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Eva Petersen by Brian Roberts

Issue 29 Dec 2012 / Jan 2013

Eva Petersen Organ Freeman Craig Charles Non, Monsieur Percy Gulliver’s


   

       

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Bido Lito! Dec 2012 / Jan 2013

Editorial

Features

It was always, always going to happen. I write a sprawling ode to the devastating beauty of Tranmere’s start to the season in last month’s Editorial, I compare us to Barcelona and include an image of Ronnie Moore as Grand High Pontiff and...we get beat twice in a week. I really should learn to keep my fat mouth shut. Yet despite my best efforts, at the time of writing we are still top of League One. This is regardless of a run of four home games without a win and our wafer thin squad being predictably tested by injuries and suspensions. However, it seems this isn’t enough for a small section of Tranmere ‘supporters’ who decided to boo the team off after an admittedly underwhelming goalless draw with Walsall. Yes, you read that correctly. Six months ago we were rooted bottom of the league and the team were booed off, while top of the pile. I begrudgingly give the issue the acknowledgement of column inches, but such is the utter ludicrousness of the situation that I can’t help myself. This is somewhat akin to deriding Sir Isaac Newton after unearthing a botched mathematical equation in an early draft in his notebook. It really does make you wonder why on earth these people bother coming at all, and the really disappointing byproduct is the potentially toxic effect it has on the players and the coaching staff. We’re top of the league for fuck’s sake. Who goes to a gig, waiting for the band to be shit so they can heckle them? It really, really, really makes my blood boil. It’s a very small minority I know, but they should all be banned and publicly flogged. Stupid, stupid nob ‘eads. I’ve resorted to expletives...I must be wound up. Now I’ve got that out of my system, we can divert to a wholly more positive subject, The Borough Road Shuffle. We are constantly aware of how much of a central role music plays in defining places, times and cultures. As a supporter of a lower league football team, music plays an equally vital role in soundtracking the culture that surrounds the whole Nob ‘ead ritual of going the match. Music is as central to it all as any matchday folklore, or as any pair of Sambas. We’ve teamed up with the good, good people at the Tranmere Supporter’s Trust to create The Borough Road Shuffle, which will essentially be an ongoing series of gigs to bring together the large set of discerning Tranmere supporting musos, to celebrate Wirral’s new musical visionaries and also to throw support behind the trust’s campaign to bring Tranmere into fan ownership - an aim we firmly believe is the future of real, community led football. At Tranmere we have our very own outcast, indie (in the true sense of the word) heroes in Half Man Half Biscuit, who perfectly reflect the infectious, unfashionable oddness of our club. So, hosting our debut show at Cammell Lairds Social Club in Rock Ferry (also the name of the band’s ninth LP) was just too perfect to pass. For this first event - onto which we’ve bestowed the rather glorious, Biscuitian moniker, All I Want For Christmas Is A Dukla Prague Away Kit - we’ve somehow managed to convince Tranmere’s Welsh international keeper Owain Fon Williams to DJ, via digital video link up from the training ground. We shit you not. The technical practicalities admittedly still need some clarification, but don’t let cold hard logistics get in the way of a brilliant concept eh....(he says). We’ve a marvellous live bill in addition, as Wirral favourites BY THE SEA, THE LOUD and OXYGEN THIEVES are joined by BILL RYDER-JONES on the ones and twos. We’ve also a Terrace Grotto in store, with some of the best terrace brands and retailers peddling their wares. Music loving football nuts of any persuasion are welcome, just leave your boos (and booze for that matter - the bar does a cracking pint of mild) at the door. Merry Christmas n that... Craig G Pennington Editor

6 EVA PETERSEN

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Bido Lito!

Issue Twenty Nine / Dec 2012 / Jan 2012 bidolito.co.uk 4th Floor, Mello Mello 40-42 Slater St Liverpool L1 4BX Editor Craig G Pennington - info@bidolito.co.uk

8

CRAIG CHARLES

Assistant Editor Christopher Torpey reviews@bidolito.co.uk Assistant Reviews Editor Naters Philip - live@bidolito.co.uk

10 ORGAN FREEMAN

Sub Editor Mo Stewart - subeditor@bidolito.co.uk Online Editor Natalie Williams - online@bidolito.co.uk

12 NON, MONSIEUR

14 THE RAVEONETTES

16 PERCY GULLIVER’S

18 WONGA FROM THE WIRELESS

Regulars 4 NEWS 20 PREVIEWS/SHORTS 22 REVIEWS

Designer Luke Avery - info@earthstudios.net Proofreading Debra Williams debra@wordsanddeeds.co.uk Words Craig G Pennington, Christopher Torpey, Naters Philip., Mo Stewart, Jonny Davis, Amy Greir, Mike Townsend, Joshua Nevett, Richard Lewis, Jack Stanley, Jennifer Perkin, Lisa O’Dea, Rob Syme, Karl Fairhurst, Petricia Mogos Photography, Illustration and Layout Luke Avery, Brian Roberts, Graham Cheal, Keith Ainsworth, Robin Clewley, Gareth Arrowsmith, Johanna Wilson, John Howard, Marie Hazelwood, Matthew Ball, Michael Sheerin, Daniel O’Toole, Mike Brits Adverts To advertise please ads@bidolito.co.uk

contact

The CALM helpline is now open every evening from 5pm ‘til midnight, plus you can text us too, meaning you can get stuff off your chest, privately. Free, confidential and anonymous, we’ve been helping men on Merseyside sort their heads out since 2000. Get back to enjoying your life, call CALM...

Call: 0800 58 58 58 or text: 07537 404717 Start your first text “CALM2” We don’t charge for texts, but your network might.

www.thecalmzone.net Text & helpline open every day of the year, 5pm – midnight. Calls are free from landlines, pay phones and selected mobile networks and will not show up on your phone bill. CALM is Charity reg. no. 1110621


News

Bido Lito! Dansette

Our pick of this month’s wax wonders…

Do The Borough Road Shuffle Readers may be aware that Bido Lito! is something of a Tranmere outpost. Well, we’ve teamed up with the Tranmere Supporters Trust and their campaign to bring the club into fan ownership. THE BOROUGH ROAD SHUFFLE will bring together BY THE SEA, THE LOUD and OXYGEN THIEVES at Cammell Lairds Social Club (as per the classic Half Man Half Biscuit LP) for our first event. As a nod to Wirral’s indie finest, the show will be presented as ‘All I Want For Christmas Is A Dukla Prague Away Kit’. BILL RYDER-JONES will be spinning the 7”s alongside Tranmere’s Welsh international keeper OWAIN FON WILLIAMS. theboroughroadshuffle.tumblr.com

Noisy Table And The Ping Pong Challenge NOISY TABLE at FACT is a ping pong table with a difference. Created by artist Will Nash, the table is programmed with digital instruments and samples. The vibrations created when the ball hits the surface are turned into live sounds. Obviously we had to get our mitts on such a madcap project, hence the Bido Lito! Inter-Band Ping Pong Challenge! Eight artists including CLINIC, LOVED ONES, ORGAN FREEMAN and AFTERNAUT will play a knockout tournament during the two-month exhibition, and Clinic DJs will be spinning disks at the opening on 6th December.. fact.co.uk/projects/noisy-table

CALM Goes Seven Days A Week Unfortunately, not everyone manages to embrace the child-like wonderment of Yuletide joy that Christmas can bring along. For some, the festive season can be a time of great isolation and anxiety. To alleviate this pressure Merseyside charity CALM (Campaign Against Living Miserably) is now offering a seven days a week helpline and text support service. To celebrate this expansion they’ve announced the acquisition of three new local ambassadors, MOBO Award winner ESCO WILLIAMS, prolific singer/songwriter STEPHEN LANGSTAFF and DJ/producer ANTON POWERS. For advice and support visit CALM at thecalmzone.net

Winter Arts Market Returns Instead of stockpiling a forlorn rank of unwanted gifts this Christmas, why not head down to the largest arts and crafts market in Merseyside this December and bestow your loved ones with something truly original. On 8th and 9th December from 10am – 5pm St George’s Hall will host 150 artists and makers to offer shoppers the chance to buy homemade artwork and gifts to avoid those self-obliging wry smiles. With entry at £1.50 and fantastic live music curated by Mellowtone, ditch the gift vouchers and immerse yourself within a vibrant village of independent arts. To preview exhibitors visit winterartsmarket.com.

Caledonia Christmas Single It wouldn’t be Christmas without a charity song or two. So, we’re pleased to bring you news that the lovely folks at the Caledonia have written and recorded a festive charity single of their very own, recorded at Sandhills Studio. All the tinsel wrapped proceeds are to be donated to the above mentioned charity CALM. Musicians involved include THE CUBICAL, PETE BENTHAM AND THE DINNERLADIES, LOOSE MOOSE STRING BAND and THE SPEAKEASY BOOTLEG BAND. Laura King, Landlady at the Caledonia, said of the project: “I love CALM and making money for charity at Christmas is boss.” For more info go to facebook.com/caledonialiverpool.

The Sundowners Release Debut Single Extinguish those wintery blues with THE SUNDOWNERS and their airy assortment of dream pop as they launch their bracing new single, Hummingbird this month. Produced by The Coral’s James and Ian Skelly the record manages to distill the group’s effervescent Americana which is so infectious live and is set for release on Thin Skin Records on 3rd December. Having recently toured across the UK with rising starlet Ren Harvieu to great acclaim, the release marks the close of what has been a year of great progress for the group. You can check out their wistful, melting pot of a release at facebook.com/sundownersUK.

COMPETITION!

For this month’s competition we have teamed up with the fine folk at Wirral based Fallen Industries Recording Studio & Rehearsal Rooms. As well as providing marvellous rehearsal spaces for local musicians and a brilliant in-house recording studio, Fallen also host a wide range of professional music education and training services, including individual and group lessons, workshops and arts award accredited courses which convert into UCAS university entry points. January can be a tight time on the band purse, so we’re pleased to offer a brilliant prize for the lucky winners of this month’s competition - a free weekly three hour rehearsal session for the whole of January! To be in with a chance of winning this brilliant prize, all you need to do is answer this question Before being the home to Fallen Industries, the building in which the studios are housed was home to Champion, a company who were famous for making which car part? a) Tyres

b) Brakes

c) Spark Plugs

To enter, email your answer to competition@bidolito.co.uk by 21st December. The entries will be placed into a large pink tombola, the winner chosen at random and notified by email. Good luck!

Gig Guide and Ticket Shop live at www.bidolito.co.uk bidolito bidolito.co.uk

Bos Angeles Taking Out The Trash TYE DIE TAPES BOS ANGELES’ wilfully lo-fi approach to recording is both their biggest appeal and their Achillees heel. The 21 tracks here comprise their first and last full-length release, with a beach surf via Joy Division snarl that places them as a British answer to Smith Westerns. Simultaneous rejoicing and mourning then for the passing of one of slackerdom’s best-monikered bands.

Peaking Lights Lucifer In Dub WEIRD WORLD RECORDS This LA husband and wife duo confound listeners yet again as they give their calypso mish-mash of an album Lucifer a rub-a-dub scrub up, with Sonic Boom on mastering duties. Mr Kember ensures that the seductive and hypnotic bottom end wobbles stay on the danceable side of psychedelic, as perfectly distilled in the warmth of My Heart Dubs 4 U. U

The Family Monroe Hotel Room UNSIGNED Love, loss and longing are what make up this introductory set of navel-gazing ballads from Liverpool duo THE FAMILY MONROE. Managing to be both heartwarming and gut-wrenching at the same time, the quiet-quieter dynamics on Hotel Room, and lush string and guitar meshing on Let’s Go Live On The Moon, eke out a sliver of hope to cling on to amid the melancholia. Bruised hearts never sounded so good.

The Cubical Arise Conglomerate HALFPENNY RECORDS Brass-led primal garage punk with soul is the order of the day here for THE CUBICAL’s third album, the majority of which was recorded in the analogue only Lightning Recorder Studios in Berlin. Dan Wilson’s gravelly voice is as tormented as ever, veering between Them and The Sonics on 1,2,3 Girl, Gir and bar-room blues on Daily Grind. Grind Scorching.


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$OORSPMUNLESSSTATED 6ENUEBOXOFFICEOPENINGHOURS-ONรง3ATAMรงPM .OBOOKINGFEEONCASHTRANSACTIONS TICKETWEBCOUKpSEETICKETSCOMpGIGANTICCOMpTICKETMASTERCOUK


Words: Christopher Torpey Photos: Brian Roberts


Bido Lito! Dec 2012 / Jan 2013 Many moons have waxed and waned over Liverpool since EVA PETERSEN’s sultry vocals last graced a record, but the Huyton-born vocalist has not exactly been in hiding since her previous outfit The Little Flames disbanded five years ago. It is the lot of the chanteuse to be in search of the perfect setting for their vocal style, just the right band or line-up who provide the backdrop required to best showcase their talents, and Petersen has ventured down several of these avenues since going solo. But now she seems to have happened upon the right formula, one that has resulted in the release of her strident debut solo album Emerald Green Eyes on Porcupine Records. Though it has not been without trial and tribulation: as the lord of hellfire himself Arthur Brown remarked after witnessing Petersen support him for a live show, “that was great, but you need a baaaand.” Recalling this and many other similar scenarios, Petersen rolls her eyes as she drops in to her seat for our chat, and sighs, “If I had a pound for every time someone said that to me…” A stylish and glamorous figure, Eva Petersen meets up with us on her lunch break to talk about the five-year process of forming her debut album, yet she still manages to turn up looking like she’s just left a classic vintage fashion shoot. Talking quietly and with a certain modesty about how things have come together, Petersen’s eyes light up when we touch upon moments of real interest to her (70s Italian horror soundtracks and rare BBC sound FX). Those who have seen Petersen live over the past three or four years will get a shock upon listening to Emerald Green Eyes: Eyes gone are the blatant Velvets and retro stylings, and in comes a blast of surging electronic krautrock to add a muchneeded impetus, as well as a shifting theatrical canvas, to Petersen’s songs. It is perhaps not surprising to jump to Velvet Underground comparisons upon first hearing Petersen’s distinctive voice: deep, sultry and demure, it has more than a faint echo of Nico in its delivery and style (hence the wellplaced, ponderous cover of Femme Fatale). There is also something in there that recalls the thematic setting of Marlene Dietrich’s husky tones, with each syllable loaded with dramatic intent. It is easy to stick to the tried and tested formulas, as highlighted by the Nancy Sinatra-esque chamber pop of Candie Payne’s solo record I Wish I Could Have Loved You More, Liverpool’s latest great addition to the realm of the sultry female vocalist. By branching out in a new, up-tempo direction, Petersen has freed herself from these shackles, which is largely due to a serendipitous encounter with her newfound collaborator Will Sergeant. Not every chanteuse gets to find her muse, but it seems as though Petersen definitely has in Sergeant. Bonding over a mutual love of Neu!, Can and film soundtracks, Petersen soon found that the Bunnyman was on a similar wavelength to herself, and deemed that he’d be the perfect person to work with on the collection of songs she had written since going solo. “It’s very rare that, to have that connection,” she openly admits. “I’m very lucky.” That the record has had such a long gestation period is mainly due to the fact that the pair started collaborating so late in the day. Petersen: “He [Sergeant] was perfect for the album. I’d been doing stuff before with other people but when I met him we just clicked. Then I thought, ‘Right, this is the person I need to do my album with.’ So why rush it and do it half-hearted when you’ve met the right person?” Petersen took her batch of songs to Sergeant to re-work, and make them sound how she wanted, over a two-year period. Originally coming from a sound that was admittedly “a bit 60s”, the duo collaborated to give the songs an altogether different feel. This distinct new direction is apparent right from the attention grabbing opening onslaught of Jewelled Moon: the album’s lead track is a signal of intent, entering on a wave of shifting guitars and

Jewelled Moon is a signal of intent, entering on a wave of shifting guitars and bubbling synths

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bubbling synths that hint at the electronically psychedelic pulses of Baltic Fleet’s Towers. Title track Emerald Green Eyes gets a similar treatment; with its Bond theme dynamics benefiting from Sergeant’s full weight of production it now boasts more of a dark insistence than the grandiosity of its former guises, yet still retains the strut that has always placed it as Petersen’s most accomplished song to date. In a compositional sense this was a real weight off Petersen’s shoulders, as she could now truly realise her goals for these songs through Sergeant. “Because I don’t play any instruments it was difficult [for me] to put it in the way I wanted it to sound,” she explains. Was this hard then, to relinquish control of your songs and pass them over to someone else? “No it was great,” comes the instant and unabashed reply. “I don’t have the tools to do it, and he does. I mean, he’s an amazing musician.” That must have required a certain amount of trust then? “Complete trust, yeah. I’d send over a song to him and say ‘Tales of the Unexpected.’ If I said that to someone else they wouldn’t get it. But Will didn’t say anything, he just took it on board and sent back Sunday Love Affair and got it spot on!” Sunday Love Affair is one of the simpler tracks on the album, dominated by Petersen’s deadpan vocal delivery and not as adorned with as many bells and whistles as the others. This really lends the record that air of classic spaghetti westerns that Petersen seemed to be aiming for. The strings and plucked guitars on Sunday Love Affair conjure up vivid scenes of old Sicily from The Godfather, or the bleached landscapes alluded to as a backdrop for Jack White and Danger Mouse’s Rome project. I’m intrigued by this connection the pair have, and I want to know more about how the songwriting process manifests itself if Petersen can’t express her vision for her songs via an instrument. “I hum melodies in to a Dictaphone,” she explains, “or in the past I’ve sung a song in to my phone, and then sent that to Will.” Though they seem to have made it succeed in this case, it does seem like it a pretty frustrating way to work. “Oh yeah it is,” comes the admission, but Petersen has other ways of realising her visions for her songs too. “I see writing these albums as like little films. Each song is like a chapter or scene of a film.” Take one sense away and another heightens: so, in this case it seems that Petersen’s inner eye has taken up the strain of her song composition. She presses on. “It’s storytelling as well, but it’s not reality. It’s a cinematic way of doing it. I always wanted to write a short film, and I wrote Emerald Green Eyes a long time ago, but all at once, like a continuous piece, or film.” This is an avenue I can quite easily see Petersen moving down, as she has designs on scoring her own soundtrack at some stage, but, “doing it the other way about, so doing a film without the visual, just the soundtrack.” Having already worked with animator John Davide on a short soundtrack, this could be a reality sooner rather than later, but for now Petersen’s attention is focused on playing live. Accompanied by Paul Duffy (The Coral) on guitar and Nick Kilroe (Echo & The Bunnymen) on drums, she admits that it’s a challenge to find that balance of replicating the “Eva and Will sound” on stage, but also bringing a fresh element to it. Again giving in to her innate theatricality, Petersen admits that one day she’d love to do a full-blown live show with Sergeant and a full band (“full-on masks and capes and visuals!”), but it’s one step at a time for the moment. It’s been five long years since Petersen has had a release to call her own, but she’s in no mood to rush it. I wonder if there was ever at any point during those five years where she worried she’d never get to this stage, holding her own record in her hands? The answer comes after only the briefest of pauses, accompanied with the smallest of laughs. “No! I always knew it would get done. But then, you don’t know until you meet the right person how it is going to happen. If you really love something it’s just a labour of love, isn’t it?”

“If you really love something it’s a labour of love isn’t it?”

evapetersen.co.uk

Gig Guide and Ticket Shop live at www.bidolito.co.uk bidolito bidolito.co.uk


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Bido Lito! Dec 2012 / Jan 2013

There are times when working as a music journalist feels like anything but work. As I await a phone call from arguably the nation’s favourite Scouser, this is definitely one of those times. CRAIG CHARLES has been in the public consciousness for a quarter of a century, in a variety of guises - from cult TV to Corrie, poetry to playing records. He’s the man who educated this Kent teenager about real Liverpudlians, beyond the plastic stereotypes portrayed by Harry Enfield and Brookside. As presenter of BBC 6Music’s longest-running and most popular show - The Craig Charles Funk and Soul Show - Charles has been responsible for getting the Saturday night party started for over a decade now. After calming my fanboy nerves with a simple “How’s it goin?”, he reveals how the show’s success has taken him completely by surprise: “I thought it’d be this curious little niche programme on a niche station, but I didn’t care as it gave me the chance to play the records that I loved. It’s amazing how the audience has grown over the last ten years. When we started most of the 6Music output featured white boys with guitars, but we’ve been able to take it somewhere different.” To commemorate that growth, Charles is releasing a compilation, The Club out Craig Charles Funk & Soul Club, later this month on Freestyle Records. It’s an absolute gem of an album, guaranteed to ignite any dancefloor. Press play, start dancing. There’s a potent mix of classic tracks from the likes of The White Stripes, Rage Against the Machine and the Rolling Stones, energetically reworked; stalwarts of the UK funk scene like Lack of Afro and The Haggis Horns; and a selection of the brightest new talent from across the world, from Barcelona’s The Excitements to The Bamboos’ Aussie funk. Far from being the preserve of the old and backwards-looking, funk and soul is growing in popularity - a fact I see borne out on a weekly basis in my view from the booth of the dancefloors of Liverpool. There’s a vibrancy and excitement in these 19 Words: Mo Stewart tracks that’s sorely lacking elsewhere in the musical landscape. This second generation soul gives a tasty new flavour to a tried and trusted format - like sushi on a pizza. Charles’ hardest task was trimming the tracklist down: “I’ve got so many great records that I want to share. The album could have featured 19 other tunes and still been brilliant! What we wanted to do was recreate the feeling that you get from coming to one of our live club nights on a CD, but we didn’t want to put out a dead album. Over 70% of the bands selected are still playing now, so people can still get out to a show and experience them live.” That live element is a key component in bringing the funk to

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a new generation of fans: “We deal mainly with golden era black American music, but most of those guys are passing away or have passed away. For this album we concentrated on the response to that golden era here in the present. It’s no surprise that the two most successful artists of this century, Amy Winehouse and

Out of this scene came a rare national success for black musicians from Liverpool, when The Real Thing topped the charts. Only The Christians have come close since, a fact Charles finds baffling: “It’s been a disgrace. In the 80s there were so many bands from Liverpool in the charts - Echo & The Bunnymen, Icicle Works, Teardrop Explodes, OMD, Flock of Seagulls, and none of them were black. The talent was there but back then there wasn’t that much support. When the record companies were flocking to Liverpool with their chequebooks flapping they weren’t going down to the shabeens.” Charles has been a keen supporter of Liverpool talent, inviting the likes of 6toys onto his show for live sessions. “I’d love to help put Liverpool on the map. I’m a fan of Manukah, and I’m always on the lookout for more local acts.” A love for music has been a constant companion throughout Charles’ career. His first big break, as a performance poet, was jumping up on stage at a Teardrop Explodes concert to recite a less than complimentary poem about the lead singer. Since then he’s written songs for others as well as starting bands himself, including the fantastically named Craig Charles and the Beat Burglars, and Sons of Gordon Gekko. At the height of his Red Dwarf fame he even signed to legendary record label Acid Jazz. “I’ve always been involved in music, but I saw it as a bit of a hobby. There were a few times where it threatened to take over, but honestly I don’t see it as work. It’s like I’ve been invited to a party where I get to choose the music.” Right now Craig is busier than ever, with a well-received new series of Red Dwarf just off our screens as well his continued role in Coronation Street as loveable cabbie Lloyd. He’s also taking The Funk and Soul Show back on the road, after wowing the crowds at some of the UK’s biggest festivals over the past 18 months. Alongside his monthly residencies in Leeds and Manchester, there’ll be a UK Christmas tour in support of the album. Despite his celebrity status, Charles is adamant it’s the power of the music that keeps the crowds coming: “People come to Illustration: Johanna Wilson the Funk & Soul Club for the music. Adele, are both heavily influenced by classic soul.” As was a We sell out wherever we go, but not because Dave Lister is the young Craig Charles, whose parents rocked to the sounds of the DJ. Celebrity DJs aren’t my bag, which is why I love 6Music. Our Temptations and Otis Redding, when all about them were still station is full of people like Jarvis (Cocker), Lauren (Laverne), Guy (Garvey) and Huey (Morgan) who are really passionate about their obsessed with mop tops: “My dad arrived in Liverpool in the late 50s with a couple of quid in his pocket and a bag full of records. music, and the audiences really buzz off it.” Whether it was Ray Charles or Reverend Al Green, our house was always alive with music. As I grew up and started going clubbing, The Craig Charles’ Funk & Soul Club is out on 26th November on I saw there was a thriving underground scene. While everyone Freestyle Records. else was down at Eric’s or Brady’s I was down at the shabeens in Listen to The Craig Charles Funk and Soul show on BBC 6Music Liverpool 8 listening to P-funk and Parliament.” every Saturday from 6pm to 9pm.


Richard Hawl w ey wl Hawley plus special guests

Bellowhead Bellowh w ead wh Monday 18 February r 7.30pm ry £22.50, £28.50

Robert Vincent & Peter Bruntnell Heritage Blues Orchestra

Sam Lee & Friends

Friday 1 March 7.30pm £20-£30

Amelia Curran & Anna Corcoran

Thursday 21 March The Epstein Theatre 7.30pm £16

Ginger Baker’s Jazz Confusion Confu f sion fu Sunday 24 February r ry 7.30pm £17.50-£25.50

Friday 8 February r ry 8.30pm £12

Saturday 2 February r ry 8.30pm £12

Friday 1 February r ry 8pm £18.50, £24.50

Richard Thompson

Monday 25 February r ry 7.30pm £20-£27.50

Lau Edwy Edwyn w n wy Collins

Saturday 20 April A ril Ap St George’s Hall Concert Room 7.30pm £16.50

Saturday 20 Ap A April ril 7.30pm £17.50, £23.50

Box Office Off Of ffi fice 0151 709 3789 liverpoolphil.com


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Bido Lito! Dec 2012 / Jan 2013

ORGAN FREEMAN ORGAN FREEMAN Words: Mike Townsend Photography: Robin Clewley

ORGAN FREEMAN are four young lads from The Wirral, comprising the unusual combination of two frontmen and two stand-up drummers. When asked to describe their sound, singer Luke Bather affectionately suggests that it is “music inspired by aliens”, which makes a surprising amount of sense if you’ve ever been to one of their shows, largely thanks to the influence of their fifth and most important member, an old Yamaha QY700 MIDI Sequencer. Resisting the urge to describe it as out of this world, their unique style of frenetic, messy, synth-infused garage rock, delivered by two of the most excitable and yelping frontmen about, will certainly sound alien to most. With no recorded content online and almost no media interaction, Organ Freeman have somehow found themselves being one of the most talked about new bands in Liverpool. The genius is in the name. Puns, play on words, doubleentendres - keep ‘em coming. Describing its conception, cofrontman Simon Gabriel explains that they had a collection of organ-based puns to choose from and this was the “best of a bad bunch”, although with the other options including Pianu Reeves, Keyboard and Kel and Bruce Forsynth you might argue otherwise. The key thing, he adds, is that it creates a “lasting impression with their audience”, which is so important in today’s local music scenes. Gigs, especially at local level are becoming increasingly busy affairs. The wealth of local bands, local venues and local promoters has meant that the headliner/support act format has been usurped by more of a showcase with five or six bands on the bill, making it even harder to achieve any lasting exposure from gigging than ever before. “We wanted to make sure people could at least associate our performances, good or bad, with a name,” explains Simon as he laments the occasions on which he has seen a good band but can’t remember who they are. The danger is that with a name like this, correlations between how many people are talking about you and how many are listening can become dangerously skewed. Cerebral Ballzy, !!! (Chk Chk Chk), Danananakroyd, and Mumm-Ra have all fallen victim to this, disappointing with their first and second releases as the charm of their name eventually wears off and we all forget why we liked them in the first place. For now though, Organ Freeman’s moniker has acted as an invaluable tool for their guerrilla, word of mouth style promotion, giving them the platform to express themselves to ever wider and more eclectic audiences. Simon and Luke claim to have played Wheatus’ Teenage Dirtbag at every show they’ve ever done. At their show in Liverpool last month the song was the set closer and the audience screamed every word as if they had been waiting for it all evening. Wheatus covers, planned and prearranged matching outfits, and choreographed audience participation have all become synonymous with an Organ Freeman show. This very much stems from their early reputation as a ‘party band’, as their shows became more and more associated with alcohol-fuelled mayhem, a reputation Simon and the band are keen to move away from: “We got such a good response from being a positive, party based band early on, and some people can rely on that and continue to do that forever, but for us, that gets boring. We didn’t want to

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be expected to do something at all of our shows.” Simon and Luke go on to describe a time when a promoter enthusiastically booked them based on the premise that they would turn the show into a wild party, so in response they set up their stage as an office and played the songs at half speed and without any drums. Whilst you might argue that bands as new as this can’t afford to be so petulant, it’s nice to see a band sticking to a cause. For a new artist, reputations can be easy to earn and impossible to get rid of. Remember Be Your Own Pet? Weren’t they the ones who made themselves sick on stage at all their shows? Of course a reputation for putting on wild, fun shows is an admirable aim for many bands and even Simon admits that it has “served them well”, but something like that can so quickly be cheapened and turned into a gimmick as it starts to precede all discussion and surpass all their creative intentions. These days their shows are still the funnest and most exhilarating you’ll attend all year, but underpinning this is their desire to keep themselves and their audience moving forward. Playing with expectations perhaps more shrewdly than they might admit, they ensure that people are talking about them for the right, wrong, or indeed any reason at all. Because as soon as you stop becoming a talking point, then all the promotion in the world doesn’t mean a thing. This is what drives Organ Freeman, proving that doing things differently speaks for itself without the need to tell everyone about it. The standards to which we commend live performances are alarmingly low these days, and with Lady Gaga and Katy Perry et al bringing more and more extravagance to their shows, Organ Freeman recognise that audiences’ attention spans are getting shorter so shows must become more engaging. Luke even suggests that he and the band “often go to Taylor Swift and Ke$ha concerts and take notes.” I suspect that he is only half-joking, as he clarifies that the band ultimately aim to create a new form of “DIY Pop Music and performance”, challenging the expectations of their audience with a performance that engages both their ears and their eyes, making it memorable beyond how well the songs were performed or that prick who kept talking behind you. ‘Oversaturation’ is a term that’s all too familiar with British independent music these days. I’m not suggesting that an artist can’t still excel based on some extraordinary songs, but if guitar music in Britain needs saving, it won’t be by a new three-chord chorus from The Vaccines. So perhaps an interesting and exciting live performance is what it takes to break out in 2012, and with no songs even released yet, Organ Freeman can attribute their already impressive success to almost this alone. Simon reveals that the band have their long awaited first single recorded and ready to release in early 2013 with an album to follow. But their ambitions for the year remain firmly rooted in their live show, as they look to embrace bigger budgets and bigger ideas in an attempt to change how we feel about live performances. An ambitious aim it may be, but succeed or fail, the beauty lies in the attempt. facebook.com/TheOrganFreeman @TheOrganFreeman


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Bido Lito! Dec 2012 / Jan 2013

Words: Naters Philip Illustration: Graham Cheal

In last month’s Bido Lito! Dansette column we waxed lyrical about one of our current favourite, and for now lesser known, Liverpool lovelies on the folk pop scene. This month, Naters Philip has the pleasure of roaming a comfortable word count and expanding into the world of adverbs in order to tempt you into loving NON, MONSIEUR as much as she does. This will be easy.

Unlike many of our musical geniuses, Non, Monsieur are not intent on restricting themselves to the realms of obscurity at the point of contrition. Not a bit of it. When I meet Craig Lamb (Vocals, Percussion) and David Mooney (Guitar), clad in suits with pocket watches and hip flasks, they are keen to tell me everything about themselves, both as a band, and also as people. Naturally, trying to understand the characters behind the music is where I start and they’re the first band to genuinely shock me with an answer as Craig beams, “We’re radiographers.” Well of course. “This all started because we worked together, we actually listened to a lot of Crystal Castles and thought about doing some electro stuff but when we went for a jam we were going through a folky time with Jay Jay Pistolet and Simon & Garfunkel, so we decided to go with it!” Every exclamation mark is a true testament to Craig’s effervescent personality; he’s wonderfully excitable about, well everything and you’ll feel that seeping through when listening Young to the first song they recorded together, I Wish We Were Young. It’s impossible not to beam when listening to his tangents, and simultaneously it’s as easy to wonder how on earth they get any music written at all. Craig explains they practise regimentally and are complete perfectionists, “Those samples of Picturebook [the band’s new single] I sent you are so far from done – it nearly killed me to let you have them!” In fact the boys recently spent some time in the studio to record an EP, to give their old four-track machine a rest. But in the style of a true perfectionist Craig assures me that, “The engineer was bloody useless and they won’t let me mix the

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tracks at all!” So back to their four-track they went to record If Only To Be With You. Another pretty little ditty with husky, stripped-back vocals and an antiquated quality to set them apart from other bands on the folk market. Folk pop might actually be the perfect phrase for these two, not only as musicians but as friends. Dave, who is as

charmingly soft spoken as Craig is exuberant, seems a bit more folk than pop. As he’s the shy one I was interested to glean some more about his music background, and it seems that folk pop may actually be the antithesis of his usual music taste. He talks much of his love for Metallica (hey, someone has to) and classic rock favourites Thin Lizzy. He tells us, “I was in a band with the bassist out of The La’s – we didn’t have a name and we played one gig. It was more like Foo Fighters stuff and because of uni I wanted to put things on the back burner.” Which, by the sounds of it, was probably for the best. It’s a pesky necessity bands are faced with: The Name, and it was a problem plaguing our boys, too. So when I ask why French, Craig comes into his own: “Things just look sexy in French! English words are dead dull, I spent so much time on Babbel French, trying to come up with something that made sense. But honestly, Non, Monsieur sounds so much better than No, Mister – I’m a fan of the antiquity it has and I want that across all of the stuff we do with our music.” It’s a good enough reason as any, and sets their name apart from others on the current Liverpool music scene. But what of the folk

genre: where do they sit within that? The boys explain that they see folk music as something quite individual, as Craig reels, “It’s a different thing: when you play acoustic instruments or go to an acoustic gig, you don’t see the same thing five times over, it isn’t like reggae or ska.” They herald Slow Club as one of their biggest folk influences: “That first album is delightful; it’s like two people just want to make nice songs together, which is so lovely.” And perhaps there’s something to that: do you have to be so damn artistically tortured in order to make excellent music, or is there room for a bit of nice? Surely, it doesn’t have to exclusively be a paradoxical experiment, perpetually lost up the arse of a character in Pan’s Labyrinth. Sometimes, it has to be okay for it to be as simple as, “I was listening to Jay Jay Pistolet’s Only To Be Young Again and thought the notion of it was really sweet and decided to rewrite the chorus, from my point of view.” Craig cites this as the creative process for I Wish We Were Young, Young and gives a nod to professional poet Mark Grist (@montygristo) as the fuel for this particular inspiration. All of their hard work and frustration over recording saw its first live outing at the start of November at Lime Street’s, The Head Of Steam. An interesting choice of venue for a first outing but the band assure me the night was faultless and, for a first gig, surprisingly well received. I can’t say I’m surprised though, Non, Monsieur’s songs are designed to chirp you up and actually leave you with little choice in the matter. Songs like I Wish We Were Young are the kind to grab everyone; even if you decide you hate it you’ll probably be caught listening to it on your own while your head does happy little bobs in time. Luckily you’ll get an opportunity to fall for their infectious energy and dulcet tones soon enough as they’re playing support for Admiral Fallow at The Kazimier on 4th December. Craig’s rocket-fuelled personality mixed with David’s ‘Tim from The Office’ sense of humour leaves me to describe their music in one sentence: Non, Monsieur are like a relaxing Sunday afternoon, eating an entire bag of Skittles and washing them down with a bourbon whiskey. J’aime beaucoup. For a free download go to nonmonsieur.bandcamp.com @nonmonsieur


RAVE ON Words: Amy Greir

THE RAVEONETTES is the project of Danish duo Sune Rose Wagner and Sharin Foo, and this year marks the tenth anniversary of the release of their debut EP Whip it On. On Their latest album, Observator, Observator sees them being reunited once again with producer Richard Gottehrer (known for his work with Blondie and The Go-Gos), who worked with them on their earlier 60s-girl-groupinspired LP Pretty in Black. Black Observator adds a darker, contemplative streak to the Raveonettes’ repertoire, using subtle delicacies of piano weaved into guitar riffs for good measure, but still throwing in that familiar 50s’ surf sound drizzled with noise. Following in the footsteps of Jim Morrison, the new album took the band to the legendary Sunset Sound Studios for recording. Whilst they found this experience inspiring, the band claims Observator did not become ‘The LA’ album. “It’s a collection of observations that occur in life...and life happens everywhere,” Sune tells me. Although he’s just moved to Los Angeles from New York City, and is still surrounded by boxes, I manage to grab Sune for a quick cross-Atlantic chat to find out more about the magic and meaning behind that Great Love Sound. Bido Lito!: We know you’ve spent a lot of your life in the States, but tell us about the Danish scene when you were growing up. Sune Rose Wagner: At the time there was a lot of good music in Denmark, and there were lots of bands who I was inspired by. I think that because I grew up in Sønderborg, a small town near the German border, I always had an urge to move outward and discover the world... So that was the driving force behind it all, really. BL!: Do you think you bring a particularly Danish stamp to your work? Did you come from a music background or were you seen as the breakaway child? SRW: [laughs] I didn’t grow up with music on my parents’ side, so I had to discover it myself. Being a child of the 70s and 80s I was introduced to hip hop music. I really fell in love with it and I’ve been in love with it ever since! After that I had to discover

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more music. I went to the library and read a lot of books about music history. I stumbled upon a lot of music from the 50s and 60s, and so I fell in love with that type of music as well.

a songwriter... It forced you to come up with something that was different from whatever everyone else was doing. So yes, I guess it was a conscious decision after I figured out what the key was!

BL!: How much would you say you’ve been able to incorporate this love for hip hop into your music? Your third album Lust Lust Lust is pretty drum machine-heavy and uses a great mix of beats and noises. SRW: Yes I think we’ve always done that...we sample a lot of old records and use break beats, and then twist them around a little bit. I got a drum kit when I was five years old so I’ve always loved the whole drum part of music... Using samples you could always get the sound you wanted for each song so all the songs sounded different in their drum approach, I’ve always found that very appealing.

BL!: Did you have a clear idea of what you wanted to achieve with Observator? SRW: Not really, the new album was kind of open. We don’t make anything complicated. I was always in love with simple music, everything from Buddy Holly to Suicide to the Velvet Underground. You know Hank Williams made a legend for himself by just using three chords? And for that matter so did The Ramones. It seemed very honest and simple music and I always admired that.

BL!: Whatever the blend of genres, there always seems to be that recognisable thread of the ‘Raveonettes Sound’; your voices and use of harmonies are so distinct. But each album sounds unique at the same time. What do you think ties the albums together? SRW: We were always very much interested in all things electronic. People thought we were this garage sort of band who would only listen to a certain type of music, and that we always used instruments from a certain era, but it couldn’t be further from the truth. All our music was made on computers and used samples, even the guitars weren’t played with amplifiers, they were just played directly into the computer. So we were always much more electronic than most people think. BL!: On both Whip it On and Chain Gang of Love you wrote all the songs in a set key. What was the thinking behind that? SRW: I was experimenting with different guitar tunings at the time, and I found that tuning the low E string down to a B flat made a really nice sound. It was good to challenge yourself as

BL!: So, after releasing your sixth album are you tempted to get more into film? SRW: It’s something I’d like to explore, but these things take time. Now I’m in LA I’ve got many great contacts [for] film music; it’s definitely something I want to do more of. But The Raveonettes will always be my first love, no matter what I do on the side. BL!: You released a solo album in Danish a few years back, would you do another? SRW: I’d like to do another solo album, yeah. Maybe... a solo in English, something like that? Out in LA there won’t be as many distractions so I think I’ll be writing a lot more than I’m used to. BL!: As the ‘observator’, are there any bands out at the moment you’ve been keeping your eye on? SRW: YYeah, Savages. They’re four girls from London. They are very confrontational in their songwriting which is great and they’ve got the potential to be a really amazing band. The Raveonettes play Eric’s 5th December 2012 theraveonettes.com


Bido Lito! Dec 2012 / Jan 2013

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J o h n H o wa r d l a n d s a t P e r c y G u l l i v e r ’ s psychedelic prints. But his work is more than just an acid trip for the sake of a high. Artists of all disciplines can learn a lot from his work ethic and methods, as he is a keen researcher of his subjects, putting in the leg-work to obtain a detailed understanding of the music. “I want to come at it in a way that is related to how the band thinks about their music, so I read interviews, and look up lyrics, but in the end it’s mostly a sonic thing.”

Words: Jonny Davis Artwork: John Howard For some time now Gary ‘Horse’ McGarvey has been the go to guy for gig posters in Liverpool and he has gradually become a formidable name nationally and internationally, taking his Screenadelica exhibitions around the world. In 2011 he opened a popup shop on Bold St named Percy Gulliver’s, showcasing his and others’ work for sale to the curious. The collection was pleasantly surprising in its variety, quality and appeal to a wider audience but, alas, what pops up must pop down and Percy Gulliver’s vanished as quickly as it appeared. Horse is now back with renewed vigour to reopen Percy Gulliver’s. This time, for good. The dead space above the Shipping Forecast has been reformed to become a permanent home for this multicoloured venture. Horse hopes the venue will be a space where everybody will feel welcome to view, buy, socialise and learn. Far from an excuse to flog his own goods, Percy Gulliver’s features a wealth of poster art from artists across the globe, thus providing a delightful variety of work. One such featured artist is the Californian gigposter lifer JOHN HOWARD, who we managed to spend some time with recently in order to gain an insight into the working mind of one of the genre’s finest proponents. Even after years in the business, Howard is still acutely aware of the importance of spaces like Percy Gulliver’s. “I love that gig posters are being shown in galleries and exhibitions for the opportunity to take in a chunk of the work all at one time in person. I’m always blown away by the consistency of ingeniousness within the diversity of styles in the gig poster community. A few hot spots around the world like Percy Gulliver’s are instrumental in providing space for a scene like this to flourish.” Allowing for a range of artists’ work to be displayed simultaneously, the room will no doubt breed creativity through inspiration. With such a receptive arts crowd in Liverpool, Percy

Gulliver’s is an essential catalyst for budding artists to forge their own path in visual art, whether it is music-related or otherwise. Howard hopes that these spaces do in fact offer a wider appeal. “On the ground, the awakening of an appreciation of poster art opens opportunities to connect with people and show work. I hope it inspires people to do something that means something to them personally, in whatever form it might take.” John Howard is well known in this field for his mind-melting

Of course this drive must be backed up by skill and innovation, which John has in spades. His 3D posters are something to behold, pushing his LSD vision to its logical conclusion without losing sight of the main aim of a poster: to draw attention to the content. “I hope to create something that has the initial appeal of something much more minimalist, yet more to chew on should one choose to look further. The 3D prints exemplify that in that I try to make them work first as pictures without the 3D glasses, but if you choose to try them... welcome to my world.” John’s continued passion for his work is representative of this scene as a whole. As one of a very select number of art forms that form the axis of music and visual art, gig posters are far more than mere signposts to a venue; they are lovingly crafted artworks that use music as a gateway into a parallel visual dimension. They are music for the eyes masquerading as informative instruction. Each one may hold an album’s worth of stories to devour. Percy Gulliver’s, then, should be considered the equivalent of a brand new record shop; a trove of wares for the curious and a space for shared knowledge and discovery. For those seeking advice on delving into this inky world, I’ll leave you with these profundities, offered by John Howard: “I don’t know if this is a tip exactly, but I think you are going to be happy if you are coming from an honest place. Carve out your living elsewhere while you do what you believe in. Then, down the line you will come to a crossroads. Tell the devil to fuck off, as nicely as possible, and keep going. That’s basically my business plan.” Percy Gulliver’s is open now above The Shipping Forecast, Slater Street. percygullivers.com monkeyink.com

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Bido Lito! Dec 2012 / Jan 2013

£££’s Of Royalty Payments Go Unclaimed By Musicians Every Year in The UK. If you’re a band gigging in Liverpool, you should be receiving your share. Words: Craig G Pennington Illustration: Gareth Arrowsmith At the start of November, Bido Lito! took part in an afternoon of workshops for local musicians as part of the Wirral International Guitar Festival Of Great Britain. The sessions were an opportunity for emerging artists to hear from music industry professionals about various aspects of this murky business in which musicians find themselves. The event was a real success, but we couldn’t help but think of the thousands of local musicians who weren’t there and missed out on some really valuable pieces of advice. One of the main discussion points that came up during the sessions was that of PRS and PPL, and the idea that large sums of royalty money each year go unclaimed, mainly because musicians - particularly grassroots emerging artists - don’t actually realise that they’re entitled to payments. Yes, it may sound like we’re pulling your leg, but even completely independent local artists are entitled to royalty payments when their music is broadcast, even on particularly modest platforms, and also when they play live. Alongside Bido Lito! at the event was Peter Shilton from The Roscoe Foundation, a Liverpool based organisation who work directly with local artists to help them develop their understanding of the music business and give them the necessary tools and advice to progress their music careers. We decided to catch up with Peter and ask him to shed some light on this whole PRS and PPL business. Pay attention, it may just put a few quid in the band kitty... Bido Lito!: We hear all this talk about PRS and PPL and the fact that they play a really important role in musicians receiving much needed income. But, what is the difference between PPL and PRS? The Roscoe Foundation: Both PRS and PPL are UK based royalty collectors, in that they collect money on behalf of the people that they represent, which in this case we’re talking about is musicians and composers. The main difference between the two is which rights holder they represent. PPL represent the performers of a work (i.e. the musicians who actually play on a recorded piece of music) and PRS represent songwriters, composers and publishers. Broadcasters, including TV, radio and certain online platforms, venues and a whole range of business, pay these organisations a licence fee to be able to play music. That money is then distributed to the people who own those rights. Whilst they each represent different rights holders, both PRS and PPL work with the widest possible range of musicians, from emerging grassroots artists right through to established international artists. In other words, it’s well worth signing up even if you’re just starting out. BL!: Is it possible for a new local artist with no traditional-

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style record deal, who may be putting out their music themselves and getting bits of airplay, to get paid through PRS and PPL? TRF: Absolutely. There seems to be a bit of mythology with regards to having to be signed or professionally represented to tap into PRS and PPL revenue. This certainly isn’t the case, and really anybody can sign up online. The rate of pay varies with regards to which station your receive airplay on, though generally speaking the more mainstream a station the bigger the royalty. A song being played on BBC Radio 1 is about £70, to give you an example, which is then shared out between a publisher, songwriter, etc, according to the contract that is in place. But even if you don’t have a publisher, you can sign up as the rights holder yourself, meaning you’ll receive the whole lot; and even local BBC radio pays a reasonable fee for each play. Over the course of a year, it soon starts to add up. BL!: How about in the situation where the singer in a band may write all the songs. Does that mean that only the singer gets paid? TRF: Everyone will still get paid, but probably not as much as the main writer. If your singer is credited as the writer then she or he will be entitled to a bigger slice of the pie, as they will be registered as the composer through PRS. Everyone who plays on the tracks, however, will be entitled to their cut of the PPL income. How big a slice depends on the agreement with the rest of the

band and/or any other third parties such as a record label. What grass roots bands starting out may do is make a decision to keep all the PRS and PPL income within the band, to cover costs of recording, getting to gigs, rehearsal costs, etc, irrespective of which member of the band is personally entitled to which stream of income. Obviously, once record deals and larger organisations come along things will change, but the money can be a really vital source of income during the early days. BL!: Do artists also get paid royalties for performing live? TRF: Yes, yes and yes. Live music venues are license fee payers and it’s these monies which are collected and re-distributed to artists. How much depends entirely on the gig itself but any money that an artist is entitled to is paid in addition to any performance fee from the promoter or ticket commission. All the main local venues are registered, so those shows you play at O2 Academy, The Kazimier, Eric’s, The Zanzibar, etc, could all be earning you additional money. If you play an average of a gig a week over the course of the year at venues across the UK, that will add up to a healthy chunk of cash come the end of the year. BL!: OK, sound, we’re convinced. So what do bands need to do? And is it best to sign up direct with PPL and PRS or go through an agency to do the leg-work? TRF: Both PRS and PPL have online registration services which anybody can use to sign up and it’s really easy to do. Joining PPL is free and there’s a small charge for joining PRS for writers, but really when you look at what you’re missing out on by not being a member, it’s a no brainer. Alternatively, folk may wish to use the services of a specialist agency who do this work on your behalf but take a cut of the revenue they collect. There are some benefits of signing up with agencies, such as them being able to backdate royalty claims and having associated expertise with synchronisation and various other services. Locally, Sentric do a great job. But, it is easy to sign direct with PRS and PPL independently. The choice to go DIY or use an agency is for the artists to make. BL!: So, where does The Roscoe Foundation fit in to all this? TRF: Throughout 2012 we’ve been working with a range of grassroots musicians as part of a music development programme funded by Arts Council England and Youth Music. The artists involved have been given a range of support, but part of it is some guidance with regard to copyright, PRS and PPL. We’re looking to repeat the programme again next year, so interested artists reading this who would like to get involved please feel free to check out our website around spring next year for details on our future work. For more information and to sign up to PPL and PRS you can visit their respective websites at ppluk.com and prsformusic.com. For the latest information on their upcoming projects, keep tuned in to roscoefoundation.org.uk


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Bido Lito! Dec 2012 / Jan 2013

Previews/Shorts

Edited by Richard Lewis - middle8@bidolito.co.uk

Harvest Sun round off the year with their own Christmas party headlined by the critically lauded ALLAH-LAS LA quartet ALLAH-LAS. Splicing the Stones’ swagger with the melodicism of Love, the date is part of the Californian’s first tour of these Isles. Support includes the much-hyped TEMPLES recently signed to Heavenly and expected to make waves next year. Leaf - 12th December

Rounding off a successful debut year in style, promoters Deep Hedonia launch a new regular DEEP HEDONIA PRESENT ARK01 night at Drop the Dumbells Gallery. Billed as ‘An Exposition of Liverpool Electronica’, the series of shows aims to give greater exposure to the rich seam of electronic music currently being mined in the city. Headlined by HEATSICK and YOLA FATOUSH, the support bill features seven of the city’s premier underground electronic acts. Drop the Dumbells – 7th December

On the road to plug LP Sweet Sour that landed back in February, BAND OF SKULLS’ upward trajectory BAND OF SKULLS continues with the disc gaining the three-piece attention on the other side of the pond. Touring partners with Muse and their presence at Lollapalooza 2012 should guarantee an impressive turnout. Strong support comes in the shape of FOLKS. O2 Academy – 1st December

Stealing Sheep

After an incredible year that has seen their debut LP Into The Diamond Sun garlanded with critical praise, STEALING SHEEP have effortlessly steamrolled their way into the national consciousness. Having seemingly performed at almost every festival across Europe they now return to more familiar territory to play at The Kazimier on 14th December. Described as a Homecoming Christmas Party, the trio aptly play at the venue where it pretty much all started for them when they scored impressive early support slots two years ago. This date follows a year of almost non-stop on the road activity for the trio, including a recent stint supporting Mercury Prize winners Alt-J last month. Also appearing on the extended Christmas line-up are former Bido Lito! cover stars, BARBEROS, who bring their uncompromising percussive brutality to proceedings, ensuring there’s no shortage of skincrawling deviancy from the spandex crusaders. Ambient avant gardeists EX-EASTER ISLAND HEAD appear as main support, using abstract rhythmic discordance and a shifty blanket of shimmering guitars to ensure formidable disorientation. The foreboding dirges of THE LEFT HAND are sure to go down a treat as well, as they infuse psychedelia with their heavy sense of dread. The three-piece are promising a “no-holds-barred extravaganza of a party utlizing the whole venue.” Beyond doubt a full-capacity gig; interested parties are best advised to secure tickets post-haste. The Kazimier - 14th December

Most famous for his work with Squeeze, CHRIS DIFFORD returns to The Brink for another intimate CHRIS DIFFORD performance, following last year’s well-received show. Difford is open about the problems he faced with alcohol during his late 1970s success and is a keen supporter of the vibrant social enterprise. At a mere £10 - which includes your lunch - this is not to be missed. The Brink - 10th December (1pm)

In truly bad taste, but sporting perfect harmonies, Spunk Volcano leads his band of giant babies in DIRT BOX DISCO balaclavas through fifty shades of wrong. We’re reliably informed that DIRT BOX DISCO make Kunt And The Gang look and sound like a broken Gameboy operated by Frank Gallagher. If that’s even half true, we’ll be set for an interesting evening. MelloMello - 26th January

Now into their third decade THE SMITH QUARTET remain at new music’s leading edge, championing THE SMITH QUARTET the works of the world’s most celebrated composers. For this concert, two new compositions have been commissioned from Liverpool-based composers Ian Percy and Matthew Fairclough, which combine string quartet with live electronics. Capstone Theatre - 3rd December

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Martha Reeves & The Vandellas

When it comes to defining the essence of Motown you can argue over your Marvelettes and your Supremes, but no-one really comes as close to embodying the soul spirit of Detroit quite like Martha LaVaille. As MARTHA REEVES, and backed with THE VANDELLAS, she topped the charts and became a global icon during the 1960s, really putting Motor City’s ‘Hitsville USA’ headquarters on the map with a succession of hits that are now everyday staples. Anyone who claims not to have danced along to Nowhere To Run, Jimmy Mack, Mack or the legendary Dancing In The Street truly hasn’t properly set foot on a dancefloor before. In recent years, Reeves has repaid the city that made her a star by serving on the Detroit City Council for a four-year stint, but now the 71 year-old is hitting the road again with the Vandellas, showing that “the voice of young America” is still as vibrant today as it was in her 60s pomp. Coming four days before Christmas, you can extend your enjoyment of this show by opting for a festive pre-event meal at Matinee Idol on Castle Street too. Our very own Jamie Bowman was fortunate enough to catch a few moments with Martha ahead of this show, and you can read the fruits of his conversation with the voice of a generation over at bidolito.co.uk now. Erics – 21st December


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Bido Lito! Dec 2012 / Jan 2013

Reviews These are the kinds of shows that this venue excels at: a winning combination of promoter muscle, venue versatility and, most importantly, an artist who defies categorisation. Jonny Davis

SUBMOTION ORCHESTRA Cornelia Eric’s

Ariel Pink’s Haunted Graffiti (Marie Hazelwood)

ARIEL PINK’S HAUNTED GRAFFITI Geneva Jacuzzi

Evol @ The Kazimier GENEVA JACUZZI is Ariel Pink’s girlfriend, which is without doubt the most deserved reason for her being in attendance tonight. That and her camera trickery (we’ll come to that later). It’s not that she is devoid of talent as her robotic synth pop songs offer a plethora of quirky hooks that a young Ariel would be proud of himself. It is the performance that grates. Beginning her performance criminally late and dressed as an undead toy soldier, she wraps herself in a plastic sheet suspended from the ceiling and gradually forces her way out onto the stage, all the while singing along to a backing track. It is a performance that is not sane enough to be taken seriously yet not quite wacky enough to stimulate any senses, and leaves you wondering who is to gain from such an arrangement? Not us, that’s for sure. Fortunately, Geneva Jacuzzi’s lack of instruments means that the changeover time is short and ARIEL PINK’s group of misfits bumble on stage in good time. Ariel delivers the first few songs from the raised ledge behind the stage into a live-feed camera which projects his face onto a screen behind the band. The simplistic brilliance of this act already demonstrates the artistic difference between Ariel and his girlfriend. The visual splendour that this basic set-up provides is greater than the sum of its parts. It offers a new perspective on some of the shorter, quirkier sleaze pop ditties that are at times difficult to get behind on record (think Nymph Kinski Assasin and Symphony Of The Nymph).

Fairy lights, rudimentary camera FX and Ariel’s karaoke stage presence contextualize this side of his music by giving an insight into his kaleidoscopic LA mindset. When he does grace the stage with his presence, he is greeted with genuine warmth from a surprisingly varied crowd of psych Scousers, Pitchfork hipsters and everyone inbetween. His benevolent and childlike talking voice endears people to him, especially on new album Mature Themes’ lead single Only

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In My Dreams. Dreams With Ariel now front and centre, Geneva picks up the camera and films band and audience through a series of deforming filters creating a sizzling rainbow of downtown neon that cascades over the room. The compelling stage presence of Ariel begins to take a backseat to the mesmerising haze of retinalicking, stroke-inducing live film. The music at times becomes a soundtrack to be heard but not actively listened to, while you soak in the sugar-rich chromatic overload.

Crooked stairwells, reverberant fixtures and the faint aroma of an outmoded post-punk sub-culture are all attributes that still linger around the sunken passages of the venue formally known as Eric’s Club. The sound system installation in this subterranean space, though, is more akin to the bass weighted wobbles that the headstrong rabble of youngsters in attendance are acutely familiar with. Game on. Support act CORNELIA initially seems as self-assured as any within her leftfield realm of discombobulated, dub-hinted synth pop. She’s an unmatched female solo act yielding an armoury of spectral synths paired with wispy vocals, slight and fine-grained in her projection. Flickering between rash experimental flurries of ambience and wholesome moments of esoteric melody, there’s an intriguing undertone to her exploits that’s difficult to pinpoint. She possesses all the attributes of a pop-primed fledgling, but the whole arrangement seems almost contrived and, in truth, slightly forced, as if beckoning wisps in to the limelight has taken precedence. However, something seems to be working and, after all, she was a participant

Submotion Orchestra (Mike Sheerin)


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24

Bido Lito! Dec 2012 / Jan 2013

in the first season of Swedish Idol - just some food for thought. Latest single Stormy Weather is underpinned by a sugar-coated, jaunty funk line but her cumbersome lyrics and un-defined vocal range fail to capture the imagination, yet the more experimental side of her repertoire is warmly received. Soon after, a stage shrouded in gloom and dread is inconspicuously occupied by the instrumental proficiency of SUBMOTION ORCHESTRA and their immersive environment of alluring crescendo. The twinkling hum of a crawling piano escalates in tandem with counterbalanced drum patterns as sharp, staccato honks of trumpet wade in for Intro, the first track from new album Fragments Fragments. Watching eyes are suddenly focused on Ruby Wood (Vocals), as she struts to the stage with tremendous elegance. A lush vision of majestic beauty, her sensuous vocal shrills are enough to make your heart melt and your eyes bulge with overstimulation. A melodious cacophony unfolds for Sunshine as Wood’s ethereal tones emit the soulful tranquillity of an Ibizan sunset a la Café Del Mar, onlookers looking on suitably engulfed. What’s most impressive about Submotion Orchestra is that they fuse an amalgamation of genres and instruments to cultivate an expansive blanket of acid-jazz, percussive garage and, dare I say, introspective shades of dubstep. As spotlights vaguely illuminate the seven-piece ensemble, Wood unexpectedly vacates the stage as

Reviews

Clinic (Keith Ainsworth)

the band jettison their placid blends for an turbulent outbreak of bass-heavy, instrumental improvisation. A subtle sway of harmony makes way for a swell of boisterous jerks as keyboardist Taz Modi goes off on uncontrollable tangents of euphoria. The slow groove is soon resumed upon the introduction of Finest Hour though, as smooth and seductive vocals cascade behind a hypnotic explosion of drums. After leaving the stage for a short-lived intermission, they return with crowd pleasing favourite It’s Not Me It’s You, a track which epitomises their capacity for diversity. With an eclectic and intensive

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sprawling soundscape of mellow jams and instrumental digressions, Submotion Orchestra provide a rare middle ground between the pensive and the rapturous. Joshua Nevett

CLINIC

The Production Line @ Static Factory After a hiatus of almost a year as a venue for hosting live music events, Static Gallery re-opened its doors to punters after its forced

cessation under the authority of Liverpool City Council. In an on-going struggle to safe-guard Liverpool’s cultural heritage, Static is currently embroiled in an ambiguous backlash of red tape and restrictive orders. With licensing issues, planning discrepancies and a noise abatement order to boot, Static foreman Paul Sullivan has been continually forced to think outside the proverbial box. When it eventually came to the fore that the Council’s Planning Enforcement Division deemed Static a ‘light industrial factory’ with no planning consent to run as a gallery, studio or a social space, an astute loop hole was identified. With renewed transparency, Static Gallery ripped the glut of red tape into decorative tatters and made way for Static Factory, a newly attributed industrial space for creative assembly line production. What better way to inaugurate Static Factory into the Liverpool music circuit than by hosting a live installation co-curated by Liverpool’s deranged post-punk revivalists CLINIC? The premise behind the project is that of a production line broken down into four stages of basic manufacture. It begins with Clinic performing the world premiere of their latest album, Free Reign. Reign Analogue tape machines then record the gig in its entirety. Operatives then unload and package the cassette tapes into branded packages for consumers (lots of arty types) to buy for the nominal fee of three gold coins at the factory shop, following the


Reviews Bido Lito! Dec 2012 / Jan 2013

25

Liverpool’s International Arts Venue Forthcoming Events & Liverpool Jazz Festival 2013 For full listings visit www.thecapstonetheatre.com

The Smith Quartet

Chilly Gonzales

Fallen Fruit

Joe Stilgoe

Monday 3rd December 7.30pm £10 (£5 students)

Wednesday 5th December 8pm £13

Thursday 6th December 7.30pm £10 (£5 conc)

Friday 8th February 7.30pm £12.50

Ethan Johns

Juan Martin Flamenco Dance Ensemble

Roller Trio

Led Bib

Thursday 28th February 7.30pm £12.50*

Friday 1st March 7.30pm £12.50*

Denys Baptiste’s Triumvirate

Courtney Pine House of Legends

Sunday 3rd March 3pm £12.50*

Sunday 3rd March 8pm £17.50*

Wednesday 13th February 7.30pm £10

Sunday 17th February 7.30pm £17.50

Robert Mitchell

Kit Downes Quintet

Saturday 2nd March 2pm £10*

Saturday 2nd March 7.30pm £12.50*

*Free when you buy a Liverpool International Jazz Festival Pass.

Venue Information: The Capstone Theatre, 17 Shaw Street, Liverpool L6 1HP. Tel: 0151 291 3578 E-mail: creative@hope.ac.uk Further information and tickets available at www.thecapstonetheatre.com Box Office: TicketQuarter, Merseytravel Travel Centre, Queen Square, Liverpool L1 1RG. Tel: 0844 8000 410 Web: www.ticketquarter.co.uk


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Bido Lito! Dec 2012 / Jan 2013

conclusion of the gig. Pretty clever, eh? Supply and demand, analogue versus digital - there are plenty of overriding themes to muse over. In truth, it becomes hard to pay them any attention at all with impending dirges of apocalyptic organ reverberating around the factory floor. Aesthetically, Clinic are a rather daunting prospect, and paired with their discordant, transportive guile, they’re a difficult package to digest. Garbed in medical scrubs and surgical masks, Clinic’s notoriously unconventional tendency to adopt an unnervingly sinister appearance has become the subject of myth and disputation. Static becomes reminiscent of an operating theatre with Ade Blackburn (Vocals) performing a musical lobotomy of psychiatric stimulation aided by his whimsical male nurse interns. Surreal drones of ethereal samples are tamed by neatly arranged sequences of a staid guitar line as they perform their latest single Miss You. Then the conceptual rumbling of I.P.C. Subeditors Dictate Our Youth reminds consumers of their earlier hypnotic brawn, Ade’s twisted melodic grumbles looming behind a perpetual kick drum. While production operatives frantically twist knobs and fumble cassette tapes across the assembly line, Clinic shuffle around the performance area, interchanging roles within their unrefined panorama of versatility. Regardless of the soft airy-pop inflections they undertook for their 2010 acoustically-led album Bubblegum, Bubblegum they’ve managed to retain

Reviews

The Wicked Whispers (Keith Ainsworth)

their sordid, unbecoming disposition, which is noticeable as they drift into Cosmic Radiation for an interstellar jam, littered with seamless funk and experimental wah wah fuzz. You is a slowly off-kilter freak show of haunting grooves, while the sputtering vocals of Cement Mixer moan with a jaunty haste. From compact pockets of synth-laden dread and whimsy to whirring soundscapes of discombobulated electro-punk, Clinic continue to squirm through the cracks to weave an elaborate patchwork of eclecticism. Although Static’s future as a venue for hosting live music still remains opaque, one thing is

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clear, Clinic’s inherently strange disposition still induces an extraordinarily, spine-chilling quiver. Joshua Nevett

THE WICKED WHISPERS The Sundowners - Edgar Summertyme O2 Academy 2 On a bill that assembles like-minded Americana-inspired acts for the launch of Eyes THE WICKED WHISPERS’ debut Dandelion Eyes, 45, first up EDGAR SUMMERTYME is brilliantly

placed to begin an evening of US-Liverpool cultural exchange. Building on the warm reception that greeted his critically garlanded Sense Of Harmony LP, the former Stairs man is in especially good voice, hollering his way through an impassioned set. Appearing solo after recent outings with full band in tow, his allotted time strips his songs down to their raw delta blues essence. A group likely to give Rock Family Trees historian Pete Frame severe cramp when mapping out their connections to fellow Merseyside bands, THE SUNDOWNERS’ twelvestring guitar shimmer is in rude health live. A composite of Los Angeles’ sounds from times past, the unified vocals of Hummingbird marks the peak of their Byrds/Fleetwood Mac inspired mélange. With 70s-era ‘Mac now back in vogue after several years of being unfairly maligned, the Wirral band’s emergence is especially fortuitous: co-lead vocalist Fiona Skelly whirls around her mic stand replete in a black shawl and tambourine and maracas in hand, a dead ringer for Rumours-era Stevie Nicks. After a teasing wait THE WICKED WHISPERS emerge from the shadows and set their spiralling psych pop in motion in front of a near-capacity crowd. Beginning with the uptempo stomp of Odessey Mile, Mile the ‘Whispers boast a deeper live sound, the rhythm section combining to propel the songs forward with greater force. With Ste Penn’s cascading Vox Continental


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organ riffs framing Mike Murphy’s whimsical vocals, Toby Virgo’s bass pushed up in the mix lends the band a vintage RnB spark redolent of Motown. Retro? Undoubtedly, the quintet certainly don’t claim to be anything other. Their exacting mixture of pastoral English psych-folk melodies with US garage rock instrumentation is carried off with such aplomb, however, that such reservations are rendered void. After his memorable appearance at the Liverpool Psych Fest a few weeks back, mysterious perma-rabbit mask wearing Odrah Zackor puts in a fleeting appearance at the rear of the stage during set highlight Dandelion Eyes, Eyes holding up placards like Dylan in the video for Subterranean Homesick Blues via Lewis Carroll. Another guest, this time musical, appears as former The Big House/current Ren Harvieu guitarist Paul Molloy joins the band to add refracted FX to Amanda Lavender, the twominute psych pop sliver turned into an impressive mini-epic with the additional layers. The best moment is saved until almost the very end as the penultimate song in the set Chronological Astronaut edges the ensemble into full-blown astral voyage territory. Returning to earth following the extended, improvised coda and an audience-sating encore, the band’s consummate melding of vintage psychedelic sounds continues to impress. Richard Lewis

JOSEPHINE FOSTER

The City Walls – Pip Mountjoy – Nadine Carina Harvest Sun @ Leaf Those who brave the elements getting to Leaf tonight are greeted by a warming evening of folk and Americana, kick-started by the diminutive NADINE CARINA, whose looped guitars and recorded samples have the handful of early birds mesmerised. Despite the odd mistake and profuse apology, the crowd remain onside and urge her on with handclaps and hugely appreciative applause. As the crowd continues to grow, PIP MOUNTJOY then takes her place at centre stage. Opting to ignore her set list and play (almost exclusively) new songs, her set, along with her sometimes nervous on-stage chat, perfectly suits the intimate nature of the evening. The undoubted highlight of her set is a cover of Bon Iver’s Skinny Love, Love which Mountjoy makes her own with her distinctive voice, and ukulele accompaniment. By the time two-fifths of local favourites THE CITY WALLS have taken to the stage, interest from the crowd appears to be falling. Regardless of the reaction from the crowd, and the occasional tuning issue, the stripped-back set from The City Walls begins to win people back round. By the time they wrap up their set with the upbeat Wild Flowers, almost everyone in attendance has shunned their conversations and phones in favour of giving them their unwavering attention. JOSEPHINE FOSTER and her band are greeted

with a warm reaction as they humbly shuffle on stage, and the delicate Americana harmonies of set opener Waterfall indicates that her set is to lean heavily on new album Blood Rushing, Rushing and will be all the better for it. It’s left to the title track from this album to offer the undoubted highpoint of the set: beginning with just an acoustic guitar and Foster’s breathtaking and instantly recognisable voice. This is a feature of Foster’s performance tonight, as her trademark operatic range is often reined in by Foster until it is unleashed at the perfect moment, and with devastating beauty. Another side of Blood Rushing is displayed on the track Panorama Wide, as the crowd is treated to the Hispanic guitars of the album for the first time. When combined with haunting violins and Foster’s unique voice, these Hispanic tones offer a strange mixture for the crowd, but a mixture that is enthusiastically appreciated nonetheless as a warming tonic to the harsh winds outside. Jack Stanley

TRIOVD Tempest

The Kazimier Experimental jazz is a divisive genre and highly susceptible to emperor’s new clothes syndrome. It can seem at times with jazz, as with expensive wine, that you have to check with an aficionado: “Is this actually any good?”Certainly TRIOVD have received accolades from people who know about jazz – both MOJO and Jazzwise gave them album of the year back in 2009. But seeing as Bido Lito! is not a specialist jazz mag we can only offer our opinion based on the tools we are given – our own ears. And tonight, the emperor is starkers. The Kazimier has transformed itself beautifully into a Parisian-style wine bar, with mood lighting, incense and tables set up on the dance floor. There may be only a scattering of people in for tonight’s relatively niche entertainment, but it’s hats off to the venue yet again for being ever brave and experimental. First there is a screening of a short film RHAPSODY FOR CLARINET AND WHEELCHAIR BASKETBALL TEAM, a Bluecoatfunded project that artfully uses the musical rhythms of the game to dramatic effect. It’s a clever mood piece, working with repetitive black and white shots against climaxing clarinet. TEMPEST are a Manchester flute trio, and while we’ll admit to never having seen a flute trio before, we’ll go out on a limb and say they’re a flute trio with a difference. The three elegant young ladies explore the possibilities of the instrument, ranging from the classical (a beautiful Debussy), to the unconventional (flute beatboxing and drumming), and even the recognisable (Flight Flight Of The Bumblebee). While the trio are incredibly poised and clearly extremely gifted musicians, however, and even though they utilise a range of different flutes, there really is only so much flute a person can listen to.


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So as the wine flows and a few more people wearing chunky cardigans wander in, experimental jazzters trioVD take the stage. If there was a Venn diagram to explain trioVD in terms of mainstream music, at even their most listener-friendly they would be overlapping only at the most insanely wacky moments of Mr Bungle, Battles or Mogwai. These guys piss all over such pedestrian concepts as ‘lyrics’, ‘chorus’, ‘melody’ or even ‘time signature’. There are clicks, hisses, squawks, and lots of seemingly random bursts of sound; the saxophonist uses his knee to play and at one point the drummer has ditched his sticks to play with his hands. Experimental, yes; improv, yes; but we’re not sure - is this even jazz? We never considered ourselves conventional when it comes to music, but on the odd occasion that the trio relinquish the disjointed noises and hit on a repeated groove tonight, it’s as comforting as a warm mug of tea. We want to take that groove home, love it, nurture it, stroke its hair. But alas, those moments are fleeting, and for the most part it’s just really…challenging. And that’s their point: conventional boundaries don’t really exist for this outfit, and sometimes it’s refreshing to have those well-accustomed boundaries removed, to open up all the avenues of musical possibility. Oh and the band’s name comes from the fact that they formed on Valentine’s Day by the way – why, what were you thinking? Jennifer Perkin

Reviews

Fantastic Mr Fox (Matthew Ball)

FANTASTIC MR FOX Ninetails - Throwing Snow Constellation @ HAUS 35-39 Greenland Street, next to the CUC and across the road from Camp & Furnace, now has new tenants and a new name. The Waxxx crew have taken over the previously empty warehouse space, named it HAUS, and are back in the Baltic Triangle for the foreseeable future after short-term stays in various city centre

locations. Tonight marks the first Constellation event, a new club night curated by Everisland, Waxxx and Aperture. Headlined by FANTASTIC MR FOX, the Manchester-based DJ/producer who dropped a number of highly-rated releases a few years back and toured extensively with The xx before seemingly dropping off the map. After his widely lauded San’en EP was released in June, he’s been busy re-establishing himself across the UK with a swell of activity and tonight makes his Liverpool debut alongside THROWING SNOW and the usual suspects that form the

cream of the city’s DJ talent. Upon entering, Constellation #001 looks fantastic – the darkness of the cavernous space lit by visuals and projections provided by those involved with the Enclosure exhibition that is currently in residence at HAUS. The event also acts as a launch night for NINETAILS’ new EP Slept & Did Not Sleep. Sleep It is interesting to note that dance music is often associated with feelings of euphoria, but Ninetails arguably provide those vibes more so than any of the electronic acts that feature later tonight. The blissed-out, atmospheric sound of Maybe We and set-closer Rawdon Fever serve as perfect soundtracks to the surrounding visuals, and though the audience is subdued and sparse at this early hour, those in attendance are spellbound. The band are as tight as you’d expect any so-called ‘math’ leaning outfit to be and, though they undoubtedly possess a technical ability you would associate with the genre tag, focus on melody and song over virtuosity and showboating. Fantastic Mr Fox is another one of those DJ/ producers destined to be burdened with those desperate tags ‘future garage’ and ‘post-dubstep’ though he has an instantly recognisable sound on record that sets him apart from most of his peers. It is a shame that more of his own material is absent on this occasion, the peaktime set largely focusing on a cocktail of heavy hitters from the last couple of years. The abrasive synth-stabs of Thunder Bay by Glaswegian beat-

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Reviews Bido Lito! Dec 2012 / Jan 2013 maker Hudson Mohawke elicit the biggest response, measured by volume of drink spilt as the crowd bounces in unison. His most recent release Power is a highlight of the set, a standalone single which aims for the dancefloor more than any of his previous efforts. Though featuring Fantastic Mr Fox’s signature synths and melodies, it is driven by a deep rolling bassline, the kind of which has been inescapable this year. Though it is a shame that Throwing Snow’s earlier set of darkly atmospheric bass music doesn’t fall on more ears, Constellation provides a welcome alternative to the heavyweight bookings of Chibuku that will see it return for #002, #003, and many more besides. Rob Syme

EUGENE McGUINNESS Coves - The Dirty Rivers

Eugine McGuinness (Robin Clewley)

Evol @ O2 Academy Support for EUGENE McGUINNESS tonight comes in the form of the youthful exuberance of THE DIRTY RIVERS, a five-piece rock band with moody riffs, catchy hooks and unapologetic lyrics. Following them are COVES, who specialise in trippy, drowsy pop tones that seduce us with smoky tendrils before jarring us out of a daydream with visceral slices of jagged noise. The honeyed vocals of Beck Wood are the perfect accompaniment to noisy beats, and a

sultry version of Chris Isaak’s Wicked Game is an unexpected highlight. When the ever impeccably dressed Eugene McGuinness takes to the stage, he is received warmly and launches into Harlequinade Harlequinade, a hyperactive, impossibly catchy piece of pop rock. McGuinness is visibly inspired by the sixties, from his slick quiff and tailored threads, down to spy film elements within his music. Frenetic observations delivered in a high-paced stream of consciousness is a recurring theme, whilst

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others include the over-stimulating lyrics in more than one track referring to self-pleasure. Carnal desires aside, McGuinness delivers a polished performance, hitting his stride with the superb Sugarplum, Sugarplum an energetic, electro pop song that has the crowd moving with its bouncy beats. Lion is received predictably well with its predatory bassline and innovative breaks, but it is Moscow State Circus that is an unexpected highlight. Taken from his 2008 eponymous debut album, it is up-tempo and whimsical

31

and emphasises the directional shift in music between his debut and his current album. Excellent vocals and surfy basslines ensure that the majority of the songs on Invitation To The Voyage are of a high standard but there are times, although rare, that McGuinness seems to flounder slightly and sink under the weight of some of his tracks. Shotgun is an absolute gem and triumphs over the rest of the album. A formidable bass behind stormy lyrics - an ode to a mischievously dark relationship where he is left battered and bruised but cares not. Fusing a flurry of horns, electro and rasping guitars, Shotgun is dramatic and anthemic. Perhaps one of McGuinness’ greatest talents is his ability to story tell through the bizarre medium of comedy noir metaphors. He is the voice of a stylised youth and although this performance is more modest than previous outings, his talent is undeniable. Long may the voyage continue. Lisa O’Dea

TAFFY

Young Times – Baby Brave And The Love Bites ROPE @ The Compass The Compass is a great little pub and a welcome addition to the limited options for live music in Chester, and since opening up just a few months ago they’ve demonstrated


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Bido Lito! Dec 2012 / Jan 2013

a commitment to interesting bookings (see Bo Ningen and DZ Deathrays). It feels like a bit of a love-in tonight, with most of the crowd comprising band members and their friends. Chester, not the edgiest of places, is a fitting spot to see BABY BRAVE AND THE LOVE BITES, who in their bio unashamedly use words like ‘adorable’, ‘earnest’ and ‘ukulele’. You get the idea. In fairness, this deliberately twee fivesome create the kind of sunny handclap pop that some people really do lap up. We just don’t particularly want to be friends with those people. Next up is the pop rock of YOUNG TIMES, and here everything gets a little bit schoolband-competition. They are indeed very youthful, but that’s not really an excuse for self-consciousness so palpable it’s awkward, and band members who sound like they’re all playing different songs at the same time. Which is a shame because the young lady out front has a gorgeous voice, and given the chance and a better band would no doubt shine. TAFFY may technically be a four-piece from Japan, but really they are from England circa 1995, the heady days of horizontal stripes, feedback and learning how to use an MP3. And this revisiting of Britpop, when delivered with such skill and enthusiasm, is no bad thing at all. They are a fun band to watch – the drummer has the most loveable grin you’ve ever seen – and singer Iris has the kind of voice you just want to

Reviews hear more of, smooth and husky with more than a touch of the Kim Deals (which is pretty much the highest order of compliment going). With the members having played in various Tokyo bands before coalescing in Taffy, there’s a feeling of a meeting of kindred spirits, and their slickness belies their newness. There’s no doubting they’re deft songwriters but a criticism would be that there are no real surprises, everything is where it belongs, and the only time they change tack is when they go a little bit 1960s psychedelic. This is their first UK tour but the sense tonight is they would be welcome back any time. With their fuzzy pop rock they do that rare thing of transcending the nostalgia and making it sound fresh; no small feat. We dash to the unfairly early last train to Liverpool with a heavy heart – even though we know the end of the gig would have been more of the same, we sure as hell would have liked to have seen it. Jennifer Perkin

NORTH BY NORTH WEST

Someone Else Presents @ Liverpool Olympia “Is there a fight on tonight?” asks the cabbie, highlighting that, indeed, boxing haunt The Olympia is an unconventional choice of venue for tonight’s showcase of local talent. Cavernous grand venue or not though, NORTH BY NORTH WEST is a fantastic way to snapshot what’s

The Tea Street Band (Marie Hazelwood)

going on in the city, and resists summing up with a pithy line. It’s a mixed bag tonight. DEAD DUKES are the first band we catch, and unfortunately the first of many bands who invite comparisons to other bands rather than forge their own sounds. In this case it’s The Cribs, and more overwhelmingly the Kooks - mostly due to the lovely vocals and jauntiness they share with said Brightonians. At this point the timid audience is still hanging back, but as the beers kick in and THE LOUD arrive things start creeping forward. The Loud peddle a distinct brand of 70s glam and wear their influences proudly (hello, Slade!). Where currently the 80s seems to be the most commonly mined decade their sound does stand out, albeit the delivery feels a tad understated. So far things have been nice but it’s not until BROKEN MEN get onstage that we feel like we should be feeling – excited. With the exception of THE HUMMINGBIRDS, they are the only band

of the night that really perform as a unit, albeit in an entirely different way, and they carry a spark and energy that we see so little of tonight. The band look sharp, and more than a little pissed off, and play a very American style of hard-edged indie that brings to mind such diverse bands as The Walkmen, Cold War Kids and Kings Of Leon (back when they were good). The video for recent single Oversold can be found kicking about on the net but doesn’t do justice to the inspired, memorable show we see tonight – we can’t wait to see where these guys go next. COLD SHOULDER are incredibly talented in your more classic rock sense, and while they couldn’t be faulted on musicianship there are no hair-standing-on-end, let alone pulse-raising moments here. A class act nonetheless. Now for The Hummingbirds, purveyors of spectacularly commercial sounding acoustic country/folk that on one hand flies the Liverpool flag high (see

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tune Back in Liverpool) Liverpool and on the other hand sounds more like the product of Midwest USA via the English countryside. The five-piece have nailed their image and target market, and are moulded to within an inch of themselves; you can imagine the memo about band uniform reading something like, “pastels, linen and light-coloured denim only. Waistcoats, braces and flat caps optional.” Then it’s BY THE SEA, who are probably the most ‘now’ sounding band of the line-up, and certainly the moodiest. While we fumble around for words like ‘shoegaze’ and ‘dreamy’, they’ve helpfully described themselves as ‘escape pop’ file them with Beach House. While some of their subtlety is lost in the vast venue tonight, as their growing popularity attests, they definitely have something, and warrant checking out somewhere intimate. It would probably help if you were wearing something American Apparel when you go. And since the theme of the night has been bucketloads of talent, not a lot of innovation, THE TEA STREET BAND are the perfect headliners for a room full of punters who are by now ready to dance. Their explicit aim is to bring the sound and spirit of acid house to those who weren’t there the first time round and, going by the fairly ecstatic response tonight, they’re filling a gap in the market and then some. A great idea, and yet more a great night out (and we haven’t even mentioned the after party), here’s hoping for a NXNW 2013. Jennifer Perkin

COSMO JARVIS

Mad Dog Mcrea – The Robin Pierce Band MelloMello Things have definitely gone beyond control for COSMO JARVIS after his biggest single, Gay Pirates, went viral this time last year. Still just 23, the British singer has managed to keep himself busy by pursuing a plethora of artistic endeavours since he gave up on school when he was only 16. It could have been so easy for him to have settled for just producing and directing videos or composing addictive songs but instead he chose to do them all. It is that hugely dynamic fusion that makes him the complete artist, so hard to find these days. Coming to Liverpool to promote his newest album, Think Bigger Bigger, Jarvis manages to gather quite a number of impatient, loyal fans at MelloMello; a venue which despite battling closure once again proves to be able to generate the usual incredibly intimate and warm atmosphere. The support is granted by two folk bands that tend to transcend the traditional aesthetics of the genre. Both MAD DOG MCREA, a group that combine an unusual rock sound with elements of gypsy jazz and Celtic folk, and the acoustic trio that go by the name of THE ROBIN PIERCE BAND, make wellcrafted music, hence the splendid connection they have with the audience. For his third outing in Liverpool, Cosmo starts off with a relatively controversial song, Sure As

Cosmo Jarvis (Daniel O’Toole)


Sat 2nd February, 8:00pm.

FAIRPORT CONVENTION

Fri 8th February, 8:00pm.

KELLY JOE PHELPS BROTHER SINNER & THE WHALE TOUR

Sat 9th February, 7:30pm.

LIVERPOOL MOZART ORCHESTRA

Fri 15th February, 7:30pm.

Sun 17th February, 2:30pm.

THE ELEPHANT BRIDESMAID

Thu 21st February, 7:30pm.

BARBARA NICE IS MRS. NICE

STARRING PHOENIX NIGHTS’ JANICE CONNOLLY Sat 23rd February, 8:00pm.

ZOE LYONS: POP-UP COMIC

RICHARD DIGANCE

Thu 28th February, 7:30pm.

Sat 16th February, 8:00pm.

MARLENE VER PLANCK

MIDGE URE

FLORAL JAZZ NIGHT

Sat 16th March, 7:30pm.

DAVE SPIKEY

WORDS DON’T COME EASY TOUR

Wed 20th March, 7:30pm.

BLACK BOX THEATRE COMPANY

OTHELLO

Sat 23rd March, 7:30pm.

LIVERPOOL MOZART ORCHESTRA


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Bido Lito! Dec 2012 / Jan 2013

Hell Not Jesus. Jesus Looking extremely comfortable on stage, as if he’s been doing this for his entire life, his first song represents a bold approach towards a slightly touchy issue. Stylistically, it confirms the artist’s own refusal to be defined as a part of a specific genre. Love This – his most recent single – is a more upbeat piece, highlighted by one of the catchiest choruses that can be heard on the current market. The echoing refrain, based on an extremely danceable bassline, is shaping into a genuine radio-friendly tune. Assisted by two fellow musicians, Harry Meads on percussion and Harry Mackaill on bass and backing vocals, Jarvis carries on with what seems to be a witty love declaration, ingeniously interpreted in the form of a dulcet tune called She Doesn’t Mind. The simple reggae-inspired rhythm plucked on an electric guitar is mirrored by the complexity of his creativity; it might take a while for the audience to understand the actual meaning behind the lyrical content. Conversely, this is a song that brings a different substance to his own style by mixing ska elements with power pop that weirdly brings about an early 2000s Weezer, or Mando Diao sound. However, the highlight of the night is the appearance of Mad Dog Mcrea’s members onto the stage for an ad-hoc jam which includes Gay Pirates, the provocative song that probably deserves its current hype. Demonstrating his glowing ability for writing verses, Jarvis’ Gay

Reviews Pirates is in fact an observation of the ongoing stereotypes as he makes an inspirational point within existent social issues. Emphasized by his grainy voice, this slice is based on multiple build-ups and simple chord progressions played on a mandolin. Receiving public praise from the likes of Brian Eno and Stephen Fry, Cosmo Jarvis still has to pay the price for his unconventional and uncompromising approach. Intelligent and talented, he still lacks a certain something to go mainstream. Petricia Mogos

CLOCK OPERA

Bright Light Bright Light Evol @ The Kazimier London-based Welsh singer BRIGHT LIGHT BRIGHT LIGHT is so bad that it’s almost existential. Rod Thomas, the talent and pretty face behind the name, comes across as quite possibly the nicest man in music. Which makes it all the more unfortunate that his particular brand of outrageously clichéd dance pop, which may as well be written from the pre-programmed songs you get on a keyboard, is so karaoke it actually causes wincing. To his credit though, Thomas, along with his keys man and drummer, actually do manage to get some of the more lubricated in the crowd to loosen their limbs. Clock Opera (Mike Brits)

While we can’t abide his pulsating Eurotrash, or his X-Factor-style emphatic hand gesturing, he gets full credit for coaxing a euphoric few into a bonafide dance-off. At least they’re having fun. This is where our revulsion turns philosophical – has this man taken the concept of cheesy so far that he’s actually reclaimed it? And to sounds of ticking and tocking arrive CLOCK OPERA, wound up and ready to go. Guy Connelly, the driving force behind the band, is nothing if not ambitious and, since having fronted The Fallout Trust and The Corrections, has also made a name for himself as a remixer of the likes of The Drums, Feist and Everything Everything. Clock Opera is a fully fledged fourpiece now, with Connelly, who is luxuriant of beard and hair, up the front whacking some kind of electronic box with a drumstick and grooving to his own beat. There’s a lot going on here: experimental percussion, samples, falsetto vocals and above all crescendoing drama. At times there’s a suggestion of Caribou, an occasional flash of Afrobeat, and on track Man Made there’s a bit of Talking Heads. But ultimately it adds up to not a lot. The excitable crowd are getting a bit stadium rock as girls at the front are actually reaching out to touch Connelly’s hand, but fan of the evening award goes to Sergei, who we are told has come all the way from Latvia tonight.

Gig Guide and Ticket Shop live at www.bidolito.co.uk

Single Once And For All is dedicated to him, and is followed by similarly emptily anthemic Belongings, but it’s not until evening highlight Belongings Lesson No.7 that we start to think there might be something interesting going on. What so much of the time can sound overblown somehow gels here - it’s dark, it’s powerful and it’s a cracking tune. Alas, it may be their only one, as encore Fail Better reminds us what they ultimately are: uninteresting. Jennifer Perkin

LAZY HABITS Manukah

The Kazimier I have goosebumps. A night of rap and jazz fusion is imminent and I can imagine throngs of people absorbing every brass-led beat LAZY HABITS have to offer. So I’m surprised to see so few turn up to see these wordsmiths in action. It is Friday night, right? Even the dim lights of the Kazimier can’t hide the absence of the cult following this band has acquired over the last five years. It’s a real shame as this Hackney eight-piece hip hop collective are something special, having already smashed sets at Glastonbury and Bestival, and big venues such as Shepherd’s Bush Empire and KOKO. I can’t say I’m


......................................................................................... ......................................................................................... ......................................................................................... ......................................................................................... ......................................................................................... ......................................................................................... ......................................................................................... ......................................................................................... ......................................................................................... as the support act take . . . . . . . . . . though, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . disappointed . . the . . .stage . . . . and . . promise an intimate gig. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . to ......... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Seamlessly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .blending elements of hip hop, . . . . and . . . .nu-soul, . . . Liverpool’s own MANUKAH . . . . . . . . . . .1/12 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . funk . . . . . .with . . . .an. infectious groove of horns and . . . . . . . . . . . . . . . . Hi-Fi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . bounce . . . . . . . . . smooth .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . drums, guitar and keys balance the ...... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . while . . .perfectly. . . . . . . .For . those who aren’t familiar with . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . set

Tickets currently on sale at bidolito.co.uk Plump DJs

1-2/12

Metrofest

4/12

Admiral Fallow

5/12

Chilly Gonzales

12/12

Allah-Las

14/12

Stealing Sheep Christmas Homecoming Party

14/12

Antipop’s Fuck Xmas

15/12

The Borough Road Shuffle w/ By The Sea

The Lomax

The Kazimier

The Capstone Theatre Leaf

The Kazimier MelloMello

Cammell Lairds Social Club

Neck Deep 22/12 .................................................................

these up-and-coming heavyweights, Hypnotise best introduces Lauren Spink’s soaring vocals, which have the attitude and jazz stylings that are in the same vein as Jill Scott. Not content to leave the crowd floored by the set which features a cover of Erykah Badu’s Apple Tree, Manukah also unleash the aptly named crowd pleaser, Big Tasty Riffs. Riffs The sidesteppers of the venue struggle to search for more expressive shapes to pull that justly convey how blissfully heavy this tune is. Headliners Lazy Habits are on next, looking rather dapper in their white shirt and clipped tie combo as they promote their eponymously titled debut album. The track Memory Bank, Bank with its unapologetic sci-fi references to Philip K. Dick and Doctor Who, has slick rhymes and a smooth brass section that exposes their New Orleans ‘ragtime’ jazz influence but also their firm grip on modern British culture. We’re all moving in unison to the swing of the horns on The Road. MC Skin Horse leads the articulated, gritty verses and MC Lazy provides a catchy, metaphorical chorus. The two complement each other well, switching positions on stage and bringing a fluidity to proceedings. . The . . . group . . . . . take . . . .a. pause . . . . .before . . . . . their . . . .next . . . .track ... . to . . tell . . . us . . what . . . . we . . .were . . . .told . . . about . . . . .the . . .nursery ..... ................................... . rhyme . . . . . Jack . . . .and . . .Jill. .is. .but . . a. .lie,. . before . . . . . smashing ....... . into . . . .Even . . . .Out, . . . .a . storytelling . . . . . . . . .masterpiece . . . . . . . . . that ... . uncovers . . . . . . . .how . . . .piece-of-work . . . . . . . . . . Jill . . .steals . . . . . Jack’s .... ................................... . crown. . . . . . .Highlight . . . . . . .of. .the . . .night . . . .is. .definitely . . . . . . .their ... . latest . . . . .single, . . . . .The . . .Bulletin, . . . . . .entering . . . . . . with . . . .a.tense .... ................................... . staccato . . . . . . .style . . . .trumpet . . . . . .and . . .a. sing-along . . . . . . . . chorus ..... . that . . . .makes . . . . .this . . .well-produced . . . . . . . . . .piece . . . . irresistible. ........ . . . This . . . . . . . . .may . . . . . . . . had . . . . . . . . . . .crowd .... . . . . . . .group . . . . . . . . .have . . . . . . . .a. .small ......... . to . . .play . . . to . . .this . . .time . . . .around, . . . . . .but . . .none . . . . of . . .the .. . frenetic . . . . . . .energy, . . . . . .groove . . . . . and . . . . lyrical . . . . . rhythmics ....... . were . . . . . . . . . . . . . . They . . . . . . .old . . . . . . .die ...... . . . . . compromised. . . . . . . . . . . . . . .say . . . . . habits . . . . . . . hard, .... . but . . . it. .seems . . . . . Lazy . . . .Habits . . . . .won’t . . . . .be. .abandoned ........ . anytime . . . . . . .soon . . . either. ........................ . . . . . . . . . . . . . . . . . . . . . . . . . .Karl ......... . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Fairhurst ......

this dedicated rabble. An unassuming chap, Roe seems humble with a friendly and warm demeanour, but perhaps all a bit too nice. Clearly an accomplished guitarist, he plucks his way through a drawn-out sequence of intricate arpeggios occasionally complemented by intermittent strums of fuzzy distortion. Latest single Strange Kind Of Mystery is pensive but impassioned, with shades of Jose Gonzalez and tuneful folk inflections. Although his cumbersome lyrics fall flat at times, failing to blend with his soothing melodies, there’s definitely passion behind those desperate tones; however, it lacks the fundamental substance to underpin the talent he has with the instrument in his hands. With supporting act foreplay at an end, it suddenly becomes an all-or-nothing contest to occupy the front row. Outbursts of screams suddenly explode as the petite figure of LUCY ROSE emerges from behind the drawn curtains that engulf the width of the stage. Without delay her supporting band take their positions and launch straight into a subdued rendition of First, initially seeming a little taken aback by the sheer volume of avid Lucy Rose aficionados in attendance. Is she provocative? Probably not, but Rose is endearing, inviting you into her bubble of folk-scented mourning that wraps you in a cosy blanket. There’s a moment of self-languish and Shiver, as the foul stench retrospective woe for Shiver of a tender relationship gone sour leaves a twinkle in the eyes of every lovelorn victim. . Place . . . . .has . . .its. . chirpier, more uplifting moments, . cantering . . . . . . . .along .. . . . . . . . . . . . at a mid-tempo, while Scar has where Rose’s delicate vocals . that . . . .homely . . . . . touch, . . are . . .at. .once . . . .wholesome, . deft and brittle. . . . The . . .gloomy . . . . . overtones present throughout the ........... . duration . . . . . . . of. . her . set are somehow inexplicably . moreish. . . . . . . . There’s . . . even more heartfelt gooiness ........... . for . . .Middle . . . . . Of . . The Bed as staccato keys build to . collapse . . . . . . .into . . .a sturdy kick drum and super-fans . clap . . . . . . . .in. .unison, mouthing every lyric with a . . . . .along ...... . worryingly . . . . . . . . clinical . . level of accuracy. Rose seems . as . . shocked . . . . . . .as. anyone with the amount of over. zealous . . . . . . . . . . participation: being vigorously . . . . . . . .crowd ... of heady riff-raff is something . heckled . . . . . . by . .a. swarm . . she’s . . . . obviously . . . . . . not accustomed to. . . . Her . . . . . . . . single Bikes is the crowning . . . . . . .latest .... . centrepiece. . . . . . . . . . The . acoustic guitar sighs once more . with . . . . a. .soft . . . compassion . as her breathy tones . are . . . complemented ....... by subtle flurries of gentle ........... She discreetly shuffles off . electronic . . . . . . . . guitar. .. . stage . . . . . . . . . . wave of high frequency shrieks, . . . . . .to. another .... politely audience members to come . . . . . . . reminding .... . and . . . .purchase . . . . . . her home-made tea and jam from . the . . . . . . .of. their .. . . . .back . . . . . . . van. Although at times her lyrical . content . . . . . . comes . . . . across as strained, cluttered and . slightly . . . . . . befuddled, .... Rose is cute and quirky and . possesses . . . . . . . . all . . the attributes of a primed folk ........... . pop . . . .revivalist. . . . . . . With a little nudge in the right . direction . . . . . . . there . . . could be something gritty and . sinister . . . . . . bubbling . . . . under the surface, if only she ........... . can . . . penetrate . . . . . . . that sugar-coated outer shell. ........... Joshua Nevett

. . . . . .The . . . Shipping . . . . . . . . Forecast ................................................. . . ................................................................. ................................................................. . . 1/2.. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . The Kazimier ................................................................. . . ................................................................. ................................................................. . . ................................................................. 12/2 . . . . . .The . . . Kazimier ......................................................... ................................................................. . . ................................................................. . ................................................................. . ................................................................. 22/2 . . . . . .Camp . . . . .&. .Furnace ..................................................... ................................................................. . . ................................................................. . ................................................................. . ................................................................. 11/3 . . . . . .The . . . Kazimier ......................................................... . ................................................................. ..................................................................................................... ..................................................................................................... ..................................................................................................... 18/3 . . . . .The ................................................................................................ . . . .Roe ................. . . . . . . . . Kazimier . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Peter . . . . . . . Concerts . . . . . . .@. .The .............. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Ceremony ............ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kazimier ..................................................................................................... 2-4/5 . . . . . . through . . . . . . . a. . .venue . . . . . rammed . . . . . . . .with .... . . . . .3-Day . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sifting . . . . . . . . . . teeny . . . . boppers . . . . . . wailing . . . . . .in. inaudible ........ . . . . . . . . . . Wristbands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . prepubescent ..................................................................................................... . . . .pitch . . . .shrieks . . . . . of. .elation . . . . . usually . . . . . .comes . . . . .with .... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . high . . .territory . . . . . .of. a. .High . . . School . . . . . Musical . . . . . .stage . . . .show. ..... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . the . . . . . . . . . Kazimier . . . . . . . . . . taken . . . . . . . a. .similarly ....... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tonight . . . . . . . . . .has . . . . . . . .on ........... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . the . . . . . . .aesthetic; . . . . . . . the . . . floundering, . . . . . . . . . girly . . . .angst ..... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . juvenile . . . . . tangible . . . . . . .as. .keen . . . younglings . . . . . . . . .tactically ....... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . is. .almost . . . . . . . . . . . . . . .at. .coveted . . . . . . . . . . . .points. ...... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . position . . . . . . . . . . . . . . . .vantage ............ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .themselves . . . .acoustic . . . . . .soul . . . man . . . .PETER . . . . ROE . . . .is. perched ....... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Solo Comprehensive . . .stage . . . . to. .provide . . . . . .an. .early . . . .evening . . . . . .entrée . . . . .for ... . . . . . . . . . . . . gig . . . .listings . . . . . . .can . . . .be . . .found . . . . . on . . .the . . . Gig . . . .Guide . . . . . ./gig-guide . . . . . . . . . . . . . . . on ................................................................................................................ . . . . . . listings . . . . . . . .can . . . be . . . found . . . . . .on . . .the . . .Ticket . . . . . . Shop . . . . . /ticket-shop .................................................................... Full. ticket ................................................................................................................ ................................................................................................................ ................................................................................................................ ................................................................................................................

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LUCY ROSE


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Issue 29 / Dec 2012/Jan 2013  

December 2012/January 2013 issue of Bido Lito! Featuring EVA PETERSEN, ORGAN FREEMAN, NON, MONSIEUR, CRAIG CHARLES and much more.

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