Claire Kearns – Page 8 – AmeliasMagazine

Amelia’s Magazine | Depeche Mode at the O2 Arena: Live Review

Depeche Mode by Sam Parr

Depeche Mode by Sam Parr

I was definitely in unknown territory, trying to make sure I took the right exit from North Greenwich station on a bitterly cold evening, with literally minutes to spare before stage time. I’d been reassured by a friend who had already gone ahead to the venue “don’t worry, Depeche Mode won’t be on until 9.30”, only to subsequently receive a text (with many exclamation marks) that it was actually half an hour earlier. It didn’t help that I’d never actually been to the O2 before (well, not since the days of its original incarnation as the Millennium Dome), so I was flying blind in terms of where I had to go. Luckily, after scaling two sets of escalators, I’d made it to my seat just in time, perched precariously in the top tier of the venue (the O2 is definitely not for those of a vertiginous disposition).

Depeche Mode by Daria Hlazatova

Depeche Mode by Daria Hlazatova

The O2 Arena seems to get mixed reviews, certainly in terms of the sound quality (though on the night, from where I was sat, it seemed fine to me), but being so far from the stage does, I think, make a difference to the whole gig experience, it tends to feel a bit more detached (especially if, like me, you’re more used to venues like the Lexington, the Windmill or the Buffalo Bar – about as much contrast as you can get!).

Depeche Mode by Claire Kearns

Depeche Mode by Claire Kearns

Well, what is there left to say about Depeche Mode that hasn’t already been said? Formed in Basildon, Essex, they first appeared as part of the synth pop scene that coalesced in the wake of acts such as John Foxx, Gary Numan, Orchestral Manoeuvres In The Dark and the (original) Human League, and whilst many of their contemporaries have long since been consigned to the annals of music history, Depeche Mode recently released their thirteenth studio album, Delta Machine.

Depeche Mode by Laura Collins

Depeche Mode by Laura Collins

Tonight’s appearance was the band’s third gig in London this year (after two nights at the same venue in May), with the current Delta Machine tour apparently being their biggest in around 20 years. Still comprising of core members Dave Gahan, Martin Gore and Andy Fletcher, the live band is complemented by Peter Gordeno on additional keyboards and Christian Eigner giving the songs some beef on drums.

Coming on to a darkened stage, backed by giant video screens, Depeche Mode kicked off with the opening track from the new album, Welcome To My World – all brooding synths and Dave Gahan’s typically lugubrious vocals. Another new track, the pounding Angel, followed, before old favourite Walking In My Shoes made an appearance. A fair few tracks from the generally well received Delta Machine album cropped up during the set, including the single Heaven (accompanied by a black and white film from long time collaborator Anton Corbijn), whilst Martin Gore took over vocal duties for The Child Inside. Accompanied solely by Peter Gordeno on keyboards, Gore did a couple of other solo numbers, including a mid 1980s B-side, But Not Tonight, which got the crowd singing along, and a reworking of an even older song, Leave In Silence (from 1982’s A Broken Frame album). The inclusion of oddities like these, at the expense of some of the more well known tracks from Depeche Mode’s extensive back catalogue, meant that this was no greatest hits set, but the crowd (made up of a real mix of ages) didn’t mind.

Depeche Mode by Daria Hlazatova

Depeche Mode by Daria Hlazatova

On stage, you could see the band had three very different roles – Dave Gahan was very much playing the rock star, spending much of the set bare-chested and spinning his mic stand, leaving Martin Gore to divide his time between playing keyboards and guitar (when not taking centre stage himself), with the bespectacled Andy Fletcher diligently prodding away at his keyboards and waving to get the crowd clapping along. All the while, a series of dazzling visuals, both specially recorded films and treated close-ups of the band, filled the wall behind them.

There were a few crowd pleasers thrown in too, with some selections from the band’s late 80s breakthrough albums, Black Celebration, Music For The Masses and Violator. As the set approached its end (well, until the encore at least), we got an extended version of Enjoy The Silence, which at times seemed in danger of morphing into New Order’s True Faith, and a slow, bluesy opening to Personal Jesus, before the song just took the O2’s roof off.

During the encore, Depeche Mode went back to basics with that staple of student discos (and having played it as a student DJ myself, I should know) Just Can’t Get Enough, though it did seem a bit odd, especially considering how much darker the band’s material subsequently became, to see a tattooed, 50 year old Dave Gahan singing this light and breezy electro pop classic. The band finished the set with an imperious Never Let Me Down Again, with Gahan getting the crowd (when they weren’t all singing along) to wave their arms in the air.

Depeche Mode by Daria Hlazatova

Depeche Mode by Daria Hlazatova

And so we departed from the arena, some people braving the queues to get on to the Jubilee Line, some deciding to let the moment linger in the bar that was having a Depeche Mode theme night, with cocktails named after various DM songs and a playlist consisting (with the exception of the odd incursion from Erasure and the Pet Shop Boys) of songs from Basildon’s finest. One thing is for sure though, and that is, after over 30 years, Depeche Mode are showing no signs of slowing down, and they can still deliver an amazing show. Music for the masses, indeed.

Written by Richard Pearmain on Friday November 29th, 2013 1:30 pm

Categories ,Andy Fletcher, ,Anton Corbijn, ,Buffalo Bar, ,Christian Eigner, ,Claire Kearns, ,Daria Hlazatova, ,dave gahan, ,Depeche Mode, ,Erasure, ,Gary Numan, ,Human League, ,John Foxx, ,Laura Collins, ,Lexington, ,Martin Gore, ,new order, ,O2 Arena, ,Orchestral Manoeuvres In The Dark, ,pet shop boys, ,Peter Gordeno, ,Sam Parr, ,Windmill

Amelia’s Magazine | Donna Summer 1948 – 2012

Donna Summer by Naomi Ryder

Rumours had been circulating all year that undisputed Queen of Disco, matriarch of the 12″ record and five-times Grammy award-winning Donna Summer would perform at London’s Lovebox festival. I bought a ticket in advance and, even when Grace Jones was announced as the headline act, I hoped that Donna Summer would make a surprise appearance and I would finally see one of my favourite artists of all time perform live. So it came as a massive shock to discover (via Twitter as is fast becoming the norm) that the legend had lost her battle with cancer; a battle we didn’t even know she was fighting.

Donna Summer by Sam Parr

Most tributes you’ve read by now probably tell you that LaDonna Adrian Gaines was born on New Year’s Eve 1948, performed in church from the age of ten and moved to Munich in her teens, where she met and married Helmut Sommer – anglicising his name when they split. It was a chance meeting with producers Giorgio Moroder and Pete Bellotte in Germany that would change Donna Summer‘s life forever.

Donna Summer by Nicola O’prey

It was in 1975 that Donna Summer had the idea for a song with the lyric ‘I love to love you’ and Moroder developed the track for another artist, asking Donna only to record a demo. Rumour has it that Donna asked for the lights to be turned off so she could get into the zone, as it were, and her recorded version was so powerful that Moroder insisted it should be released. Casablanca Records‘ chief Neil Bogart was impressed with the song but felt that discotheques would desire a longer track. Wasting no time, Summer moaned her way through 17 minutes – played in full in clubs – and the 12″ record was born.

In 1977, Moroder got his synthesiser out, and with Donna Summer created, in my opinion, one of the greatest dance records of all time – I Feel Love. This song is THIRTY FIVE years old. Its hypnotic beat and Summer‘s ethereal vocals are an impeccable match. The video’s elegant and raunchy simplicity makes it timeless. It makes my knees knock even now.

Donna Summer by Gemma Champ

A string of Summer/Moroder hits and albums followed: I Remember Yesterday featured dance floor classic Love’s Unkind (see below) and I Feel Love; Once Upon a Time has my favourite photograph of Summer that many of our illustrators have used as a source. The end of the seventies saw Summer trying to break from disco with album Bad Girls, featuring some of my favourite records ever – the title track and Dim All The Lights and the infamous Hot Stuff, for which Donna won the Grammy for Best Female Rock Vocal (making her the first woman and first African-American to win a Rock performance Grammy). You could argue, considering that this category was created the year Donna Summer won, that it was created especially for her – it would have been criminal if she hadn’t won for this incredible performance.

Donna Summer by Inês Neto dos Santos

It’s at this point where things go a bit grey. Tensions rose with Casablanca Records, eventually parting ways in 1980. Summer renounced her saucy past as a born-again Christian and said that she resented her sex-symbol image and erotic persona. Whatever her reasons, it is my firm belief that nobody can fake an orgasm for 17 minutes with such conviction like on Love to Love You, Baby. I just don’t buy it. Hell, we’ve all had a go, but that breathy performance is definitely not a fake. Also, check her out in the I Feel Love video – she’s hot for that microphone stand and it looks pretty real to me.

Donna Summer by Gemma Champ

Donna Summer by Gilly Rochester

Some pretty ambiguous comments followed about HIV, AIDS and the gay community. Most reports suggest Summer said that AIDS was a punishment for homosexuality. She consistently denied it whenever questioned, but I never felt like she really meant it – her documented responses always skirt around the issue, when really she should have just said ‘ LOOK, I HEART GAYS, THEY BOUGHT MY RECORDS.’ A lot of fans never forgave her, but as has been evident from press coverage, social media and online tributes, it’s her music that we’ll remember her for.

Donna Summer by Sarah Ushurhe

Donna Summer by Claire Kearns

As a tribute, here are five of my favourite Summer songs. Ask me tomorrow and this list would probably change entirely, but here goes anyway:

Last Dance

Last Dance is one of my favourite disco records ever. It introduced a completely revolutionary song structure that, like Dim All The Lights and Enough is Enough after it (see below), began as a ballad before speeding up to the up-tempo mainstay that we love. It received an Oscar, a Golden Globe and earned Donna Summer her first Grammy award for best vocal performance. It’s a beautiful example of the genre at its finest – with disco strings and horns aplenty and Donna soaring vocals.

Love’s Unkind

Love’s Unkind always has me leaping around a dance floor. The lyrics are hilarious – Donna fancies some bloke who fancies her mate, but her mate fancies somebody else – oh, the drama. She’s desperate to cop off with him at the dance but the love rat has already asked her best mate and Donna is left legging it from the school in tears. It’s no sonnet but it’s a camp disco classic that I adore.

Bad Girls

Toot toot, beep beep. Need I say more? Look out for Twiggy’s hilarious cameo in this video.

Enough is Enough (No More Tears)

1979 saw Barbra Streisand‘s melancholic vocals teamed with Donna Summer‘s powerhouse disco sound . Legend has it that Summer went wild the night before and turned up to the recording studio with a terrible hangover, passing out whilst Babs was singing – hence the super long note Barbra delivers before the beat kicks in.

Love to Love You, Baby

I hadn’t got this on my original list, but the burden of not including it was too much. Enjoy 16 minutes 50 seconds (or, according to the BBC‘s statistics department, 23 orgasms) of disco heaven.

Donna Summer by Rebecca Strickson

I haven’t even included Summer‘s epic version of Could it Be Magic, the hypnotising Try Me, I know We Can Make It, the wonderful Dim All the Lights, the epic cover of the bonkers MacArthur Park or Sunset People, On The Radio, I Love You or Love Is In Control. The list is endless. Donna Summer was the Queen of a genre that transformed not only dance music but music as a whole, and continues to influence the greatest producers and performers. I’m sure you’ll agree that all of the songs I’ve mentioned (and more) sound as fresh today as they ever did, and I hope they’ll be continued to be played – now more than ever. Long Live the Queen!

Written by Matt Bramford on Wednesday May 23rd, 2012 8:57 am

Categories ,1948 – 2012, ,African-American, ,AIDS, ,Bad Girls, ,Best Female Rock Vocal, ,Casablanca Records, ,Claire Kearns, ,Could it Be Magic, ,Dim All The Lights, ,disco, ,Donna Summer, ,Enough is Enough, ,gay, ,Gemma Champ, ,Gilly Rochester, ,Giorgio Moroder, ,Grace Jones, ,Grammy, ,Helmut Sommer, ,HIV, ,I Feel Love, ,I Love You, ,I Remember Yesterday, ,Ines Neto dos Santos, ,Last Dance, ,Love Is In Control, ,Love to Love You Baby, ,Love’s Unkind, ,Lovebox Festival, ,MacArthur Park, ,Matt Bramford, ,Naomi Ryder, ,Nicola O’prey, ,No More Tears, ,On the Radio, ,Once Upon A Time, ,Orgasm, ,Oscar, ,Pete Bollette, ,Queen of Disco, ,Rebecca Strickson, ,Sam Parr, ,Sarah Ushurhe, ,Sunset People, ,Try Me I Know We Can Make It, ,twitter

Amelia’s Magazine | Frankie Rose at the Lexington: Live Review

frankie rose by daria h

Frankie Rose by Daria Hlazatova

It was a warm weekday evening on the Pentonville Road and, away from the football on the big screen, Frankie Rose was about to take the stage upstairs at the Lexington.

Frankie Rose by Karina Järv

Frankie Rose by Karina Järv

With a rather impressive CV, as a former member of some of the hippest Stateside bands (namely Crystal Stilts, Vivian Girls and Dum Dum Girls), Frankie Rose is now very much centre stage. I’d seen her a couple of years ago (with her old backing band, The Outs) at the late, lamented Luminaire in Kilburn, and I think this may have been her first time back in London since. Certainly, it was the debut London show to promote her latest long player, the fabulous Interstellar.

Frankie Rose by Sam Parr

Frankie Rose by Sam Parr

With a new line-up (including drummer Ian Pai, of early noughties electro-clash outfit Fischerspooner) and guitar in hand, Rose led us through tracks from the album. Evolving from the noise pop that was a hallmark of her old bands, Interstellar has a much more epic, ethereal sound, full of warm synths, chiming guitar riffs and dreamy harmonies. We were treated to numbers including Daylight Sky, Night Swim and Gospel/Grace and, with a teasing introduction of ‘this is an old song, you might recognise it‘, there was the old Vivian Girls favourite Where Do You Run To.

Frankie Rose by Claire Kearns

Frankie Rose by Claire Kearns

Rose was in a chirpy mood, and there was plenty of banter (largely about the band’s trip to Spain beforehand). A broken string after only one song required a replacement instrument for her guitarist and a bit of a reshuffle of the set-list.

Frankie Rose now heads out around Europe, before returning to the UK for some more dates later in July (including Sheffield’s Tramlines Festival). With Interstellar already out in the shops and picking up positive reviews, who knows where her new direction will lead her next.

Written by Richard Pearmain on Thursday July 5th, 2012 10:56 am

Categories ,Claire Kearns, ,Crystal Stilts, ,Daria Hlazatova, ,Dum Dum Girls, ,electro-clash, ,fischerspooner, ,Frankie Rose, ,Ian Pai, ,Interstellar, ,Karina Jarv, ,Lexington, ,luminaire, ,noise pop, ,Sam Parr, ,Stone Roses, ,Tramlines Festival, ,Vivian Girls

Amelia’s Magazine | Weyes Blood arrives on European shores: an interview with Natalie Mering

Natalie Mering Weyes Blood full length
Having released her second album under the title Weyes Blood at the end of last year on Mexican Summer, collaborated with the likes of Ariel Pink and been a one time member of the experimental troupe Jackie-O Motherf**ker, Natalie Mering is no newbie to the music scene. As she joins Kevin Morby on tour and takes Europe by storm, we catch up with the formidable songstress and get a sneak peak into the genius music world she has created for herself.

Welcome to Europe Natalie! Have you toured this side of the pond before?
Yes I have, this is my fourth time across the pond for musical purposes. First tours were very noise/drone/experimental scene-centric. These last two have been my first foray into more indie shows.

Is there a particular country you’re excited about visiting?
Yes! Switzerland is especially dreamy, because I am a mountain woman and feel most at home at high elevations. I also love free human souls and dairy (Interesting people and grass fed milk cheese). Portugal is also a highlight because of the climate and general vibe-lots of great artistic minds there. I always have the best, most idealistic conversations about art and music with promoters from Portugal. The country seems a good 30 years lost in time. There’s a strange noticeable spark in how people respond to new music. I also feel close to their traditional music, Fado. It resonates with my soul and I think I’ve channeled its particularities unknowingly.

Weyes Blood – Be free – Urban Outfitters Performance

You released your second album ‘The Innocents’ last October on New York label, Mexican Summer. What’s your favourite track to perform?
I love performing ‘Bad Magic’ because it’s very demanding, emotionally and vocally. It tends to draw everybody in.

Weyes Blood Urban Outfitters
How would YOU describe your sound and style?
I’d say my sound is reminiscent of cathedrals-church with a bit of soul and R&B, soul church. Sweet Metal? There is a bit of darkness there, some doom, but its sweet and I try to play into the tradition of folk ballads. I have been very influenced by drone composers like Lamonte Young and Terry Riley, but also love a good psyche pop anthem. That said, there’s usually one note you can play through the entirety of any of my songs, a drone note that carries everything through. My favorite musical example of this is John Cale‘s infamous piano note played through the entirety of The Stooges ‘Wanna be Your Dog’. If I could sum up all my musical infatuations in one composition it may just be that. I have dreams about John Cale a lot, and the records he produced with Nico. He’s a wonderful drone man that built that bridge into popular music, and secretly I hope my style draws from that with a medieval twinge.

Weyes Blood – Bad Magic – Official Video

You studied herbs in the New Mexico desert before moving to New York and settling into the music scene there. Was music something you always did?
Yes music was always first, even as a child. But back then I was more interested in theatrical arts. It wasn’t until I was 12 years old that I realized being an actress wasn’t nearly as interesting as diving into the sonic realms of music exploration. From that point onward it was my main purpose for being alive, no hyperbole.

Weyes Blood Natalie Mering
Your parents are both musicians. Have they had an influence on your own style?
A bit. My Father’s favorite band was XTC, so he was always open to “the next wave” and innovative music. Being a new waver himself, he stayed interested in recent music and always wanted to know how rock n roll was evolving. But like any classic baby boomer he couldn’t really follow me into the 21st century, pretty much drawing the line at Radiohead. My Father and I went to a Radiohead concert together and we really bonded, but it took him a while to come around to my music. My mother is obsessed with Joni Mitchell so she was always playing in the house. ‘Court and Spark’ is permanently branded into my subconscious.

Your voice has a unique and haunting quality to it. Has it always been that way or something you grew into?
It’s always been low and raspy. I’ve grown into singing with more strength over time. There was definitely a time it was a source of embarrassment, but its something I’ve come to appreciate over time. It’s good for impersonations. I do love high voices, though, and my register as singer is definitely alto and below. Sometimes hearing my voice on recordings really freaks me out, I hear it so differently in my head I can’t imagine what it sounds like to other people.

What inspires you?
To keep it extremely concise: chaos, synchronicity, duality and empathy.

Weyes-Blood-The-Innocents cover
I love your attitude. You seem very focused and clear on what you want. Does that make working with other people more challenging when they’re not as serious as you?
Haha, well thank you. I can also be extremely unfocused and confused about what I want just like the rest of us. I guess I just force myself to take things across the finish line even if I’m having those feelings. And as far as dealing with challenges working with other people-it’s always been an issue, but something I’ve learned to get over. I don’t expect anybody to take what I do as seriously as I do, so I like to take most of the load myself and collaborate with people who are looking to go on a journey with me into my chasm of unattainably high standards. That’s one of the reasons I’m a solo musician-I honestly just wanted to be a girl in a band, a la Kim Gordon, for most of my life. I just could never find anybody as serious as I was about pursuing it-almost like a fanatical religion, I heightened music to a philosophy of life.

I love this one documentary about Sun Ra. The interviewer asks a member of the Arkestra if he minds not having a social life anymore because he has to practice with the ensemble all the time… he says so candidly, “music is everything, why would I want anything else?” I’ve always felt that way. As I get older I’ve stopped being so serious, I enjoy lighthearted half assed efforts into the music realm as a means of therapy after years of carrying the burden of taking something so seriously. It’s important to lighten up, but I always have a “spirit of excellence”. Whatever you’re doing, even if you’re trying to make some crappy music to make your friends laugh, is an important process to be enjoyed to its fullest extent.

Weyes Blood Natalie Mering 2
I read that you starting recording with a 4 track in your early teens. Do you still record onto tape?
Yes! I love the natural compression of tape. It’s a magnetic universe I’ll never leave. Tape is infinite in its possibilities, and its natural compression is my favorite.

What’s your favourite part of the production process? The inspiration, the writing, the recording, the mixing?
The inspiration comes the most naturally-its like a lightning bolt, a spark, and I usually have to jump around the room a bit to deal with the excess in body electricity after I feel like I’ve had a good idea. Writing is more gruesome, choosing things-creating shape from the formless void. Recording is like purgatory, where you’re not quite sure if you’ll be able to capture the lightning bolt – sometimes I like to record first and improvise, keeping the “lightning” in the recordings. Mixing is basically downhill, but also a nitty gritty process. At that point if you’re not satisfied there’s not much you can do, so if you’ve made something good, mixing is an enhancer. If you’re still not satisfied, mixing is a never ending void. Production in a nutshell.

If you want to catch Weyes Blood in action she is currently supporting Kevin Morby on a European tour including these UK dates – 17 June at The Lexington, London  and 18 June at The Hope, Brighton.

Written by Gemma Dietrich on Friday June 19th, 2015 11:30 am

Categories ,Ariel Pink, ,Bad Magic, ,brighton, ,Jackie-O Motherf**ker, ,John Cale, ,Joni Mitchell, ,Kevin Morby, ,Lamonte Young, ,london, ,Mexican Summer, ,Natalie Mering, ,radiohead, ,Sun Ra, ,Sweet Metal, ,Terry Riley, ,The Hope, ,The innocents, ,The Lexington, ,The Stooges, ,Weyes Blood, ,Weyes Blood arrives on European shores

Amelia’s Magazine | Live Review: Gazelle Twin launches debut album The Entire City at Electrowerkz

Gazelle Twin live at Electrowerkz by Claire Kearns.

A peek through closed doors reveals a shrouded figure, thumb but soon rehearsals are complete and we are beckoned inside by two blue robed dancers in fencing masks with blue LED lights wrapped around their fingers. Gazelle Twin, aka Elizabeth Walling, wraps her music in an artistic veil: enhancing and enthralling with glimpses of feelings, ideas, not distracted by mere humanity.

Gazelle Twin The Entire City album launch 2011-photography by Amelia Gregory
Gazelle Twin, The Entire City album launch. All photography by Amelia Gregory.

Back to us, she rocks back and forth behind the microphone in a shapeless ruched grey coat dress, her blue head buttressed outwards like a Geisha’s. The turn is slow as she faces the audience with black tear trails down both cheeks, eyes hidden by a lengthy black fringe. If proof were ever needed that covering up can be far sexier than letting it all hang loose then this was surely it, though I know this is not her intention.

Gazelle Twin The Entire City album launch 2011-photography by Amelia Gregory

Gazelle Twin by Andrew Thomson aka Sector 4.

The crowd is eager and expectant, leaving just a small amount of room for the fencing dancers to twirl beneath the stage. On either side Elizabeth is flanked by keyboardists of indiscernible gender who sport chain mail headdresses. Behind her an ominous drumming duo kept synchronistic beat in black: high heads revealing no facial features, white bike lights rocking back and forth like third eyes.

Gazelle Twin The Entire City album launch 2011-photography by Amelia Gregory

As the high lighting pulses red, blue, red, Gazelle Twin sways, fingers lit up individually as they clasp and unclasp, exalting the heavens… emotions running out of her arms into the universe, transmitted via frenzied mouth movements.

Gazelle Twin The Entire City album launch 2011-photography by Amelia Gregory
Changelings live at Electrowerkz

It takes a mere half hour or so to plough through the whole of The Entire City, but throughout Elizabeth keeps the audience entranced, her high clear vocals an animated vortex of wonder. There are no added theatrics, no egotistical posturing, yet the effect is all encompassing: this evening I am a witness to something incredibly special. Just imagine what Gazelle Twin could achieve with the aid of a bigger budget and patronage from sympathetic designers.

Gazelle Twin The Entire City album launch 2011-photography by Amelia Gregory

Interactive album imagery by Champagne Valentine.

The Entire City is out now on Anti-Ghost Moon Ray Records. Make sure you read my review and my interview with Elizabeth Walling too.

Written by Amelia Gregory on Friday September 2nd, 2011 7:20 pm

Categories ,Andrew Thomson, ,Anti-Ghost Moon Ray Records, ,Champagne Valentine, ,Changelings, ,Claire Kearns, ,EKO London, ,Elizabeth Walling, ,Gazelle Twin, ,Geisha, ,Sector 4, ,Shroud, ,The Entire City, ,Veil

Amelia’s Magazine | Shonen Knife at the Scala: Live Review

Shonen Knife by Sally Jane Thompson
Shonen Knife by Sally Jane Thompson

After a month long tour around Europe which kicked off in, information pills of all places, more about Brixton’s Windmill, viagra Shonen Knife arrived at the Scala for their 30th birthday bash. Originally formed in Osaka by sisters Naoko and Atsuko Yamano, along with their friend Michie Nakatani, and influenced as much by 1960’s girl groups as by punk bands (especially the Ramones), Shonen Knife created an energetic, upbeat, irresistibly catchy yet still underground sound (packaged in colourful, often homemade outfits). Their music made its way to the US alt-rock scene and they eventually found unlikely champions in such luminaries as Sonic Youth and, especially, Nirvana’s Kurt Cobain (who invited Shonen Knife on a tour of the UK in the early 90’s). Now on their (at the last count) eighteenth studio album (a set of classic Ramones covers), Shonen Knife were back in town and ready to rock Kings Cross.

Shonen Knife by Fi Blog

I’d first caught Shonen Knife at their Windmill gig in August (I think only their second or third in London in around 15 years) when they were in the guise of the Osaka Ramones, and it was an exhilarating run through of the Ramones’ finest. The Windmill was pretty rammed that night and, filing into the auditorium of this old cinema with our special Shonen Knife wristbands, I could see that the Scala was going to be pretty busy too.

The trio cheerily took to the stage holding bright orange scarves aloft, and then we were underway. On lead vocals and guitar, Naoko is the only remaining founder member, but she is more than capably supported by the ever smiling Ritsuko Taneda on bass, and the band’s newest member, Emi Morimoto, is certainly no slouch on drums.

Shonen Knife by Claire Kearns
Shonen Knife by Claire Kearns

Kicking off with Konnichiwa and Twist Barbie, Shonen Knife started as they meant to continue – fast and frenetic. Their songs may be uncomplicated, they may be about such everyday things as candy or furry animals, but they’re played with such energy and delivered with such enthusiasm that even the biggest grump would find it hard not to enjoy them. Shonen Knife are all about fun!

As well as assorted gems from their back catalogue, there were a couple of tracks from their more recent albums, such as Super Group, the reggae-ish and intensely catchy Capybara (about, yes, a furry animal) and Perfect Freedom (both from last year’s Free Time LP). Ritsuko took time between thrashing her bass for lead vocals on Devil House, whilst Emi was also on vocal duty for the very 1960’s sounding I Am A Cat. Naoko was not to be outdone by the youngsters as Shonen Knife properly rocked out at the end of the set with Economic Crisis (see, they don’t just sing about furry animals!), which had just a hint of Motörhead about it, and Cobra Vs Mongoose.

Shonen Knife by Louise Wright
Shonen Knife by Louise Wright

To the particular delight of the mosh pit that had formed in front of Naoko, the band returned as their alter egos, the Osaka Ramones, and, with Ritsuko once again on lead vocals, launched into Sheena Is A Punk Rocker. Emi took over for The KKK Took My Baby Away before we headed, inevitably (and with the help of a stage diver), towards Blitzkrieg Bop. I’m pretty sure the whole of the Scala was shouting “hey ho, let’s go!” There was no rest for Shonen Knife, though, as they straight away headed to the foyer to sign autographs for the throng of ecstatic (and exhausted) fans afterwards.

Shonen Knife by Gabriel Ayala
Shonen Knife by Gabriel Ayala

As Shonen Knife return home to Japan for some more shows, and with the prospect of a US tour on the horizon, it certainly looks like the party isn’t over just yet!

Written by Richard Pearmain on Tuesday September 20th, 2011 10:34 am

Categories ,alt-rock, ,Brixton, ,Claire Kearns, ,Fi Blog, ,Gabriel Ayala, ,Girl-Groups, ,japan, ,Kings Cross, ,Kurt Cobain, ,Louise Wright, ,Motörhead, ,nirvana, ,Osaka, ,Osaka Ramones, ,punk, ,Ramones, ,Sally Jane Thompson, ,Scala, ,Shonen Knife, ,Sonic Youth, ,underground, ,Windmill

Amelia’s Magazine | An interview with musician and artist Elizabeth Walling, aka Gazelle Twin

Gazelle Twin by Sarah Arnett.

I’ve been keeping a firm eye (and ear) on Gazelle Twin since I discovered her enigmatic first single at the tail end of last year. Changelings was accompanied by a mesmerising video that exemplifies Gazelle Twin‘s approach to music making: creating an overall sensory experience in which the listener/viewer is immersed. That video was followed by the equally transfixing I Am Shell I Am Bone and now her debut album The Entire City is on its way. Not surprisingly she is generating a lot of interest, approved this despite having performed only one live show so far as Gazelle Twin…. I decided to find out a bit more from the lady herself. Meet the genius that is Elizabeth Walling.

<a target="_blank" href="http://www.vimeo.com/15238593" rel="noopener">http://www.vimeo.com/15238593</a>Changelings

According to wikipedia the Loplop was a birdlike creature created by artist Max Ernst. Why and how have you been inspired by this creature?
Loplop was a starting point in the ongoing development for the ideas behind my costumes which I use for live performance and in my imagery. I have always admired the painting The Robing Of The Bride by Ernst. It has a sexual-animal-human oddness that drew me in. I saw the real thing fairly recently in Guggenheim’s house in Venice. It was much smaller than I realised, but still magnificently weird. It really beckons you over from the other side of the room.

Gazelle Twin by Amy Brazier.

Were you trained in music, or is it something that has been building over the years? What other jobs have you done in the meantime if so?
I studied briefly at college and then University but I still consider myself to be self-taught. As a kid I would learn everything by ear, including pieces for piano, flute etc. I still do it that way now. Learning to read and write music obviously helped me develop a lot further, but I rarely return to the theory books and manuscript paper these days, except if I’m arranging something for classical musicians. I’m expecting to do a lot of that for the next album.

<a target="_blank" href="http://www.vimeo.com/13062680" rel="noopener">http://www.vimeo.com/13062680</a>I Am Shell I Am Bone

What are your main lyrical themes and inspirations?
Hard to know where to start. I’ve been inspired by the paranormal, under water life, science fiction films, dreams I had as a child, space exploration etc. All these influences and experiences are deeply personal, so it all remains very cryptic to others, I think.

How long have you been living in Brighton? What drew you there and what keeps you there?
I came here primarily to study music and never left. It’s a hard place to leave, and I love it here but after 10 years I think I might start to seek new horizons. It’s important to see new places I think.

Gazelle Twin by Lea Rimoux.

What is going on in the Men Like Gods video? Where was it shot and who are the dancers? I presume the scenes of burning pyres being dragged through streets are from the Lewes bonfire night, but are some of them choreographed specifically by yourself?
The Men Like Gods video contains footage from a very ancient Pagan festival in remote Sardinia. Some of the footage is my own from earlier this year, some was sourced through Sardinia‘s vast digital library and contains footage from roughly 30 years ago. The festival relates to the changing of the seasons and the life-giving land and cattle. Each village has it’s own particular ritual and unique costumes, so it is very diverse and strange. I went to experience one village’s ritual in March where I filmed the Mamuthones (the men who dance in black masks, bells and sheepskins). There is not much explanation as to why this ritual has such a bizarre aesthetic, but it is a very deep rooted tradition, at least two thousand years old. They take it very seriously there, it’s certainly not the tourist attraction that Lewes’ Bonfire night has become, but then I am sure it started out with much the same circumstances.

Gazelle Twin by Gaarte.

Do you collaborate with fashion designers to create your stage costumes, and if so who? How does that process work?
I design and usually make all the costumes. The process is very basic; I do a fair bit of research or just get an idea in my head and then I go to flea markets, charity shops and usually Poundland to source materials to work with. I’m unsigned so I don’t have an advance or anything to play with or to commission people, so I have to be imaginative and very frugal. Where I lack sewing skills or equipment I call upon my very talented friend, Gita Mistry. She recently helped me realise a brand new costume, a very striking blue, abstract Gazelle headdress, veil and robe which I might wear at my album launch in September.

gazelle_twin

You’ve been compared to the likes of Bjork but I think you also strongly channel more modern experimental electro musicians such as The Knife – who are more about hiding their personal egos behind creativity than extravagantly promoting themselves. Is it safe to say that you have been influenced by this kind of music? What have been your inspirations?
Classical, early music and film soundtracks are the bedrock of all my influences. When I was studying and composing in my late teens and early twenties I only ever really listened to that, maybe with a bit of Portishead and Jazz thrown in from time to time. Pop music is all relatively new to me, but true artists like The Knife, Fever Ray, Planningtorock and Bjork have all intrigued me musically as well as with their boldness of visual images and play on identity. I really admire artists who resist exposing themselves too much or try to divert people’s attention towards the music. I don’t think it’s enough to sport a weird costume or smear face paint on – the music has to be really strong first and foremost, but the costume should also be relevant to the identity in order to avoid being a slightly vacuous stunt.

Gazelle Twin by Claire Kearns.

How will The Entire City be available in an interactive web only version? Can you explain a bit more about how this works?
The album will be available as a digital download in the conventional sense and there will be limited vinyl and CD editions coming out later this year. For the digital release in July there is a special web-based counterpart, which will be available on the website very soon. I wanted to create an interactive, tactile way for people to experience the album in digital form, so I got in touch with Champagne Valentine and they came up with a wonderful application for me. The interactive version of The Entire City will be free to access and contains all album tracks which each have their own interactive visuals. It also features remixed video clips from all my music videos, as well as other, as yet unreleased footage. I’m hoping to make something interactive for every album/project in future, it’s a really satisfying process and I hope makes up for some of the loss of pleasure in buying a physical record.

Gazelle Twin by Lea Rimoux.

Why are live performances so rare? Will your fans be able to see more of you now that your album is due to launch? If so where will they be able to find you?
Live shows have been rare because I wanted to take my time with developing the project and make sure it all worked and felt right before I launched the whole thing and took it on tour. I also had to save the money in order to do it properly, so it’s taken a few years to get here. I want to keep shows rare and special; they involve a lot of visuals, choreography and extra musical elements and each one is unique. I much prefer to do a few really special shows than too many run-of-the-mill versions. It makes it more worthwhile as a performer too (and I have experienced many a dodgy gig in the past without this ethos, let me tell you!). I’m really excited to get back to performing this year. My album launch will be on 1st September at Electrowerkz (aka Islington MetalWorks) in Angel, in London. I have curated the event myself and I am making sure it is going to be really unique experience for all involved. I can’t give too much away at the moment, but all will be revealed on my website eventually.

Gazelle Twin by Nicola Ellen.

What do you do to relax? Where might we find you by night time in Brighton?
I tend to spend the majority of my time in the studio at home, I rarely venture out much these days! I play a few video games and watch films to relax – This year I have really sacrificed my social life in order to make this record and really get the project off the ground single-handedly.

Gazelle Twin by Gaarte.

New single Men Like Gods will be released on Monday 11th July alongside the digital release of The Entire City. Here’s a trailer for the amazing video.

<a target="_blank" href="http://www.vimeo.com/25272946" rel="noopener">http://www.vimeo.com/25272946</a>Men Like Gods

The opening album track The Entire City can be streamed here

Gazelle Twin will play as part of the Soundwaves Festival on July 14th-17th in Brighton as part of The Infinite Possibilities of Voice at Brighton Town Hall between 5.45pm – 10.30pm on Saturday 16th July. Gazelle Twin will be performing Colossus in the Atrium, a new improvisatory piece exploring the dialogue between human and machine. Voice and electronics will be coupled with darkly theatric sensibilities to create an atmospheric, electrifying and wholly unique experience, in collaboration with artist and musician Ed Briggs. I advise you secure tickets fast! This will not be a performance to miss.

Written by Amelia Gregory on Wednesday June 29th, 2011 2:48 pm

Categories ,Album Launch, ,Amy Brazier, ,Atrium, ,bjork, ,brighton, ,Brighton Town Hall, ,Champagne Valentine, ,Changelings, ,Claire Kearns, ,Colossus, ,Costume, ,Ed Briggs, ,electrowerkz, ,Elizabeth Walling, ,Fever Ray, ,Gaarte, ,Gazelle Twin, ,Gita Mistry, ,Guggenheim, ,I am Shell I am Bone, ,Islington MetalWorks, ,jazz, ,Lea Rimoux, ,Lewes, ,Loplop, ,Mamuthones, ,Max Ernst, ,Men Like Gods, ,Nicola Ellen, ,Pagan, ,Planningtorock, ,Portishead, ,review, ,Sarah Arnett, ,Sardinia, ,single, ,Soundwaves Festival, ,The Entire City, ,The Infinite Possibilities of Voice, ,The Knife, ,The Robing Of The Bride, ,video

Amelia’s Magazine | Stornoway talk about playing at the 2011 Larmer Tree Festival, 13th-17th July in Dorset

Stornoway by Sally Jane Thompson.

I’m really excited that Oxford indie folksters Stornoway will be playing on the bill at Larmer Tree Festival this year. Their lovely debut album Beachcomber’s Windowsill was released in May 2010 and although I didn’t get around to reviewing it I’ve been listening to it loads since then. We caught up with them in advance of this year’s festival madness.

Stornoway by Michael van Kekem.

Larmer Tree is famed for the wild peacocks and mackaws that roam around the grounds. What kind of bird or animal would the band be for the day and why…
As a collective band perhaps we should be a group of choughs, information pills as that wouldn’t require too much of a transformation: they’re nothing particularly special to look at, diagnosis but they’re sociable, illness quick, and make an interesting noise….

I Saw You Blink

Have you been doing a lot of traveling as a band? How is life on the road and where is your favourite place to play and why?
Yes, we’ve just got back from our second European tour and in a few weeks we’re going back to the US. Thankfully the novelty of becoming travelling minstrels is a long way from wearing off yet! We continually feel like we’re on some mysterious musical holiday. Our favourite destination on our travels so far has probably been Berlin, even if we stayed in a dormitory. It’s an alternately kitsch, funny and dilapidated city – spiritually about as far from Oxford as you can get.

Stornoway by-David-Merta
Stornoway by David Merta.

The UK has an amazing festival scene – there are over 400 taking place this year! What do you think of UK festival crowds?
Please forgive the sweeping generalization, but people at festivals over here do tend to be gently eccentric, in the best possible way, and respond well to eccentricity, which is a highly appealing trait. It’s as if they’ve been waiting all year to be themselves!

Watching Birds

Any special collaborations you have coming up this year? What are your plans for 2011?
Right now we’re working on an exciting live collaboration with the North Sea Radio Orchestra – we’ll be performing with us at Somerset House this summer. Meanwhile, we’ve been working on various bits of recording collaborations with Kathryn Edwards and Anton Barbeau which should hopefully see light of day this year.

Stornaway by Claire Kearns.

What encouraged you to first start making music? Who were your earliest inspirations, musical and otherwise?
Co-incidentally it seems that we were all either forced or bribed to be musicians for as long as we can remember (we still are in a way). Early inspirations were Roy Orbison, Euros Childes, John Tavener, South African punkpop band Tweak, Arthur Scargill and Wizbit from Paul Daniels’ magic show.

Zorbing

Lots of young musicians and performers attend Larmer Tree. Do you have any advice for those looking to break into the music industry?
As we never had some grand plan to follow, it’d be pretty disingenuous to come over as if we thought there was some surefire way of making things happen in the world of music! Don’t “plan” anything related to the music industry, as it’s in flux – just work on being the most versatile and sociable musician you can be and you’ll do just fine.

Stornoway by Sally Jane Thompson.

Who are your most revered musicians and what do you find so inspiring about them? Have you ever met your idols and if so what was it like?
Brian and Jon’s first ever conversation was about Teenage Fanclub, as they had both been er teenage fans of the band. Anyone can do vocal harmonies, but Teenage Fanclub developed a signature three-part vocal sound over the years which is distinctive and special. We supported them last year in Camden and briefly met Norman Blake; although he seemed like a very modest, unassuming kind of guy, we were pretty tongue-tied and in awe.

Boats and Trains

You must have a lot of dedicated fans, what is the strangest thing a fan has ever done?
A girl once licked Brian’s shoe onstage in Milwaukee. She’s known as The Shoe Licker locally. Also, quite recently we were followed across Europe by a young fan we thought needed help, and then it emotionally blackmailed us into bringing it home. It wasn’t the same one as The Shoe Licker.

Stornoway by Camille Block.

What music are you listening to at the moment? Can you give us any tips on up and coming acts or hidden gems we may not have heard of?
We are listening to Caribou, Edward Sharpe and the Magnetic Zeros, Andrew Bird, Chapel Club and some new chap called Leadbelly.

Stornoway Phenakistiscope by Laura Frame.

We’d recommend listening to Tom Williams and the Boat, Message to Bears, Spring Offensive and Otouto.

Fuel Up, live on Jools Holland

What can we expect from your performance at Larmer Tree Festival?
We’ve been working hard on some new bits and pieces of music which we’re hoping to air at Larmer Tree. Last time we played at the festival Rob chickened out of his tap-dance, so fingers crossed it will happen this time. If not, Brian will regale you with endless facts about peacocks and mackaws; he might even write a song about them for the occasion.

Stornoway Live by Laura Frame.

You can of course catch Stornoway playing on Saturday night at this year’s Larmer Tree. Read my full listing for Larmer Tree Festival here. It’s going to be a good one!

Written by Amelia Gregory on Thursday June 16th, 2011 3:30 pm

Categories ,Andrew Bird, ,Anton Barbeau, ,Arthur Scargill, ,Beachcomber’s Windowsill, ,Camille Block, ,caribou, ,Chapel Club, ,Choughs, ,Claire Kearns, ,David Merta, ,Edward Sharpe and the Magnetic Zeros, ,Euros Childes, ,folk, ,Indie, ,John Tavener, ,Kathryn Edwards, ,Larmer Tree Festival, ,Larmer Tree Gardens, ,Laura Frame, ,Leadbelly, ,Mackaws, ,Message to Bears, ,Michael van Kekem, ,Norman Blake, ,North Sea Radio Orchestra, ,Otouto, ,Oxford, ,Peacocks, ,Roy Orbison, ,Sally Jane Thompson, ,Spring Offensive, ,Stornoway, ,Teenage Fanclub, ,The Shoe Licker, ,Tom Williams and the Boat, ,Tweak, ,Wizbit

Amelia’s Magazine | Hannah Georgas: an interview with Hannah Georgas about her self-titled album

Hannah-Georgas-by-Morgane-Parma
Hannah Georgas by Morgane Parma.

We in England may not be too familiar with flame haired singer songwriter Hannah Georgas, but back home in Canada she has understandably been making major waves since she launched onto the scene with her debut album This is Good in 2010. In her new album she deftly combines a delicate acoustic feel with catchy melodies and a lush wall of electronic beats. From stunning opener Elephant, through the beautiful but revengeful Somebody to the thoughtful Robotic this whole record continues in an elegantly wonderful vein that perfectly suits Hannah’s crystal vocals. Here’s hoping she will return to visit us again soon.

Hannah Georgas_Tristan Casey
How did you learn to sing and make music?
My mom put me into piano lessons when I was very young. As soon as I started to figure out my way around my instrument I started writing songs. My dad was a really incredible blues piano player and was always playing and practicing his music in front of my family. I think his passion for music rubbed off on me.

Hannah Georgas by Rose Petal Deer (Emily Katherine Reader).

For English readers who might not know you as well, what has been your career to date?
I’m a Canadian pop singer/ songwriter born and raised in Newmarket, Ontario. My music career was jump started where I’m now based in Vancouver, BC. I released my first ep in January of 2009 and since then I have followed up with 2 full length records. I’ve toured extensively over the years and especially this past while in support of my latest self-titled record. I made my latest record in Toronto, Ontario with an incredible producer named Graham Walsh (frontman of an electronic band called Holy Fuck). I’ve been really fortunate to collaborate and tour with artists I adore and admire.

Hannah Georgas by Antonia Parker.

How has being a Vancouverite impacted your approach to music, and what is the scene like in your hometown?
Vancouver has inspired me in many ways. I was embraced by the music scene as soon as I started putting myself out there (open mics, recording, playing shows, etc..) CBC radio has been an incredible support for me and I’ve met many talented musicians that have become close peers. I’ve written the majority of my work in Vancouver. It seems to have an inspiring affect on me.

Hannah Georgas by Claire Kearns.

What was the treatment for the Somebody video and where was it shot?
I reached out to a production company based out of Vancouver called Amazing Factory and asked them if they would be interested in directing a music video for me. They do awesome work and I wanted them to try something for me. They sent me a treatment for Somebody that was an interesting and beautiful approach to the song. Their ideas consisted of having me perform in a variety of different reflections and film the reflected version of me. The piece was intended to be visually stunning, cinematic and simple in its presentation.

HANNAHGEORGAS_album cover
What inspired the lyrics on your self-titled new album?
I spent a solid few concentrated months writing this record. I made an effort to sit down as often as I could and just work on music. I would make time to practice almost everyday and hope that I could get the creative juices flowing. The lyrical content that came out was based a lot on what I was going through at that time. It’s often that I write music that comes from a personal place and if it’s not exactly about me, I’m affected by something and I make it personal. The record is reflective, introspective and dark at times but it’s also very hopeful. A little playful as well.

Hannah Georgas Elephant by Slowly The Eggs
Hannah Georgas: Elephant by Slowly The Eggs.

What was the highlight of working with Graham Walsh, a well known Canadian producer?
There are many highlights that I have working with Graham. He’s a lovely individual and I now consider him a great friend. He’s incredibly innovative and authentic and I learned a whole lot while working with him. He’s just a good guy. We just had a lot of fun hanging out together.

Hannah Georgas_Mark Cohene
Will you be visiting us anytime soon, and where can we catch up with you live?
I’m hoping to be back I’m the new year. I post news all the time on my website at www.hannahgeorgas.com and all of the other social media outlets we use these days. Hopefully we can catch up live again next time I’m back!

Hannah Georgas by Clementine Neild.

Hannah Georgas by Hannah Georgas is out in the UK on 25th November 2013.

Written by Amelia Gregory on Friday October 25th, 2013 6:04 pm

Categories ,Amazing Factory, ,Antonia Parker, ,BC, ,Canadian, ,CBC radio, ,Claire Kearns, ,Clementine Neild, ,Elephant, ,Emily Katherine Reader, ,Graham Walsh, ,Hannah Georgas, ,Holy Fuck, ,Morgane Parma, ,Newmarket, ,Ontario, ,Robotic, ,Rose Petal Deer, ,Slowly the Eggs, ,Somebody, ,This is Good, ,Toronto, ,Vancouver, ,www.hannahgeorgas.com

Amelia’s Magazine | Ladytron at the HMV Forum: Live Review

Ladytron by Claire Kearns.

Has it really been this long? This long since I first caught the subtly seductive beats of Playgirl on Radio 1’s Evening Session? Hearing Helen Marnie’s coy yet devastating vocals for the first time? And what was the band’s name? Ah, cialis 40mg taken from an Eno-period Roxy Music song. Cool! And how long since I first saw them live, on the South Bank (Queen Elizabeth Hall, I think)? Daniel Hunt drolly announcing that dancing was allowed. Then the one and a half gigs at the late, not necessarily lamented Astoria (the first attempt was abandoned when the mixing desk packed up half way through the set). And now here we are, with a decade-spanning greatest-hits-that-should-have-been in the shops, a new album in the offing and a date to keep in Kentish Town.

Ladytron by Robert Tirado.

Playgirl

Two single green beams of light cut through the Forum’s darkened auditorium as a curious synthwave re-working of the old jazz standard You Go To My Head played over the PA. Then Ladytron (all dressed in black, as ever) appeared – Helen Marnie and Mira Aroyo centre stage, flanked by Daniel Hunt and Reuben Wu –and launched into Runaway, with those pounding drum beats bouncing round the room. Backed by pulses of blue, green and red light, we then got a blistering High Rise, which gave way to a typically immense-sounding Ghosts.

Runaway

There seemed to be a kind of back to basics approach tonight – recent flirtations with stringed instruments seem to have been put to one side (though from my vantage point I couldn’t make out whether Hunt did tinker with a guitar at all), and it was a return to the straightforward analogue synth sound of old, save for the presence of a drummer behind the quartet.

Ladytron by Michelle Pegrume.

Marnie’s ice queen vocals belie a commanding stage presence (in between vocal and keyboard duties, she was even seen perched on the drum riser!). Her voice really comes into its own, though, on the darkly pulsing Soft Power and the forbidding International Dateline (both from 2005’s acclaimed Witching Hour album). Aroyo also got in on the act, with her stern Bulgarian intonations giving the dark dance beats of Fighting In Built Up Areas an extra edge.

Seventeen

The delicate White Elephant provided a taster for the forthcoming album, Gravity The Seducer, and marks how far the band have travelled since the likes of Discotraxx (from debut album 604, and which also got an airing tonight). Near-hit Seventeen, with its perceptive pop culture mantra (“they only want you when you’re seventeen, when you’re twenty one you’re no fun”) received a rousing reception as we headed, inevitably, towards Playgirl and the traditional set closer, the massive Destroy Everything You Touch.

Destroy Everything You Touch

And so, the lights come up and Ladytron depart for their remaining few shows – apparently our last sighting of the foursome on these shores for the rest of the year. Still, we got what we wanted, a glimpse through a synth-pop past darkly, mixed with a teaser of what is still to come. And it really has been this long, a decade of remarkable music that still sets the standard for the latest wave of synthwave bands to aim for.

Written by Richard Pearmain on Tuesday June 14th, 2011 9:25 am

Categories ,astoria, ,brian eno, ,Claire Kearns, ,Daniel Hunt, ,Destroy Everything You Touch, ,electronic, ,forum, ,Gravity The Seducer, ,Helen Marnie, ,jazz, ,Ladytron, ,Michelle Pegrume, ,Mira Aroyo, ,Reuben Wu, ,Robert Tirado, ,Roxy Music, ,south bank, ,Synth-Pop, ,synthwave, ,Witching Hour

Amelia’s Magazine | Depeche Mode at the O2 Arena: Live Review

Similar Posts:

Amelia’s Magazine | Donna Summer 1948 – 2012

Similar Posts:

Amelia’s Magazine | Frankie Rose at the Lexington: Live Review

Similar Posts:

Amelia’s Magazine | Weyes Blood arrives on European shores: an interview with Natalie Mering

Similar Posts:

Amelia’s Magazine | Live Review: Gazelle Twin launches debut album The Entire City at Electrowerkz

Similar Posts:

Amelia’s Magazine | Shonen Knife at the Scala: Live Review

Similar Posts:

Amelia’s Magazine | An interview with musician and artist Elizabeth Walling, aka Gazelle Twin

Similar Posts:

Amelia’s Magazine | Stornoway talk about playing at the 2011 Larmer Tree Festival, 13th-17th July in Dorset

Similar Posts:

Amelia’s Magazine | Hannah Georgas: an interview with Hannah Georgas about her self-titled album

Similar Posts:

Amelia’s Magazine | Ladytron at the HMV Forum: Live Review

Similar Posts: