completed by bassist Sam Thoburn and drummer Aidan Watson, this band take the best parts of Biffy Clyro, Muse, and other British rock elements from the likes of Editors' ethereal lead guitar and the on stage swagger of Mick Jagger, this is a band that have been creating some major waves in the local area.
My first experience of WARNING! was at a battle of the bands in some unassuming civic centre in some out in the sticks village where they completely blew every other band off the stage (my own at the time included) with a set that was, for lack of a better word, electric. From the get go, Nathan teases and taunts the audience but not with any form of offence, just his natural 'come on' attitude. Sam makes the stage his own with some crazy moves that remind me of a strange mixture between the headbanging nature of Chris Wolstenholme and the inability to stay still style of Charlotte from The Subways. Using a simple setup on bass, Sam flicks between clean tones to thundering overdrive to fill out the dead space between his instrument and Nathan's - who is often going nuts in the higher end of the musical spectrum and dancing over his pedal board in an almost shoe-gaze way to create some eccentric sounds from his Gibson SG. Aidan's tight and imaginative drumming ties everything together into one amazing package.
Watching WARNING! live really does look like a mixture of Biffy Clyro and Muse in their best years surrounding Origin of Symmetry and Absolution, and that is most definitely not a bad thing. Tracks such as 'Hospital' feature the band in hospital gowns and some great tones, and the whole show is full of stop-start moments very much like Biffy.
Most definitely a band to go out of your way to see, WARNING! are destined for great things.
A thing we're going to be doing is to promote music we particularly like. Here's our first, written by Chris.
GREAT MAN THEORY
How this band came into my life is one of sort-of coincidence and good timing, and two lonely bassists at a bar. It was a meeting like those seen in romantic comedies, except this time between two straight men, some beers, and a love for the lower end of the frequency. Totally heterosexual, I swear...
Read More after the jump...
We'd just set up for a round of the locally infamous Three Tuns Battle of the Bands, and were just hanging around having a laugh and chatting. I was at the bar ordering the one drink I was allowed that night, when I turned to the man next to me hugging two bottles of Budweiser and looking very lost. I struck up conversation, most likely with something either condescending, sarcastic, not-very-witty, or, most likely, a combination of all of those, and soon learned that his name was Jona, bassist of Great Man Theory, and the owner of the biggest bass amp I've seen a local band use - a giant 8x10 Ashdown rig that must've cost him an arm, a leg, and most of his liver - and possibly a kidney. The rest of his band had disappeared somewhere to grab some food, leaving him to look after the gear and have some beers. So we assimilated him into our group, and instantly got chatting. Soon after, the rest of his band turn up - a tall blonde lad who wouldn't look out of place running down a beach in a Baywatch introduction, an even taller lad with curly hair and a cheeky wit that could cut diamonds, and an indescribably eccentric man who, over time, we'd nickname Crazy Rob because, well, he's nuts - in the best way possible. That's Great Man Theory.
Except currently Jona is in Germany, and they have a stand in bassist, also called Rob, who is also nuts. I think its a prerequisite to being in this band that you have to be nuts.
Now onto the music.
The band fuse the intricate stylings of blues and some very tasty alternative riffs with the energy and tenacity that you would expect to see from Rage Against the Machine or Biffy Clyro, in a single song they will flip from clean guitar and melodic vocals to raging distortion and drums with an angry grit being fired from James' (vocals, guitar) mouth. No two songs are the same - which is a refreshing sight in today's local music scene swamped with bands that stick to a formula of 'that works, let's not challenge it' and subsequently have every song sounding the same. Rob (backing vocals, lead guitar) dominates the stage with his very presence, and his well thought out guitar licks float over the bed provided by the other three creating a sound that definitely pleases my ears. That's not to say that this is a guitar led band, because Matt Absolon (best surname ever, drums) provides some beats that get stuck under your skin and refuse to leave, and Jona (bass) has worked some gorgeous bass lines into each track (listen to "Aladdin," its fucking spot on). Add in some tasty lyrics and harmonies ("M.O.B." being my personal favourite for these) and you have one formidable band who's possibilities in the rock world are endless.
With a single launch coming in February 2013, you need to keep an eye out for this band. You will regret it if you don't catch them!
More info:
Facebook
I'm Chris, one half of theCOLONY. Here to introduce who we are, what we are, and what you can expect from us. Currently this page is looking a bit bare, but that's because James (the other half) and I are working on a lot of behind the scenes madness to bring to you, our audience of creative people and contemporaries, something to really become a part of. We're really excited over this - probably because of all the coffee we've been having, but we're really looking forward to working alongside all you creative people in the North East of England - and, hopefully over time, further afield!
So, what exactly IS theCOLONY?
More after the jump...
It's not another of those 'here for a few weeks promotional companies that, ultimately, does sweet F.A. is it?
No. But that's easy for us to say, isn't it? We are not a promotions company. We are a platform within which creative minded people can promote themselves to others, network with others to create connections within the creative world, and ultimately sell themselves with the end goal of being able to say that they do what they love for a living. theCOLONY is a network. We want to work with you, James and I are two creative people wanting to work with, and help, our peers.
So what can we do for you?
We can provide a central hub of creative activity, promotion (yes, I know...) of you and your work, feedback, interaction, and help to build your own personal brand of creativity into something viable.
You're in a band? Need a photo shoot or video? We want you to be able to come here and find just the person you need. You're a videographer? Well, we know just a band looking for a video shoot! You're a graphic designer? Hey, this person needs some help designing some posters, logos, business cards, branding etc. for their fashion brand!
Who are we?
James is a Master of Science, and Bachelor of Arts, graduate in music production and technology; this means if there's a noise, he'll know all about it. If you want to make sounds, James can help you. He can record, produce, mix, master, and help you.
I, Chris, am a graduate Bachelor of Science degree holder in music technology, and currently a Master of the Arts student in Design. I am also a photographer and videographer with clients such as Topman, NARC., Leeds Festival and more under my belt. I want to help create a network of creative people helping each other out!
With this in mind, let's create a creative community.
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