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Live Reviews
Castrovalva, Yonderboy, Team Modeliste
Cockpit
Photo Courtesy of Bart Pettman
How can anyone or anything be so evil as to make us choose the best band out of what is clearly a thriving scene in Leeds right now?! It’s un-gentlemanly.
Tonight sees Castrovalva, Yonderboy and Team Modeliste all go head-to-head for a spot at Leeds/Reading this year. As if tonight isn’t tough enough, we have the likes of Chickenhawk, Sketches, Aces & Eights and The Old Romantic Killer Band still to come.
Castrovalva are without a doubt one of the best bands around right now, the Leeds trio have progressed leaps and bounds since the arrival of Leemun on vocals and their foray onto Brew Records. Tonight Leemun and Ant are in their element, using every inch given to them to involve the crowd who may not have been aware of the mayhem Valva cause. Hyperactive, violent, raucous and a name you’ll see on future line ups and a performance like being thrown over the top at the Somme!
Yonderboy – what a name and a sterling performance, in the vein of Future Adventures or Engine Down, beautifully melodic and step back from the violent frontlines on offer by Castrovalva. Yonderboy glide us through spiky, angular guitars which seem to be able to play a million things at once and warming summer barbecue vocals, quintessentially British indie. The lyrics are creative and full of emotive energy. Though incredibly creative, Yonderboy are not hugely original, but who said enjoyable and interesting had to be original, tonight’s crowd certainly are not thinking this has been done before. Hotly anticipated tonight is a mammoth band from such a small and quiet place, Sowery Bridge’s very own Team Modeliste.
It’s apparently what this competition is all about – bringing in different bands from slightly different genres and making them battle it all out to be on a very generic festival line-up. The real Leeds festival, people don’t realise actually takes place in the Cockpit over a three week period while all these great Leeds bands fight for a chance to support some ungrateful US has-beens on a late Sunday summer night in August.
Team Modeliste, leave everyone breathless as their performance is not what is expected. Dance floor kings of the night for sure, every track has stinging a bass line and infectious drums which had the Fred Perry clad masses of the Cockpit stomping mercilessly. Apparent couriers of a funk, alt-pop punch to the face for Vice reading, skinny jean wearing scenesters, however it appears those are the people enjoying it most tonight and I certainly enjoyed it.
James Owen Fender
Verve Bar
Photo by Stevie Kilgour
Frankly it doesn't get more sincere than this - a chirpy summer sentiment oozes from every chord and vocal line during the set of Leeds' very own 'new' musical upstart; James Owen Fender.
This short small performance to a few late drinkers in a basement in Verve bar is as intimate as it comes, as all who are present are treated to a couple of covers and a healthy dose of Fender's own work - who in turn, appears to be playing just for the thrill.
An excellent rendition of Billy Bragg's 'Ingrid Bergman' which had everyone wondering why it is even Bragg couldn't make it as heartfelt as it sounds tonight. James Owen Fender's own work has him confessing to enjoying 'playing marbles on Brick Lane' maybe a reference to his early days when he trod his musical pilgrimage from Leeds to London? His track 'Everyday' is full of lighthearted sentiment and thought which we've all had, 'in the tea-leafs trying to find myself, what you see is what you get'.
Every now and then a simple but great song comes around, and gets snatched away from us by a mobile phone company wanting to use is on their TV adverts....
Last track of the night is a cover of 'Sexual Healing', again the shear passion played in this song makes it seem as though it was written by Fender himself.
Previous reported comparisons to Jamie T and King Prawn are lazy, although Fender's own work is no doubt in the same youthful protest-ridden-sing-along vein as London based acoustic freedom fighter Barbar Luck.
Fender's insanely creative and Waits like genius which stretches beyond his years also sets him apart from the scene.
Castrovalva, Dead Reckoning, An Albatross
Nation of Shopkeepers
Photo Courtesy of Bart Pettman
Dead Reckoning first up and this band really know how to kick up a storm. The ‘ex-Buzzkill’ tag is fast becoming irrelevant as this band is carving up a persona completely new.
So often a tinge of Eighties Matchbox and Eagles of Death Metal in their sound, tonight they sound like Murder City Devils and have the attitude of Hot Snakes. ‘The Chase’ is spot on tonight and even has passersby peeking through the curtains of the venue to sneak a look at the commotion. Horns spot on, Guitars are fierce, drums as reliable as a Rolex watch and Colmer’s vocal is unrelenting, the man hits his vocal with all the precision of a Shark striking at an Aussie surfers stomach!
Castrovalva are the musical equivalent of a contortionist act you’d see at the most outstanding Russian circus. They’re own unique brand of spazz, alternative, art-core sees them often spoken about in the same light as something off San Diego’s Three One G label. These hyperactive upstarts are tormenting and testing people’s perceptions of the Leeds scene with amazing tracks such as ‘Bison Scissor Kick’ which has the feel of Death From Above 1979, only with much more musical creativity. Their front man Leemun (Ex- Velvet Orchestra) is possessed with the spirit of Freddie Mercury’s vocal range, he is out of this world. Castovalva’s enthusiasm and technical ability set them as frontrunners for what will be a new dawn in Leeds musical trends. Harassing the audience, Leemun soaks the front rows and his non-stop energy along with Dan and Ant’s never say die technical ability, makes it an amazing experience.
An Albatross take the spazz to the next level, with Locust type screams and erratic synth. The Pennsylvanian 5-piece smashes and grabs their way through the set leaving little time for anyone to recuperate. Hugely charismatic Eddie B Gieda III looks a sight and paces about looking set to climb something, alas there is nothing to climb. He instead focuses his energy firmly on the crowd. Just when it can’t get much better, Leemun of Castrovalva is thrown into the deep end and takes the mic for a duet with an Albatross. No one ever thought music could be like this!
Gallows, Every Time I Die
Leeds Met Union
Every Time I Die seemed to be unammused by the friendly heckling from the crowd tonight, if looks could kill than front man Keith Buckley would be a mass murderer tonight. ETID's random statements to the crowd make little, if any sense and the blatant, needless misogyny spewing from the stage also falls upon death ears. While they have the ability to tear through some amazing tracks unleashing the best of their back catalogue and amazing riffs from latest album 'The Big Dirty' they have no idea what the crowd wants to hear between songs, Keith burping down the microphone and his constant request for everybody to 'high-five' appear to be the best he can come up with.
When the band try and play, they can really execute a great set, but they need to spend a little more time honing their stage performance. Between Keith standing on his own lead, forcing the mic to leave his hand an slam to the floor on a number of occasions and Jordan trying to throw the guitar over his head and swing back to his hands, but failing and almost decapitating himself - it seemed a mess to watch.
However, ETID did run through new track 'Buffalo 666' - the name being a little predictable, but it certainly matched the full on 100mph attitude of the song.
So Gallows, the punks that are ripping a path into the mainstream, albeit with the help of a major label backing them, but when you think about it; The Sex Pistols were on a major label too. So, I suppose you are allowed to be anti-establishment when you are sitting pretty as the biggest punk band in the world. The very idea of punk and its ethics can be ripped apart and inspected when you refer to Gallows, but I suppose every generation has its angry band and spokesman and Gallows and Frank Carter appear to be the new voice for an angry, 'This Is England' loving, skinny jean wearing generation.
The new album 'Grey Britain’ is an angst ridden ride through all that appears to be grinding the gears of the Gallows machine and the band bring that same intensity to the stage. A grey performance this is not.
From the off, Frank Carter half laughing and smiling both jeers the crowd and compares them to the rest of the tour audiences. However, at the same time this Leeds crowd can't resist retaliating, launching into constant chants of 'YORK-SHIRE! YORK-SHIRE!' which leaves Frank stammering and struggling for words. Unable to come back with any kind of response, there is a moment when it seems the crowd has gotten to Frank, the front man looking around for some kind of help from Steph or Stuart (Guitarist and bassist). "Okay, shut up!" shouts Frank. "This next one is for you lot. Normally when we play this song, it's called 'London is the Reason' but tonight it's called 'Yorkshire is the Reason'!" - Normality resumes.
Gallows continue to reel the Leeds crowd in with more hooks than a fisherman’s tackle box. New 'Black Eye's features a short guest appearance from Frank's other younger brother - Rich (singer for up and coming band Black hole. "I know where you live!" is the shout and Frank adds "that's my younger brother. Years younger than me, he's a better singer and in a better band. But, he's not as handsome".
It's been a sea of tattoos, topless men, confused girls and skinny jeans tonight. A sea Frank has been only too happy to cross on a regular basis from one end of the venue to the other, stopping only to take a breather on the sound desk.
This is the most aggressive British band today, this is Gallows. They said 5 years ago that they would not last past 2009, has signing that £1 million deal changed the game plan?
THE NEW VIDEO FOR MISERY IS AVAILABLE TO WATCH ON VICE HERE
Young Guns, Twin Atlantic, Taking Back Sunday
Leeds Met Union
It's not often we get US post-hardcore up-starts Taking Back Sunday in the UK let alone Leeds. Tonight sees them take to the stage in front of a sell out crowd of jealous guys and hypnotised girls.
Young Guns had a difficult job when it came to warming up the relatively quiet crowd and rose to the challenge exceptionally well, playing tracks including 'Weight of the World' from their new EP, 'Mirrors'. Vocalist; Gustav Wood's enthusiasm gave the few who braved the front so early on something to really get them going. Main support came from Glasgow bred noise-niks; Twin Atlantic - whose on stage energy, quirky dance moves and irregular 'math' type drum patterns has many viewing them as Britain’s answer to The Fall of Troy.
Cue a tsunami of bodies rushing to the front of the venue to get prime positions for tonight's main act - Taking Back Sunday. This tour is being hailed a new chapter by the band; new guitarist, new attitude, new album - New Again.
The band launch straight into 'What's It Feel Like to Be a Ghost?' and continue to mix crowd favourites from all four albums in with the new material. Between song banter is short but appreciated, as we are treated to as Adam says "Taking Back Sunday interesting fact number one hundred and five. New track 'Carpathia' is named after the ship which rescued Titanic survivors".
Highlight of the night is Bassist; Matt Rubano's dancing throughout the set, taking every opportunity he can to get front and centre. New guitarist Matt Fazzi filled the boots of previous Taking Back Sunday guitarists like a natural, while the band continue to run effortlessly through old and new. It's an evening of crowd pleasers tonight as 'You're So Last Summer' and 'Cute Without the 'E' (Cut from the Team) and 'Liar', are all given an airing.
Front man Adam Lazzara complete with waist coat and two huge holes in the crotch of his jeans, seems to have put on a few pounds since the last tour, however, he still manages to swagger his way around the stage while swinging the microphone wildly around his head.
Final track of the night is 'Make Damn Sure' which ends as abruptly as it began, there is no encore, but everyone seems satisfied with the show. Taking back Sunday have been accused of fading into post-pop mediocrity, but the new album and the tour shows the band have matured, which in a few years time should see them become the next REM.
Cancer Bats, The Plight, D-Rail
House Show, Hyde Park, Leeds
So, a dark Autumnal night in Leeds sees quiet suburbia become the focal point of Hardcore - Canadian giants Cancer Bats are playing in a basement!
This little shin-dig comes just hours after Cancer Bats have supported post-hardcore-frat-boys Funeral for a Friend in a packed room of Leeds Metropolitan University freshers.
The promise made by many of spending a quiet Sunday night watching a very special musical ‘happening’ in Leeds quickly evaporates in to the air like the dreams of an aspiring young blonde who is seeking her new life in London - let the riot commence.
Hyperactive Leeds upstarts D-Rail don't disappoint launching in to razor sharp riffs, and spewing out note perfect renditions from their latest EP. Dry-wit courtesy of front man Lee - who quickly realises he doesn't need the microphone to communicate his thoughts to the packed basement.
Photo by Stevie Kilgour
The Plight generates the first sing-along of the night. Ali towers over the crowd in a 'Jesus' like pose, preaching pure testosterone fuelled mayhem in musical form.
Concern and rumour is circulating amongst those gathered in the kitchen, bathroom and garden (and every other damp corner of the house) that the band have decided to cancel. Cans of Red Stripe and Oranjeboom lay strewn across the floor of what is someones living room. Just as the anger level rises, Cancer Bats decide to play. A flood of people race to the basement in anticipation, leaving minimal room for the band to load in and set up, leading Stoz (guitarist of The Plight) to ask people to "move out of the way". Short delay and Caner Bats are running through new tracks from ‘Hail Destroyer’ and older ones from 'Birthing the Giant'.
Twenty topless men create a mosh-pit, small in size but still as rough as the bed of fierce torrents. There are probably too many cameras in this room, but everyone is having a great time.
Thoughts of the tonight’s madness will surely swim for days around the heads of all whom were present.
Cancer Bats (Me in hat bottom left) Photo Courtesy of Steve Watts
Turisas, Norther, Alestorm
Corporation, Sheffield
Not since the dark days of the 9th Century have this many Vikings stalked the ground of South Yorkshire – but these savage marauders are not here for the plunder and warfare, instead they are here alongside pirate look-a-likes to witness some raw Scandinavian ‘battle metal’
Alestorm thunder through a set of sea-shanties, leading the crowd in a chorus of ‘Oi’ chants and hand claps at every possible opportunity. ‘Captain Morgan’s Revenge’ is the cry from the frontline of the audience who brandished plastic cutlasses in a more than menacing fashion – lead pirate Chris Bones obliges by launching in to the opening riff.
Shear brutal force is the method of delivery tonight – as they finish with ‘Wenches and mead’ leaving the crowd to ponder the plunder. Norther; fall short of keeping the gig moving, delivering the weakest performance of the evening. Their crowd-slaying beat-downs draw the crowd in but fails to keep their attention as the weaker, clean vocal of guitarist Kristian Ranta just cannot live up to the occasion. Long periods of silence between songs, and a general lack of enthusiasm leave you wondering if Norther are just having an ‘off’ day? In contrast the hype surrounding the night’s headliners Turisas; is fully warranted – even if their appearance on stage was delayed by almost fifteen minutes. The delay just generated a fierce atmosphere with constant chants of ‘Bat-tle-met-al’ ringing around the Corporation - something which “Warlord” Nygård states was ‘very emotional for the band to hear as they listened from the back stage area.
Turisas front man Nygård opted for a more traditional beer-fuelled approach to the crowd, telling them “it may be Sunday and we may have to work tomorrow, but why not have a beer or two or even twelve?! This song is called ‘One More’”.
A great show culminating in a perfect rendition of the single ‘Rasputin’ left these Vikings weary eyed, but hungry for more ‘battle metal’ – the Turisas invasion moves on to its next victim. Lock up your wenches!
Frank Turner
Brudenell Social Club, Leeds
Photo Courtesy of Mark Latham
The vast majority of the audience are sat quietly, cross legged on the floor, though this is far from a school assembly; they are waiting for the arrival of the front man from now dissolved punk upstarts Million Dead.
Frank Turner spends the night weaving his way through the crowd posing for photos, stopping to chat, share a drink and watch support act and keyboardist in his own band; Ciara Haider whose own set was interrupted by the technical problems of using someone else's keyboard and not knowing how to operate it, although her ‘theatrical um-pa’ tracks take the attention away from the aforementioned problems.
Frank Turner is welcomed to the stage amid standing ovations, wolf whistles and wailing screams, he wastes no time in leading the masses through a rollicking chorus of semi-acoustic-sing-along punk folk.
The latest single ‘Photosynthesis’ is hugely upbeat and the opening lyrics sung with passion and guile by everyone in the venue. Frank introduces ‘Substitute’ as a song about those people who fail to follow through on their ideals - about surrendering all your dreams for romance; “I've had many different girls inside my bed / but only one or two inside my head / These days I cuddle up to my guitar instead / what I'd give not to stumble but to really fall in love”
“I’m not a folk singer I’m just a punk kid at heart. I only pretend to be a folk singer to get girls” - confesses Frank Turner before beginning album title track: Love Ire & Song.
Franks extended set is completed with a perfect encore of Billy Bragg’s ‘New England’ swapping his beaten acoustic for a Fender Telecaster in the process, “This is for all the comparisons”.
This generations Jeff Buckley is the opinion of those gathered around the exits, Frank's cult punk/folk icon assured.
Gay For Johnny Depp
Royal Park Cellars, Leeds
This small pub in Leeds' thriving but over-populated boiler room of a student area, tonight plays host to New York's biggest Hollywood A-List stalkers; warped pseudo men lovers Gay For Johnny Depp.
Royal Park Cellars is full to the rafters with people clambering over head, gripping and swinging helplessly from every loose water pipe and interior beam patruding from the seven foot high ceiling.
The gig is a compelling showcase of hardcore laced with lyrics which for the most part are tales of depraved sexual obsession involving a certain Hollywood actor. This is made all the more unnerving by GFJD's front man Marty Leopard’s devotion to taunting the crowd up close and personal in a Priests outfit.
The New York based deviants rip tunefully through new and old tracks with the crowd blissfully screaming their way through 'Lights Out!' and 'Cumpassion'.
At times GFJD appear distant and as though they are 'going through the motions' and only too happy to have the crowd supply the energy. But, this does not take away from a terrifying show of raw abusive talent.
¡Forward Russia!
Cockpit, Leeds
Division is the theme of the night, as young kids with back-packs, cling to the stage crash barrier for dear life, while all their parents are congregated at the back of the room sipping on lemonades.
The return of local noise-niks; Forward Russia, sees the Leeds four-piece take on a darker edge, branching out from their trademark upbeat angular sound, for a more mature experimental one. The high anticipation is matched by front man Tom Woodhead’s limitless energy, as he trips and contorts his body into strange and awkward shapes, throwing himself across the stage, and at full speed into the digitally looped rhythms.
Tracks from the new release ‘Life Processes’ replaced many old favourites from debut album ‘Give Me a Wall’ leaving those in the crowd who came tonight for a full rendition of the first album feeling despondent.
Latest single ‘Breaking Standing’ received one of the biggest receptions, sending the
masses home happy.
The Night Marchers, That Fucking Tank, Dead Reckoning
Faversham, Leeds
Tonight sees a re-birth, but it is more than just a name change - it is; different members with different songs and a whole different attitude. That is of course, for Leeds band; Dead Reckoning. They seem willing to begin life again as an opening act after spending so long headlining shows and being the main pull as Buzzkill.
The trademark sound and style; West Yorkshire Punk 'n' Roll is still present and Matt Colmer's vocal will always be a reminder that you are watching what used to be one of Leeds' best punk acts. It’s hard to see fault in anything Dead Reckoning do, as how often do you see already established bands willing to re-invent themselves?!
Still, music is about keeping 'it fresh and Dead Reckoning will be a name you'll see around a lot more as the ‘new’ sound will push them into unchartered and exciting waters.
That Fucking Tank, known as veterans of the Leeds scene and probably even more so veterans of The Faversham. They appear on the support slot for every half decent band which crosses the Atlantic, they play to a crowd already gearing itself up for the main act - The Night Marchers.
That Fucking Tank open with "has anyone seen us before? Well, we are just going to play what we have always played" and this is a true reflection of the set, as it appears to be the same set That Fucking Tank have trawled out at every gig since 2006. This criticism is not to take away from the excellent execution of what is now a well established routine.
The Night Marchers launch mercilessly in to tracks from their album; ‘See You in Magic’. The San Diego based punk rockers fronted by John Reis (aka ‘Speedo’) ex Drive like Jehu, Hot Snakes and Rocket from the Crypt are on top form. Mixed responses from the crowd as Speedo states “it was great being here tonight with you Manchester!” but this was no mistake. The cheeky smile says it was a perfectly executed piece of dry wit and he quickly turns to add “I was going to call you either Manchester or Sheffield. Which would you have found more offensive?”
This new venture is more varied then that of his previous acts, but also clever enough to combine the best elements.
Bonehead, Tsiena, Rivers, Disco Machine Gun
Trash, Leeds
What?!?! I thought I was getting the opportunity to review DJ Bonehead the Texan soldier of sound about his war against musical apathy, not Bonehead ex-guitarist from Oasis……………… That’s even better! It’ll mean there will be lager everywhere.
So, I get there just in time to see the start of Tsiena, and immediately head to the bar.
I’m sticking to the wine tonight, trying not to get caught up in the indie swagger that is on offer. Hassling the sound guy enough for him to give me his running order, the guy next to my knocks the glass of red to the floor, there is an awkward pause between us, “I hope you like Mancs. The place is full of ‘em!” he says.
Tsiena started slowly but had a haunting underlying melody to every song and the dark stage presence set an operatic mood. Plenty of reverb was the order of the day, the band had a strong similarity to Editors and Interpol and although the music was definitely worth listening to, the vocals I could not get to grips with.
No time to queue for drinks it seems as though we go straight in to the next band, so cue my No-Title privileges, I get a free drink courtesy of Jack Simpson organiser of tonights show.
Disco Machine Gun are amazing, I really loved this band. I had never heard of them before, but did have a listen to some tracks before I got to the venue, they had something live which just did not surface in recordings.
The bassist posses a sound which drives hard and seems to never let up. Never before have you loved bass so much. Comparisons to Ground Unicorn Horn flooded to mind as the sound created by the bassist was uncanny, similar to that of Justin Pearson (The Locust, Holy Molar). DMG have songs and riffs which Death From Above 1979 would have if they had continued. The vocals were sharp and the multi percussion was immense to see.
Seizing my opportunity to sit on the big red sofa, I flick through the various flyers trying not to ignore the person who came with me as a plus one.
“GO ON JACK!” Someone yells. This is Rivers.
The band unleash fast paced erratic, frantic pop punk at the audience, surprisingly upbeat, Jack’s vocal commands the room and has that rawness which makes it all the more personal to the crowd. Not giving you time to adjust your senses between songs, they have so much energy and the huge gap which was present between band and audience, diminished as Rivers washed over all in front of them.
At this point during the night I look up and can see the condensation forming on the ceiling, needless to say I am not a regular at Trash, not that I don’t like it, just that I’m not rich enough to drink there all the time.
Ex-Oasis guitarist Bonehead brought a slice of Manchester mayhem to the dance floor with a set of indie classics and recent favourites.
Bonehead has been playing DJ sets in clubs, most recently in London. His play list heavily relies on Oasis tracks like 'Live Forever' (which had already been played between bands that night), and collaborations between the Gallagher brothers and artists like Death in Vegas and The Chemical Brothers.
Fair to say I just couldn’t take anymore. I just knew that tonight’s experience will become vague and unclear thanks to all the wine, and unfortunately this gig tomorrow will be nothing more than faded memories swimming round my head aimlessly like goldfish in a bowl.
Nasty Fest VIII
Faversham, Leeds
First let me just point out that spending eight hours in Faversham has now rendered me unbelievably poor till at least New Year.
I’m with the kids tonight, Generation H&M, good looking folks. Me? Well, I’m just about respectable; though it’s times like this I wish I had a fringe.
There is a whole host of talent on tonight, some local some from further afield. They are all capable of being the next big thing, I imagine you will read about many of these bands in the year to come and will probably have to pay a lot of money to see them on high profile supports but tonight you are spoilt for choice. All is shaping up to be a great gig.
First up I headed straight for the ‘Second stage’ (Red Lounge) to catch Cowtown.
They stormed through a set of post punk nonsense, but nonsense I couldn’t get enough of. There was an underlying quirky sound throughout which made me want to run home and play Super Mario on the old school Nintendo, but at the same time I didn’t want to tear myself away from the band. One of the members even looked as if he could get away with being Wolfmother. I mean that in a nice way, the hair looked very full. Great start to Nast Fest.
Two stages set up for the bands and I still days later cannot figure out why some bands played in the smaller room. I mean Emmy the Great was a good act but the shear noise coming from The Grammatics in red lounge was immense. It just drowned anything else taking place in the venue.
I was lucky to be upfront to watch The Grammatics and was laughing my ass off when they were having a line check, no vocals could be heard, so when they asked for “more vocal please” the sound engineer replied “that’s it! You’re just going to have to sing louder. Or tell your drummer to keep it down a bit”. Well it had me laughing.
This was just a minor inconvenience as Grammatics were easily for me the highlight of the day. I had heard of them but never seen them before. They had a stage presence of late eighties pop indie band with the singer looking to a degree very much like Ian Curtis but the attitude was all good. Melodramatic but reminded me of This Et Al but with a slight edge.
One act I didn’t really get was Eugene McGuinness maybe it was too late in the day for this kind of performance but I found myself picking at parts of the songs trying to figure out what it sounds like. One chorus had me singing Queen’s ‘Somebody to love’ in my head. That’s not to take away from the performance completely as Eugene’s quiet wisdom and story like lyrical content had my whole attention, but every now and then I would hear a familiar chorus.
Neil Hanson you fiend, so this is what you have been up too. International Trust certainly looks the part even if a little bit like Rocket from the Crypt. Neil typical snarling ‘oi’ vocal seems a lot more mature than it was in his day with Les Flammes. The delivery is there with a slightly more relaxed approach. The set up saw two pretty impressive guitarists playing there parts very well, at times sounding like early Brit pop but tracks like Disneyland still had a punk feel to it. Apparently there’s no ‘I’ in the International Trust, but as pointed out by fellow members of the crowd, there seems to be a cover version of the Big Breakfast theme tune in it. The Old Romantic Killer Band are undoubtedly one of the most talented bands in Leeds, original with the most toe-tapping addictive rhythms. They seem to be able to merge together all the best music from the last fifteen years. They have tracks which remind me of My Sweetheart the Drunk, they ooze confidence and although not much presence (as there shouldn’t be) they allow the music to do the talking. The audience laps them up and seems to have taken every song to heart and memory the band don’t seem at all daunted by the time they are on and the crowd they face. Great performance. Joseph create amazing hardcore and hail from the dark corners of Leeds and York. Full on hardcore in the vein of Converge or Norma Jean, they tore into an already buttered up crowd. Aggressive, ferocious and unforgiving in their delivery. They flew in to rescue my hardcore values from the screaming masses of indie. Hardcore supermen (even if one of them was rocking a Batman shirt).
Robots in Disguise are electro, they wear bright colours, and they use more reverb and delay than any other band on tonight. They jump up and down………. That’s about it I suppose. Fourteen Corners are from Keighley, which is neither here nor there; I just wanted to throw it in. They were amazing a band I actually wanted to see as soon as the Nasty Fest line up was released. They have beautifully constructed melodies and is the first time tonight that I feel a bass player has made a contribution so strong it would be impossible to imagine it without. They seem like Botch, they have the Minus the Bear; These Arms are Snakes vibe and musicianship. I’m impressed. Lovvers have a brilliant lo-fi style and appear to love the DIY look; if they were on Sub Pop I doubt they would see it as a big deal. The Sonic Youth inspirations are clear as day to see. Some song have such a lazy approach, I guess trying to make it look easy, but in some parts tonight it just looked and sounded un-rehearsed and messy.
Voxtrot. Like a mix of Sunny Day Real Estate and Engerica, this band kept the melodic post hardcore flowing late in to the night. Major drawback though; I can’t work out if they were lost on the stage in front of a big crowd or just not bothered. Alright the night is really starting to move on a bit, it’s full, I’ve had seven cans of Red Stripe, four Rum and Cokes and a few glasses of Merlot. What I want to hear right now is the loudest damn band in the world, something completely raucous, complete with heart stopping drums and bass, driven guitars. Full of attitude with plenty of potential sing along vocals for the crowd. What we get is Deerhunter. It’s hot and drunk in the room now and people are rushing for the exit, so much so now that the door staff has removed any barriers. Deerhunter I’m sure are very talented at what they do, it feels as though they may have benefited by being moved to a different timeslot. They sound like Unkle but just…. Well just not as creative. It’s always hard to determine what classifies itself as music and what as white noise these days. The lead vocalist looks as though any minute he may collapse and die from mal nourishment, but somehow he manages to continue despite spending the entire performance swaying from side to side in an unnerving fashion, languishing over the stage barrier. The rest of the band (if there were any) I just didn’t notice them. With the night drawing to a close those with either enough money to drink continuously for eight hours or those with enough mental stability to be around people drinking but not do those themselves for eight hours, were duly rewarded for their patience. Nine Black Alps took to the stage and tore through tracks form their first album and more recent Love/Hate album.
The Manchester based four piece seemed on top form for what is a very late slot to play on a Saturday night, with a delighted Faversham crown lapping up every track played and every word spoken to the them. Their influences are many and varied, and in the track ‘Happiness and Satisfaction’, which envelopes you in a warm glow of sleek guitar and upbeat lyrics.
Nasty Fest IX
Faversham, Leeds
Nasty Fest VIII saw Generation H&M turn out in its finest slacks to bear witness to who would be stamping their claim as ‘Ones to Watch’ over the winter, but already we are treated to another helping of Leeds’ finest musicians as Nasty Fest IX arrives just in time for summer.
Great hair, I imagine styled by Toni and Guy, tight jeans and man bags are tonight’s fashion faux pas of choice, Nasty Fest slaves have swapped their H&M uniform for that of Urban Outfitters, but still these are good looking people.
There is a whole host of talent on tonight, some local and some from further afield. They are all capable of being the next big thing, I imagine you will read about many of these bands in the year to come and will probably have to pay a lot of money to see them on high profile supports but tonight you are spoilt for choice. All is shaping up to be another great Nasty Fest.
The extravaganza appears at first glance to be in a state of confusion as punters arrive to watch certain acts only to be told “they were on earlier, sorry”. Victims of their own success tonight, are Cutting Pink with Knives. The highly rated south east three-piece, are possibly feeling the effects of one too many shows in too little nights as they called to cancel earlier in the day. The London based electro hoodlums will be sorely missed, but there is more talent to distract from any disappointment.
The tag 'heroes of the day' belongs to Pulled Apart by Horses, whose own brand of manic yet melodic hyperactive-dirt-core rips in to the unsuspecting Faversham crowd. Tommy (vocals and guitar) appears to have limitless physical endurance, whipping his neck backward and forward in a frenzy, the likes you would see only in high speed collisions.
Tracks such as ‘High Five Swan Dive Nose Dive’ pack a punch and Lee’s sleazy style of drumming is one of the stand-out moments of the night alongside the high octane riffs and magnificent vocal approach.
The recent success of Paul Marshall has seen the former band mate of Lee (Pulled Apart from Horses) stay away from Leeds more than he is probably used to. The ex-Concentration Champ front man has long since swapped his bank robber tights and highly distorted Telecaster for the lights of London and the melodies of mid-tempo acoustic finger picking – it is this Paul Marshall which graces the Red Room stage tonight.
Slightly under the weather and on earlier because of it, Paul still perfectly executes his set despite one or two shouts from the crowd for ‘Hot Water Tits’. Slow Club twist and torment the crowd with sleazy folk type riffs. Playing the main room early on in the night but with enough energy to ensure their mark has been left engraved in the Faversham’s brain. Napoleon IIIrd’s own brand experimental pop pushes against the grain of accepted solos attempts at commercial music. Napoleons honesty and belief in his music set the audience alight with appreciation for this hard working Leeds musician.
Hey Panda! Are hectic, eclectic! Their melodies twist and contort your opinion just as you become settled on it. Constant bursts of energy in the same vein as Q & Not U and Plot to Blow up the Eiffel Tower and with equally as much raunchy sass death grooves as Death From Above 1979. Take a bow Hey Panda! The Mai Shi infuse explosive energy similar to Flaming Lips, they sound as though they have as many members as The Polyphonic Spree. So many elements to this band, your attention is grabbed at every opportunity and thrown from member to member. Raw energy and the fact they manage to cope with a mixed response, should show just the impact they have. The Mai Shi set about converting the sceptics. There are a few hardcore kids here tonight, and not all have taken to this, but many will admit to feeling as though they have been to the dales and eaten more mushrooms than they should have done after sitting through this powerful set of upbeat Blood Brothers mayhem mixed with sublime melodic.
Yeasayer throw around their own brand of atmospheric delights, reeking with undertones of UB40?! Yes that’s right kids; it is that point during the night when bands sound like Futureheads covering UB40. Yeasayer flaunt beautiful construction, but with what appeared to be a severe lack of bass in the mix, the sound suffered; it may be time for a substitute sound engineer! Sound struggles aside; Yeasayer manage to hold an audience captive, filling the room in a mood befitting to a slow-wind-down to Nasty Fest IX
So this has been Nasty Fest IX. November will see us all back here again for Nasty Fest X, with no doubt more madness to ensue, and more of your future favourite bands to drool over. The punters leave The Faversham tonight full of ideas for their own musical projects. Prepare for the influx of Leeds scene-kids re-creating what they have seen and passing it off as their own.
Aces & Eights,
Cockpit, Leeds
Photo Courtesy of Lauren Holmes
Venue? Check! Crowd? Check! One amazing band so unique in their approach and coated in layers of creative genius its scary? Check!
Tonight Aces & Eights are back to hypnotize the unsuspecting guys and gals of Leeds as the Cockpit is swamped in Vintage style pumps.
Lovely English lads Aces & Eights play with such passion and originality, this must be how Dillinger felt when he was evading the police all those years: adrenaline filled, feeling like you’re living life on a trip wire suspended above vinegar doused razor blades. The tunes bounce along as the finger blistering double-bass gives the PA a run for its money. Not too fast, not too slow.
With a style close to the likes of; The Cramps, Shack Shakers and even Eddie Cochran - Aces & Eights are pioneers of this sound in the North of England. Not so much witnessing the passing of an insignificant scene but possibly witnessing the birth of a major one.
Psychobilly, rockabilly, rock ‘n’ roll whatever. Just call it; good fun!
Beasts, Cutting Class, TV-Party
House show, Leeds
Photo Courtesy of Lauren Holmes
Like a fat girl squeezing into a corset, I was crammed into a basement with thirty plus people listening to some of the most exciting music in Leeds and to stand witness to what was easily the best punk gig In Leeds for sometime; bar none.
A back street in Leeds six, leading to what seemed from the exterior to be a very quiet house, had me believing the occupants were enjoying a Friday night in. I was greeted by Pete; drummer of Cutting Class, and promoter of tonight’s shindig. A few “hello’s” later I’m already starting to devour cans of what I was told was the drink of choice in Hyde Park (mainly I’m sure because of its price and not its taste).
People congregated in the kitchen of this large house in Leeds, posters from previous punk gigs adorn the cupboards doors.
A large table in the centre of the room is littered with empty cans and bottles being drunk by various members of tonight’s bands.
The noise begins at around 8.30pm, Cutting Class were first on, and any expectation of poor sound was quickly extinguished as the band performing their first gig ever rip through a fast paced, tightly knit and exciting set. All the people crammed into this basement are completely unaware of their surroundings and firmly taken in by the capabilities of this band. Graffiti covers the walls and the old ‘mattress against the wall to dampen the sound’ technique is still preferred here. I can’t help but wonder just how many people have had sex on the mattress now being used to provide better sound.
By the time the band launch into ‘Jokes and Anecdotes’ the crowd is still clambering for space to stand. They race towards the end of the set, and after their first gig it’s safe to say mission accomplished, we have lot to look forward to with this band.
There is little respite and not really enough time to drink any more of Hyde Park’s favourite tipple before Beasts invite us to the basement, to witness yet another hyperactive, energy fuelled performance. I stand by my claim that not even Ritalin could calm this band down.
After combating a few sound level difficulties they settle into their stride ripping through songs like ‘Punishment’ and ‘Thicker than Water’ before half the band decide to strip off shirts. Beasts are frantic but perfectly articulate, angular in places but still holding a strong punk ethic.
With the night drawing to a close Pete utters the words all promoters dread, “the next band is stuck and can’t make it here in time” ‘Beat the Red’ not planning their journey very well.
Oh well TV-Party to the rescue, as the lad who Is was wearing easily the best t-shirt of the night (Coliseum) took to the basement corner with an ex-band mate. They ran through old TV-Party songs and covers with the crowd, drunk, hot, and cramped but still enjoying every minute. There was even the occasional crown surfer, well I say crowd surfer, but it was more or less just a case of picking a victim, then several people crushing that person against the 6 foot high ceiling.
The night slowly drew to a close to the sound of just drums, guitar and melodic but fierce vocals, even ex-Omerta front-lady Laura decided to give a hand with the vocals, screaming her way through the remainder of the songs. Pete and Ste of Cutting Class with the help of others from the crowd slowly pull away bits of the drum kit and hand them to other members of the audience, who were only too willing to playing along, hammering out beats on an upturned kick drum, leaving Pook (drummer) with nothing but a snare drum and a hi-hat to accompany the guitar and vocals.
Rapturous sound of applause and we all file slowly out of the basement careful not to scrap our drunken weary heads against rusty nails protruding from door frames.
If for a second anyone here tonight thought the days of DIY punk gigs were long gone, I’m sure they left knowing they are completely wrong.
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