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Bang On Stealing Sheep Ticks Inside Pages Efterklang Liverpool Music Week Pullout bidolito

Bido Lito by Luke Avery

Issue 6 November 2010


Bido Lito! November 2010


Bido Lito!

Well, that was a hang over...who’s idea was it throw a two day festival?! I thought we were supposed to be having a bit of an office do, you know cocktail sausages, volauvents, a few stubbies and a group photo. Nope, not Bido Lito! I suppose we got a little carried away, but I’m all for getting carried away, that tends to be when the magic happens. The idea to shoot a front cover at Inside Pages could have gone horribly wrong, what with trying to maneuver a room full of musicians and musos into a photographically coherent mass, so on that note I think Luke did a great job! There are numerous bands, promoters, venue managers, festival co-ordinators, photographers, writers, DJs etc hidden away in there (the ones who aren’t on there are either shy and cowering behind the camera or were was 6.30pm mind!) and the cover serves as a snap shot of Bido Lito! at 5 months old, of an embracing community and - all be it embryonic - a new Liverpool. The Sunday evening after Inside Pages saw the airing of a live debate concerning Liverpool’s current new music scene on Dave Monks’ BBC Radio Merseyside show, set up in the wake of reaction to David Lloyd’s ‘Who Turned The Music Down’ article on The article very eloquently posed the question of ‘...What’s happened to Liverpool’s music scene? Fractured, unfocused and frustrating, it’s a long way – a very long way – from its vital, essential, and influential best.’ Ill throw my oar in. Getting the exported, cultural product, that is Liverpool’s musical showing at the EXPO and a local music scene mixed up is a little dangerous. Its like comparing the Mathew Street Festival and Sound City. One is a top down, council led economic priority, the other is a new music festival and conference. The fact is that Liverpool sells a dream to the world. If it wasn’t for our culture - our music, sport, literature and art - we’d be another failing northern sea port. We’d be Hull. Liverpool has something to sell, something to use to entice commerce and tourism. And in my mind the powers that be should do just that, sell that dream and reinvest in our city. Our local music scene on the other hand is another matter, a matter thats more than vibrant at present, its buzzing. Inside Pages acted as a snap shot of that...the diversity and quality of the acts in our magazine show that...the wealth of new independent promoters in the city show that...the constant stream of new reclaimed show spaces show that... the podcasts, the new-music-filmmakers they all show that ( show that very well indeed!). There is an emerging infrastructure to the music scene in Liverpool, one that I think has been missing for a while, with a new guard of creative minds to lead it and provide our bands - the best of which remain world class - with the chance to succeed. I suppose it depends on your barometer as to how successful/productive/creative the current scene is. Surely its the level of ideas, craft and creativity that determine that - which I would argue are bubbling at present - but in terms of asking who turned the music down?....well I can’t hear myself think. Craig G Pennington Editor Bido Lito Static Gallery, 23 Roscoe Lane Liverpool, L1 9JD


Volume One – Issue Six

Editor Craig G Pennington - Reviews Editor Christopher Torpey - Photo Editor Jennifer Pellegrini - Designer Luke Avery - Words Craig G Pennington, Christopher Torpey, David Lynch, John Still, Frankie Muslin, Can Brannan, Richard Lewis, Jack Murray, The Glass Pasty, Nik Glover, James Dodd, Kadie Dobson, Bethany Garrett, Sam Garlick, Sebastian Gahan, Jonny Davis, Future, Yaw Owusu, L.Penn, Andrew Hill, Lee Boyle, Maurice Stewart Photographs Jennifer Pellegrini, Luke Avery, Matt Lockett, John Johnson, Dani Canto, Graeme Lamb, Alex Hurst, Mark McNulty, Ash Williams Illustrations Adam Bresnen, Amee Christian

Adverts To advertise in Bido Lito! please contact Another Media: 0151 708 2841


Features 5 6


‘One step ahead’ might just be the understatement of the year


We’re really looking forward to visiting Liverpool. We know it has a pretty big reputation












...our curtain raiser, our royal wedding, our Olympic opening ceremony

Who’d have thought it? Stealing Sheep save Broken Britain. of the strongest underground talents in the City, from across any musical spectrum

...the fanzine described by John Peel as ‘perfect’


Bido Lito! November 2010


Words: James Dodd Illustrations: “We’ve kept our cards close to our chest,” asserts TICKS guitarist Alex Walker as we chat at the band’s HQ. “We’ve had the demo since Christmas last year but we wanted to hold back until we could offer the full package,” he extends. His voice is one of affirmation and poise and it connotes, without a whiff of arrogance, a firm sense of experience and pragmatism. Indeed, experience isn’t something Ticks are lacking. Alex, along with lead singer Lee, bass player Lacey and keys player George have been writing and playing together for almost half a decade, most notably in their previous incarnation as ASbos. When time was called on ASbos early last year, the quartet were quick to distance themselves from their previous efforts and start afresh with new songs, a new name and a new line-up. With the addition of Ferg behind the drums, the line-up was complete. The five-piece were quick to outline their plan of action, and unequivocally focused on recording new material, a strategy sifted through experience. “In the past we might have gigged relentlessly. There’s no need for that now. One good gig is better than ten average ones,” says Alex before Lee adds, “It took us nearly a year to record and get everything ready. Costs and time meant we had to do it in three blocks, but it’s worth spending time on a new start.” True to say, Ticks’ careful and deliberate approach to making music wouldn’t agree with everyone. There are the romantic, excitable types who would prefer to immediately take their show on the road in the hope of being heard. And it does, sometimes work. But how often does an unsuccessful string of shows spell the end for a new band? Whilst the fundamentals of making music remain the same in our modern-day, quick fix obsessed world, Ticks understand that there’s more to it than just playing songs. Alex, “There are so many naïve bands who think Alan McGee will walk past one day and hear them. Bands come and go, we want more than just the songs we play, we’ve made videos and worked on our stagecraft, that’s why we’ve held it back, it makes sense to work one step ahead of ourselves.” It’s refreshing to hear such a methodical approach. Despite its huge reputation and big heart, it should be remembered that Liverpool has a relatively small music

community. So many of the city’s bands fall into the trap of playing the same gigs for the same people week in, week out. New bands seldom have a modus operandi behind them. Ticks can feel safe in the knowledge that no matter what happens for them commercially, their enthusiasm and principles will remain intact. However, if you thought the band’s declarations of independence and dogged single-mindedness would hold them back from responding to opinion, you’d be very wrong. Lee, “Critical acclaim is very important to us. There’s a lot of financial and personal upheaval involved so of course we like to hear positive feedback.” Upon hearing Ticks’ music, it’s a relief to find that the band’s sense of fun hasn’t suffered as a result of their discretion. The span of their creativity is flagrantly evident in That’s Not Mum, a song documenting the horror of finding your Dad in bed with an unknown woman; the nightmarish scene is vividly portrayed in the song’s accompanying video… I neglected to ask if the song was written through first hand experience. There is a believable charisma to their sound. There are echoes of Orange Juice and Devo, albeit with a more unyielding rhythmic framework. Lee’s vocals evoke David Byrne and Black Francis. Above all though, it’s the band’s energy that really endears the listener. There isn’t a dull song to be heard. The choruses are instantly memorable through their lo-fi nonchalance. “There are no egos in the band, none of us are virtuosos,” Lee confirms. “We rely on each other, we’re very close knit,” he explains. “We do each other’s ties before gigs,” quips George Adorning themselves in white shirts, burgundy ties and school trousers, the band appear comfortable in giving their name an image. “The best bands wear uniforms,” Alex assures me. With everything seemingly in place, I suggest it can’t be long before we get to experience Ticks in a live capacity. “We should be playing regularly around Christmas time,” Alex tells me before adding, “that’ll give us a chance to work on new stuff.” ‘One step ahead’ might just be the understatement of the year. bidolito


Bido Lito! November 2010

As the inexorable march of time rolls on, Summer moves into Autumn, October moves into November, mornings get darker and days get shorter. But in fact, this brings great news. Liverpool Music Week is upon us once again. The festival has brought some of the worlds biggest names to Liverpool, and shown some of Liverpool’s brightest to the world, and the 2010 line-up is no exception. Amongst the big names appearing at this years event will be Danish pop-composers EFTERKLANG, who’s last two LP’s Parades and Magic Chairs have seen the band begin to make waves outside of their home country, receiving top-honours from, Clash magazine and a coveted 10.0 from online indie trend-setters Pitchfork. com. Bido Lito! managed to catch up with vocalist and instrumentalist Casper Clausen for a quick chat on the eve of their European tour. The most striking thing about an Efterklang record is how intricately constructed the melodies are, and the level of composition that has gone into them. It’s easy to assume that what you’re listening to is the result of studio post-production, but apparently that’s not the case at all. Casper tells me, “Actually these songs are great to play live, that was the whole concept behind them. We went out on the road last year to tour Parades, and started to work on them then. We tested them live before we recorded them, and they were a lot of fun so we know how well they work.” Now signed to label 4AD in England, the band also have experience in D.I.Y releases, having run their own label Rumraket. “Our label is kind of on the backburner at the moment, it’s mainly Rune who runs it, but he’s been touring with us so it’s a little quiet, maybe ten to fifteen releases. We put out Grizzly Bear in Denmark before they went huge, that was pretty cool.” bidolito

CUE THE DANISH INVASION EFTERKLANG Land for Liverpool Music Week 2010 Words: John Still Illustration: Adam Bresnen

The band formed in Copenhagen in Denmark, a country renowned for fairy tales and Carlsberg but until recently, not it’s musical exports. This seems to be changing however, with pop band Alphabeat attaining chart success in the UK and The Asteroids Galaxy Tour featuring on an iPod advertisement. “There’s lots of great music coming out of Denmark at the moment, and getting more popularity outside of the country. It’s really varied. Obviously Alphabeat and Efterklang are two very different things, but it shows that it’s an exciting time for Danish music. Of course it’s still a little unknown, but I think over the next three years there will be more well-known Danish music. It’s a healthy situation.” Up until now Efterklang have never visited Liverpool, but critics have favourably placed them in a similar category to Echo and the Bunnymen and some mop-topped Liverpool four-piece who were quite famous once. “The tour is going really well, and the prospect of playing new places is always one of the best parts of music. We’re really looking forward to visiting Liverpool. We know it has a pretty big musical reputation to stand on, so we’re looking forward to seeing what is going on around the city, especially with Liverpool Music Week being on. We hear there are hundreds of bands to catch.” Thus concluded the interview, with Casper clearly having done is homework, and inadvertently having done my job for me. He’s right, there will be over 100 bands heading to Liverpool for the event (see your LMW 2010 pullout for full listings), with Bido Lito! helping in curating free shows at Mojo, featuring amongst others Field Music, Chapel Club, Darwin Deez, Miles Kane and Egyptian Hip-Hop, throughout November. Efterklang will be appearing at the O2 Academy on November 7th








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Bido Lito! November 2010

Inside Pages So, you’ve heard all about it (we hope!)...INSIDE PAGES, held over the weekend of 1st & 2nd October at Static Gallery was Bido Lito!’s official launch, our curtain raiser, our royal wedding, our Olympic opening ceremony (all be it 5 months late). Though Seb and his chums will want to make sure that the London 2012 opening is a little closer to the actual start of their do, if they throw half the party that Inside Pages was then Boris Johnson will be providing ‘Have I Got News For You’ with solid gold tripe for months. Joking aside, it was a marvelous weekend and we’d like to thank all the bands and DJs for helping make it so. We also managed to raise over £200 for CALM through our record shop and photo auction. We’d like to thank Static Gallery (for the digs), Bold Street Coffee (for the Friday flow of espresso), Sam & Joe’s (for the best ever fairy cakes), Payper Tiger Records (for their stunning debut compilation), Indo Silver (for Sam & Tyler’s incessant graft!) and everyone at Another Media and Probe Records. Big thanks to Luke, Jenny, Torpey, Rich and all our army of multitalented contributors for making this magazine possible, as well as all the advertisers who’ve helped support Bido Lito! thus far. But, most of all, thanks to you all for coming, supporting and loving Bido Lito! and thanks to Liverpool for, just being Liverpool, our muse and inspiration. Here’s to the first birthday party.... Go to to see more photos

Liberty Vessels

Bicycle Thieves

The Cubical


Vasco Da Gama bidolito

We Came Out Like Tigers

Photo Credits: Dani Canto: Mugstar // Graeme Lamb: Vasco Da Gama // Jennifer Pelegrinni: Bicycle Thieves, Liberty Vessels, Neville Skelley // Luke Avery: We Came Out Like Tigers, The Cubical, Kof, Cold Ones, The Loud // John Johnson: Danny Roberts // Ex-Easter Island Head: Ex-Easter Island Head

Bido Lito! November 2010



Danny Roberts

Cold Ones

Neville Skelley

The Loud

Ex-Easter Island Head


Bido Lito! November 2010

Do Robbers Dream of Stealing Sheep? Words: Jack Murray Photography: Jennifer Pellegrini When scouring through the archives of 1960’s groups in Liverpool, apart from mop topped scoundrels with chiselled jaws and cheeky smiles, the over-riding image is of three-piece girl bands with hands on their hips and life in their hair. Whilst STEALING SHEEP are by no means a carbon copy of this tried and tested trend, much preferring to keep their arms at their sides and let their hair droop, the fact they exist in Liverpool as a trio does evoke a certain nostalgia. It’s something that the group (Becky, Emily and Lucy) are acutely aware of but they are quick to denounce any similarity between their project and the threesomes of now and time gone by. Crucially, they feel that “there will always be a space for something different.” Stealing Sheep’s something different is not a new slant on 80’s pop, nor a reminiscent nod to the 60’s and 70’s, instead they have forged a part twee, part experimental noise, based on harmonies and the pursuit of joyous misery. It’s both paradoxical and perfect for the all girl group. And though the diffidence of youth and the twinkle of innocence and melancholy may be the hallmarks of a Stealing Sheep song, to tie them down to a traditional sound shows little respect for the level of craftsmanship that their recent What If The Lights Went Out EP released on Red Deer Club shows. Howling and whimsically cooing their way into folksy territory whilst adding sufficient reverb and echoing grooves, they show signs of becoming a band willing to evolve out of confined boundaries, way out of the mainstream and into the art elect. In truth, in the world of art house cinema and quirky creativity is where they truly belong. In Keith’s, a cafe on Lark Lane, where the interview and meeting takes place, conversation bidolito

moves freely around such issues; they all praise David Lynch, the power of the soundtrack and the art of “conceptualising” performance. What could be seen as pretension and a showing of nuanced cool cards by some is the opposite with Stealing Sheep. Instead of a forced persona, they ooze a natural love of all things original and in summing up the Liverpool scene offer a cooler perspective than most commentators could conjure: “In Liverpool, it’s more scenes within scenes. Overlapping these mini-scenes is an arching scene of overall creativity, that’s what’s exciting” they muse, in between helpings of pita bread and glugs of what looked like beautiful tea. And, somewhat enjoying the virtues of that overarching sphere of creativity, the band collaborated with Obscenic recently to shoot School House Sessions, a short film in a disused school hall, now being brought back to life as a creative hub. Alongside an animation of their accordion laden track There’s Only One by South Korean artist Doyeon Noh, Stealing Sheep are building up an interesting collection of work across various different mediums, the group’s musical output being presented in varying

different forms and contexts. Their vimeo presence is well worth a visit. Not fazed by increasing media coverage including a very well received BBC Session for Mark Riley - a nationwide tour and a growing herd of following fans, the Sheep take everything in their stride. As do they the fact their next release is to soundtrack a short film made by 20 year old NewYork Art Student Rivkah Gevinson, starring Tavi Gevinson (The Style Rookie) a 13 year old fashion blogger internet sensation who has graced the cover of 2 issues of Vogue this year. In an age in which folk and its spin off genres colour adverts and hijack the charts, potentially sacrificing a sacred art to the demonic teeth of commercialism, Stealing Sheep offer a genuinely unique blanket to hide beneath. Cowering under their quilt of wilting romance and majestic melody it would take a crooked soul or a hardened heart to not submit to their perpetual charm. Villains, thieves and criminals best close your ears if you hear Stealing Sheep coming your way. They can heal you in one swift chorus. Who’d have thought it? Stealing Sheep save Broken Britain.

Bang On Words: Future & Yaw Owusu

As if a reminder were needed of Liverpool’s ability to nurture musical talent in genres beyond those of our stereotypical remit, BANG ON lands on our stereo...sorry, Bang On crashes out of our stereo. Eliot Egerton (a.k.a Bang On) is a 20 year old rapper from Tuebrook who has recently signed to Big Dada Recordings, Roots Manuva’s infamous stable. He fuses Rap, HipHop, Dubstep and Pop music, with a uniquely Liverpudlian perspective, to stunning effect and is one of the strongest underground talents we have in the City, from across any musical spectrum. Bido Lito! teamed up with our friends over at to chat to Bang On about his music, his place in the scene and what we can expect from him in the coming months. Future asked the questions... Up Out Presents: For those who don’t know, who is Bang On and how did you get into Hip-Hop? Bang On: I’m just a lad who has lived in Liverpool all his life, who loves Hip-Hop and has been rapping

since he was nine, when I first heard rap music. I don’t really know why I started myself, I just heard it and thought it was so cool. I think the first tune I heard was a Dr Dre tune then I started getting into Nas. UOP: Aside from Dre and Nas who else would you say influenced you? BO: Dr Dre is not so much of an influence, rather it’s just sick music. I’m mainly influenced by people who switch up their flows like Nas and Big Pun and some U.K artists like Dizzee Rascal and even people who don’t rap like the Arctic Monkeys - lyrically they are really good. UOP: When we first heard your music you were going over some old skool Hip-Hop but the new single Hands High is definitely influenced by Dubstep. How would you describe your sound? BO: I think the sound of the album is a mix of Dubstep, Pop and Hip-Hop. I’m just taking elements from each. I’ve always loved Hip-Hop and lyrically it will be Hip-Hop, the production

Photography: Luke Avery

is Dubstep influenced with the infectiousness of Pop in relation to the catchy hooks. UOP: So the album is coming out on Big Dada, who you are signed to, how did that come about and what has changed since you have been signed? BO: It came about basically through Shinobi, who was a guy I was working with, hassling them. They liked one of my tracks I had done called Scally Thugs. Thugs Then we went to London, sat down with them and they said ‘we want you to make an album with the energy of Scally Thugs’ and we went from there. Being Thugs signed just puts a bit of a light at the end of the tunnel...I mean I would be doing music regardless but it gives you something extra to work towards. Since I’ve been signed not a lot has changed but I have made progress without having to compromise what I do. I haven’t been working as a rapper day to day so it hasn’t taken over as my job so I can be truthful with everything that I say. I have been

unemployed, a student and living day to day life and now I will have some real tales to tell about my life and what’s been happening. UOP: Clearly you have a lot of influences musically but where would you place yourself in the U.K scene? BO: I think the good thing about me is that I have no place; I would say I am making my own ground and finding my niche. I would just say I bring the energy of Grime but with good Hip-Hop Lyrics. UOP: So what’s next for Bang On? BO: I need to get back in the studio and do a few more bits for my album. I’ve got this mixtape I want to drop as well because I haven’t put out any material for a long time so I need to put something out to let people know I am still on it! Hands High is out on 25th October on Big Dada - bidolito


Bido Lito! November 2010

The End Has No End The Farm and the birth of a culture Words: Christopher Torpey Photography: Alex Hurst Liverpool in the 1980s was a place of social and political turmoil, poverty, unemployment and great creativity. The charts were full of local bands, Yosser Hughes and Shirley Valentine lit up the TV screens, and the football fans were repatriating new fashions on European awaydays. Eric’s was thriving and the footy fans were buzzing, and the two scenes were slowly merging together on the terraces and at the gigs. Underpinning this knitting together was THE END, the fanzine described by John Peel as ‘perfect’ that brought together the worlds of football, fashion and music in one place, and took the piss out of people who took any of them too seriously. A man at the centre of this scene was Peter Hooton, lead singer of THE FARM, and co-editor of The End from 1981 until its demise in 1988. Bido Lito! caught up with him to discuss this period, independent media and The Farm’s chart-topping exploits of 20 years ago. In 1981, the fanzine was the reserve of the obsessive muso, used as a vehicle to spout off about rival scenes like the punk ‘zine Sniffin’ Glue. The average football fan got their literary fixes from the sports pages and official programmes, so it was a bit of a surprise when the first End emerged in this year, sold in the pubs and around the bidolito

grounds of Anfield and Goodison. The humour was dark, biting and ultimately the driving force, with no-one being spared, and nothing came close to knitting together the football, music and fashion scenes on an underground level quite like The End did. From the hand-drawn cartoons and lop-sided photos, everything about it was DIY and just a little shabby: but that was why it was so loved. It wasn’t glossy or slick, and it had no ulterior motive other than to make you laugh, and people could relate to that. The birthplace of The End was the Cantril Farm estate in Knowsley, where Peter Hooton worked as a youth worker, and where he came to meet Phil Jones. From these humble beginnings The Farm set out on the long path that would eventually culminate in mainstream success, on the back of the

hole blown in the music scene by the likes of the Stone Roses and Happy Mondays, but it never always seemed likely that it would happen. Hooton; “One thing we were was very different from many Liverpool bands. This was a time, pre-Oasis, when most groups were searching for an image. And our image was just what we walked around in.” It wasn’t really until Simon Moran, and part-time contributor to The End, Kevin Sampson, became involved that people began to ‘get’ their street-style, what Hooton calls the ‘neomod’ image. In the late ‘80s their ascent began; they had hit on a dance/rock style that was interwoven with terrace culture, which made them appealing to lads going to the game then going out for a beer and a dance after. With album Spartacus hitting the top spot for a week in 1991, their popularity soared in conjunction with the wave of lad culture-oriented early 90s media like Loaded. This influence can be seen today, in the many independently produced football fanzines, but also in the likes of Viz, born out of the same spirit that brought The End to life in the first place. It was undoubtedly the mother of all fanzines, something that encapsulated the thoughts and feelings of every gig-going, game-going and pub-going bloke in the 1980s, in a way that no other publication before or since has ever quite managed. “To me, The End was the authentic voice of what was happening in Liverpool at the time,” says Hooton, and he is right. The bands, venues and characters that lit up that era may have been forgotten, but so long as one copy of The End remains, their memory will still be preserved. A ‘warts and all’ reissuing of all 20 Ends has been mooted, but that will have to wait for the moment, as Peter Hooton’s focus is currently on The Farm’s upcoming show at Liverpool’s O2 Academy. Commemorating the 20th anniversary of the release of All Together Now, Now Saturday 4th December 2010 will see the original line-up brought back together for a, one-off performance. “We thought we would go back to our roots and recreate the atmosphere of 1990,” says Hooton. All aboard the Groovy Train then.



Free Aftershow Party with


DJ SET DJ KELVIN ANDREWS (Altiplano/Soul Mekanik)


8pm Friday 22 October

MICAH P. HINSON Plus support from

SERAFINA STEER 8pm Friday 5 November The Static Gallery Tickets: £12.50 adv

The Kazimier Tickets: £10 adv



Plus support TBA

Plus support from

8pm Saturday 13 November


The Anglican Cathedral Tickets: £15 adv

8pm Friday 3 December The Static Gallery Tickets: £8 adv

TICKETS AVAILABLE FROM TICKETING OUTLETS: / / Probe Records (School Lane) Myspace: Facebook: Harvest Sun / Twitter: Harvest_Sun Email:


Bido Lito! November 2010 The Middle Eight

The Wicked Whispers

Come take up your hats and away let us haste with Liverpool’s newest psych-folks THE WICKED WHISPERS, possessors of tunes so spooky that they’ll have Derek Acorah trembling in his desert boots. The brainchild of Mike Murphy, former Whiskey Headshot head honcho, this 5-piece have been brewing up some intriguing psychedelic West Coast pop sounds with hauntingly dark twists since their debut live performance at this year’s Mathew Street Festival, but the whispers have fallen eerily quiet since then. But fear ye not bowlhead fans, for the boys are embarking on a tour, and you are cordially invited to the party.

Edited by Richard Lewis -

The elegantly-titled Butterfly’s Ball and The Grasshopper’s Feast will be taking place on 27th November, and offers us a chance to see if there is some substance to these Wicked Whispers: with only two songs teasingly available for aural delectation on myspace, it is not yet clear to see if these whispers can be turned in to shouts. However, with tracks Poison Ivy and You Wouldn’t Believe coming on like The Doors jamming with The Coral in a deleted scene from A Clockwork Orange, they’ve certainly got me hooked and begging for more, and I’m convinced I won’t be the only one. Now, anyone for some Ludwig Van?

The Wild Eyes

soundscapes which appear to only last a couple of minutes are also dispatched with aplomb, with tunes remaining intact on both counts. The troika have existed under different guises for several years and have hammered out a vast sound that pays heed to their source material without being overwhelmed by it. On the melody front the trio can rein things in perfectly, wringing an incredible amount of motif out of the fewest number of chords possible, a fixation they share with 1965 era Beatles. Somehow retro and futuristic at the same time, the only conclusion to draw is that they sound a lot like the sound of well, now. Go see.

Alpha Male Tea Party

provides an odd introduction to the band, but once both the humour and wardrobe has been sifted through, underneath lies a band full of ideas, presumably far more dedicated to their craft than they’d like us to believe. Tracks such as We Should be Animals and Bakers Dozen showcase a band with a kinship to both math-rock wizards Sleeping People and smart-metal titans Tool, combing staccato finger-twiddling with moments of unabashedly rock riffing. To say that they were ‘uncool’ would be unfair, it’s rather that there’s a refreshing ignorance of (or perhaps lack of interest in) what constitutes cool that lies at the centre of what Alpha Male Tea Party are about. Which is pretty cool.

THE WILD EYES have remained somewhat underground since their formation, stepping blinking into the light of the city’s venues. The beautiful noise summoned up by this three piece continues in the pop/psych/prog territory explored by the Velvet Underground, the legendary 1960s garage rock compilation Nuggets and My Bloody Valentine. Straddling the divide between pop and psychedelia with consummate ease, the trio are capable of delivering three to four minute pop gems reminiscent of MBV and The Jesus and Mary Chain. Sprawling Mogwai/Spaceman 3 influenced

After a dizzying performance at the Shipping Forecast, in support of Irish instrumentalists Adabesi Shank, ALPHA MALE TEA PARTY bring their own brand of ‘quasi-math’ rock music to the same venue on October 23rd. Performances so far in the bands short career have earned them high praise, mixing pummeling riffs, unfathomable time signatures and erm..leather shorts. In fact, a glance at the AMTP myspace page gives an interesting impression, littered as it is with phallic imagery, and a mission statement including the bands predeliction for ‘drawing cocks on shit.’ This combined with a guitarist’s ever-present lederhosen

Speed Pets

The set up of vocalist / synth / other minimal instrumentation has produced some amazing results over the past thirty years or so. Beginning with Suicide, in the mid 70s, OMD, Depeche Mode, Pet Shop Boys, Air, followed over the ensuing decades. In the ‘10s we have SPEED PETS. Pulling off the ‘minimal yet massive’ trick with ease, the trio are making their first efforts, having only existed for a few months. Describing themselves helpfully as ‘Low End Jazz Cavery’, (no, us neither) tracks as strong as Happiness for Sale, In to Me, and French Cinema indicate that even at this early stage they already have the tunes down. bidolito

Similar to Depeche Mode in their early ‘anti-rock’ approach to stage presentation, i.e., the instruments, no talking between tracks and that’s it, in keeping with their minimalist sound, the group seemingly keep a low profile with hardly any information beyond the songs themselves existing on cyberspace. Lyrically intriguing, the band ensnare the listener with their offbeat wordplay and melodies that insinuate their way deliciously into your brain. The lack of information about them matters little when the songs have such presence. When they next emerge in a venue in the city soon, be sure to track them down for yourselves before they vanish again.

Words - The Wicked Whispers: Frankie Muslin // The Wild Eyes: Richard Lewis // Alpha Male Tea Party: John Still // Speed Pets: Richard Lewis Photo - The Wicked Whispers: Mark McNulty

The Middle Eight

The Young Friends

Two teenagers from the landlocked desert state of Arizona may seem an unlikely duo to perfect the scuzzy surf pop trend that’s currently sweeping the states but anyone fortunate enough to have heard THE YOUNG FRIENDS already will know better. Residing far from the Californian beaches that inspire their contemporaries, a holiday in San Diego sparked their attachment to the coast and with handclaps a plenty, tropical guitars and resonant vocals their songs capture a snapshot of the ideal adolescent summer. Signed to Holiday records, a generous stateside company releasing free singles every Friday, their debut EP Hella came out in April and earned them a slot opening for The Drums and Surfer

The Lucid Dream

Lazy Genius @ Mojo - 14th November To put it simply, THE LUCID DREAM are taking up the mantle from their stellar (or interstellar) contemporaries. However, this is not to say that they are simply recycling their record collections, a trap which many of their peers fall into. The way in which they fuse their influences is truly innovative and truly great. It is the way in which The Lucid Dream continually explode into colour, effortlessly oozing their own brand of glorious psychedelic pop which really sets them apart. This is no more acutely demonstrated than on forthcoming single, In

Night of the Long Knives (Feat. Liars)

Static Gallery - 13th November

The coming together of Static Gallery, GetIntoThis, Samizdat & LMW has created a rather intimidating force, NIGHT OF THE LONG KNIVES. There will be no Gestapo led purge on 13th November, but what it does seem there will be is a celebration of the underworld and the sinister. LIARS are probably one of the past decade’s finest proponenets of experimental post-punk and the eternal darlings of the avantegarde. Having spent formative and creative periods in both New York and Berlin, the band’s disregard for accepted musical form has manifested itself in a series of critically divisive records. Liars

Bido Lito! @ Liverpool Music Week 2010


Here at Bido Lito! towers we are thrilled to be joining up with Liverpool Music Week 2010. You can take in the full line up in your Bido Lito! pullout, but joining headliners LEFTFIELD, EFTERKLANG, CHASE & STATUS, DAN LE SAC Vs SCROOBIUS PIP, WARPAINT, !!! et al is a line-up of free shows at Mojo, presented in association with your favorite pink monthly. And what a line up it is...including DARWIN DEEZ, SLEIGH BELLS, FIELD MUSIC, JAMES YULL, EGYPTIAN HIP HOP, CHAPEL CLUB, O CHILDREN, MILES KANE and LOS CAMPESINOS. Working alongside some of the city’s best independent promoters, Bido Lito! and LMW have

Bido Lito! November 2010


Blood on their recent US tour. Available on moodgadget free of charge, the EP is surf-pop personified with a dash of desperate melancholy. Even their names, Andrew McKee and Brant Stuns, read like the protagonist and sidekick of a coming of age film set against the backdrop of 1950s suburban America. Stripped back to basics, their dexterous guitars and cooing vocals stand out especially on debut single Make Out Point which urges listeners to “go ahead and ask her out,” an encouraging cry to seal that youthful romance and take advantage of the world whilst in your prime. Their music may not be groundbreaking but doesn’t need to be when executed so well with such optimism.

Your Eyes, Eyes which is to be released by the ludicrously credible 360 Degree Music label. Being driven by the heavyweight song writing talent which is Mark Emmerson, along with the fact that they’re based in Carlisle, gives their music it’s spacious and enveloping feel but with distinct point and cause. To mix three minute pop and fifteen minute grooves is no mean feat, and to make it sound this good is a talent not more greatly perpetuated since The Verve were at their song writing peak. The Lucid Dream play Lazy Genius @ Mojo on 14th November.

will be joined by a squadron of Liverpool’s off-kilter underbelly (they’re certainly not the Schutzstaffe, but I wouldn’t mess with them). MUGSTAR follow their Ad Marginem premier and a London performance supporting Chicago-drone heroes Cave with an appearance, alongside folktronica odd-bods SUN DRUMS and screamo-purists WE CAME OUT LIKE TIGERS and BEAST. LOVED ONES - the enticing side project of Seal Cub Clubbing Club clubber Nik Glover - ride side car with local Pitchfork darling and rising star FOREST SWORDS (DJ/AV set), whilst NEVER RECORDS DJs spin the soundtrack. With more guests to be announced, its best to lock up the sympathisers. Tickets from & Probe Records.

curated a selection of the finest new Liverpool bands for the shows. Check your pullout for details. We’ve also managed to get hold of a pair of tickets for the headline show by LEFTFIELD at Liverpool University on 25th November. To be in with a chance of winning them, just answer the following question Which artist, formerly reviewed by Bido Lito! collaborated on Leftfield’s Open Up? Email your answer to . The first ten correct answers will be put into a large pink bowler hat and the winner notified by email. Good luck!

Words - The Young Friends: Bethany Garrett // The Lucid Dream: L.Penn // Night of the Long Knives: Can Brannan bidolito


Bido Lito! November 2010 Rants/Comment

The Glass Pasty Stars for the Cultural Abyss

No picking at the weeping pustules of popular culture this month gentle readers. Away with the postcards from Golgotha, for this month I am indulging my spiritual side, lighting the incense, burning the oils and sitting cross legged with my hemp covered notepad and pointy beard gazing upward to the heavens under a blanket of stars. Step aside human jellyfish Russell Grant, move over charlatan farmhand Justin Topper for the Pasty’s in town, the new astronomical overlord for twenty something young creative/media types. I will give you practical advice and enough generic, fortune cookie philosophical bullshit to leave you both bamboozled and informed. Enjoy but beware:BIDOSCOPE Aries Mar 21 – Apr 20 Your ruling planet Mars is having a gap year, these are puzzling times but decisive action is needed if you need to sack that underperforming band member and consume more durable goods. Time is irrational Aries, breathe… Leo Jul 24 – Aug 23 A pube will feature heavily this month, it may be yours or someone else’s but use your naked animal spirit to uncover the truth in matters of business. Wear orange for success in fiscal debt management… Sagittarius Nov 23 – Dec 21 When Aurelio was wounded you were there with sponge and lip service. Trying times require bold measures Sagittarius. Don’t shy away from protracted feelings of doom and shame. Chin up. Mercury is watching… Taurus Apr 21 – May 21 My skin crystals have alerted me to your fate bullock. It has been a difficult month for ideas but with a healthier outlook and a purchase of pro-biotic yoghurt destiny is yours Taurus. Believe…. Virgo Aug 24 – Sep 23 It’s easy to mock a crying child but how would you feel if organic egg was dribbling from your chin Virgil? Freedom is a stones throw away step out of your boring time continuum and smell tomorrows flowers…

Capricorn Dec 22- Jan 20 Join that band Capricorn! Join that band! It’s absolutely academic if you lack any tangible talent; take a look around Capulet, everyone’s making it up as they go along. Wear green in matters of sexual dalliance… Gemini May 22 – Jun 21 You’re funny Gemini, real funny! If your waiting for a Eureka moment this month then you’ll be disappointed my multifaceted friend, an immeasurable amount of good luck can and will be yours but only if you deserve it. Don’t attend that electro gig… Libra Sep 24- Oct 23 Frankly Librans, you disgust me. You never buy a round and your unreliable and down right filthy. Momentous storylines will unfold within the very echelons of your mind. Speak well for the planets are unconcerned… Aquarius Jan 21 – Feb 19 You tempestuous bitch! Really? What? Him? Merriment and merseybeat to you sir for this month will see cartwheels, tears, tantrums and tirades in all things love and business, if your attempting a manoeuvre then do it, your essence is glowing… Cancer Jun 22 – Jul 23 Gardens can’t always be rosy Cancerian, one must tend with labour and love before one is treated to a stirring of the senses. Aesthetics are just that, it is integrity that you require. Remove those alloy wheels and discover. It might just surprise you. Scorpio Oct 24 – Nov 22 Your pincers are sharp this month you fierce and peculiar specimen. The temperature may drop but the heat and passion within will sky rocket. Avoid Bold St at all costs and don’t go large or see that new film everyone’s talking about. Pisces Feb 20- Mar 20 Decisions, decisions. The cream may rise to the top but what about the actual content? Puzzling war games abound. Wear that strapless bra or those see through undergarments, this month could see you returning to your docking station. Adieu


Nik Glover The Great Unreleased

First In Command – ‘Pest Control’ It’s a truism that the first album a musician or group of musicians produce, whatever genre they choose to engage with, will be the sum total of their music-making experience up to that point. Kids in bands write songs from their early teens which become live standards; rappers steal rhymes from lyric books that they kept when they were still getting used to being the ‘little ones’ in high school. Most second and third albums are produced as a luxury. When a debut is released, it should be on the understanding that it may be the only chance you have to stake your claim. Second truism: debuts often turn out to be the artist’s best. Most don’t take 15 years to appear. In the case of Liverpool Hip Hop crew FIRST IN COMMAND and their album Pest Control, the debut has come after the career. Forming in 1989, Abyss (MC/Producer), 2Kind (MC) and DJ Olabean were understandably hesitant about engaging in the expensive process of recording an album without adequate preparation, and spent 6 years studying the rhyme patterns, lyrical structures and production techniques of the US artists who had influenced them. By the time it was finished, it was 1995. Liverpool’s Hip Hop scene has always been transitory. One crew who’ve hung around long enough to get an overview of the whole is No Fakin’. As DJ’s and promoters they’ve put on almost every gig of note since 1997, including

Bido Lito! November 2010


Peanut Butter Wolf, Lootpack, Grandmaster Flash, Jungle Brothers, Edan and countless more. Their combination with Africa Oye for La Fete De La Musique brought Saian Supa Crew, Supernatural and Blak Twang. In ’97 they heard First In Command. Paddy from No Fakin’ takes up the story: “You can’t deny there always has been a lack of Hip Hop being produced by Liverpool artists. Between ‘97 and 2004 No Fakin’ was a fortnightly Hip Hop night locking out the Zanzibar for almost every event, often turning hundreds away. Still, to my knowledge there was only really Tony Broke who could get on the mic and hold his own. He’s only just getting his first release now. “I’d read about First In Command in Hip Hop Connection in ‘97. They’d been declared the Best Unsigned Hip Hop Act, and were running their own club night, Phat Skillz, and touring the country. They had a great reputation live, but by the time I’d started putting on live Hip Hop they’d hung up their Mics. “‘Pest Control’ was recorded in 95/96 but I didn’t meet 2Kind and Abyss until 1999, then it was probably another year or so before they actually gave me a copy of the album. I was a fan of Hieroglyphics, Pharcyde and more underground stuff like SoundProviders and Binary Starr and it sat perfectly alongside them. It was bittersweet really. I was blown away by how fresh it was, how strong the production was, and the incredible lyrics, but at the same time I was gutted knowing that I couldn’t put them on.” “I think if we’d known each other in 96/97 and they’d performed with us at No Fakin’ shows up and down the country supporting the likes of Lootpack, J Live, People Under The Stairs and so on, with their ability and the exposure we could have given them we’d be telling a different story today. There was a bigger physical network in that there was a strong network of clubs around the country putting on underground and independent Hip Hop artists and all these nights were really well supported. No Fakin’, Scratch, Fresh, Sub Tub, Counter Culture… There weren’t many UK labels at the time, and so performing live was really the only way to get your music heard. With the arrival of the US independent record labels like Fondle em and Rawkus, coupled with the growth of the internet it become easier for people to set up labels and to get their music out independently.” But by the time No Fakin’ had the album, it was already too late. DJ Olabean was part of UK DJ super-crew the Hitmen, touring the globe alongside Semtex and Shortee Blitz. 2Kind had opened ‘Static’, Liverpool’s first dedicated Hip Hop record shop. Abyss continued to make beats, producing tracks for Children of the Damned and Tommy Evans. Pest Control will finally appear towards the end of 2010, on 2Dogs Records. The record No Fakin’ describe as ‘the greatest UK Hip Hop album never released’, will get it’s chance.


Bido Lito! November 2010 Reviews


Nothing brings a crowd together quite like a mutual hatred for Nick Griffin. However, it was clear that the artist known to his mother as Sam Duckworth didn’t launch his 10 minute political tirade against the rise of fascism in the UK as a desperate plea to get some audience response; the room had been swaying and singing since he burst onto stage with his infectiously buoyant enthusiasm. Opening track Collapsing Cities, Cities the debut single off GET CAPE. WEAR CAPE. FLY.’s newest album, was a funk explosion with a brass hook provided by his 5-piece band. The first tracks played off his debut (and most successful) album The Chronicles Of A Bohemian Teenager were always going to go down well, but the crowd chanted every word, singing not only the chorus and the verses, but every single ‘la’ in the I-Spy A warm extended reprise of I-Spy. sense of community had somehow slipped into the room unnoticed, and this looked to be the highlight of the night. Duckworth appeared genuinely touched by the response he was getting, but he had more up his sleeve. Around two-thirds into his set, the mass of black sweaty curls stopped bouncing around the stage to allow him to give a genuinely inspiring speech about the rise of political parties “coming into our towns preaching homophobic, Islamophobic and downright racist bullshit”. An unexpected silence fell upon the rowdy audience as Duckworth talked about the EDL and the nation’s beloved BNP with a passion never emulated by politicians, and was greeted with the kind of fervent response never received by politicians. It was only the other day which the BNP disgraced the streets of Liverpool, and Duckworth encouraged us to drive them out of the city next time. Maybe it was bidolito

because the crowd had to endure the long, looping introduction played by the band for Call Me Ishmael as Duckworth talked, or maybe he had actually been successful in empowering people to take action over immoralities. Whatever the case, the vibe in the room changed at that moment, and dancing commenced like never before. What was thought to be the highlight was eclipsed by the selection of songs which finished the set. Summery pop beauty Call Me Ishmael perfectly complimented the uplifting mood in the room and the heavy downpour outside the Academy seemed like a million miles away. GCWCF then took another opportunity to try and speak out to the audience about taking political action, this time focussing on the unimportance of age, and encouraged the teenagers in the audience to not let their youth hold them back. Perhaps he misjudged slightly as the crowd of predominantly 20-something university students became less animated, but his passion and energy make him watchable when talking about anything. Sweet solo acoustic Once More With Feeling backed up his point nonetheless with the lyrics “Don’t let the people make you think, that just because you’re young you’re useless. You know it’s not naïve to think that you can change the things around”. He ended, somewhat optimistically, with The Uplifting, Uplifting his newest single from the self-titled third album. With its building crescendo and defiant chorus, the track is much bigger than some of GCWCF’s older stuff, and ensured that every single audience member left the room feeling at least a little more empowered than when they had entered. Kadie Dobson

but composed and astute. An air of bravado (or bullshit) means you of course approach a live review knowing a few songs from each band and know exactly what to expect in terms of genre and atmosphere so that you can evince an air of heightened illumination on all matters musical. Well, I’d had a busy week, so that might not have exactly been true of me and this event. The reason I start with such a frank admission is to illustrate a point about the first two support bands of the night. First up were electronic Scouse outfit CAPAC who wowed the crowd with their ambient progression and nebulous hooks. Next up were electronic Scouse outfit SUN DRUMS who wowed the crowd with their ambient progression and nebulous hooks. Put yourself in my shoes, the hungover reviewer who is shitting himself the next day trying to recollect where the 10 minute gap between the two bands actually came. Perhaps I’ve been a little unfair to these two bands and it’s unfortunate that in other circumstances I might have had more to say, but the magic that followed them has seemingly

expunged their (remarkably subtle) differences from my mind. Turns out they had the dubious honour of being the twat bending spoons in the corner when David Blaine is lifting an aeroplane above his head. David Blaine in this case is the marvellous ISLET, a Cardiff-based 4 piece who on first-glance look like the most incongruous set of lunatics ever assembled outside of The Church of Scientology. They don’t do much to baulk this assertion as one member begins their set with an impromptu dance amongst the crowd. He moves like the Friendly Fires lead singer I think to myself - if he’d been bathing in liquid LSD for four hours, that is. Any similarities between them and everything else you’ve seen end there however as they launch into half an hour of visceral expression which has the audience hooked. Their constant swapping of instruments combined with a disrespect for gig etiquette – y’know band on stage, crowd off it – amounts to a frenetic whirlwind of entertainment which is supported by an equally chaotic soundtrack. It’s the group’s utilisation of percussion which


Capac - The Sun Drums The Shipping Forecast It tends to be frowned upon in music journalism to allow yourself to ever come across as anything

Capac (Matt Lockett)





Bido Lito! November 2010 Reviews

instantly comes across as one of its greatest strengths; many songs make use of two drumkits and occasionally they break into using three but none of it is wasted showboating, you just can’t help but move along to their feral beats. They also show an eye for a mid-song time signature change as well and appear to be blessed with the rarest knack of never allowing it to be jarring. The set’s undoubted highlight is when they are joined by friend H.Hawkline to perform Ringerz. Ringerz They have recently released this song as a free download and I can’t implore you enough to seek it out, it’s a glorious number that pretty much encapsulates what Islet are all about with its catchy chants nestled on their trademark sonic gymnastics. If you can’t see them live any time soon then this is a distant second best but it still might be one of the best things you’ve heard this year. David Lynch


Fresh off the back of an appearance on Jools Holland, and riding a tidal wave of momentum following the release of debut long-player Man Alive, EVERYTHING EVERYTHING roll

into town for the first night of their new tour. The term ‘new tour’ must be applied loosely given that the band have made their name through constant live performance over the last two years, and this ‘new tour’ follows almost immediately off the back of the last one. Taking to the stage at a relatively early 9pm, (apparently so as not to disturb The Magic Numbers’ headline set in the Academy 1) Everything Everything kick straight into Qwerty Finger Finger, one of the highlights from the album. It was evident almost immediately that despite the polished nature of the album, the band still retain a few rough edges in their performance, a pleasure for those of us who like things a little less slick. Saying that, throughout a set which includes jerky renditions of past singles Schoolin’ and My KZ Ur BF BF, frontman Jonathon doesn’t miss a note, making fine work of his switches to falsetto, which has become one of the trademarks of the bands’ sound. Musically their lineage can be traced back to the likes of XTC, Devo and perhaps Gang Of Four, and they’re a bit too clever to be lumped in with the current crop of indie-pop, making smart use of electronics and a wide mix of rhythms. There does however, seem to be a little something missing tonight. Having cultivated a reputation for energetic live shows, it’s a little disappointing that much of the performance is a fairly static affair.

But aside from this they deliver a well measured set, throwing in some old and some new as well as the better known album tracks, pleasing the newcomers and those who have been paying attention for a little longer. After a superb rendition of Suffragette Suffragette, they return for a brief Suffragette encore of Photoshop Handsome, Handsome closing out the night in style. John Still


Benga – Claude Von Stroke – Joker Masque To the uninitiated, CHIBUKU just sounds like a Kenyan tribe or the mumblings of a mad man, but to the clubbers of Liverpool, it’s a calling. After a summer hiatus, The Chibuku bandwagon rolled into town, beating away fresh competition left, right and centre to relaunch with record ticket sales and a new drive for “fresh and new line ups.” Grumblings have been heard that Chibuku is not fresh, that it has the same line-up over and over again. However, if Chibuku were to stop hiring the likes of Skream, Benga, Erol Alkan et al, they would be compromising their supremacy over the Liverpool electronic music scene. These artists are the best in the world, so there really is no need to gripe. In contrast to the fresh faces populating the INK room, the Theatre

Everything Everything (Ash Williams) bidolito

had a familiar feel to it as Chibuku veteran CLAUDE VON STROKE returned once again to the hallowed stage. Von Stroke seemed to really enjoy his set, with classics Who’s Afraid of Detroit? and Deep Throat going down incredibly well. His eclectic set was one of the highlights of the whole night, but could not match the bass heavy antics taking place in the overly crowded Loft. Tonight’s ‘Name DJs’ were BENGA and JOKER. Joker, seen as one of the rising stars in bass music, was over half an hour late for his set, and despite the great efforts of his MC, NOMAD, he just could not connect with the crowd. Joker played some big tunes, such as his own remix of The Gossip’s Cruel Intentions and Trolley Snatcha’s ruthlessly powerful Here We Go, but due to his own poor punctuality, Chibuku had only half an hour to get a feel of what this guy is capable of, and you could feel that just wasn’t long enough. Following on from Joker’s brief tenure was Benga. Fresh off the success of his major label Magnetic Man work and the top 5 smash Katy on a Mission, his set had a more celebratory feel. MC YOUNGMAN gave some great additional vocals, in particular when performing his own Benga collaboration, Ho. His set ran on well past the 3am curfew, but few seemed to notice as the crowd continued to sway and bounce to the tunes being showcased inside the Loft. Benga’s set was absolutely terrific; a great exposition for the man as a producer, with a great mixture of his own tracks and a well thought out selection of other tracks from, amongst other, Skream, Flux Pavilion and Breakage. However, the best performance of the whole night came from the previously mentioned warm up DJ, RICH FURNESS. Despite appearing to be way too far gone to even be allowed near a set of decks, his set was a cataclysm of music, taking in gabba, dubstep, house, reggae and a few things in between. Seemingly intent on causing as much havoc as

Reviews Bido Lito! November 2010

Pulled Apart By Horses (Jennifer Pellegrini)

possible, the endless stream of ‘pull ups’ added to the atmosphere, giving everyone a chance to relive each huge drop. The plunge in BPM from his usual 140 areas to the slower Munch Moombahcore remix of Datsik’s Firepower was a showing of perpetual DJ skills that didn’t go overlooked, as that track received possibly the biggest cheer of the whole night. On current evidence, Liverpool’s electronic music scene is slowly sloping over a plateau of saturation. However, on the evidence of tonight, and also with an eye on the line ups planned for Chibuku this autumn, we are all in safe hands while the night with the oddest name lives on. Andrew Hill


Cold Ones – Apple Cannon The Shipping Forecast With their matching green & red apple-core apparel, one would be forgiven in thinking that APPLE CANNON were nothing more than an unadorned, superficial band, concerned only on their image appeal. Peel back the layers and you find so much more; they’re a band that posses

not only a ferocious guitar assault, but also a witty charm. Capturing the perfect live timbre, their crisp guitar tones and clear vocal melodies resonate through the venue and the crowd are treated to an out-and-out rock exhibition, parallel with the likes of Clutch, this comparison is evident in tracks such as Lightning Mask. Mask Apple Cannon are a band brimming with confidence, which is manifested in the form of them performing their entirely instrumental track Wargasm Wargasm. This is always a cavalier move to make in a live environment, but it is made even more daring due to the fact that these guys are the opening act, proving their combination of ability and poise to be a potent one. Russell Longmire; a front man you can’t take your eyes off, partly for his fanatical and entertaining on-stage antics and partly from worrying that he is about to bound out to torment you, such is the pedigree of COLD ONES’ crowd interaction. This is a band whose gritty hardcore punk is loud, fast and full of spirit, excuse the generic phrasing, but they pack one hell of a punch and Russell’s trademark kamikaze headband only acts as an omen for the onslaught that is to come. Although Cold Ones are a formidable live force and their music is perfectly suited to these settings,

it’s their singer that truly makes them infamous, literally dragging the audience off their pedestals and into the action. His relation with the spectators is that of a puppet master, single-handedly initiating evens such


as a wall of death, so whether or not you like their music, you will not be disappointed with their show. The venue is now way past a comfortable capacity, testosterone is brimming and a horde of restless fans ravenously await for the now notorious live act that is PULLED APART BY HORSES. Singer Tom Hudson enters the stage, his erratic ramblings, escorted by his strong Yorkshire twang may not scream charisma and dominance, but it is just another endearing characteristic of this unique band, a band that everyone is slowly falling in love with. Despite this anomaly, they storm through a powerful and energetic setlist, hit singles such as Get Off My Ghost Train act as jolt of power into an already electric atmosphere, prompting mayhem all across the venue, mosh pits and thrashing bodies engulf the surroundings. It’s hard to accurately categorise Pulled Apart By Horses, with a spoonful of punk ‘n’ roll, a pinch of art rock and dashings of post-


Bido Lito! November 2010 Reviews

hardcore, they have fashioned a clever blend of heavy riffs and intellectual song structures. Never has the unpredictable sounded so accessible. Sam Garlick

STATEMENT HAIRCUT Heist The Joint – Dan Elson & The Rhythm Pixies – Another Planet Cabin Club There is a biting chill in the air this evening and the twinkling fairy lights in the window of the Cabin Club are offering an evening of warmth, cheap beer and most importantly live music. First of the four local acts tonight is ANOTHER PLANET who specialize in melodic, soft rock that is well crafted and inoffensive in equal measures. Each song walks a well trodden path and the set brings to mind a number of artists from The Eagles to U2. These laid back songs are played with no Bidoaspirations WW.pdf but agenda or economic for their own pleasure and enjoyment, which is a wonderful thing.

In contrast to the easy listening vibes of Another Planet, DAN ELSON & THE RHYTHM PIXIES really know how to shake things up. Opening with a tongue in cheek song about having no interest in science, the three-piece provoke a few headshakes from the more mature contingent. If anything the somewhat patronizing reaction to their opening Liam Lynch-like effort spurs them on to really bring the party and they blaze through a confident cover of Thriller. The songs and the verbal interplay between band and audience are cheeky and endearing as they walk the same comedy/music tightrope as The Rakes did and Art Brut do so well. There is genuine artistic merit in the songwriting. The choruses are pop bliss with harmonies to die for and are held together like superglue by the metronomic drummer. Next up in what is turning out to be an eclectic line-up is HEIST THE JOINT, who trade in echo-soaked sounds 14/10/10 21:24:47builds. As and brooding instrumental the songs run their course, the bands vision of deep soaring melodies and

Smoke Faries (John Johnson)

warm engulfing guitar lines becomes apparent. Whilst the frantic passion is commendable it is also their downfall. The band are at their best when the frontman drops the bass to lead a mellow trippy Massive Attack-style track with a wonderful simplicity not seen in the rest of the set. The song is given space and ample room to breathe creating room-filling ambience and a certain tension that they earnestly try yet rarely achieve on other songs. Topping the bill tonight are the ironically titled STATEMENT HAIRCUT. The electropop duo bring the biggest, if still a little modest, crowd to the Cabin Club and it’s easy to see why. They are affable chaps who play catchy tunes with sing-along choruses in a similar vein to a more stripped down Friendly Fires. Statement Haircut concoct an interesting and somewhat tropical mixture with audible nods to a wide array of musicians from Prince to Modeselektor. Although at times bordering on forgettably twee their set is, for the most part sonically pleasing as the synths cascade around the room and the house beats ping off the walls amidst sugar-pop melodies. The highlight of the performance was the closing song which milked a gorgeous, heartfelt refrain of ‘You can do anything you like’ for all it’s worth. Tonight’s line up is nothing if not disparate in it’s variety of both style and quality. From ‘middle of the road’

to ‘middle of the dancefloor’, the array of bands involved is wonderful and proves that Merseyside offers great musical diversity at any level. Jonny Davis

SMOKE FAIRIES Misery Guts – Denis Jones The Kazimier The hat-trick of folk rock talent kicks off with solo act DENIS JONES, who comes onstage in mismatched socks and no shoes. He sets up his preprogrammed backing sounds, a series of pops and beats, with the mixing boards around him before he picks up his guitar. Three songs in, the B-string snaps, but he strums away anyway. His singing voice is captivating, a pitchperfect expression that transforms into a howl until the veins in his neck pop out; an almost inhuman sound conveying very human emotion. He mixes and plays his experimental beats with a feverish intensity, with many nods and jerks, fully immersing himself in the music, as the audience observes him in fascination. After each song is finished, Mr Jones politely mumbles his thanks for the applause, and breaks into a wide grin. He is followed up by local band MISERY GUTS, whose brand of indie rock, which has been compared to the Fleet Foxes and The Byrds, is impossible to resist swaying

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Bido Lito! November 2010 Reviews

your body to. A standout number is Spiders, a fast-paced tune sang in Spiders an even tone of voice by frontman David Hirst. Typically, Hirst performs intensely, while the rest are looser, freer in their style as he gives his all. Martyn Harris’s drumbeats and Peter Flynn’s guitar rhythms are rousingly infectious, particularly on the airysounding Trying To Be The Sun (“Life is a waste of time, but I’m happy that you’re wasting it with me”). They have a magnificent command of the room, and Hirst’s well-crafted voice blends perfectly with the vaguely Spanishesque guitar chords like Corona and a twist of lime. Last but by no means least are SMOKE FAIRIES, fronted by Katherine Blamire and Jessica Davies. The girls, pixie-booted and pencil-skirted, approach the stage in front of a disco ball backdrop, and re-adjust the microphones set to accompany the taller male singers before them. As soon as they begin to sing, the audience is rapt; their ethereally harmonized voices are those of a female Simon & Garfunkel. Frozen Heart, in particular, could be the younger sister of a number from Parsley, Sage, Rosemary and Thyme. Their guitar playing is slow, softly fierce, and they are accompanied by a violinist – a tall ‘70s throwback with long hair and a moustache. They do not seem to sing their celestial blues as much as breathe it; the overall ambience is one of mystique. Therefore, it’s slightly nonplussing at the end of the set, when they mention that they’re working on a cover of Lady Gaga’s Poker Face. However, I know I for one am keen to hear it. Lee Boyle


“It’s fucking hot!” Alex Trimble announces from the stage three songs in. It’s bloody sweltering mate. TWO DOOR CINEMA CLUB take to the bidolito

Two Door Cinema Club (Jennifer Pellegrini)

stage under seizure-inducing lighting, the just add noise to guarantee arms aloft crowd reaction working superbly. Supplemented by a human drummer ver ‘Club have a tougher sound live than on record, their melding of synth pop and rock riffs possibly what Bloc Party had in mind on their wretched third album. No such problems for the present band however as they power through Do You Want it All?, Come Back Home and Something Good Can Work, Work the three and half minute nuggets bouncing joyfully from stage the into the audience. The splendidly titled Undercover Martyn, its title evoking some long-lost Martyn BBC Play For Today from the ‘70s is sung almost in its entirety by the sweating mass, its beguiling, free-wheeling riff resulting in the biggest cheer of the night. Hands Off My Cash, Monty Monty, another track with a similarly superb moniker also proves to be hugely

anthemic. Despite only having their debut album to supply the material, the set sounds remarkably full, testament to how strong the Tourist History LP is. This is the Life played late on the set results in another raucous crowd singalong, the Black Hole of Calcutta conditions seemingly adding to people’s enjoyment. When these songs and many of the others on the album are heard blaring form festival stages in approximately nine months time they will surely become the first tranche of festival anthems Two Door Cinema Club can call their own. Richard Lewis


Dire Wolfe - Vasco Da Gama O2 Academy 2 I must admit I’d not been to the Academy for ages. I don’t know

whether it’s the aggressive corporate marketing on every wall or the maddeningly high prices for crap beer, but as I walk up the stairs I remember why I always come back good music. Remembering incendiary performances here down the years from the likes of Hot Chip, Ugly Duckling & Vampire Weekend put me in the right frame of mind to assess VASCO DA GAMA as they take to the stage. I’ve never been to Vasco da Gama, but if it’s half as fun as watching the band (and seeing as it’s in Brazil, I reckon it is) it’s going on my to-do list. With little fanfare despite the healthy early crowd, they dive into a high-octane set recalling the likes of Yourcodenameis:milo and demi-gods of the current Scouse new wave, Devo. There are occasional missed notes and tuning interludes, to be expected really from any band with only 4 gigs under their belt, but each song is delivered with such energy and belief that the potential shines through. DIRE WOLFE have passed go a few more times in the music game, and appear to be the go-to support band whenever any decent band comes to town. Anyone unaware of them before tonight would surely leave impressed. They’ve cracked the skill of creating songs that take you to the edge of madness but still leave you humming along. Opener Come Home and Forest & Fairgrounds sound familiar, even though it’s been 6 months since I last saw this band. They clearly have full confidence in their set, allowing them to shrug off the odd technical hitch and engage in some good audience banter. Don’t be surprised to see these guys on festival bills in the next 2 years. WHITE RABBITS haven’t had masses of mainstream attention thrown at them, aside from a memorable appearance on Jools Holland, but it’s enough to bring in a sizeable crowd on a rainy Tuesday night. It was enough to make me seek out the album, which turned out to be a wonderfully bewitching record full of thundering drums and twisting melodies. Both


Bido Lito! November 2010 Reviews

are present and correct here tonight with these New Yorkers thankfully going for substance over style. The rhythm section in particular is key to the performance, with 4 out of the 6 members picking up drumsticks at some point or another. Conversely, the intermittent pulses of bass and the warm if not exactly complex vocal harmonies of the two frontmen add colour to songs such as Rudie Fails. The result is a 12-legged whirlwind that pinballs passion and energy across the stage and out into the crowd, with mass head-nodding giving way to hands-in-the-air bouncing by the time single Percussion Gun appears just before the encore. The encore itself is arguably the best song of the whole evening, with a descending keyboard line exploding into crashing guitars and more frantic beating of drums. The looks of wonder and frenzied conversations amongst the crowd as they filed out showed I was not alone in thinking I’d seen something really special. Maurice Stewart

MASHEMON Next To Nowhere

Those of you who have committed the requisite good deed to hold MASHEMON’s album Disposal Music in your paws will know it’s a good listen, and those who paid the requisite sum to enter this benefit gig for Catalyst Media’s Nerve Magazine saw a performance more than worthy of the good deed first committed to possess their music. The normally sedate surrounds of Next To Nowhere, the subterranean social centre underneath Bold Street’s News From Nowhere, was packed with people young and old, regular and less familiar, sober or not so sober who gave the space an atmosphere all of its own, and a magic as infectious as the most catching disease you can stomach to think of as you read this! Lights were dimmed, music was played and after hours of anticipation and rumour, Mashemon appeared on stage in some pretty dapper looking

suits, guitars in hand and ready to assault the crowds with their intelligent music and sharp yet beautiful lyrics. The majority of the set was drawn from their aforementioned good deedsobtained album and the crowd were surrounding the band at every moment during the set, revelling in the activistfuelled melodies of band components Rocky and Ronny. The dynamic sound of their set filled the area with their polished anarchist energy and one of the best things about the set was their use of multi-media. The animated films playing on the screen just behind them were fascinating to watch and really added a cinematic dimension to the performance that was appreciated especially by this reviewer. One of Mashemon’s best qualities is the fact that they are brilliant performers, innovative and making the whole thing as natural as eating cereal for breakfast. The duo are as convincing on the stage as off the stage, and have a gift for translating the urgent, intellectual energy of their recorded output easily in the live format. There was definitely

N o v e m b e r

a hint of magic in their performance and songs such as religion questioning Brick, with its killer opening statement of “God is watching… worked for seven days, ain’t done much since,” is up there with the best opening couplets and like the rest of their songs has a very definite message to be discovered in its hyper-intelligent language. Similarly, Facts concerns itself with war; “The patriot walks a path of war/There might be Christ on every corner/ But he ain’t got nothing ain’t been done before,” yet in a tonal juxtaposition has an almost joyous feel with its use of keyboards and the riffs that come out like screams of electricity. Magic! There is much that one could say about Mashemon, but in doing that we’d be missing the point that there is a lot to recommend in this excellent local band that have made the perfect middle ground between grassroots artists and accessible music with vital messages that will be understood by many. In short, a good night! More of this and I’ll definitely be going Mashemon’s way! Sebastian Gahan

2 0 1 0

Venues throughout Wirral Martin Taylor . Steve Hackett . James Burton . Tom Paxton Nick Harper . Wilko Johnson . Catfish Keith . Woody Mann . Joe Brown . Bellowhead . BJ Cole

Gary Murphy . Paul Balmer . Alison Smith . The Djangonauts . John Goldie . TJ & Murphy . Peter Price . Campbell Duo World Premiere

Suite for Martin Taylor by Guy Barker

0151 666 0000

15 Slater Street Liver pool L1 4BW


23rd OCT

6th nov

Annie mac / Flying Lotus / Fake Blood / Illum Sphere [live]

Sir David Rodigan / Caspa / Count & Sinden / DJ Zinc

26th nov

20th nov

Mix Master Mike / Rusko / Busy P / Jack Beats

cocoon pres

Sven Vath / Booka Shade [live] / Guy Gerber / Yousef / Raresh

27th nov Mr Scruff




Issue 6 / November 2010  

November 2010 issue of Bido Lito! Featuring BANG ON, TICKS, STEALING SHEEP, INSIDE PAGES, EFTERKLANG, LIVERPOOL MUSIC WEEK 2010 and much mor...