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Salem Rages by Mike Brits

Issue 39 November 2013

Salem Rages Ex-Easter Island Head Laura J Martin Sankofa

Bido Lito! November 2013

Just before we went to press with this edition of Bido Lito! Magazine, I was kindly asked to put together a set of records for an event to celebrate the launch of Yeah Yeah Yeah: The Story Of Modern Pop, a compendium of pop music written by Bob Stanley, he of Saint Etienne fame. The launch event featured a panel discussion with Bob, queen of Liverpool music Jayne Casey, celebrated critic and author Paul Du Noyer, and OMD’s Andy McCluskey, and was expertly chaired by Roger Hill, about whom you can read more in this issue. The book itself is an intriguing, personal romp through pop history, exploring the key milestones and moments in the form’s evolution, through the prism of a writer who has played his own, intimate role. And the panel discussion – which explored a section of the central themes, and their relationship to our city – opened up a series of interesting ideas that have been burrowing away in my head ever since. Pop music has always been concerned with the fresh and the new. The hot, the now, the bleeding cutting edge. The media that surrounds it has always competed ferociously to unearth the next big find, the next new sound. But, in many ways, this constant search for the end of the rainbow, the new musical pot of gold, was little more than the perfect commercial brainchild of the record industry. The pop chart, which was launched in 1952, provided a weekly rundown of what’s hot and what’s not, purely based on sales. The more you sold, the better you were, and the whole model relied entirely on a constant stream of new releases and new sounds, something the booming record industry was only too happy to provide. At that time, people relied exclusively on mainstream media – TV, radio, magazines and newspapers – for their regular fix of what was new and their guide to how to build their record collections. The chart reigned supreme as the key barometer of success, both commercially but also, and somewhat more critically, creatively. Anything ‘old’ did little more than gather dust in record boxes. But those days are gone. In a decentralised, digitalised music industry, the chart has become utterly redundant. In fact, when asked who was number 1 in that week’s chart, nobody in the room at the Yeah Yeah Yeah launch, a room full of music lovers, actually knew. I believe we have entered the age of post-pop. Infinite music access is a seismic shift and a mind-boggling opportunity for the digital generation. There are few records that you cannot listen to almost instantly online. Why would a 15-year-old today choose to immerse themselves in the latest Pins record over Are You Experienced, for example? When you can listen to anything, the release date becomes somewhat academic. It is all music, no matter when it was made. And good music is simply good music. It seems obvious to me that, over the past decade, pop music has wriggled free of the straitjacket that was the direct correlation between artistic value and commercial sales. (After all, the notion in any arena that the commodity that sells the most is of the highest quality is flawed.) Music lovers and makers today are guided by their taste and trusted recommendations through the archive of material that is pop music’s history, rather than simply having to accept a set of 40 records each week, curated as a result of their sales level and – more often than not – their label’s marketing budget. Great pop music has always been informed by its past. The music makers of today have a unique opportunity to explore that past, chop it up, re-imagine it, reinterpret it and personalise it on a scale that has never been available before. We see this already as bygone scenes and eras are creatively re-explored in a post-pop, digital, geographically diverse context, with Liverpool International Festival Of Psychedelia being a local, topical example. I await the development of the post-pop age with utter delight. Craig G Pennington / @BidoLito Editor

Features 6 SALEM RAGES

Bido Lito!

Issue Thirty Nine / November 2013 4th Floor, Mello Mello 40-42 Slater St Liverpool L1 4BX Editor Craig G Pennington -



Assistant Editor Christopher Torpey - Reviews Editor Sam Turner -


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Designer Luke Avery - Proofreading Debra Williams -






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The views expressed in Bido Lito! are those of the respective contributors and do not necessarily reflect the opinions of the magazine, its staff or the publishers. All rights reserved.




Bido Lito! Dansette

Our pick of this month's fresh wax cuts...

GIT Yourself Down Kicking off its third year, THE GIT AWARD is back to find another worthy recipient of its acclaimed new music prize. After crowning this year’s winner Baltic Fleet in April, organiser Peter Guy is already laying the groundwork for next year’s announcement with an exclusive launch event at Leaf Café on 16th November, which starts at 8pm. Entry to the launch is free, and will feature performances from VEYU, Kalax and Nights, plus more to be confirmed. Entries are also being taken for the 2014 award now. Artists wishing to enter are invited to do so by sending four tracks to

X Marks The Spot LIVERPOOL X is a first for the music and arts community of Liverpool, hosting a day and night of debate, ideas and reflection on Liverpool’s current cultural identity. This includes a music programme curated by WAXX and a bill of performances and guest speakers that includes VICE magazine’s Andy Capper (pictured). Local entrepreneurs and cultural doyens, including us lot at Bido Lito!, will be taking part in various panel discussions at the event, to determine our views on what makes Liverpool what it is. Liverpool X takes place on the 20th/21st November at Camp and Furnace.

Beard And Wonderful Apparently beards are the new black, and the renaissance of the beard is in prominence on the faces of Liverpool men everywhere. In celebration of this hirsute phenomenon, BEERDFEST is back for its second innings on 29th November. Bizarre? Yes, but Beerdfest are serious, with a chance to win the title of Best Beard or Best Moustache in Liverpool up for grabs, as well as live music from beard-wielding band Mervin Gersh. The event is free and you can register to be a contestant by getting in touch through their Facebook page. All hail the hairy ones!

Former Bido Lito! cover star NADINE CARINA is back with her newest EP Things That People Love To Remember this month. After a spell of time away working on the new material, Nadine treated us to newest track from the EP, The Love, with an accompanying video directed by Shondel Birvini. She’ll be pre-empting the release on 18th November with a string of dates, including Hallow’s Ritual at the Kazimier on 31st October. The EP is available to pre-order now on On The Camper. We for one are chuffed with what we’ve heard so far.

Station To Station This month sees the culmination of the prestigious MERSEYRAIL SOUND STATION PRIZE. After whittling the list of one hundred prospective bands down to a final ten, the winner is to be announced at the Merseyrail Sound Station Festival, which will take place at Moorfields Station on 2nd November from 1pm. The gong aims to give new musical talents a head start in the music industry with a year’s worth of professional management and recording time awarded to the winning act. Entry is free and will be followed by a party at Hopskotch Bar and Kitchen on Mathew Street from 5pm.

Rock n Roll Winter The folks at Curious Orange Vintage and Psycho Motel will be rallying to warm our chilly bones in the best way they know how this month – with a collaboration of fashion and music in The Kazimier Rock N Roll Winter Vintage Festival. 10th November will see the Wolstenholme Square venue full of stalls selling vintage clothes, treats, trinkets and food to the tune of local DJs showcasing their impressive vintage vinyl collections. Already confirmed for live performances are bands The Swingin’ Bricks (pictured) and Raw Bones, adding to the yesteryear feel of the event.


Frankie Rose Herein Wild After stints with Crystal Stilts, Dum Dum Girls and Vivian Girls, FRANKIE ROSE’s solo effort is distinctly less garage rock and more menagerie harp song. Seemingly 15-part harmonies, weightless string parts and Etch A Sketch drums are things from dreams. Like something from an 80s driving movie, the album will float with you through neon lights and beyond.

Lovecraft Häxan WITCHFINDER RECORDS The latest offering by Merseyside’s arch psych proggists LOVECRAFT compacts the band’s wayward melodic sensibilities down into two portions of pop-infused wonder. A-side Häxan is a perfect Hallowe’en anthem, while B-side Aneurin is similarly brilliant, evoking the spirits of Pulp and The Flaming Lips. All Hallow’s Eve was scarcely as welcoming as this.

Kelley Stoltz Double Exposure

Huzzah! This month’s competition is a chance for you and a friend to win tickets to a once-in-a-blue-moon gig happening this month in the great space of St. George’s Hall. Veteran indie powerhouse band THE CHARLATANS are set to play their rescheduled LIMF show on 8th November with an impressive helping of local support from THE TEA STREET BAND and BY THE SEA. After a spell of performing as a solo artist Tim Burgess reunites with a band that defined the golden era of British indie in the 1990s for a show of monumental proportions. Expect big things from their arsenal of hits when set to the superlative acoustics of a venue steeped in local history and prestige. If you’d like the chance to win two tickets to the show, all you need to do is answer the following question: a) Us And Us Only

b) Oh No I Love You

c) Thriller

To enter, email your answer to by Wednesday 6th November. All correct answers will be placed in a big pink hat and the winner will be drawn at random and notified by email. Bonne chance!

Gig Guide and Ticket Shop live at bidolito

LUAKA BOP After knocking out eight space-aged funk disco records in the late 70s, WILLIAM ONYEABOR found God and sacked off the whole music lark. This re-issue of his groove-laden, afro-glitch stomper Good Name - which sounds like the inner workings of Fela Kuti rewiring a SNES - has had the Bido office shaking all month.


Carina Carina

What is the name of Time Burgess’ latest album?

William Onyeabor Who Is William Onyeabor?

THIRD MAN If all musicians were going this strongly seven albums in then our record collections would be in danger of spilling out of the spare room and taking up half the house. KELLEY STOLTZ never veers far from the psych pop pastures he knows so well, and why should he if he’s consistently knocking out gems at this rate. Double Exposure is the record Kurt Vile wishes he’d written.

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Bido Lito! November 2013


Salem Rages And A Gloom-Punk Odyssey Words: Pete Charles Photography: Mike Brits /

It’s been two years since self-styled gloom punks SALEM RAGES crawled out of the earth to unleash odes to darkness such as Casket and Our Halloween on the punk scene. The band Bido Lito! interviewed back then were a group still grappling with their musical direction, but which had also taken the bold step of inventing a genre under which they would categorise themselves (not to mention giving vocabulary-deficient promoters something catchy to put on gig flyers). With their first long player Aspects Of The Deepest Gloom done and dusted in August and scheduled for release in early 2014, the band felt it was important that their existing material be reissued in advance of this. So, Salem Rages have collected their first three EPs and lovingly packaged them in a compendium entitled Splinters Splinters, which is out in November. Singer/Guitarist Roman Remains explains the decision: “We’d put our early EPs out on strange formats like cassette and flexidisc and people at gigs started asking us if we had CDs, so we decided that before the album came out we’d get everyone up to speed. It should spread its ashes around a little bit before the album comes out!” Aspects Of The Deepest Gloom, Gloom whose title is taken from a line from Mary Shelley’s Frankenstein, boasts “more instrumentation, experimentation and depth” than their previous material. The band have clearly taken the time to produce a more polished, meaty record - the chords are still as dark and the vocals just as tortured, but songs such as Purging The Flowers and crawling five-minute instrumental Smokescreen Afterlife see a pronounced lean away from hardcore and towards atmospheric post-punk. The album marks the start of the band’s relationship with Visible Noise, the London-based record label which helped launch the career of Bullet For My Valentine. Sunday Mourning (Drums) explains how the union came about: “It was mutual in a way. Julie from Visible Noise had bought our stuff and you could just tell she was a big fan of the style we were doing and that she understood our background.” He adds that it was a complete package of visuals, sound and look that piqued the interest of the label. “She came to one of our shows in The Pilgrim and it pretty much went from there. The beauty of doing it through Visible Noise is that they have worldwide distribution and can get it out to places we never could. Not only that, but we have 100% creative control, from the artwork to the songwriting. It’s not broken, and doesn’t need fixing.” The visual, conceptual element at the very core of Salem Rages is key to their appeal. Of course, morbid imagery spans multiple arms of rock n roll: from Johnny Cash’s ‘Man In Black’ persona to the ubiquitous Misfits skull. Whole genres have been created with death and horror as central themes, so when Salem Rages announced that they had developed a new style called ‘gloom-punk’ they came to realise that writing songs was only a small part of what the band would be about. “It’s as much fun putting the artwork together and coming up with the concept as

it is doing the songs,” says Remains. “It’s all held together with the logo and once you’ve got that you can use imagery to build around it. Rag Payne does a lot of the illustration and actually only picked up a bass to join the band. She’s come on loads in the last three years!” With minimal pressing, Remains takes a deep breath and has a stab at describing gloom-punk for what is probably the bazillionth time: “We wear a lot of the death rock influence on our sleeve, but we’re too fast to be death rock and too hardcore to be a horrorpunk band. Anyway, A. Dark Sun (Guitar) has got too many pedals to be in a hardcore band.” There’s a touch of irony in this last comment, as if they’ve grown weary of people struggling, and failing, to categorise their style. Their fusion of post-punk, hardcore, and gothic rock means Salem Rages can worm their way onto more bills than most bands, but this presents an obvious downside. “There will be the occasional person who just thinks we’re a bunch of art students,” says A. Dark Sun. “I’ve had people at gigs shouting at me ‘are you going to tap-dance or play guitar?’.” “I think that’s part of the gloom-punk diversity,” says Remains. “I mean, we don’t want to be pigeon-holed as psycho-billy, horror punk, hardcore, or any other sub-genres that lie within punk – if we can encompass all these different elements, well, that’s gloom-punk.” Sunday Mourning joins the conversation and leans forward at this point to ask Remains: “Can you explain it to me again?” Although there’s no suggestion that Salem Rages are trying to cast themselves as the flagship band of a gloom-punk movement as such, they’ve met other bands on the road with a similar ethos and it seems a good time to ask if they have a favourite place to play? “Sheffield seems to like us,” muses Remains after some thought. “We played the Men’s Catholic Society there once” - which seems like a somewhat challenging gig, for a band called Salem Rages! I wonder how the Men’s Catholic Society took to them? “We were outnumbered,” Remains confirms, before A. Dark Sun elaborates: “Yeah, there were Jesus portraits everywhere and the guy running the bar said he was never going to have a gig there again. I don’t think he liked...” Remains interjects, “ jumping on one of his expensive snooker tables?” The band are coy about the shows they have lined up around Halloween, but they clearly have a couple of aces up their sleeve and we’re not ruling out some sort of musical trick or treat. Their new venture with Visible Noise looks set to bear fruit, particularly considering the label’s recognition of the aesthetic values central to the band. With tours in support of both Splinters and Aspects Of The Deepest Gloom, Gloom and the promise of international exposure, for Salem Rages, it’s most definitely not all doom and gloom. Splinters is released 4th November on Visible Noise

Gig Guide and Ticket Shop live at bidolito


Bido Lito! November 2013

Laura J Martin Words: Jessie Main / @jessiemainmusic Photography: Charlotte Patmore / @charlottepatmore This flautist has come a long way. Hailing from Maghull, LAURA J MARTIN speaks to Bido Lito! on the phone from London, to share with us the process of finishing her new album Dazzle Days. Days After leaving Liverpool she lived in Japan, and now her collaboration with Mike Lindsay (Tunng) has seen her travel to Reykjavik and back. Serious geographical ground has been covered here, and a great deal of musical travelling has been undertaken with it. Martin’s first album, The Hangman Tree, Tree was well received, and her unique musical style has not yet seen her boxed-off and classified into any genre. It’s been referred to as Scouse folk, flute folk, psychedelic folk, and many other kinds and incarnations of ‘imaginary’ folk, I’m sure. (Actually, imaginary folk isn’t half-bad!) When I tell her I can’t immediately think of anything musically similar and ask how she would describe her style, she pauses and says graciously, “Well, I’ll take that as a compliment”. I never do come across a nice tidy genre in which to place her (although she does at one point describe her own voice to me as an “unhinged choirboy voice”), and outside of such lazy boxes is absolutely where she should stay. The flute has been Martin’s constant companion across her various musical plains, and she describes it now as her “secret weapon”. And though I’m betting it might become a worse and worse kept secret as she continues to become better known on the folk scene, it remains true that the flute is something a typical audience doesn’t expect to see as a primary feature in what may at first appear to be a classic set-up. She still has an enormous capacity for producing that surprise factor in her performances, and my guess is that has always been the case. To have progressed from being Kidkanevil’s hip hop flute accessory, to two albums and a stable ongoing collaboration with Euros

Gig Guide and Ticket Shop live at bidolito

Childs may have been a stylistic leap, but the ever-reliable flute remains a constant throughout. However, a shyer, more nervous fraction of Matin's personality comes to light as she tells me of her unsteady course to embracing singing as part of her act. She says that, as a child, she was the “stubborn kid in school who wouldn’t sing”, and although personally I would consider being reprimanded by teachers for not joining the chorus of children tunelessly groaning through whatever hymn was overhead-projected onto the wall at the time a gallant effort in the fight against ‘the man’, it seems that it shaped Martin's musical career in a much more meaningful way. Her flautist talents, while always a loyal tool for her expression, were at times more of a shield behind which she could hide. Her first few brave steps into singing didn’t come too easy: she says with a laugh that her first 100 gigs or so were marred with an “impudent stage fright and fledgling self-confidence”, causing her to question herself: “can I really carry this off?” But, three years later, she describes singing as feeling “natural, normal and great”. And playing her own songs before a live audience, while sometimes can still be nerve-wracking, brings with it the exhilaration of feeling a song turn an initially anxiety-inducing performance into a sincere one, using the emotion and adrenalin to add authenticity to the set. With that in mind, this second album could bring with it a set of new challenges for performing; Martin reveals that the content is perhaps more sensitive than previous projects. While The Hangman Tree was an outward-looking commentary on stories she would encounter – she lets me in on how one song was inspired by an arson attack on a flat in the block where she lived in Japan – the new effort Dazzle Days is more inward-looking,

inspired by her own experiences and musings on life. “The album is split into two halves,” she explains, “the first half is punchier and maybe poppier, the instrumental title track bookmarks the two, and then the second half is more expressive and reflective than the first.” She marks out At The Close Of The Day, Day which happens to feature her younger sister on saxophone, as being particularly emblematic of the more introspective side of her songwriting. Many different musicians joined Martin for the final stages of producing this album, causing something of a stylistic shift, especially with the synth additions from experimental maestro Benge. Working with ideas from others on her songs is something that she seems to find aids the creative process. “It’s easy to get stuck in your own tunnel vision,” she says, “and musicians like Gillian Wood, who helped with some of the arrangements and performed cello for me, have added so much to the sound that I wouldn’t have been able to achieve otherwise.” It is still very much her own, though, and she cites film composers as being an important influence – which is in evidence as she carries themes through from one song to the next, forming the cinematic foundations over which the melodies glide. She has come a long way, but it sounds to me as though Laura J Martin has reached a point where she has managed to perfectly position herself to continue exploring her boundless creativity. She is a self-produced artist, with a multitude of like-minded and influential musicians eager to collaborate with her, and a live performance which comfortably straddles excitement and sincerity. Good luck in finding a tidy little box for that. Dazzle Days is out now on Static Caravan

What’s on at Liverpool Philharmonic BAIN, MÖLLER & MOLSKY Saturday 9 November 7.30pm £15 St George’s Hall Concert Room

ZAPPA PLAYS ZAPPA ROXY & ELSEWHERE Friday 15 November 7.30pm £29.50-£39.50



Saturday 16 November 7.30pm £17.50-£27.50

MADELEINE PEYROUX Tuesday 3 December 7.30pm £24, £30

KATE RUSBY AT CHRISTMAS Tuesday 10 December 7.30pm £24, £30

THE BULGARIAN VOICES ANGELITE Tuesday 17 December 7.30pm £20, £25

KERFUFFLE Tuesday 17 December 8pm £14 The Epstein Theatre


Saturday 26 October 8pm £22, £28

ARDAL O’HANLON Saturday 2 November 8pm £20, £26


Tuesday 5 November 8pm £20, £26

FASCINATING AÏDA Sunday 1 December 7.30pm £20, £26


The Back Of My Mum’s Head Monday 2 December 8pm £25, £31


Sat 28 & Sun 29 December 7pm £16-£25



Saturday 15 March 8pm £25, £29.50


Monday 21 April 8pm £17.50, £23.50

Box Office 0151 709 3789 Images: KT Tunstall / Russell Kane


Bido Lito! November 2013

Ex-Easter Island Head Words: Joshua Potts Photography: Adam Edwards / @AdamEdwardsF2

Benjamin Duvall has just had a brainwave. What, you wonder, can be cooking in the same mind that has dragged minimalist chamber rock out of its niche, opting instead for grand events in monasteries and museums? Is there another place about to jump the queue for exotic, preposterous gig potential? “I was thinking,” he says, as the anticipation rises, “that we need to hire a few minibuses. Y’know, cut down on the cost of travel.” Alas, then, to find the quest for transcendence has its share of mundanity. Duvall is perhaps the most affable interviewee I’ve encountered, so this makes sense. He’s a receptionist whose double life as the ‘head’ part of EX-EASTER ISLAND HEAD feeds a license to doggedly embrace the basic needs of living. When his music is concerned, however, things are clearer cut: follow an idea through to its natural conclusion, and throw out the bells and whistles whilst you’re at it. Stripped back, looking forward, honing in. Miraculous harmony. “No effects and no playing properly!” he laughs on a biting Friday afternoon. We’re chatting on the phone, a conversation that will take up the better part of an hour, not that I’m noticing. Duvall speaks with barely suppressed glee, like a schoolboy showing you his toy chest, chuckling between explanations that go some way to clarify how exactly a few guitars and mallets can sound like the dawn of a new religion. Epochs and empires unfurl in Mallet Guitars 3’s tight twenty-nine minutes, the band’s latest record following two similarly titled predecessors. Listening to it can be overwhelming or place you in moods that can’t be vocalised or argued with. The effect is both cerebral and emotive, and I ask him whether that contrast was intentional. “It was partly conscious, partly learning on the job. The primal simplicity of what I do is gained by approaching music cautiously. Super-serious stuff devoid of emotion isn’t interesting.” Could he sum up the feel of the album in one word? “Fucking hell,” he sighs. I tell him either will do.

Gig Guide and Ticket Shop live at bidolito

Bido Lito! November 2013


“I’m stumped. I suppose I originally envisaged a Mallet Guitars trilogy, and this is very much the final shape of that, so I’d say ‘summation’. The centre of the record is very active, bringing what we’ve done in our other releases up a notch; more interlocking patterns and faster tempos. Around that centrepiece are near beat-less sides where musicians are almost taking hints from one another.” Somehow, he has manipulated Allen keys to nefarious ends, explaining why the dark, droning epiphany that culminates in Mallet Guitars 3’s fourth movement is so unsettling. Duvall describes this is as the listener’s “arc”, and it falls into place that what sounds utterly spontaneous is in fact worked out way in advance, at least by compositional standards. Live, the everchanging roster of Island Heads never plays the same piece notefor-note, a quirk endemic to drawing tour mates from across the North West. “They’re all mates, to be honest. Not everyone’s an active member at once. It’s more like an ongoing pool. We’re still working out which gigs work for us and which don’t.” Count congregating at an actual Easter Island Head as one that did. Liverpool’s World Museum managed to ship over the statue last year, the opportunity being irresistible to Duvall’s propensity for unique atmosphere. Another show entertained what he estimates to be half of a Northern Irish town crammed into an 18th century monastery. Such achievements have allowed him to seek Arts Council funding, which will mean bigger projects in the future. Until then he’s been touring, writing and getting involved with live film soundtracks. This has consisted (so far) of scoring surrealist French cinema and an excerpt from Baraka, a 1993 eco-doc that perfectly encapsulates Duvall’s creative texture. “It contrasts our natural world with the impact of human interference. All beautifully shot, slowed and sped up. A real sensory overload.” So you’re interested in all forms of avant-garde expression? “Not all,” is the answer, “although I do need to sit down and watch more films. Lately I’ve narrowed my interests to music and that’s a little bit of a shame.” The subject of how exactly he veered into abstract territory arises. “I was in a post-rock three-piece and, after that, a weird, weird glam prog band for three-and-a-half years. They were absolutely brilliant but the turning point was discovering Rhys Chatham, one of the first people who introduced electric guitars to minimalism. For a while, I’d been trying and failing to find my own ‘voice’. Then I randomly put my guitar on a keyboard stand and noticed how striking that looked. The mallets came in when I realised how bloody loud the strings were when struck. Once the decision had been made to pursue the mallet idea, I emailed The Kazimier and they offered me a support slot in no time. I had to quickly get a set sorted.” I question whether visual novelty is still one of ExEaster Island Head’s main attractions. About this, he is emphatic. “Definitely, to some. I don’t see it as a gimmick. Warmth always overrides cold and clinical exercises. Warmth shines through.” The Duvall chuckle, ever-present, launches challenges on the matter to distant shores. Listen to him or the album and you’ll likely fancy a retreat to the beach yourself, enveloped in the promise of a dream and a ladder to the soul. Mallet Guitars 3 is out now on Low Point Records

Gig Guide and Ticket Shop live at bidolito


Bido Lito! November 2013

YOUSEF 11 YEARS IN THE MAD HOUSE Words: Joshua Nevett / @JoshuaNevett Photography: Gary Brown / GB Multimedia

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Bido Lito! November 2013 We’re standing in a room with beige walls on Rodney Street, at the summit of a terraced office block bearing a likeness to a tertiary branch of a David Brent-managed accountancy firm. Downstairs is a reception area resembling that of a dentist’s waiting room; upstairs is the de facto headquarters of the Circus/Chibuku duopoly, the room in which dance music mogul YOUSEF helms his Liverpool-via-the-world house music empire. You’d be forgiven, however, for thinking you’ve been summoned to an ironic Alan Sugar boardroom meeting to shoot the shit about obscure Theo Parrish B-sides and exchange patchy Ibizarelated anecdotes. A large corporate desk occupies most of the room, at which Circus’ promotional workforce sit, talk shop and jokingly compare a senior member of the Circus administration to Darth Vader. Amid the laughter, a mild-mannered Yousef slouches in his swivel chair following an ebullient handshake and points towards one of the few posters affixed to the wall adjacent with gusto. “That’s our slogan,” says Yousef Zaher in his softly-spoken drawl, before reading aloud “entertainment in enlightenment - that’s our aim”. The slogan to which he’s referring to is of course that of his beloved Circus club night – of which he is the co-founder – which, at the time of writing, is on the eve of celebrating its 11th year at the apex of Liverpool’s underground house music scene. It’s an aspirational mantra, which is symptomatic of a man whose patriarchal role as self-professed house music gatekeeper – coupled with a distinguished career in music production and DJing spanning over 15 years – straddles generational and geographical barriers. A merchant of the in vogue 4/4 zeitgeist, Yousef is a bone fide vestige of the sub-cultural rave phenomenon, circa the late 1990s - a period we avoid discussing for want of treading a tired and well-worn path. Growing up in Liverpool, an early dalliance with the city’s flagship house and techno monolith Cream led to an inextricable relationship with the genres, positioning Yousef as the natural successor to the brand upon its eventual demise. Thus, from the ashes of Cream arose Circus: a next-gen party hub in thrall to the tropes of the past, but with a yearning obsession for forward propulsion. Taking cues from the elitist circle of celebrity status exponents of the genres whom he seeks to emulate (Sven Vath, Carl Cox, Damian Lazarus et al.), the accolades he’s garnered throughout his career read like the ballpark bucket list of an aspirational bedroom DJ. Equally gifted as beat matcher as he is beat maker, the myriad of imprints to which he affiliates his name is reflective of his reputation as a savvy tastemaker of styles right across the board. Releases overseen by Sven Vath’s Cocoon and Carl Cox’s Intec are the nucleus of an oeuvre that consists of two self-penned artist albums (2009’s A Collection Of Scars And Situations and 2012’s A Product Of Your Environment) and a helluva lot of hip-swaying singles and remixes too abundant to mention. In short, attempting to surmise Yousef ’s career in just a few short paragraphs is essentially a futile exercise in smoke blowing. Much to the satisfaction of his loyal devotees, in just eight days’ time (“I’ve got to go back [to Ibiza] to play the closing party with Coxy [Carl Cox] first”), Yousef will be flexing aforesaid taste-making muscles in the familiar beer-swilling surroundings of East Village Arts Club. For now, though, he can only ruminate on his fortunes in sunnier climes, a place over 900 miles away from the gravity of his pallid Circus batcave. “At the moment I’d say, ‘I wouldn’t do a Circus event in Ibiza ever again’,” he says in trepidation, with a wry smile and eyes full of regret. We’re now sitting in an empty meeting room, reflecting on Circus’ inaugural residency at Ibizian super-club, Booom. “It was too stressful, so in the end I just said to myself, ‘I don’t need this anymore’.” Now comfortably in his thirties, this is a man who’s contributed enormously to the overall quality and visibility of the club scene in Liverpool, a scene of which he is still the most visible proponent. He also curates a secondary Circus event at London venue Egg, which is now firmly established as a staple in an already saturated scene. Ibiza, it seems, was the next obvious avenue. Did an unstoppable force meet an immovable object? As Yousef tells it: “Internally, the complications for us were too much for us to bear. We had some great gigs there but, ultimately, I was dealt a very awkward


hand of cards and it started to consume my life.” Surprisingly, it’s with no hint of flippancy or bitterness that Yousef admits the fallacies of Circus at Booom and, moreover, his infatuation with the White Isle remains intact, emboldened by the dewy-eyed hedonism of his halcyon days as resident selector at Carl Cox’s Revolution parties at Space – a residency slot he eulogises with a heavy heart. “I left my residency at Space to go and do my own thing with Circus,” he says, convincingly. “I learnt a lot and I’ve managed to implement some of those ideas in Liverpool, but I can honestly say I cannot wait to be back behind those decks.” Having played in countries poles apart, in places as far afield as Brazil, North Korea and Syria, it’s as a selector where Yousef ’s true passions lie. Aside from his Circus Recordings imprint – to which burgeoning artists such as David Glass (“he’s a regular at Circus”), Acid Mondays (“he’s my best mate”) and Heratio (“ a fresh and exciting artist”) are currently signed – it’s playing out records to the masses after just 90 minutes’ sleep from the night before that Yousef declares to be most gratifying. “It’s what I’ve been doing best for the past twenty years: I DJ. Circus is just a hobby.” Fast-forward eight days, and we’re stood on the vacant dancefloor in the hollow theatre of East Village Arts Club, discussing the dietary benefits of egg on toast. Still pumped from Ibiza, Yousef describes the closing party at Space as “probably the best gig I’ve ever done,” before nonchalantly adding, “I played through til nine at night [the next day] at an after party; egg on toast and 90 minutes’ kip was the formula that kept me awake.” Back on terra firma: in four hours, the doors will open and the first record will be spun, resulting in a glorious pandemonium only the influx of around 900 wanton house music aficionados can permit. Essentially, this is the calm before the storm and Yousef is easily the most relaxed man in camp Circus. His stoic, cool-as-a-cucumber presence is enough to abate any pre-show jitters as the crux of his planning is executed with laser-sight precision. His production team are in the process of erecting a 10ft by 10ft banner bearing the Circus logo superimposed atop an abstract image of a hand-sketched face. “The image was designed by a Liverpool artist called Doc,” he tells us, whilst suggesting, beneath bated breath, that the banner should be positioned slightly to the left of where it is currently draped. His innate perfectionism is the cornerstone for the rest of his party. Now tonight’s special guest vocalist the Angel (“a regular at Circus for years, she’s a young mum from Runcorn”) has arrived, soundcheck and rehearsal can begin. Things have quickly escalated since the Angel lent her sultry vocals to Warner Brothers-signed incendiary single Float Away Away, a demo track initially recorded on her iPhone, subsequently re-rendered by Yousef and soon to be thundering around clubs across the globe. It’s the Angel’s first performance, ever, so, basically, the gist is this: they rehearse the same track (Float Float Away) Away repeatedly until Yousef is satisfied. “It reminds me of when I played my first gig at Cream,” he says, revelling in nostalgia. “I was the ultimate rave monkey at Cream; so today I told her, ‘tonight, you’re the Angel, so it’s strictly business from here on in’.” The next time we see the Angel, it’s 2am, and the theatre is a cathartic soup of bodies; the air thick with tightly wound percussive grooves and suspenseful vocal loops that cause mini-manias at every twist and turn. Her performance is well received, but Yousef is still the protagonist of the business of enlightenment, while upstairs, Scuba commands the loft. “Circus is sick man, it never disappoints,” one tan-tastic mini hulk tells Bido Lito! in the smoking area, while, back in the scrum, everybody’s going batshit crazy, with the dancefloor on which we stood nine hours’ previously warped by the weight of 900 bug-eyed fist pumpers. This is the culmination of Yousef ’s 11-year labour of love: the evolution of a club night into a dance music institution. Post-set, Bido Lito! head backstage to find a relaxed Yousef chatting to fans and Scuba posing for a picture with two midgets. No biggie then. “I can’t even remember why I do this anymore,” says Yousef, imbued with an after-hours pathos, before adding “but believe me, this is one of the best places to play in the world.” Note: Circus isn’t your average hobby.

Gig Guide and Ticket Shop live at bidolito

Sankofa Words: Kevin McManus Photography: Keith Ainsworth /

By a happy coincidence, Bido Lito! caught up with SANKOFA on the third anniversary of their first-ever gig. If you have yet to experience the joys of Sankofa then you’re missing out on a great meandering squall of psychedelic rock 'n' roll. If you have to pigeonhole them then they’re definitely in the vicinity of the brightly coloured boxes with the ‘psych’ references slapped on them. So, after sitting down with the band in their rehearsal room and slyly putting them at ease with smiles and small talk, I smoothly sneak in an opening accusation that Sankofa could easily be dismissed as just another retro outfit doing nothing more than rehashing the past. But drummer Josh Perry is more than ready for me: “We do listen to stuff like The Doors and Led Zep but we just take bits from it rather than copying it. The name Sankofa comes from an African myth which basically says that there isn’t any shame in taking elements of your past and bringing that to your future for the greater good. And that’s what we are about.” Josh is joined in the rehearsal room by Michael Robinson (big hair and big chunky Bass), Joel Whitehead (Lead Guitar), and relative newcomer Adam Daulby (Keyboards). Singer/guitarist Stephen Wall is stuck in traffic and doesn’t manage to make it. But as a rule of thumb singers are generally late, if they show at all, so I wasn’t offended, and the remaining members had plenty to say for themselves. They’re a good bunch of lads to sit down with. They’ve known each other since they were kids in school and there is a definite gang mentality about them that most of the really special groups have. It quickly becomes clear that they are genuinely passionate

Gig Guide and Ticket Shop live at bidolito

about their music, with a genuine sense of a shared vision and a common mission to get out there and make a real mark on the world. They believe in what they do and I expect that in some ways if nobody was interested they would carry on regardless, because they’re so convinced that they are on the right path and everyone else will eventually catch up. And if you don’t, well then it’s your loss. Although they’ve been around for a few years it only really started to take off for Sankofa from earlier this year when they found a champion for their undoubted talent in Eighties Vinyl Records. In March they released their debut single Siren Song on the label. It’s an epic sprawling beast of a tune that starts slowly, builds, and then somehow builds again to a point where the two sides of the 7-inch single struggle to contain this great big slab of beautiful noise. With the higher profile has come an increased ambition. They want to do more than play the same gigs they were playing a few years ago. So they’re rehearsing more, writing better songs, and the live shows just keep on developing with audiences swept away by the sheer force of their huge sound, which combines melody with a great big blistering swirl of guitars, bass and drums. The recent addition of Daulby on keyboards has also helped add a little intricacy and light to their exhilarating sound. Killer song Makers Mark was their second to make it onto vinyl (on the Eighties Vinyl compilation); the song lures in with a lolloping bluesy intro (along with an unexpectedly eerie bit of

whistling) before clubbing you over the head with vicious guitar lines. There’s so much going on with a Sankofa tune that it is easy to forget the gritty, huge vocals of singer Steven Wall. He could easily dominate everything but has the good sense to know when to use his towering vocal to maximum impact and when to back off and give the music the space it needs. The next milestone for the band will be the release of a selftitled 10-inch EP, which will be out in early December this year. It’s another step forward and lead track Guttermouth is a real statement of intent. They’ve even managed to add some genuine 60s alumni to the record by having the sleeve designed by John Van Hammersveld who, amongst other things, did the sleeve for The Beatles’ Magical Mystery Tour and the Stones' Exile On Main Street, as well as working with other 60s and 70s legends such as The Grateful Dead and Jefferson Airplane. The band explained how this unlikely collaboration came about. “Dave [Hewitson, Eighties Vinyl] made contact with John Van Hammersveld through his website. We thought he wouldn’t be bothered but he asked to hear a track and he loved it. He has done this great sleeve and he told us that it looks current but also references the 60s. The whole thing is perfect and fits with the Sankofa philosophy of taking something from the past and using it to enhance the future.” So there you have it. Sankofa are a band who definitely aren’t afraid to look back but who have much more about them than a fixation with the past. They have the confident air of a band who are just on the cusp of something great. They know it and if you’ve seen them lately then you’ll know it, too. Sankofa are doing this because they simply have to; much like yourselves for that matter, who we implore to listen post-haste. Sankofa's self-titled EP is out on Eighties Vinyl records on 2nd December.

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Bido Lito! November 2013

PURE MUSICAL SENSATIONS : Roger Hill And A Lifetime In The Punk Snow

The Merseysound fanzine was sold at Eric’s, covered Eric’s gigs and, unfortunately, found itself reporting on the closure of Eric’s in 1980.

Words: Maurice Stewart Images: Roger Hill

As you'd expect from someone who's been on the radio for 32 years, ROGER HILL is very good at talking. Thankfully, despite his warning that he may "waffle on a bit", he has a lot of very interesting stories to tell. As we retire to a quiet corner of BBC Radio Merseyside, home of his weekly alternative music show PURE MUSICAL SENSATIONS (aka PMS), there's a strong desire to sit and listen to every single one. For the last 40 years he's written them all in a daily diary, part of which will be serialised in a documentary, currently in production. Punk Snow focuses on the period between 1978 and 1980, as the explosion of three seemingly opposing musical styles – ska, punk and disco –created a seismic sea change in Britain's musical landscape. The action focuses on legendary Mathew Street venue Eric's, and its place as the hub of the Liverpool punk scene. The film's catalyst was Hill's friend and filmmaker Matthew Fox, founder of The Outsiders Film Festival: "A year ago Matthew read my diaries; nearly three million words, starting in 1972 and running right up to today. After reading the entries in the middle period, starting from when I arrived in Liverpool in 1978, he told me 'there's a film in here'.” Production is being handled by Thinking Film – a social enterprise aiming to use film and media to inspire and educate people – with a helping hand from the Heritage Lottery Fund. "We'd gone to Creative England, who weren't looking at it as a 90-minute feature, but the Heritage Lottery Fund jumped at the idea. They, like Matthew, and Danny Kilbride at Thinking Film, were keen to concentrate on that two-year timespan, which I feel was my embedding period." Hill was 28 when he moved to Liverpool, still finding his feet from a musical perspective: "I was already a fan of punk, but I hadn't been to many gigs. I heard about Eric's as Liverpool is no stranger to letting people know when it's got something good – whether it was Eric's back then, or Cream in the 90s. Very quickly it became the focus of my musical interests and ambitions." Eric's became a much-needed refuge, allowing a young man to develop a sense of belonging in what was an unforgiving, economically bleak Northern city: "Liverpool was hard back then; a city that could really turn its back on you. But that was because it was going through hard times. You had to find somewhere to belong in order to survive." The connections made during that era spread beyond music. Hill began an enduring relationship with another cultural totem that's undergone a recent facelift – The Everyman Theatre, eventually becoming Associate Director. Arguably his most influential meeting was with Ronnie Flood, who asked him to help set up burgeoning fanzine Merseysound; a publication that survived beyond Eric's, documenting the venue’s demise in early 1980. As someone who embarked on a similar instant immersion into Liverpool culture some 26 years later, I recognise the excitement in Hill's voice when talking about Merseysound: "I got to interview bands for the fanzine, as well as seeing all of the significant acts of the time, often for free. Back then the media hadn't caught on to punk, but those of us in the know could see what was coming, and over those two years it made its way into the mainstream. In

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Liverpool it gave permission to a lot of very interesting musicians – who weren't necessarily punk – to fly the flag for their alternative musical styles." Flying the flag for alternative styles has been the modus operandi of Pure Musical Sensations since Hill was asked to fill in for Phil Ross's Rockaround show, in 1982. Like all of his most enjoyable experiences, the life-changing call came by surprise: "Phil had moved to London at short notice and asked me if I'd be interested in taking over. I was a regular guest on both Rockaround and the arts show Phil produced, so he knew I could talk! At that time I also produced tapezines for Merseysound – the purpose being to hear the music, alongside the interviews. In a way I'd already started on the radio but I'd have never dreamt of it as a career choice until that phone call." Over the years, the scope of the show has evolved, in accordance with the changes to what we understand by the term 'alternative music'. "We see ourselves as the world of music in one programme. A lot of the old specialist shows have been lost," says Hill sadly. "As each passed, we've assimilated them all into PMS, to make sure fans of those styles still have an outlet." Hill's most cherished aspect of Pure Musical Sensations is the musical freedom he retains – a freedom beyond that of any of the countless multi-millionaires employed by our public broadcaster. "I've had completely free choice every week for 32 years," he proudly proclaims. Just last month PMS were able to air a song that featured swearing, after a brief disclaimer: "I have a good relationship with the management here and so I explained to them that the quality of the music outweighed any potential offence at the obscenities." Although rightly proud of Radio Merseyside's reputation as a fierce champion of music over personalities, Hill acknowledges these kinds of concessions could only be possible at his current midnight Sunday timeslot. It's clear he laments PMS being slowly pushed back from the original 6pm8pm slot over the years – "There's no doubt we would have more listeners if we were on earlier," he insists – but one suspects that he wouldn't be willing to sacrifice his freedom for a few million extra listeners, let alone a few hundred. Sitting opposite such an energetic, vibrant man, it's hard to believe he's fast approaching pensioner status. I've certainly never met another man in his 60s who looks comfortable in bright-pink drainpipe jeans. But the only fear Hill holds for the future is that, when he does decide to quit, the BBC might ask him to take PMS with him. "The current framework of the show involves more than just me – it's a combination of the tastes of all the people working on it. I believe eclectic programming will be the norm in 10 years’ time. People won't need the security blanket of a particular style of music. In that sense PMS should always have a future beyond me." That's certainly a future to look forward to. Pure Musical Sensations is on BBC Radio Merseyside Sundays from midnight-2am. Anyone wishing to contribute to Punk Snow can contact

Bido Lito! November 2013


Roger in theShop Everyman sometime in 1980. Gig Guide andHillTicket live atFoyer


Bido Lito! November 2013

Postcard From Berlin Hidden in Plain lain sigH sig sigHt Ht Words: Joshua Nevett / @joshuanevett Illustration: Ria Fell /

It’s 5am on a hellish Sunday morning, and we’re stood in the dusty lot of a former power station, discussing the plan of attack aka cigarette-packet briefing - prior to our attempt at negotiating one of the world’s most notoriously strict door policies: that of Berlin’s techno behemoth, The Berghain. After a quick rehearsal of our elaborate script (“eine bitte”) at the last checkpoint, I reassure myself that my apprehensions are misplaced, still drowsy from the cumbersome 500-mile drive from Amsterdam to Berlin. I’d studied the forums meticulously, adhered as closely as I could to the ambiguous dress code, and even abstained from getting totally shitfaced in the hope of increasing my chances of infiltrating this fortress. We approach the Disneyland-length queue and survey the habits of those in more desirable circumstances. Patiently, we amble, for three unnerving hours, contained like a regiment of poorly camouflaged spies condemned to incarceration at a POW camp for the criminally hedonistic. The quivers of bass that squirm through the ruts of the steel and concrete lull us into a gentle transcendence, before a tall, authoritarian bloke in a bomber jacket shouts the only other German phrase I bothered to learn: “NEIN!”. You get the picture. The Temple of Techno eludes us and the ultimate exercise in carrot dangling is completed. Verdammte scheiße! The hours and days following our refusal were spent spuriously debating the stringent selection methods of the surly doorman responsible for our rejection. Kneejerk speculation was rife: “It’s a premeditated numbers game, one in, two out,” said one fistclenched quibbler, whilst another enraged voice rebuked “Nah, there’s an obvious discrimination against Britons”. Our rationales were ultimately futile, but the spate of reactionary comments did eventually culminate in a collective realisation: this was no mere act of arbitrary denial on the part of the Berghain; this was the calculated resilience of a sub-cultural institution expressing its determination to remain esoteric, isolated from the glare of society and misunderstood by the masses. A determination we all agreed was admirable. The implementation of this elitist doctrine was an alien concept when compared to the ‘one-size-fits-all’ clubbing agendas currently adopted in the UK. In a landscape where the lines between genre categories are increasingly blurred, the readily downloadable glut of digital dance music available to fringe listeners has created a culture of Jersey Shore collectivism, a community of taste-making socialites compelled by the notion of eclecticism for eclecticism’s sake. Dance music: even the phrase is non-descript and without real purpose; a catch-all term that by its very definition reinforces the function that’s omnipresent in countless other forms of music. And don’t fret - I’ll spare you the spiel by way of refraining from using the Americanised acronym. These deductions are not to suggest the components of the UK

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club scene are any less nuanced than the scene of their pan-European counterparts (see Clive Martin’s Big Night Out series on for ample examples of modernday British sub-cultures); however, it is prudent to suggest these components are rehashes of their original form, bastardised and diluted to the point of parody. To infer that dance music is now the UK’s de-facto sub-cultural dominatrix would be a moot point, but there’s definitely weight to the argument that neo-sub-cultures as a whole have ceased to dictate youth culture in any visible way – Britpop being the last sub-culture to be definable by class, fashion, politics and music. To hark back to dance music’s origins on these shores, early 90s UK rave culture – like many other sub-cultures before it – was ostensibly about the disenfranchised youth of the period rebelling against the status quo, or, if you like, a bunch of working-class kids doing things a bit differently. This was usually achieved through the appropriation and subversion of mainstream class, fashion, music and politics, i.e. in this case, the appropriation of American techno originated from Detroit. The Germanic techno scene and by extension the identity and traits that have become synonymous with its proponents (black/gothic aesthetic choices, overt homosexuality and stoic demeanour) are also a subversion of that derivative. Yet still, while the cultural ethos of each respective country remains poles apart, dance music and all its ugly children continue to pervade youth culture across the globe. If the wider dissemination and distillation of dance music is writ large by the advent of the digital age, then it is gratifying to see the preservation of an underground scene that hides in plain sight, but is still unscathed by the death knell of exposure. Yes, I travelled 500 miles; yes, I queued for three hours to no avail; yes, the exclusivity of the Berghian is a shrewd marketing technique, but, irrespective of all these deterrents, our innate tribal instincts drew us towards that sub-cultural bubble, to a place of belonging and liberation. This, in the cold light of day, was dance music at its most authentic.

Bido Lito! November 2013


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Bido Lito! November 2013 Previews/Shorts Edited by Richard Lewis

NYC post-punks CRYSTAL STILTS are welcomed back to these here parts with open arms on the back CRYSTAL STILTS of highly praised new LP Nature Noir. Signed to estimable US label Sacred Bones, the band’s electrifying surf rock has taken a darker turn of late, drawing influence from The Velvet Underground and Joy Division. Playing the intimate confines of The Hold, tickets are sure to be scarce come showtime. The Shipping Forecast / 24th November

BRIGHT YOUNG PEOPLE bring the noise to The Zanzibar midway through the month, with BRIGHT YOUNG PEOPLE the three-piece on the receiving end of considerable buzz for the garage rock rush of debut single Liberties b/w Woe. Produced by Ian McCulloch, the band combine the trebly aggression of The Stooges with the pop nouse of the BRMC and the sass of The Cramps. The Zanzibar / 15th November

Having already played one of the most memorable gigs of 2013 back in June, Manchester’s mostMONEY likely-to MONEY return to Merseyside to attempt to outdo themselves. Since then the group have issued acclaimed debut LP The Shadow Of Heaven and won praise for the intense passion of their live shows, fronted by talismanic lead singer Jamie Lee. VEYU will also be on hand to aid the orchestral swells. Blade Factory / 8th November

Future Of The Left

Riding high on the excellent reception that greeted recent LP How To Stop Your Brain In An Accident, Accident post-hardcore/noise rock band FUTURE OF THE LEFT head out on their biggest UK tour to date, with across the board acclaim still ringing in their ears. After a parting of the ways with their record company the quartet funded the new album via PledgeMusic, romping home with 100% of the set target within six hours of the project being launched. The experience has lent fuel to their ire it seems, as track titles such as I Don't Know What You Ketamine, Johnny Borrell Afterlife and the vitriolic self explanatory How To Spot A Record Company show that frontman Andrew ‘Falco’ Falkous hasn’t lost any of his renowned rapier wit. Famed for his passionate stance against the illegal downloading of grassroots artist's music and his memorably iconoclastic, highly quotable interviews, the singer has become one of the most charismatic British frontmen in recent years. The band are more than capable of backing up the talk with the tunes live and on record, looking set to truly be in it for the long haul. Recently described as “the UK's most criminally underrated rock band” by the NME, the praise sent their way and the lengthy tour look extremely likely to overturn that opinion. East Village Arts Club / 6th November

A rare and extremely welcome visit to Liverpool sees cult musician ROBYN HITCHCOCK head ROBYN HITCHCOCK to The Kazimier in early November in support of Love From London, released to considerable plaudits back in March. Founder of neo psychedelic late 70s crew The Soft Boys, Hitchcock has become a revered solo artist over the past three decades, notching up collaborations with members of R.E.M. and XTC along the way. The Kazimier / 3rd November

US math rock ensemble JOAN OF ARC cross the Atlantic to visit Merseyside again this month. JOAN OF ARC Fronted by US indie rock legend Tim Kinsella, who has logged time in Cap’n Jazz and Owls, the prolific Chicagoans are circling the globe plugging this year’s Testimonium Songs LP. An influence on scores of math rock groups since their mid-nineties formation, come see some of the original innovators up close. The Kazimier / 15th November

Continuing a bewildering run of top-notch gigs, GOLD PANDA plays EVAC towards the end of November. GOLD PANDA Carving his own distinctive niche of electronica/minimal techno the mysterious figure has issued two highly acclaimed inspired LPs. This year’s Half Of Where You Live continued the praise sent his way with 2010’s Mercury Prize-nominated Lucky Shiner Shiner, with a world tour spreading word of the Berlin-based producer. East Village Arts Club / 23rd November

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The Charlatans

Rescheduled from August Bank Holiday following the tragic death of drummer Jon Brookes, evergreen indie act THE CHARLATANS headline St. George’s Hall in early November. Held as part of the Liverpool International Music Festival, this gig, along with a recent Albert Hall date, both serves as a tribute to the sticksman who co-founded the band alongside bassist Martin Blunt in 1988. Featuring 14 bands spread across two stages, the Great Hall and the smaller Concert Room are both pressed into service at the iconic venue, with music running in the venerable surroundings from 6pm til 1.30am. The Great Hall sees the headliners backed by the TEA STREET BAND, the Balearic dancefloor alchemists appearing immediately before Tim Burgess and co. Wirral quintet BY THE SEA also feature, the five-piece taking time out from crafting their highly anticipated second LP (expected early next year), with Ellesmere Port guitar slingers THE FALLOWS completing the bill. The Concert Room - hosted by Cooking Soup - meanwhile is headed by POLICE SQUAD, a band who have become firm fixtures on the city’s gig circuit, along with sets from DEADBEAT ECHOES, REGENCY, THE BIBELOTS, and, fresh from their appearance at Liverpool International Festival of Psychedelia, PSYENCE. The second room will see further sets from bands drawn from across the North West, including WELCOME PARIAH, VIOLET CLASS, WILSON MINDS and BARNEY SOANES. St. George’s Hall / 8th November


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Bido Lito! November 2013


Wet Nuns (Adam Edwards / @adamedwardsF2


Metro Manilla Aide EVOL @ East Village Arts Club There’s a definite air of sadness in East Village Arts Club tonight. Farewell shows are curious affairs, like a funeral where the deceased does a 40-minute set and everyone cheers throughout. Before the main event though, METRO MANILLA AIDE attempt to lighten the mood. The rowdy metallers go about this by de-extincting 90s funk metal and parading about with it dressed as an erotic pantomime dame. The front rows are very excited but most are just perplexed. Two short months ago, WET NUNS played an electrifying set at FestEvol. Their debut album was about to be released, the two Sheffield lads exchanged banter and the sun was shining on their Kazimier Garden stage. Tonight, it’s dark October, the band have re-titled their ‘Self-congratulatory Debut Album Tour’ to ‘The Farewell Tour’, and the two members can barely look at each other. But there is a debut album and thank the lord they stuck together long enough to commit something to vinyl. Tonight should be about celebrating their life and achievements and not

mourning our loss. Guitarist Rob Graham launches into the rollicking riff of No Death and, as vocals are shared between the duo, all seems right. It could be three years ago. A collective decision is made among the typically diverse crowd to just enjoy the gig for what it is: a great band performing their incendiary debut album. As Graham addresses the crowd, one heart-broken devotee shouts “Don’t split up!” With that, the axeman’s head goes down and he launches into Don’t Wanna See Your Face No More. Poignant? The band go about giving their superlative Queens-of-the-Stone-Age-via-Black-Keys rock the airing it deserves, the crowd mosh, letting memories flood back from the Nuns’ enumerable visits to the city, and the most committed shout back every pained throat-ripping lyric. At the end of the set, the stage is bathed red and only the feedback from Hanging remains. There’s relief when the band return to the stage for a twosong encore. Drummer Alexis Gott expresses his love for Liverpool as a great place to come and play. It’s become their adopted home and our gig-going community has welcomed a band of such quality, humour and commitment with open arms. The classic Throttle is a fitting end to a gig worthy of legends. Both members crowd-

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surf and are lifted tentatively close to each other. There are smiles on faces and lumps in throats. It’s these moments we must remember and the album we must treasure. Bands like Wet Nuns burn bright and their light will illuminate eternity. And I’m certain they will want to be remembered with such earnest hyperbole. Sam Turner / @samturner1984


I Love Live Events @ Korova “We’re gonna get really pissed after this,” SUPERFOOD frontman Dom Ganderton declares to what appears to be around 50 of his closest, already drink-swilling buddies in the basement of Liverpool’s newest shoebox venue. We’re at Korova, on Wood Street, and everyone’s here to have their ears obliterated and drink cheap beer until they can’t remember what year it is. At the rear of the basement, the band’s friends flog homemade T-shirts packaged in aluminium foil take-away containers. In the foreground, there’s no fucking around: Ganderton wills his devotees forward towards the stamp’s worth of space available in his immediate vicinity to spit bile in their faces.

This is the world according to Superfood: Ryan Malcolm (Vocals/Guitar), Emily Baker (Bass) and Carl Griffen (Drums) assist Ganderton in reflecting the early twenties mirth of a wider disenfranchised youth who’d pawn their sixthhand Ford Fiesta for an old boot full of tepid cider and a shoddy hand-job beneath the park slide. They’re Birmingham’s latest 90s-indebted buzz band: young, apathetic and well drilled in channelling Damon Albarnian catchy choruses and Fungus Amongus-era Incubus funk guitar lines. Which, as it happens, is a totally cool combination. Tonight, they play all of the fistful of early demos they’ve made available online since their formation in the latter stages of 2012, along with recently dropped track Bubbles, for a set that doesn’t so much ebb and flow as screech and grind like the sporadic tantrums of a teenage adolescent. For the most part, Ganderton is noticeably drunk, out of sync with the rest of his band and thrusting his snake hips to Jarvis Cocker-like effect. Meanwhile, Malcolm and Barker are cast as Weezer lovin’, 24 Hour Party People aficionados who presumably bumped into each other at a sixth-form social and bonded over a mutual adoration of Pinkerton and ecstasy. As a collective though, they’re as tight as the snare drum Griffen pummels with


Bido Lito! November 2013


Live_Transmission (Aaron McManus /

the efficiency of a supercharged BMW. Peace-advocated early demo TV is a sardonic, grunge-inflected twist on Britpop circa Leisure era Blur that’s drenched in lament so bittersweet it’ll make your teeth rot, while set-closer Superfood sees a snot-nosed Ganderton poised on his tiptoes and scoffing at the trappings of modern life with a semi-stoned enlightenment. “We resent all this B-town stigmatisation and journalistic smoke blowing; we want bands to be judged on their individual merit,” one of the four-piece’s travelling entourage tells us during a post-set Tour De France of overzealous high fives and triumphant air punches. Which leads us to the question: does the apple actually fall far from the tree? The answer: they probably couldn’t give a toss about that sort of thing anyway. Joshua Nevett / @JoshuaNevett

THE HERITAGE ORCHESTRA & SCANNER Live_Transmission - Joy Division

Joy Division Reworked @ Liverpool Philharmonic As a low drone bleeds into the auditorium and the light show takes its initial shape, the silhouette of the conductor of THE HERITAGE ORCHESTRA is drawn in front of us with the eeriness of a Crosby beach iron man. There is stillness in the auditorium laced with a palpable tension and, when the drums kick in, the energy releases as expected – yet we know that it’s merely the calm before the storm.

As the opening track, Transmission sets a precedent for the evening: this is Joy Division like you’ve never heard before. The references to the original tracks are subtle yet inextricably connected. The reworking of Transmission is layered with cinematic sweeps, certainly hypnotic but with an infiltrating urgency that works its way into an attack on the senses. The drums, having the driest sound, sit forward in the mix, while the huge wall-of-sound created by the electric synths fills the back end of the sound, allowing the individual musicians to bridge the gaps. She’s Lost Control begins in a recognisable manner, but the rework is inspired; mournful strings introduce facets of the original and we know at once that this is not a happy tale. As the layers build, there’s almost a desperation to the song; its meaning is transported to another playing field. The running man accompanying imagery perfectly illustrates both the protagonist and the narrator trying to gain control. The theatre of both elements of the performance succeeds in taking us into a different world. Over the intertwining guitars in Isolation, I hear one audience member whispering that it’s like we’re being allowed into Curtis’ head, that the reworkings are designed to give a greater insight into the songwriter’s mental processes. Digital as we begin to become During Digital, accustomed to the beautifully melodic staccato synth version of the guitar riff and the human anatomy imagery snaking on the gauze, the hypnosis is broken by unexpected punching, distorted references back to the

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original, marking the moment with dynamic flashes of light, and we see the string players dancing in the climaxes. It is as though what we are watching is not really there but rather is artificially constructed with building blocks of visual and aural movement. Undoubtedly a product of my generation, it seems to me to be a similar feeling to when looking at the Liverpool Anglican Cathedral in certain lights on certain days; my first thought is, “what incredible CGI.” Love Will Tear Us Apart is a contrasting finale. Naked vocals are presented to us, the most unchanged element of the Joy Division repertoire we’ve heard all night, and lush strings flow through the chord progression. It comes as a bit of an anti-climax though, and the reimagining of this iconic song, whilst being undeniably beautiful, comes across as perhaps a little Disney in contrast to the preceding performance. It is, however, a minute disappointment at the end of what was otherwise a truly stirring evening of music. Jessie Main / @JessieMainMusic


Never fully satisfied, Liverpool’s craziest carnival is kicking it up a notch once again, opening up all of The Kazimier for tonight’s revelling. With two stages, along with live DJs, circus performers and street food thrown into the mix, the result is a metropolis of madness, oozing with excitement.

However, it’s a subdued start from acoustic acts TIZ MCNAMARA and DANIEL ROSS. Both performances are pleasant on the ear, their organic guitars and shimmering vocal melodies fitting perfectly with the rustic ambience of a late afternoon at the Kazimier Garden. Unfortunately, this does not work to the advantage of HEDDA ARONSEN. It would be easy to lose yourself in the hazy reverb of her bold dream pop, but it keeps escaping into the autumn air. What the audience cannot escape though is Aronsen’s quaint charm. More poised since her last Fiesta performance, she leads us through a much more assertive set. UKEBOX are the first act to embrace the Club stage inside. Don’t be deceived by their serious, dapper appearance, it’s hard to find anyone in the room without a smile on their face when they’re playing. Armed with a banjo, bass and a handful of ukuleles, the troupe rearrange popular hits into kooky covers, including a mash-up of The Coral’s Dreaming Of You with The Jungle Book’s I Wanna Be Like You. It’s highly comical, but genuinely charming. Outside, CHARLOTTE ASHDOWN is whipping the night into shape. She’s shy at first, but her soulful blues is full of zest, particularly on an impressive rendition of Estelle’s American Boy. Boy Her own material is just as promising, with the warm and inviting Never Gonna Be enticing the crowd in, before hitting them with a full-on jazz swing. Back inside, PHILLY WHIZZ & AVERAGE KEITH make for quite a change of pace. The crowd seem unsure of how to approach their assault of verse, as their no-nonsense, old-school hip hop







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can be tough to keep up with. Then again, there’s nothing to distract you other than DJ NIMBLE providing scratches in the corner. As darkness descends on the Fiesta, BOLSHY take to the stage. Their name fits perfectly with their boisterous ska punk, which leaves the crowd no time to rest. Thankfully, everyone is happy to embrace the band’s spirit and skank their way through the set. Singer Ivy’s relaxed vocals don’t quite match the pace, but this gives tracks such as Every Little Helps a delightful twist. The next segment of the Fiesta allows the crowd to take a breather. As MUTANT VINYL, multiinstrumentalist Edwin Pope delivers deliciously smooth dub as he layers sound after sound without losing substance. Excitable saxophones and colossal beats on tracks like Acid Honey prove highly satisfying. Meanwhile, on the Garden Stage, COFFEE & CAKES FOR FUNERALS are taking things down a notch. Formidable at first, their smooth hip hop influenced RnB flows across the crowd, carried by Joe Hazzlet’s astonishing vocals. Quiet and reserved in between, he leads the band through a calm yet immersive set. Considering the relaxed atmosphere that has preceded them, RIVER NIGER ORCHESTRA make a U-turn in pace with ease. A sight to behold, they’re even more extraordinary once they get underway; the band perform for well over an hour, providing a tenacious performance of sprightly afrobeat. Inside, BATALA are cooking up a powerful performance that shakes the Kazimier’s very foundations. Comprising a 12-piece drum ensemble, their attention to rhythm makes for an electrifying performance, which is impressive when you consider that they are relying entirely on percussion. EXTRA LOVE and THE FIRE BENEATH THE SEA then bring the Fiesta to a close. Both acts not only embody the party spirit, but transform it into a magnificent beast; Extra Love’s reggae dub is explosive, while The Fire Beneath The Sea’s euphoric hip hop is impossible to resist. Not so much a last waltz, the club is transformed into a fiery pit of energy, bursting at the seams. Tonight, Fiesta Bombarda has managed to cram in a staggering array of acts without threatening to overwhelm its attendees. Ultimately, the night is a triumphant celebration of local creativity; it won’t be able to stay away for too long. Jack Graysmark / @ZeppelinG1993

DIMENSIONS FESTIVAL Fort Punta Christo, Pula, Croatia

It’s 9pm on Thursday 5th September, and we’re on a beach in Croatia with hundreds of like-minded people screaming the words to Paul Woolford’s Untitled. As ELIPHINO’s set nears an end, the sun sets widescreen across the Brijuni Islands on the horizon. We’ve been out on the bright blue Adriatic earlier in the day, on

board the first of many boat parties across the weekend, but now we march up the winding, dusty path that takes you from the campsite to the 19th Century Austro-Hungarian fort hidden among the thick trees on the headland beyond the beach. This is the setting for DIMENSIONS. Soon enough we are bounding excitedly past an illuminated garden that would put Gottwood to shame; first on our agenda, London’s Staunch collective hold court in Mungo’s Arena. MUSHY, HARRIMANNN and KLOSE ONE attempt to out-do each other with the kind of bass music synonymous with Loefah’s School Records and Swamp81 labels, as techno-Bez Jonny Banger pours neat spirits down the throats of whoever’s asking for it. “There’s a party in Croatia,” he chants and, luckily for us, it’s only just beginning. For the rest of the night, we’ll be in The Moat. Perhaps Dimensions’ most iconic ‘stage’, this 100-metre long sunken channel creates a sonic atmosphere so intense it borders on oppressive. Here, Hessle Audio’s PANGAEA, PEARSON SOUND and BEN UFO demonstrate why they are held in such high esteem. They each play their fair share of heavy techno, in a futile attempt to prepare the crowd for an hour-long battery of industrialstrength thunder and abrasive acid synth-lines courtesy of KARENN. Friday night, and it’s one-in, one-out to catch TESSELA in the 57-capacity circular pit known as Noah’s Ballroom, so we leave to find JIMMY EDGAR firing on all cylinders outside The Fort. Following him, MACHINEDRUM’s barnstorming mix of jungle and footwork is a welcome change of pace from all the 4/4, while KRYSTAL KLEAR lives up to claims that he’s the best party DJ in the UK right now. Having gone a tad too hard on the first night, the lack of sleep catches up with us, so we drop out of the action for a while to recover, feeling it necessary to breathe easy before we put ourselves through two hours of BLAWAN in the unforgiving environment of The Moat. Having risen to prominence with the catchy, Brandy-sampling Getting Me Down, Down, Blawan has dived headfirst into a world of nightmareinducing, nosebleed techno. There are no Brandy samples here; everything he plays is held together by an undercurrent of menace and layer upon layer of dense, unrelenting kick drums that could stun whales, cause crops to fail and make people forget who they are. Ending with his own Harbour, there is no end to the Scarborough Harbour, hyperbole with which people speak about his set as they stumble, shell-shocked back to the campsite. The majesty of MOUNT KIMBIE is not lost on the hundreds who gather to see their live show in The Clearing early on Saturday night, though the coming together of Jimmy Edgar and Machinedrum as JETS proves our highlight of the night. Delivering a highly energetic live set, a bouncing edit of Midnight Star’s Midas Touch has a collective grin beaming across the crowd, even as several people are carted off by undercover police keen to enforce a zero-tolerance policy.

Bido Open Day


Bido Lito! November 2013


Photography: Keith Ainsworth


Bido Lito! November 2013


No Age (Adam Edwards / @adamedwardsF2)

One of the acts we were most looking forward to seeing at Dimensions, Ellesmere Port’s very-own EVIAN CHRIST, is not on stage at the advertised time. The man who stands on stage in place of him, building walls of bone-shaking, improvised, electronic noise, is VESSEL, whose impassioned, physical performance behind the controls is soon talked about among our group as one of the highlights of the festival. Sunday night and we’re back in Mungo’s Arena to catch two of the reasons Bristol’s music scene is so talked about. First up is PEVERELIST, who plays a mixture of unconventional bass music that provides a case for the continued use of the phrase ‘post-dubstep’, steadily upping the tempo from Livity Sound records to pulsing, slow-motion techno. Pev’s collaborator KOWTON picks up where he left off; the first half of his set consists of four-to-the-floor earthshakers, the real party beginning as he moves into his second half, dropping an essential collection of UK funky, garage, dubstep and grime. Testament to his talents, his own productions steal the show – an already boisterous crowd completely losing the plot as the unmistakeable rapid-fire snares of TFB build through the mix. The sheer brilliance of the Dimensions set-up

cannot be over-emphasised. Having attended, the thought of a festival in the traditional farmers’ field set-up seems terribly pedestrian by comparison. Every act has brought their A-game, and there are a number of once-in-a-lifetime moments. Detroit legends 3 CHAIRS holding court for pretty much the entire festival outside The Fort was one of them, while, as we move into the final two hours of the festival, BEN KLOCK’s polished, build-and-release masterclass is elevated to forever memorable status by the absolute downpour unleashed by nature. In The Moat, there is no escaping the rain, dramatically illuminated by the swirling, strobing lights. But it can do its worst – we’re in another Dimension. Rob Syme


F.O.E.S. - Soho Riots I Love Live Events @ Korova For a Friday night, Liverpool certainly is quiet tonight – the only folks about other than those at NO AGE seem to be wandering the streets asking for “spare tenners”, but inside Korova previous Bido Lito! feature stars SOHO RIOTS saunter on

Gig Guide and Ticket Shop live at bidolito

stage from the dance floor with no-one quite knowing when exactly the whole shebang is meant to start. With the recent addition of a keyboardist after the summer break, they are tighter and more confident on stage than ever. So tight in fact they manage to carve themselves further into a (perhaps immature) 00s revival; resurrecting the punk funk corpse and stripping it for all the hi-hats and angular guitar it’s worth, whilst mercifully avoiding predictable cowbell clichés (no matter how much cowbell there is, the audience demand more). This all works best on new single Sweet Spot and excellent debut Who’s Your Man?, both of which benefit massively from the shuffling dynamics and glistening keys providing the extra oomph their solid songs were previously lacking. Hairy and heavy is exactly how one would expect post-hardcore mongers F.O.E.S. to look, and damn do they live up to it. How nice it is to see folks like these (and Stateside compadres Touché Amoré) nab the form’s Fugazi-era respectability back from the fingerless gloved hands of the Criminal Damage brigade. Their melodic take on the ATDI/Drive Like Jehu schtick may lean towards to the pop end of things, but that doesn’t mean their ferocity is watered

down at all – the tension on stage lends a palpable feeling that anything could happen at any minute. Basically, rock has got some of its roll back and boy is that refreshing. It’s going to take something special to top these guys tonight and the question on everyone’s lips is will No Age deliver the goods? Well, things start well with their sheer energy and singular sound carrying them. The audience’s new-found tinnitus is definitely worth the bursts of droney, clattering racket. Despite the solid sound (as in, they actually make the air feel solid), axeman Randy Randall cuts through his aural thicket with gusto. These folks have been pushing boundaries for some time in how far a power-duo can go - to some critical acclaim too - but have they pushed it too far? By the looks of the disappointingly monotonous set they may well have done – no amount of slam-dancing at the front can make up for the slow and steady exodus from the back throughout their set. And it’s not lost on the band, as Randy declares he “feels like being drunk when everyone’s watching.” And it definitely says something when BOTH support acts usurp the headline act. Laurie Cheeseman / @lauriecheeseman


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Bido Lito! November 2013



Bido Lito! November 2013



Headliners RED SAILS are given a rapturous welcome by the local crowd, and it is clear that the majority of people have come specifically to see them. The five-piece start things off with a slow, downbeat number, and any lingering voices in the room die down. Only an acoustic guitar and a neatly complementary two-part vocal harmony are all that’s required to win this crowd over, it seems. After this, the set becomes livelier, but still maintains a certain delicacy. Red Sails' songs concern longing and heartbreak, and at times they seem almost to be crooning through their sentiments. There are moments resembling 50s pop ballads, with memorable hooks that are always accentuated by blissful vocal harmonies and clever guitar work. The performance itself seems very organic, which sees both the crowd and the band captivated in equal measure. And how often can you say that? Alastair Dunn

Go Fiasco – The Works I Love Live Events @ Korova Down in the belly of Wood Street, CHINA RATS are set to headline Korova. The venue, with its dim red lighting, tiny size and bare brick walls has a distinctly DIY vibe, and the array of leather jackets and dyed-bob haircuts on display seems fitting. As it turns out, most of these jackets belong to the bands on the bill, and (though it is still early) even the cramped surroundings can't disguise the fact that the place is almost completely empty. Undeterred by this fact, GO FIASCO provide a performance overflowing with energy and confidence. Lead guitarist Jamie Roberts is particularly animated as he fingers his way through jaunting, fragmented riffs and satisfying, angular hooks. The songs, at times, seem almost ready to fall apart but are just about held together, giving them an appealing delicacy. The set ends in a feedback-laden cacophony of noise, and the band leave the stage having demonstrated what many of us already know - a good show doesn't need a big audience. Next band, THE WORKS, display dishevelled guitar lines and are, in general, pleasantly loose. Their sound has an engaging texture and is contained well within the basement venue's walls. Though the two guitarists are moving almost constantly, the real spectacle is the bassist, who stands rooted to the spot, effortlessly and somewhat nonchalantly playing his way through slick and complex basslines. As the set progresses, however, the lead singer begins to stray into dodgy impersonations of Alex Turner, and it would not be surprising if the lyrics (which are hard to decipher) concerned Reebok Classics and drunken nights in Sheffield. Nevertheless, it has been a decent set, but as it draws to a close a moment occurs that sums up the atmosphere of the gig thus far. The band's penultimate song receives no applause from the now slowly growing crowd, and applause is a small courtesy that should be afforded to any band that gets up on the stage. After this brief but slightly demoralising gesture the mood begins to pick up, and the crowd fills out just in time for the headline act. As with their predecessors, China Rats are well suited to their surroundings, and look impeccably cool as they pick up their instruments. What follows is a raucous, joyous romp with guitars flailing and sweat flying. The audience is much enthused and a small pit even forms at the front of the stage, as the band storm their way through fast, three-chord flurries of noise. Though their punk sentiments are clear, they walk the line between snarling chants and catchy melodies; an example of the fact that pop and punk songs only ever really differ in aesthetic. As the set moves along and the songs get faster, crowd and band integrate

JON GOMM Clandestine

Liverpool Acoustic @ Leaf

Red Sails (Glyn Akroyd)

to form one drunken, throbbing organism and, so, the balance of mutual goodwill between performer and spectator is restored. If the band carry this momentum forward, then the next stops on the tour will be in for a treat. Alastair Dunn


This Morning Call – Lumin Bells Mellowtone @ Leaf A seamless blend of jazz, blues, soul and hip hop from DJ Richie Vegas tees up an intimate, lounge-bar atmosphere in Leaf tonight, providing a constant seam through the live acts on show. A six-piece with three guitarists, LUMIN BELLS are up first and they set the tone for the rest of the evening. Their songs are relaxed, floating and almost detached; lethargically optimistic; subdued but not melancholic. The second guitarist mirrors the chords of the rhythm guitar,

Gig Guide and Ticket Shop live at bidolito

but picks rather than strums, highlighting the root and treble notes, and creating a rich, layered sound that sits calmly behind Nico Hercules' soft voice. The addition of a delayed Korg synth gives the songs a fullness, but not overly so: there is still space, sonically, through which the lead guitar and drums meander. For the following performance, THIS MORNING CALL’s Ben Heyworth is supported by a second guitarist and a bassoon player. At first, due to some sound difficulties, the bassoon can barely be heard and the preliminary songs suffer greatly due to a lack of depth. It’s only towards the end of the performance that the bassoon can be deciphered, leading the songs to take on a new and interesting form. The final two tracks see Heyworth abandon his guitar and move over to his laptop, prompting the set to transform into an upbeat electro romp that is somewhat reminiscent of The Magnetic Fields. It is a surprisingly great end to a fairly disappointing set.

The doors have only been open for half an hour and already Leaf’s organisers have taken to the mic, teasing newbies with the imminent magnificence of what the headliner’s ‘nudgenudge’ fan base seem precisely aware. We’re like children within touching distance of the sweetest treat in the box. This, they say, is going to be something special – so much so that you don’t know what it is until you’ve been there, man. Whether or not the hype is needed, there’s no denying the crackle of anticipation simmering upon polite faces and in the conversations of men talking excitedly over their wives. The task of prying open the goodwill jar prematurely falls to CLANDESTINE, aka Tom Kwei, an English graduate tackling performance poetry like Heaney on a head rush: expressive, concise and very aware of the conventions with which he is playing. His lyrical tirades do not concern themselves with strict adherence to pentameter or thematic structure; nor do they abuse the potential of rhyme by busying the flow of words with isolated phrases that draw attention to the entire makeup of their predecessors. What’s most exciting is the randomness of his material – a man worshipping Godzilla in lieu of God, a girl destroyed by ambition, the utter inanity of describing sex in literary speak – all delivered with panache and charisma. Jaws drop when he tells us this is his first gig. Bravo, Tom. Hopefully, your pen will engrave heights beyond this evening. At first, JON GOMM is seen wandering through rows of chairs, greeting a large group who will cheer when there is no obvious reason to, clapping at almost every syllable, every disarmingly boyish grin their hero imparts upon his familiars. Spades of adoration explain the sold-out billing; here an artist (and, fuck it,


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EVERY MONDAY Movie Night Monday*, classic cult movies with a pizza and beer or wine for £6.95 and 50p a bag of popcorn

EVERY TUESDAY Let’s get Quizzical, £1 entry incl. free pizza and cash prices

EVERY THURSDAY One More For the Road with Terry Gray, the only open mic with FREE SCOUSE ON THE HOUSE

EVERY FRIDAY The Hatch acoustic session, live acoustic music from local and travelling souls

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that term has never been more consummately applicable) can stand up and say, “You know what? I’m pretty good, and you all know it.” He doesn’t actually say that. It’s not befitting of someone with abilities showcased by these nine or ten songs to pride themselves too much on what they already can do. For, despite showing off unashamedly by taking a time out to teach us “hitting the guitar 101”, the Blackpool-bred musician is humble and gracious, concentrating on making tracks like Gloria and Waterfall reach as deeply as intended into our very bones. Gomm is excitingly adaptable but able to lock each persona with the same intensity, inspiring a saxophonist to soar across the vocabulary of her chorus pedal during Waterfall, and generally making indifference impossible to even think about as the mind swirls to giddy mush. Aside from this saxophonist’s brief appearance, there is no one else but Gomm, Gomm, Gomm, like the call of a tribe. Perhaps his greatest accomplishment is the personal touch bleeding over flights of virtuosity; letting rip on an “emergency disco cover” of Chaka Khan’s Ain’t Nobody is fun and unassuming, whilst Wukan Motorcycle takes stark dynamic turns towards its breakdown that perfectly evoke the story of a boy cycling through the Wukan uprising of 2011, collapsing from instrumental bliss to cacophonous outrage. Pot shots are taken at George Osbourne on Deep Cut, Cut a sign that recent international sojourns have invigorated aims beyond just sounding really, really pretty. The standing ovation that bids farewell to Passionflower assures me that the cult of Gomm will never accept second best lightly. Joshua Potts

KID KARATE Novice Mathematic

EVOL @ The Shipping Forecast After a hasty change of venues, The Hold warms itself up to the idea of a noisy Tuesday night. As NOVICE MATHEMATIC step up to the plate to deliver, it’s hard to agree on what kind of genre these guys belong to, the closest of which is a seemingly nerdy breed of college rock which they release on audience members’ unwitting ears. The band are undeniably tight and appear relatively comfortable with their style, whatever that may be. Granted, Novice Mathematic aren’t reinventing the wheel, but their showmanship and commitment to their live performance are unquestionable. KID KARATE appear a tad sobered by what has preceded them, but seem to rouse those who’d considered calling it a night as soon as guitarist and vocalist Kevin Breen introduces himself and bandmate Steven Gannon in his Dublin brogue. The drums begin and the band slip into a volcano of noise that brings everyone back into the room in one fell swoop. Proper old school dirty thrash guitar riffs meet

an eruption of heavy cymbal crashes. The pair go at each track with the force of a jackhammer, summoning the voracious punk spirit of Death From Above 1979, and more recent incarnation Drenge. Kevin Breen wails the chorus of Two Times, painting a distorted picture of love and betrayal. Some tracks are filled out with backing piano sounds in an attempt to flesh out the sound, but they really needn’t bother. These two make enough noise without any pre-recorded electronic additions. Kevin Breen dominates the neck of his guitar with a deftness that leaves the spectator in no doubt of his abilities as a musician and a frontman. Ensconced safely behind the cushioning of his various toms, Gannon cracks an assaultive percussion to seemingly control his bandmate’s wild licks of guitar. They duo appear oblivious to the rapt audience before them, communicating only between themselves as they move between songs and begin to come out of their shell. Each track appears to have a distinctive narrative: themes of adultery, commitment issues, and hedonism present classic features of a lad culture hidden behind a cleverly postured alternative sound and aesthetic. Like a reworked Molly Malone song, This City echoes with nostalgia and modern folklore, and boasts a pretty funky bassline to boot. It’s clear the two bandmates are just like any mid-twenties male with a girl crisis. It’s also apparent that, hidden away in the hinterland of local Irish venues, they’ve been criminally overlooked. Say what you will about couplings and guitar music, Kid Karate are holding their own amidst the current throng and producing loud and impressive results. If they were a karate move, they’d be a roundhouse kick. To the chin. Flossie Easthope / @feasthope


Run Tiger Run – VYNCE I Love Live Events @ East Village Arts Club Stepping up to bring a bit of early momentum to the evening are VYNCE, who have plenty of drive in their delivery. What their warped indie pop lacks at times, however, is direction. A drum pad offers variation in percussion, but it doesn’t really seem to fit the overall vibe, like they’re diversifying their sound simply for the sake of it. The sonic squalling of their guitars and potent vocals are intriguing at times, but Vynce are a band that need to find their own voice. Facing a similar predicament are RUN TIGER RUN. Other than Sundown, where frenetic guitars bounce around the track’s jerky rhythm, the band’s cheery indie pop soon becomes monotonous. A handful of helpers encourage them on, but Run Tiger Run fail to instil the intended energy of their tracks on the mostly passive crowd. The fruits of their labour are pleasant enough to taste, but there’s not enough yet to make you want to take another bite.

Reviews A brisk soundcheck later and JAWS step into the limelight. Maybe it’s the stark neon glow, but as they open with an explosion of noise that fades to reveal the brooding Stay In, In the band really shine. Even frontman Connor Schofield’s drawling vocals are charming. With their quirky, laid-back appearance, Jaws don’t just sound fresh from the nineties, they positively embody the nineties. What stands out about their roly-poly mix of grunge and garage rock is that each track feels like a vast, sprawling journey. Every sound present has an interesting dynamic to it: the glimmering synths of Toucan Surf are warm and enticing, while on set highlight Gold, guitars thunder over drums that thrash and roll in a wistful haze. Unfortunately, the band members seem intent on locking themselves into their own little world, with Schofield spending most of the set staring towards the side of the stage. It’s a fleeting experience, too; the band are off after only six songs, though in fairness they only have a debut EP, Milkshake, and a new single to offer. It’s a real shame, because the quality of the material Jaws have produced over the last year is fantastic. The huddle of dedicated fans who sing every word back on final track Surround You are testament to the fact that the band are on the verge of something big. After the gig, Schofield posts on Twitter that tonight was “just one of those nights”. Judging by the strength of

their songs so far, you really have to hope so. Jack Graysmark / @ZeppelinG1993


The Philharmonic Hall provides a fitting environment for tonight’s performance of what has often been called folk’s own Sgt. Pepper’s, Bright Phoebus. Phoebus Originally released in 1972, it is Lal and Mike Waterson’s only album of original (rather than traditional) material, and Liverpool is privileged to be on the five-date tour revisiting the music, ‘lost’ for all this time. The band features members of their family – their sister Norma, Lal’s children Marry and Oliver, Norma’s husband Martin Carthy and their daughter Eliza Carthy – and a range of guests, including Richard Hawley, Kami Thompson (daughter of Richard, who played on the album), and John Smith. On its 1972 release, Bright Phoebus had a poor reception from media and traditional folkies alike – disappointed that the Watersons, who had done so much to revive interest in folk music in this country, had seemingly abandoned the genre and produced an album consisting of, in parts, the Beatlesque (opening track Rubber Magical Man), Man jazz, pop and Band), psychedelia (Magical country, not to mention the rather rockabilly Rose performed tonight by Richard Danny Rose, Hawley. And yet, the class of 1972 seem to have

overlooked some of the record’s genuinely striking moments, Lal Waterson’s haunting Fine Horseman, for example. Tonight, the songs – together with some previously unreleased material – sound vibrant and new; a melding of the traditional in Fine Horseman (sung by Marry) and The Scarecrow (the excellent John Smith), and new in the two tracks by Mike that bracket the evening: the jaunty Rubber Band and catchy Shady Lady Lady, where the band’s stage set-up and sound feel reminiscent of The Band’s The Last Waltz. These songs speak to us not just of their past but of our present. Partway through the set, Eliza tells of how Mike used to compose words and tunes in his head whilst painting and decorating, and then “decant” them during his tea breaks. Thus, from the prosaic and mundane comes great beauty: the spark of Bright Phoebus itself was lit in this way: “Today bright Phoebus she smiled down on me for the very first time.” The album’s producer, Bill Leader, is also said to be in attendance – he must be thrilled that the songs he stipulated had to be recorded in Cecil Sharp House, the home of folk, are being ‘debuted’ to a new audience (not entirely ‘new’, mind, as the bloke next to me is singing along– and he’s not the only one). We exit into the night, whistling, humming and singing, and thanking Marry et al. for reviving the (hopefully no more) neglected cult

Bido Lito! November 2013


classic that is Bright Phoebus. May the dispute that has kept it from being reissued soon be resolved. Debra Williams / @wordsanddeeds1


Abandon Silence @ East Village Arts Club Having made themselves synonymous with the intimate crawl space below the Shipping Forecast, the all-night Four Tet set is the only show in Abandon Silence’s spiritual home this semester, as they temporarily call the Seel Street venue their home for the winter. It remains to be seen just how wise a move this has been, but when you put together line-ups such as this, there can be little to grumble about. Though most will have assumed tonight’s event would take place in the grand environs of EVAC’s Theatre, tonight’s hosts hold court in the smaller Loft. The Abandon Silence residents kick things off, followed by Dublin native and Hoya:Hoya resident, KRYSTAL KLEAR, stepping up in a fur-lined leather jacket, a brave move considering the rapidly soaring temperature inside the venue. Infectiously energetic behind the decks, his mix of house, disco and boogie is about as fun

Thu 7th November, 7:30pm.


THE ‘HAND IN HAND’ TOUR Floral Pavilion Theatre | £18.00 Thu 7th November, 8:00pm.


Floral Pavilion Blue Lounge | £15.00 (£13.00) Fri 15th November November, 8:00pm.


TONY REMY & THE STOLEN CLONES Mon 18th November, 12:30pm.



Floral Pavilion Plaza

Floral Pavilion Blue Lounge | £18.50 (£16.50) Sat 16th November, 7:30pm.


Floral Pavilion Theatre | £22.00 Tue 19th November, 12:30pm.


Tue 19th November, 7:30pm.


Floral Pavilion Plaza

Floral Pavilion Blue Lounge | £20.00 Wed 20th November, 12:30pm.


EMILY BARKER & THE RED CLAY HALO Floral Pavilion Blue Lounge | £12.00

Thu 21st November, 12:30pm.

Fri 22nd November, 12:30pm.

Floral Pavilion Plaza

Floral Pavilion Plaza


Thu 21st November, 8:00pm.


Sat 23rd November November, 7:30pm.

IAN MCNABB PLUS SUPPORT COLD SHOULDER Floral Pavilion Blue Lounge | £16.00

For details of performances contact our box office on 0151 666 0000 or visit our website


Bido Lito! November 2013


Bonobo (Nata Moraru /

and feel-good as a set can get. Stepping away to huge applause from the beaming crowd, he is undoubtedly the right person to get a party started, though a tough act to follow, even for BEN UFO. The Hessle Audio man is a notoriously talented selector, having made his name by DJ skills alone. Though he’s played in front of the Abandon Silence banner before, tonight he shares the decks with PAUL WOOLFORD, currently one of the most talked about men in electronic music. Woolford’s Untitled can be seen as a serious contender for the tune of 2013’s scorching summer and we don’t seem too far into things before it lands. A cascade of riotous reaction spreads through the crowd: first, as that bouncing bassline rumbles into the mix; second, as those piano stabs roll in; and finally, a massive, hands in the air, high-five-for-everyone moment as that breakdown hits and everyone bellows “WHEN I CALL OUT YOUR NAME” in unison. Such a moment of euphoric hysteria is pure dance music cliché, but you can go to these sorts of events on a weekly basis and it’s still only so often you’ll experience them. Over the last hour, the pair plough deeper furrows, on occasion seeming to lose the attention of many in the crowd. The sound in The Loft doesn’t help – it’s simply not loud enough and, though the venue is busy, the atmosphere

doesn’t come close to the intimacy offered by shows in The Hold. Ben UFO’s selection seems less diverse than usual, though it seems wrong to assume Woolford would have any influence on this, having just released an album like Special Request which takes in all manner of bass music influences from jungle to grime. Indeed, the Special Request remix of Tessela’s Hackney Parrot, full of amen breaks and reese bass, is a welcome change of pace from the 4/4 tonight, causing pandemonium on the floor. As the clock reaches 4am, from a fog of rolling, spacey techno, the Exemen/Wookie remix of Sia’s Little Man drops out of nowhere, sending the crowd into a final frenzy, and calls for the obligatory rewind, dutifully granted by the DJ. The now trademark Abandon Silence hysteria duly sated, we’re already looking forward to the next instalment. Rob Syme


O2 Academy Amid the thumping bass of the O2 Academy monitors, DAUWD arrives onstage and layers of electronic samples descend into distortion, adorned with atmospheric sound effects and

Gig Guide and Ticket Shop live at bidolito

blanketed with a heap of reverb. Bursting into the room with a huge sub bass, the kind that feels like your muscles are being shaken off your bones, the whole cornucopia just doesn’t quite fuse together. His solos are a little too weak to make an impact, or to really gel with the rest of the instrumentation, and the endings of each track don’t appear to be planned, they just seem to happen quite abruptly. The level of complexity involved in interweaving the effects samples, layered synths and bass is, however, impressive and when Dauwd’s finale comes around about 40 minutes later, it must have picked up, because I feel a little like it’s been creeping into my body this whole time and now I can't not move – and I promise I haven't taken anything. When the one-man tour de force that is BONOBO arrives, the room is buzzing. On the posters it says that Bonobo himself, Simon Green, will appear with the full live band, and as the show begins, we start to get an idea of what that really means for the night ahead. And it soon becomes apparent that putting an awesome drummer on stage to play amid these multi-layered compositions is a well justified one. It enhances the electronic arrangements by providing a visually exciting display whilst continuing Green’s trend of being aurally fucking exquisite.

The first track to feature live vocals from singer Szjerdene comes from the new album The North Borders. Apart from the beautiful, smooth backing, reminiscent of Massive Attack, with Szjerdene’s soft Portishead-style vocals and Green’s square lead flourishes, Towers is simply a great song, which builds to a climax with a cool confidence. Later on, after being lulled by the hypnotic rhythm of We Could Forever Forever, Green teases the crowd, segueing into what at first appears to be a new time signature, before dropping the bass, which causes the room to erupt. Green has masterfully geared this tour towards turning what could be considered pleasant background music into a full-blown party, and he ends this one with a cheeky brass stab from the band and a blackout. Szjerdene returns for the first track off new album, First Fire and, as the studio version features Grey Reverend from Cinematic Orchestra fame, she has some big shoes to fill. And although Szjerdene keeps the feel of the track – chilled but with a certain tension – it’s not quite ‘there’ as she drags the lines out where they really need to be on beat to keep the drive behind the song. She ends her contribution to the evening with Nightlite from the 2006 album Days To Come, Come giving it a completely different feel, much more graceful than the erratic studio

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Bido Lito! November 2013


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Lianne La Havas (Jack Thompson /

version, though she does commit the cardinal sin of whooping down the microphone. It was inevitable that El Toro would be used to show off the band’s capabilities; they take turns in producing some playful jazz-inspired solos, and when the flute is whipped out, we all lose ourselves in “I’m not prepared” euphoria. Bloody brilliant night. I bought merchandise. Jessie Main / @JessieMainMusic

FESTIVAL NO. 6 Portmeirion, North Wales

Who'd have guessed the unknown was so close by? Overwhelmingly positive testimonies made FESTIVAL NO. 6 this summer's most anticipated festival. Upon arrival, the arena looks just like any other, but then BANG! Entering Portmeirion village is a step into a Mediterranean hallucination from 1967, all faded pinks and lookout points. The psychedelic mystery and wry humour of TV series The Prisoner runs like a seam throughout. No.6 is a dizzying mix of brilliant yet crazy ideas, as Prisoner-inspired carnival troupes collide with male voice choirs

and even a fishy puppet show. First up, DUTCH UNCLES fire angular energy at a rain-sodden crowd, who take time to shake themselves loose. A few more let go with every slinky, hip-shaking beat, following singer Daniel Wallis' lead, himself borrowing heavily from the book of Jarvis. It takes balls to cover a Grace Jones song let alone end on it, but Slave To The Rhythm is infused with enough primal sexuality to get the woman herself hula-hooping. Displaying all the gusto of a man who's played these songs a thousand times, BADLY DRAWN BOY proves how good his debut album was as the irresistible melodies win through. A switch to piano for Silent Sigh elicits more emotional investment, and the show is much the better for it. TEMPLES are a fitting throwback of murderous guitar pop with a 60s swirl. These baby-Bolan’s psych influences become more defined live, but this is no head-down drone – there's rollocking momentum and catchy hooks aplenty. Everything about EVERYTHING EVERYTHING exudes comfort with their newly elevated status. Their entrance is an event, bathed in brilliant white light. The setlist includes tunes old and new with oldie Suffragette Suffragette alongside

Gig Guide and Ticket Shop live at bidolito

newbie Cough Cough segueing seamlessly and equally well received. For this generation of indie bands Timbaland is as important as Ian Curtis, turning the main tent into a giant dancefloor. JAGWAR MA inhabit the dance end of the dance-rock scale, but with the skills to slide up and down at will. JAMES BLAKE isn't obvious headline material but try telling the ecstatic people here, letting his quiet storm wash over them like a warm breeze. Understated charm flows through heartfelt vignettes, allowing him to easily circumnavigate technical issues before raising the tempo; Voyeur, Voyeur in particular, takes the breath away. The early Saturday sun complements the freakbeat soul DJ Bernie Connor lays out from the Stone Boat. Elsewhere, MELT YOURSELF DOWN’s intoxicating brew of jazz-propelled mayhem prove to be a handy defibrillator to limbs weary from the steep walk up to the i Stage. A pumping heart rate precipitates a trip to the opposite end of the energy spectrum as Clough stage co-curator DOUG SHIPTON delivers space-age skronk cut with ambient bliss: the perfect palate cleanser for a first live sighting of OUTFIT in a year. Despite dressing like extras

from Bowie and Jagger's Dancing In The Street video, Outfit impress. Andy Hunt's voice has developed into a confident, dextrous weapon, entwining with Tom Gorton (Keyboards) to bring a glassy ennui to I Want What's Best, but it's brother Nick Hunt who steals the show, sending out piercing shards of guitar that slice the chaos into weird and wonderful shapes. After wondering aloud if TRICKY’s bad-boy reputation was an albatross or an escape clause, his ‘performance’ gives an emphatic answer. When starting 20 minutes late, opening with a five-minute instrumental could be considered cavalier. Following with an elongated cover of Spades during which security-baiting Ace Of Spades, and banging the microphone against his body replace the act of singing, can only be called wantonly disrespectful. LIANNE LA HAVAS is more worthy of my words, proven in 45 spell-binding minutes of encapsulating warmth, desire and an understanding of festival demands. She's also the first musician I've seen make a Radiohead cover truly their own, Weird Fishes fitting neatly alongside her alluring guitar pop. An evening with sonic magpies ANDY VOTEL, GRUFF RHYS and DAVID HOLMES is in order as

2000 Light Years From Home and


plus special guests

Saturday 23rd November 67 Greenland Street - Liverpool - L1 0BY

Tickets £5adv

Latest single ‘Voodoo Moon’ OUT NOW on Electone Records. Available on limited edition 7”vinyl and digital download via iTunes.

@Wicked_Whispers The Wicked Whispers

“Psychedelic and interesting, laced with warm organs and wistful vocals” – Huw Stephens, BBC Radio 1

The most perfectly executed, emotionallyengaging 60s tinged pop to emerge fromthese isles since The Coral.” - Clash Magazine

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Tickets currently on sale at sale The City Walls

Robyn Hitchcock





Cinema Soloriens


Submotion Orchestra

The Kazimier MelloMello

The Kazimier 15/11

Julia Holter


The Icarus Line


The Shipping Forecast

Fossil Collective (Stuart Moulding / @OohShootStu)

they add biker blues and Russian beats to a funky foreign melting pot – a great accompaniment to the visual wonders of illuminated drumming troupe SPARK and the HELIOSPHERE’s flying hypnosis. With bonhomie at fever pitch, the weather gods make a decisive intervention. Even a veteran of many wet weekends like myself offers a silent prayer those eight pegs and two sheets of vinyl last the night. The cost of those prayers is evident when .waking . . . . . .to. . a. .decimated . . . . . . . . . . . . hastily ............ . . . . . . . . . . . . . . . . . . . site, . . . . . . . . . .vacated ...... .by. . scores . . . . . .of. . saturated . . . . . . . . bodies. . . . . . . Cancellation .......... .rumours . . . . . . .prove . . . . .unfounded . . . . . . . . .as. . a. . . revamped ........ .schedule . . . . . . . .resumes . . . . . . . .at. . .3pm. . . . . . DAN . . . . .CROLL ..... ................................... .personifies . . . . . . . . .the . . . post-rain . . . . . . . optimism, . . . . . . . . .breezily ...... .sharing . . . . . .a. joke . . . .or. .three . . . . during . . . . . .a. set . . .of. .smile..... .inducing . . . . . . . melodies . . . . . . . . .swelled . . . . . . .by. . .intelligent ........ ................................... .four-part . . . . . . harmonies. . . . . . . . . .This . . . boy’s . . . . .heading . . . . . .to. .the ... .top. . . . NILE . . . .RODGERS . . . . . . . .has . . .been . . . . there . . . . .for . . some ..... ................................... .time, . . . .and . . .shows . . . . .no . . sign . . . .of. .leaving. . . . . . .CHIC . . . show ..... .why . . . they . . . .have . . . .been . . . . the . . .band . . . . of . . the . . . summer, ....... .taking . . . . . . . . .through . . . . . . . . . . . . history . . . . . . . . . gets .... . . . . . .a. trip . . . . . . . . . musical . . . . . . . . . . . .that ....... .everyone . . . . . . .on . . their . . . . feet . . . .and . . .keeps . . . . .them . . . . there. ..... .PUBLIC . . . . . SERVICE . . . . . . .BROADCASTING . . . . . . . . . . . have . . . . carved . . . . . a. . .niche . . . . . . . . . . own . . . . . . . . .hinterland ............... . . . . . of. . their . . . . . . . .in. .the . . . . . . . . . . .between ....... .Baltic . . . . Fleet . . . . and . . . .Holy . . . .Fuck, . . . .cannily . . . . . .eschewing ........ .the . . need . . . . .for. .charisma . . . . . . .with . . . a. .dry . . computerised ........... .wit . . .and . . . samples . . . . . . .of. . dashing . . . . . . .spitfire . . . . . pilots. ....... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A. . .MANIC . . . . . STREET . . . . . . .PREACHERS . . . . . . . . . show . . . . . on . . . home ..... .turf . . .is. the . . . open . . . . .goal . . . of . . big . . . festival . . . . . .moments. ........ .The . . . . . . . from . . . . . . . . . . . . . bury . . . . . . . .one, ...... . . . .boys . . . . . . . . Blackwood . . . . . . . . . . . . . this . . . . . . . .as. . .a. big . . . and . . . .buoyant . . . . . . crowd . . . . . erupt . . . . .at. .the . . .sound ..... .of. . .opener . . . . . .Motorcycle . . . . . . . . . Emptiness. . . . . . . . . . .Leaning ...... Emptiness ................................... Truth... .heavily . . . . . .on. . This . . . .My . . .Truth..., . . . . . released . . . . . . . 15 . . years ..... .ago . . . to. . the . . . day, . . . .and . . . new . . . . album . . . . . .Rewind . . . . . .The ... .Film, . . . .brings . . . . .mixed . . . . .results. . . . . . With . . . . the . . . exception ........ ................................... Everlasting .of. .a. spellbinding . . . . . . . . . .solo . . . .during . . . . .The . . .Everlasting, ......... .there's . . . . . a. .collective . . . . . . . .wince . . . . .when . . . . James . . . . . .Dean .... .Bradfield . . . . . . .brings . . . . . out . . . his . . .acoustic . . . . . . .– .the . . .signal .....

for new material. The punk blast of You Love Us ages better than expected, and A Design For Life leaves thousands happy and hoarse. The Festival No.6 demographic may be more middle-class mature than any festival I've been to – I've never heard Waitrose discussed as many times – but the absence of drugged-up dayglo teens is actually refreshing. Massive Attack's DADDY G and Radio 1's GILLES PETERSON keep the party rolling till 3am, but the memories of .this . . . . . . . . .place . . . . . . .last . . . . . . . longer. ........... . . . .magical . . . . . . . . . .will . . . . . .much ............... . . . . . . . . . . . . . . . . . . . . . . Maurice . . . . . . Stewart . . . . . ./. . . . . . . . . . . . ........................

instruments together in perfect unison, creating an incredible, textured sound. Personal favourite Glory And Growth starts with gentle arpeggiated guitar chords, then introduces vocals (which sound a lot like Local Natives’) and a powerful, keyboard-driven bassline, which builds to an impassioned climax, whereupon guitarist and front man Kristofer Harris stops singing and throws himself jerkily around the stage, showing just how passionate he is. . . .Fossil ...... use their voices in a . . . . . . . . Collective . completely different way. Whereas Yates’ voice ......... .is. .often . . . . barely . . audible, and Story Books use .layers ........ Fossil Collective rely on . . . . . .of. .instruments, . .their . . . .vocals . . . . to grab the audience’s attention. .Unfortunately, . . . . . . . . the packed bar area means that .half . . . . . . crowd .. . . . . the . . . . . are noisily catching up over a .pint . . . of . . Amstel, . . . making it difficult for the rest to .fully . . . .engage . . . . with the live music. The situation ......... .isn’t . . . .helped . . . . by the fact that the majority of .songs . . . . . sound . . . like Mumford and Sons album .tracks. . . . . . Having ... . . . . . . . . . said that, their performance is with a number of entrancing .also . . . .punctuated .... .tunes, . . . . .when . . . the band’s vocal harmonies stun .the . . . . . . .into . . . . .room . . . . . silence; a shining example of the .voice . . . . being . . . . used as the lead instrument. All of .a. sudden . . . . . .the . pint of Amstel and a week’s worth .of. . gossip . . . . . .become unimportant and most of ......... .the . . .audience . . . . . find themselves utterly transfixed .by . . these . . . . .angelic . voices. The highlight of their .set . . .is. undoubtedly .... Monument, with the tenor ......... .harmonies . . . . . . . .very reminiscent of Bon Iver, echoing .across . . . . . .the . . space above our heads, where ......... a hundred . . . . . . . . . tiny disco balls are glimmering. .Another . . . . . .standout .. track is an unreleased newie, .in. .which . . . . David . . Fendeck whispers “If you go I’m ......... .coming . . . . . .along,” . . to the smooth accompaniment .of. .a. sweeping . . . . . cello. ......... Tom Fennell

............................... . . ............................... . . . . ............................... 18/11 . . . . . . The . . . .Anglican . . . . . . . .Cathedral ............. . . ..................................... ............................... ..................................... ............................... ............................... ..................................... ..................................... ............................... 23/11 ............................... . . . . . . . Story . . . . . . . . .-.John . . . . . . . . . Yates ........... . . . . . . . . . . . Books . . . . . . . . . Canning ................. ............................... . . . . . . . . . . . .Harvest . . . . . .Sun . . .@. .Leaf .............. ............................... . . . . . . Camp . . . . . .And . . . Furnace ................ ..................................... ..................................... ............................... . . . .Two . . .of. .tonight’s . . . . . . acts . . . .(opener . . . . . JOHN . . . . .CANNING ........ ............................... . .YATES, . . . . . .and . . . .headliners . . . . . . . . .FOSSIL . . . . . . COLLECTIVE) .......... ............................... 24/11 . .showcase . . . . . . . . . . . .exactly . . . . . . . . . should . . . . . . . . . . the .... ............................... . . . . . . The . . . .Shipping . . . . . . . .Forecast ............. . . . . . . . . . .how . . . . . . . . . .one . . . . . . . . .treat ........ . .voice . . . . as . . an . . .instrument . . . . . . . . within . . . . . .a.performance. ........... ............................... . .Former . . . . . .Ella . . .Guru . . . . singer . . . . . and . . . .songwriter . . . . . . . . John ..... ............................... . .Canning . . . . . . .Yates’ . . . . mellow . . . . . . .vocals . . . . . seem . . . . .to. . take ..... ............................... 27/11 ..................................... ............................... . .a. .back . . . .seat . . . .in. .his . . .offering, . . . . . . allowing . . . . . . . .for. . his .... . . . . . . The . . . .Kazimier ..................... . .delicate . . . . . . keyboard . . . . . . . .playing . . . . . . to . . .be. . the . . . .driving ...... ............................... . .force . . . . . . . . . . his . . . . . . . . Yates’ . . . . . . . . . .remains ....... ............................... . . . . . . behind . . . . . . . . .music. . . . . . . . . . . voice ............ ............................... . .extremely . . . . . . . quiet . . . . .throughout . . . . . . . . his . . .set, . . .even . . . when ...... ............................... 29/11 . .he. . .briefly . . . . . attempts . . . . . . . .(and . . . .fails) . . . . to . . .converse ........ . . . . . . The . . . .Kazimier ..................... . .with . . . . . . audience. . . . . . . . . . . .real . . . . . . . . . .though ........ ............................... . . . . . .his . . . . . . . . . .The . . . . . .emotion . . . . . . . . . . . . is. . . ............................... . .brought . . . . . . out . . . by . . .Yates’ . . . . expert . . . . . .control . . . . . over . . . . the .... ............................... . .keyboard; . . . . . . . .the . . .changes . . . . . . .in. .volume . . . . . .–. whether ........ ............................... ..................................... .4/12 .............................. . .sudden . . . . . .or. subtle . . . . . –. say . . .everything . . . . . . . .that . . . his . . .voice ..... . . . . . . East . . . . Village . . . . . . .Arts . . . .Club .......... . .can’t, . . . . and . . . .make . . . . what . . . . .is,. .for . . the . . . most . . . . .part, . . . .a. . ............................... . .moving . . . . . . . . .atmospheric .......................... ............................... . . . . . . . .and . . . . . . . . . . . . performance. ................. ............................... . . . .It. is. . the . . . second . . . . . . act . . .of. . the . . . evening, . . . . . . .STORY ...... .5/12 .............................. . .BOOKS, . . . . . . that . . . .steal . . . . the . . . show. . . . . . These . . . . . five . . . .lads .... . . . . . . The . . . .Kazimier ..................... . .from . . . .Kent . . . .manage . . . . . . .to. .bring . . . . their . . . . .vocals . . . . .and .... ............................... ................................................................................................................ ................................................................................................................ ................................................................................................................ ................................................................................................................ ................................................................................................................ ................................................................................................................ ................................................................................................................


The Wicked Whispers

Crystal Stilts

Dead Skeletons

Jonathan Wilson Yo La Tengo

Factory Floor



Bido Lito! November 2013



24 hours in the company of the 24th letter of the alphabet. Exhilarating music, exquisite ideas, exhaustive debate.

November 20-21

Gig Guide and Ticket Shop live at


Issue 39 / November 2013  

Issue 39, November 2013 issue of Bido Lito! Featuring SALEM RAGES, EX-EASTER ISLAND HEAD, LAURA J MARTIN, SANKOFA and much more.