I sing in the shower. Personally I consider it to be one of my more endearing qualities. This is debatable, my house mate, who is not a morning person, thinks its fucking anti social, however another one of my friends has been known to stand by the door when I'm in the shower and join in with me wailing along to James (Laid...obvs) or Kate Bush (Running up that hill...obvs). Why am I telling you about my shower singing activities? Well. I like a song I can have a good wail along to. Generally I like music that isn't lyrically void, however for singing in the shower one needs to be able to howl. This is where The Vaccines entered my life. Post Break Up Sex is a song which gives one plenty of room for prancing about in the shower doing ones best Ian Curtis impression (does anyone else hear Joy Division in The Vaccines?) whilst having a good old how to something that is quite frankly lyrically nonsense. I was lucky enough to go and see the Vaccines in Leeds in November, and it was a splendid gig. I drank lots of Jack Daniels and had a good jump up and down in a hot sweaty mosh pit with one of my dearest friends.
Whilst watching the vaccines I was lucky enough to see another shower howling band...Howler describing themselves as a Surf/Trash (contradiction much?) band hailing from Minneapolis I think this band are destined for great things. Their songs are catchy, not lyrically deep, but equally not lyrically void either. If you like your music catchy and bouncy with potential to howl and a nod to Sheffield, Ian Curtis and the Beach Boys all rolled into one then may I suggest you go check them out.
They are also playing at Leeds Cockpit next month. May I recommend them. I'll be there...tickets HERE!
Showing posts with label Indie. Show all posts
Showing posts with label Indie. Show all posts
Friday, January 20, 2012
Sunday, June 5, 2011
Live Music: Anais Mitchell, Brudenell Social Club, Leeds 31st May 2011
"This feels like story time at the library" - the opening words of Anais Mitchell when stepping onto the stage at the Brudenell Social Club. And indeed she was right, there was an element of 'story time' about the evening. The audience, myself and my friends included, had begun to fill the lower floor of the Brudenell Social Club during the support acts, not standing, and staring meaningfully at our shoes, as is oft the case at a folk gig, but sitting on the floor. Sitting and staring intently, wondering if we ought to stand up, but secretly wishing we could remain sat, nursing our pints (there is Red Stripe on tap after all)and being told stories. Our wish was granted. Mitchell seemed more than happy with the sitting arrangement and began to tell us stories immediately.
Anais Mitchell, the American singer song writer and folky extraordinaire was preceded in the evening by two support acts. Sam Airey and Pengilly's. Pengilly's were in all honesty not my cup of tea. Although musically very worthy, there was just too much going on. The sound was off and there were far too many instruments and vocal lines produced by the six strong band, comprising of two guitarists, a drummer, cellist, at times two violin players and someone with a key board. On second listening to their myspace offerings I understand the music they were trying to create, but it just didn't translate into a small live space like The Brudenell Social Club. In direct contract to this however was the beautiful simplicity of the first support act Sam Airey. Airey, a Leeds based singer song writer had the early doors crowd paying full attention whilst he played songs from not only his debut E.P but also numerous other songs that were both lyrically beautiful and musically elegant. Airey confessed to having not written a set list but along with his cellist he meandered through a few beautiful songs. All in all Airey is certainly worth checking out, his E.P has been in my car for the last week on constant repeat, which is no mean feat.
When Anais Mitchell took to the stage she played an extensive set with extracts from her Hadestown album taking the fore. Mitchell's 'folk opera' tells the story of Orpheus and Eurydice and their journey to Hades yet it is set as Mitchell said in a "post apocalyptic waste land in the depths of a recession." The following rendition of "Flowers" was a request from the crowd that Mitchell played with pleasure.
Anais Mitchell, Flowers, Live The Brudenell Social Club 31st May 2011 by Zi_ish
In fact Mitchell frequently stopped to check that there were no particular songs people wished to hear, and did finish with the personal favorite, and request of my friends C and R, Old Fashioned Hat
In addition to her own songs Mitchell also played a couple of more traditional and older folk songs. Mitchell's rendition of Johnny Barbary, about the seduction of an Englishman's daughter was utterly beautiful and captivating. I'm sad I don't have a recording of it. Her voice whilst singing it made the room stand still, the bar went quiet, all eyes were on Mitchell. I'm loathed to use the word haunting to describe it, but I can come up with few better words; it definitely made the hair stand up on not only the back of my neck but also my forearms. Mitchell also played her version of Harry Robertson's beautiful Ballina Whalers.
Along with the inclusion of some new album tracks, which left us all with baited breath for the next instalment of the Anais Mitchell catalogue, it was a thoroughly beautiful evening. Mitchell had the crowd in raptures, like a group of primary school children listening to a fascinating story teller, except we had the addition of a bar and thankfully the omission of the usual mental hippies schools seemed to get in during the late 1980s to sing songs about animals and God.
Anais Mitchell, the American singer song writer and folky extraordinaire was preceded in the evening by two support acts. Sam Airey and Pengilly's. Pengilly's were in all honesty not my cup of tea. Although musically very worthy, there was just too much going on. The sound was off and there were far too many instruments and vocal lines produced by the six strong band, comprising of two guitarists, a drummer, cellist, at times two violin players and someone with a key board. On second listening to their myspace offerings I understand the music they were trying to create, but it just didn't translate into a small live space like The Brudenell Social Club. In direct contract to this however was the beautiful simplicity of the first support act Sam Airey. Airey, a Leeds based singer song writer had the early doors crowd paying full attention whilst he played songs from not only his debut E.P but also numerous other songs that were both lyrically beautiful and musically elegant. Airey confessed to having not written a set list but along with his cellist he meandered through a few beautiful songs. All in all Airey is certainly worth checking out, his E.P has been in my car for the last week on constant repeat, which is no mean feat.
When Anais Mitchell took to the stage she played an extensive set with extracts from her Hadestown album taking the fore. Mitchell's 'folk opera' tells the story of Orpheus and Eurydice and their journey to Hades yet it is set as Mitchell said in a "post apocalyptic waste land in the depths of a recession." The following rendition of "Flowers" was a request from the crowd that Mitchell played with pleasure.
Anais Mitchell, Flowers, Live The Brudenell Social Club 31st May 2011 by Zi_ish
In fact Mitchell frequently stopped to check that there were no particular songs people wished to hear, and did finish with the personal favorite, and request of my friends C and R, Old Fashioned Hat
In addition to her own songs Mitchell also played a couple of more traditional and older folk songs. Mitchell's rendition of Johnny Barbary, about the seduction of an Englishman's daughter was utterly beautiful and captivating. I'm sad I don't have a recording of it. Her voice whilst singing it made the room stand still, the bar went quiet, all eyes were on Mitchell. I'm loathed to use the word haunting to describe it, but I can come up with few better words; it definitely made the hair stand up on not only the back of my neck but also my forearms. Mitchell also played her version of Harry Robertson's beautiful Ballina Whalers.
Along with the inclusion of some new album tracks, which left us all with baited breath for the next instalment of the Anais Mitchell catalogue, it was a thoroughly beautiful evening. Mitchell had the crowd in raptures, like a group of primary school children listening to a fascinating story teller, except we had the addition of a bar and thankfully the omission of the usual mental hippies schools seemed to get in during the late 1980s to sing songs about animals and God.
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