Showing posts with label music. Show all posts
Showing posts with label music. Show all posts

Sunday, 20 May 2018

Review: Mood Music at the Old Vic for AYT

Propelled by the anxious collision of psychological expression and repression, Mood Music interrogates the boundaries of creative ownership and the extent to which we are emotionally invested in our artistic products. Written by Joe Penhall (Sunny Afternoon, Blue/Orange) and directed by Roger Michell, the piece chronicles the ego-clash of producer Bernard (Ben Chaplin) and wide-eyed vocalist and protégé, Cat (Seána Kerslake). After moving to London from her native Dublin, Cat is scouted by the esteemed producer who promises fanciful collaborations, avowing that he is “no stranger to excitement”. Dialogue splices between conversations with their respective doting psychotherapists (Jemma Redgrave and Pip Carter) on a stage decked with a low ceiling of vintage microphones.

The relationship between the two soon turns sour. Cat becomes increasingly demystified by the façade of musical success and pines for a ‘purer’ method of musical expression to spiritually reconnect with her deceased father. Studio quarrels are spurned by Bernard’s self-assured musical machismo and confident misogyny. The trope is all too familiar and he is superbly repugnant. The declaration by Bernard’s Lawyer (Neil Stuke) that “It’s time to change the balance of power… within reason” illustrates the extent to which misogyny is embedded in the operation of the music industry and manifests throughout the play’s legal struggles and the propagation of Bernard’s intuitive ‘genius’. “We’re essentially midwives, but the songs are our babies” he affirms. In this, and other references to songs as his “babies”, we see the heart of Bernard’s quest to erase female presence and stabilise his unstable identity. Chaplin’s performance garners audience chuckles, which I suppose is either rooted in his brashly exuding charm or their own reflective identification. I’m impressed, but as a young female creative I’m far from amused.

Ultimately Cat descends into substance dependency in the midst of legal toils as she struggles to rationalise her trauma. There are moments when the language feels cheap, underscoring the soulless performativity of the industry as Bernard philosophises “Sometimes the dark heart of a song can never be known because frankly it’s too squalid”. For a play centred on the production and performance of music, there is surprisingly little actual music, albeit a sorrowful string-ensemble conducted by Cat which concludes the evening and injects a grain of optimism to the story of female creative and legal oppression. Whilst it might be a bitter pill to swallow, Mood Music is a timely rumination on the purpose of psychotherapy under capitalism and its use in fostering creative production and profit at the expense of those too weak to speak out.

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Written for A Younger Theatre magazine, link here: https://www.ayoungertheatre.com/review-mood-music-the-old-vic/ 

Sunday, 21 May 2017

Hinds Band Review for Cool Brother zine



Hinds are a fully-charged female four-piece hailing from Madrid, favoured by the likes of Primal Scream’s Bobby Gillespie. Comprised of Ade, Amber and front-girls, Carlotta and Ana, we’ve seen them escalade in size, strength and following.
It all began two years ago, when 2014 saw Ana and Carlotta release their debut EP, Bamboo. Charming, fun and totally badass, Bamboo is a pared back lo-fi rock ‘n’ roll ditty with a shoe-scuffing call and response to playground pining. They’ve hardly been sitting pretty since. That year, we watched Hinds battle intimate venues like Corsica Studios, while remaining deers in the headlights when it came to interacting with the crowd. Incessantly giggling, dewy-faced and doe-eyed, they were still getting to grips with the English language. In 2015, we were treated to a wealth of gigs, from Hong Kong to Hoxton, and 16 performances at SXSW. Now, they’re headlining Koko, they’re playing Glastonbury two years in a row and they’ve performed along side the likes of The Libertines, The Black Lips and The Strokes.
Yet, despite being on the road more than Kerouac, they still found the time to write and record debut album, Leave Me Alone. Suitably evocative of teenage rebellion, it goes hand-in-hand with their nonchalant attitude. Stand-out tracks include Garden and the toe-tapping Warts; a cautionary tale of a psycho witch, delivered with a playful lure; ‘She acts too crazy/Absurdly wild/Always ready for a winky/She always burns her warts’.
They’ve achieved a lot in two years. Promising an electric and thoroughly vivacious live performance, Hinds are definitely ones to circle in your festival programmes this summer.


Sunday, 14 August 2016

Mandrea Music Festival, Arco, 2016: Review.




Pitched neatly between the peaks of the Italian Alps, this year’s Mandrea Music Festival offered a hearty amalgamation of Reggae, Afrobeat, Ska, Dub, Hip-Hop and a perpetual soundtrack of acoustic campsite sessions. A stone’s throw from the dramatic blue waters of Lake Tenno as well as neighbouring Lake Garda, the setting is faultless. Birthed in 2012 originally under the name of 'Mandstock', the festival has steadily flourished- swiftly attracting its crowd of easy-going hippies and music lovers. As well as offering a selection of hiking trails and viewpoints accessible to attendees, the festival also boasts several workshops including donkey riding classes, gardening, dance classes and Tai Chi.
Regarding food onsite, Mandrea offer a modest but downright lip-smacking selection of Italian food stuffs. You’ll find stonebaked pizzas, vegetarian paella and outstanding Senegalese coffee making a holy trinity of deliciousness (the latter being a particularly effective staple of the later nights; a continental Red Bull if you will).
This year’s line-up saw Friday night headliners The Congos take to the main stage, administering a hearty dose of classic Reggae from the trio of veterans; a formal education and introduction to their vastly influential 1977 album with Lee Scratch Perry ‘Heart of The Congos’.  Orlando Seale and the Swell later christened the Forest stage with an array of stormy and political songs, illuminated by the female violist and commanding front man vocals. 
Saturday night’s musical highlights included a stonking main stage performance from Sheffield’s K.O.G. and the Zongo Brigade, captained by K.O.G. who enticed onlookers with rhythmically stimulating Afro-fusion anthems making this band a weekend highlight for many. Bristolian Ushti Baba soon followed on the Forest stage, merging traditional European folk with a contemporary flair in an Alpine knees-up.
Between relentless downpours of rain, Sunday night saw the formidable Brightonian 9-piece Town of Cats own the Forest stage with the heavens biblically clearing barely minutes before their set. This didn’t stop revellers from anticipating a rain dance; hoisting over a gazebo to the dance floor, much to the annoyance of a sound engineer. Their set was delectably danceable, punctuated with stories of sin, sex and lashings of salsa. Sunday also saw Inner Peace Records taking to the Barrio Libre stage, the Hip-Hop label hosting a mixture of some of Oxford’s finest talents including King Kahn, Shamanic, Terao,  EarthOne, Tang the Pilgrim, Elliot Fresh and Reejai, passing tongue in cheek exchanges that reflected on the apocalyptic weather conditions Sunday morning had punished us all with.
A serene and intimate festival with a visually dramatic natural backdrop, Mandrea festival is an unspoilt and ethereal beauty. You’ll leave feeling upbeat and wholesome, this idyllic retreat from the grind of your 9-5, and substantially less wanky than that yoga retreat that Stephanie from the office went to. Just don’t go shouting it from the rooftops.

Words by Elinor Potts

Thursday, 18 February 2016

Becoming my own 14 year old icon: A revelation. or An Education in Blagging it.

I'd like to think I've done a lot since moving to London. I've served the president of China a fish course wearing shoes that my mum bought from Sainsburys in the 40% off TU sale. I've dug myself into an unimaginable pit of monetary debt, I own a basil plant now, I'm a vegetarian, I've developed an intolerance to whiskey. And, to go on, as of the previous night, I witnessed a collective of my 2009 indie icons snort cocaine from a Soho bar to the professionally glazed eyes of the staff. Is this truly the climax of my adulthood? Is this making it?
Tuesday afternoon, with less than 3 hours notice I made the impromptu decision to drag my miserable body to a ~hip #music gig, following a mutual friend pulling out last minute and as bid for myself to procrastinate further the impending 3 essays I have due in for the next few weeks. This is not a pastime I have participated actively in since I was about 14 and an acne ridden resident of Brighton with a paper round and an unquenchable desire to fit in. So I ambled to Brixton with 2 cans of K cider stuffed into my trouser band and some sleek white cotton trousers [I purchased myself for a meagre £3 from the M&S Bideford outlet] we flitted between support acts and labyrinth-style smoking decks till the headline act; my ethereal puberty pinups graced the stage and I felt a sweeping hormonal déjà-vu.
The group I had been with had all shared a similar musical/maturation experience fixated round this band and we stood in a small ring for the encore and held hands in a strangely ritualistic manner. G had a lot of feelings and had a spontaneous sob to one of the more down-tempo numbers.
The hilarity-cum-internal screaming did not unfold until the gig was over, following a hapless and cripplingly awkward scene of events with a corner shop owner, lemonade, my insufferable pedantry and an unforeseen sexual remark. I screamed in the gentleman's face, holding up a stern finger and sharply threw the can back on the shelf before marching off into the Brixton night in a trail of enraged feminist fury. As fate would have it, this would lead us to the local pub, an upmarket French establishment at around 11:45pm was unremarkably heaving and upon purchasing a more expensive and non-sexist lemonade, we found ourselves a tiny booth already occupied by three unassuming young men, one clutching a tote bag brimming with records, all sporting various degrees of facial hair.
Whilst drinking this delicious lemonade we mused over the night thus far, our past experiences of live music and where we would go on from this quaint French affair. The men next to us finished their drinks and we shuffled along to allow them to exit. They filed out until the first member of the troupe was out the door, when gentleman number three dashed back to our booth, leant over and into my ear he whispered: "the after party is one 100 Wardour Street, Soho". Our heavenly hairy godmother in a paisley shirt and an earring. It was henceforth that a 2009 Indie mirage unfolded into a miraculous overdraft fuelled blur of teen heroes and free Peroni.
Following an additional misogny fuelled encounter with my fantastically resilient companion (see mid image) and a bored Brixtonian we eventually wriggled into an uber; the tax-free/mass-corporation-guilt leaving a sour taste that was distinctly obscured by the circus of butterflies in my stomach.
Living in the South East of London, it's not all too often I head into the centre of town. When I do, mostly for work purposes, I am consistently cycnical and frequently glower to myself over:
  •  tourists
  • literally anything in a suit,
  • imposing buildings
  •  people who have clearly spent more than they would have done on a book on a handbag
  • anyone who looks remotely like they might have voted Conservative in the previous election.
 When we got out of the uber in Soho, in a similar manner to my experience of offering canapé’s and serving plates to women legitimately wearing tiaras to show their wealth at the China State Banquet, I felt like a Soviet spy.
We slipped into the after party, guilt-free greeted by an entourage of 30-40 folk, huddled round a private table with waiters in grey suits and dull eyes who offered us vodka with cranberry/soda and called you ‘madam’ like a Victorian lady. In the smoking area we bumped into the men we had briefly met at the pub- it transpired they had names- Ollie Tao and Cozzie, who looked genuinely pleased to see us. We were without a doubt the only members without a direct link to the band, three thirsty and clueless young women following our noses to watch our teenage idols dissolve their septums.
I come back to the question, if my fourteen year old self could see me now would she be jumping for joy? Texting all her pals on her Nokia smart phone? I’m sorry to break the illusion Elinor but they’re really not all they’re cracked up to be, these are a gang of men in their early 30s, who probably have wives and a mortgage.
For those of you who are as ill-informed as I was, it turns out- what you do at after-parties is mingle and people ask you ‘what you do’ whilst they stare at your breasts for the response. Generally you repeat this about four times, mid-transition your previous converser will glare at your new chat mate and so the process continues.
To be brutally honest with you Martin, I still don’t really know what I’m doing, both here and in the grand scheme of my life, but once the housing bubble bursts I doubt you’ll know what you’re doing much anymore.

Cynicism triumphs again!


 

 



Thursday, 10 July 2014

Open'er Festival preview for Far Out Magazine

Starting today, Gdynia’s own ‘Open’er’ festival is a polished Polish gem and a penny pleasing Glasto alternative for pleasure seeking, financially savvy Brits.

Set on Kosakowo Airport, Open’er boasts six stages and is a four day pledge of ferocious musical energy with the allure of (equally?) satisyingly cheap beers. This years lineup presents an array of potential headliners in their own right with Foals, The Horrors, Jack White, Metronomy, The Black Keys, Pearl Jam and Warpaint, spanning the genres with the likes of Jamie xx, Julio Bashmore and Mary Jane Coles taking to the Beat Stage.

Open’er presents a plethora of best UK and US Indie/Alternative artists whilst simultaneously showcasing the best of the Polish music scene with artists such as Król and Pablopavo i Ludziki sharing stages with the quintesentially British Ben Howard.

A lynchpin of the emerging European festivals scene and putting many back home to shame, Open’er 2014 sets expectations suitably high.

You can expect a comprehensive review of Poland’s prime beersmusical party in the coming days. Eyes peeled.



http://faroutmagazine.co.uk/opener-festival-gdynia-poland/

Sunday, 15 June 2014

TripToTori @ The Wrey Arms, 13/6/14

I've been deliberating over the title of this post for a while now.'Tripping in Barnstaple' presenting frankly unwanted semantics. 
The matter at hand is that I have received an insight in to the seemingly non-existent music scene of the social epicentre that those dwelling in these parts fondly name 'Barny'. I am of course unaffectionately informing you of Barnstaple. Never judge a book by it's cover, another classic idiom that holds resonance. 

Marred only by minor technical hiccups, TripToTori gave me hope in a world that before this eve had been frankly imprisoning. Commanding beyond their years, Devon based five piece 'TripToTori' conducted an intricate counterpoint melodically, drawing distinct influences from the likes of Foals, Radiohead and London Grammar, most audible in recent single 'Lowlands' available below on the bands soundcloud and featuring an unmistakable early Foals informed guitar solo as well as several instances of a Spanish Sahara ambience throughout their set. Forming only in October 2013 TripToTori is composed of both Josh Danks and Georgia Palmer on vocals, whom present a convincing Wolf Alice romantic frailty of vocals between them at times. The room is littered with a whole host of spectators from family relatives to local rugged leather wearers, and, to my astonishment, a youth subculture of scene kids, stretchers and miniature Yannis' never before encountered outside of Exeter. The band incorporate a Kings of Leon cover, only to the effect of complementing their own material though illuminating further their alternative tastes within a social bubble that is frowning in utter confusion.

Promising, most promising.


Listen to: http://soundcloud.com/triptotori-1/lowlands-1


Thursday, 20 March 2014

Bombay Bicycle Club at Exeter Uni’s Great Hall 17/03/14

Drawing the predictable melange of charity shop jumpers and Doc Martens, Bombay Bicycle Club took centre stage at the Great Hall playing a sold out set in the halfway leg of their UK tour. 
Swept there on a compelling tide of nostalgia and elated on expectations of £23 tickets, that were needless to say; high.
The band have received heady mainstream success from album number four ‘So Long, See You Tomorrow’ with singles such as ‘Luna’ gracing the airwaves of the daytime Radio One playlist. 
The set was a notch up in professionalism from the 2010 post ‘had the blues’ relative underground status, they’re big boys now. Support act ‘Flyte’ seemed reminiscent of a mediocre Mystery Jets minus the 80s hype, though pleasantly harmonious. 
This was soon followed by Rae (‘The Hair’) Morris, a radiant songstress who sat, somewhat subdued, at the keyboard whispering delicate vocals. A poignant affair, songs such as current single ‘Skin’ were beautifully executed. 
Bombay were confidently commanding with spirits soon became frenzied by the very presence of the quartet. The Indie introvert pin-up boy Steadman was brilliant as ever, despite the vivaciousness of early tracks such as ‘How Can You Swallow so Much Sleep?’ and ‘Always Like this’ possibly subtracting from the sincerity of  ‘Eyes Off You’ with vocals slightly lapsing. 
Use of mesmerising graphics projected onto circular screens were stunningly implemented, the Asian-fusion undertone to tracks such as ‘Feel’ seeing a gang of artsy cobras grace the background to which guitarist Jamie Maccoll exclaimed ‘RELEASE THE SNAKES!’ to much effect. 
‘Luna’ also saw a Disclosure- esque mockery of the band’s ‘interative’ online video with rotating silhouettes of Steadman and accomplices. 
A ‘Flaws’less performance that secured crowd pleasing old ‘Evening/Morning’, ‘Shuffle’ ‘Light Out, Words Gone’ with an encore of the sublime ‘What If’ and ‘Carry Me’ it was triumphant effort from a band who have certainly secured themselves as seminal figures in the alternative





Photo credit to the delightful Molly Hayden
also published at: http://www.theexeterdaily.co.uk/news/entertainment-reviews/bombay-bicycle-club-review