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‘Sound storm’, Actress at CAMP, London

Storm of sound.  Air shaken wildly. Werk it.

(video found here)


‘Light-speed, psychedelic’, Daedelus at The Rhythm Factory, London

Before commencing a late night set in one of the hottest London summers in recent memory, Alfred ‘Daedelus‘ Darlington with an ear-to-ear smile beamed into the mic, ‘this reminds me of LA… it’s crazy… thanks for coming out on such a hot night… ‘.  He was right, 12.45am and still t-shirt weather outside.  Lush day followed by balmy night.  ‘… we’re gonna have some fun’.  Correct again.  Mic down, faders up, East London’s Rhythm Factory was treated to a whole ridiculously generous hour and a half of pure bliss.  His furious production blended with Beach Boys samples, snatches of Dilla beats and even a low-end-rich rework of East Flatbush Project’s’ ‘Tried by Twelve’.  All delivered at a blistering pace and performed in Darlington’s inimitable style, never far away from a change-rabid rapid sonic shift.   BPM nudged high to match the intensity of the summer heat.  Every beat tripping over into the next.  The stuttering intensity of the soundsystem-stretching set echoed by the flicking limbs of the beat hungry crowd, happily giving their minds and bodies up to a shattered, light-speed, psychedelic odyssey.  London just got a few degrees hotter.

‘Work Work’ Pre-‘Ministry-Ministry’ Ministry


Pre-‘Ministry-Ministry’ Ministry is an altogether different kind of experience to ‘Ministry-Ministry’ Ministry.  Both good I guess.  Just different.  No value judgement there.  But given the choice personally, today (much of which was spent on trains, sun beaming across spreading smiles) it might have to be P-‘M-M’M.  Heard this (or rather, the 12″ dub mix) again recently on the Metro Area Fabric Mix and has been stuck in my head for a bit now.  So I’m passing on the pleasant affliction.

‘Au or Gold’, Banjo or Freakout at The Macbeth, London

banjo or freakout.jpg

Photo ripped from BOF myspace – credited to Elly

Banjo or Freakout are an unmistakably vital live group currently doing the rounds in London’s clubs.  On record, there’s a lush restrained, tense thing going on, but live, the whole thing’s exploding out.  Peaking levels oozing forth from a couple of SP555s, overdriven guitar -made-alien through a bank of stomp boxes, insistently pounding drums, like a Native American drum circle, and the abstract swirl of Natalizia’s super-delayed vocals.  Go see these after one of these hot summer days.  They will make your evening.  This is THE summer.  Pure goldsounds.  Au.

p.s. New record out too…

It’s called ‘Upside Down’


‘Everything forever’, Mi Ami at The Macbeth, London

Mi Ami

Photo ripped from Mi Ami myspace (location/ photographer unknown)

Last night Mi Ami played at The Macbeth on Hoxton Street, taking in a London stop on their Euro tour.  After a tentative start (which through no fault of their own included a badly behaved mic stand that appeared to have been possessed by the spirit of a Harold Lloyd prop, Fantasia-style, spinning around away from wherever it needed it to be), Mi Ami, took the gathered crowd at The Macbeth, primed their minds with intricate little polyrhythms, slicked the whole affair up with heavy bass, distracting their bodies into relaxing, spaced things out with heavily delayed sharp guitar clank, and delivered the sucker punch of brilliantly sore throat inducing androdgyvox.  The audience was so wowed and thirsty for more, they found it impossible to just let the band go home and rest their weary limbs.  A number of encores ensued, and the amicable three-piece were kind enough to oblige and attempt to quench the thirst.  Of course, these attempts were equivalent to pouring petrol on a fire to put it out… the more they played, the more they were wanted.  Absolutely brilliant.  Carved out a (deep) space and drew us all in.  This was a mind blowing show.  Pure Energie.  Try and catch them before the venues are too big for the intensity of the experience available at cosy spaces like this place.

In the meantime… buy EVERYTHING before it sells out FOREVER.  Everything.  Stoke this flame.  Bring them back to the UK.  Picked a few up at the show and they are lush looking/feeling/sounding things.  New vinyl excitingly titled “Techno 1.1” due soon too on Hoss Records…http://www.myspace.com/miamiamiami

mi ami hoss

Oh, and here’s a clip of their penultimate encore song…

‘Speechless like…’, Antipop Consortium at Cargo, London

Fluorescent Tube.jpg

Fluorescent Black – the mysterious recording that’s been spoken about ever since the first whispers of an Anti Pop Consortium reformation.

Let me rewind a touch.  Anti Pop Consortium are an IMPORTANT group.  All caps.  No doubt.  Two Warp records releases under their collective belt, a break from the group (at the height of their notoriety) and numerous releases and side projects later, they are back, this time with the mighty Big Dada.  Tonight’s show at Cargo is spellbinding.  The sheer energy being exchanged between APC & the crowd is phenomenal.  The mix is good… vocals well audible, beats crisp, synths stabs alternately warm analogue and cold digi.  Pure bliss.  “We’ll never fake moves” exclaimed Earl Blaise as they teased the crowd with the only piece of retrospective work performed that night… beginning as Ghostlawns the way we all know it, but not even a bar in, everything but vocals dropped out.  Acapella.  So yeah – that’s Ghostlawns acapella.  Kick yourself if you weren’t there.

All the new material sounds totally amazing – both the skewed  instrumentals and blistering vocal tracks.  Awaiting Autumn and the APC’s new dawn.  They had better be coming back to London!  Volcano.

‘If dancefloors could dream’, Flying Lotus at FWD, Plastic People


*picture (from a Stateside show) by Ian Mayer ripped from The Fader

A random myspace bulletin check on a Sunday night train bore juicy fruit last night.  After missing out on tickets for the Vauxhall show, I found that Flying Lotus would be playing London again in an hour or so at Plastic People.  Heading into the dark box was a pretty different story to Theo Parrish the night before.  Where for Theo, there was a nice amount of space & air to compliment his breezy show, tonight, FWD was a proper pit – a mass of twitching frames & shuffling feet.  Kode 9 played an alien breed of rhythms to coax human muscles into new forms, then after a number of rewinds, passed over to homme du jour, Flying Lotus.  If dancefloors could dream, it would sound something like this.  Echoes of dubs past, left floating in dusty, stagnant echo chambers were called upon to drift and shuffle past each other, their ragged frames mutated through the sheer velocity of their travel, leaving searing, acidic traces behind of their own particular strain of low frequency radiation.  Condensed hardcore continuum history lesson.  Lotus on Fire.  Check the mp3…http://dubstep.lv/forum/viewtopic.php?t=719&sid=eafdd7d0811168fbc1a557b8ffedd90f

BTW… at the start of the FlyLo set, where it all stops and the MC is all like, “We’ve got some technicals… I thought that was the tune”  Well, to me, that shit sounded pretty good too.  More ‘technicals’ please.

BTW part 2… 42 minutes in – Kode 9.  Pitch shifting, mangled, C21, attention deficit version of early 90s house.  If you know what that tune’s called & where I can buy it.  Comment and let me know.

BTW part 3… essential reading – Kode 9 & Derek Walmsley  unedited Wire magazine interview transcript. http://www.thewire.co.uk/articles/2439/?pageno=1