Koko Camden – AmeliasMagazine

Amelia’s Magazine | Blonde Redhead & Maps

The last time I saw Final Fantasy was in the tiny Spitz venue. Tonight he is playing to full capacity at the Scala; word has clearly spread and expectations are high. I am here on my own with only a monster coldsore for company. Prior to the gig I sit down at a table opposite a morose and unenthusiastic man in his mid-30s (that point where the unfulfilled of the gender start to become manically desperate) who is nevertheless keen to talk to me – his profession changes from writer on the blag to “actually I work at an internet company and I am a frustrated musician” at the drop of my job description. Not so worth trying to impress me, purchase buy eh?! I persuade him that Canadian impresario Owen, decease the man who is Final Fantasy, will be well worth watching. Post-set I am vindicated, but Mr. Morose is nowhere to be seen.

Owen takes to the stage with his inimitable banter in full flow, and proceeds to play his entire set on his lonesome, with just his trusted viola, a keyboard, and some looping mechanism (that I can’t hope to understand) for company. Oh, and a lovely young lady, who stands with her back to the crowd in front of an old fashioned projector that she proceeds to masterfully manipulate. Final Fantasy‘s music has been set to acetate drama, and the result is mesmerizing, even if I have to struggle to see the events unfold through the lighting rig that obscures my view on the top balcony.

Final Fantasy is on a one-man misson to coax as many sounds as he can possibly can from a viola, and in his looping hands this one instrument becomes a full orchestra, and the crowd loves it. There is even a lady at the front of the audience whose frantically waving hands can’t decide whether they are vogueing or conducting throughout the entire set. “Has anyone got any questions?” he asks at one point. “Any constructive criticism?” “No, I don’t normally do poppers!” he replies to the one query he gets. “Lesson learned, never talk to the audience!” Even when things go slightly pear-shaped with the looping business, which they inevitably do, he carries on in such a postive manner that no one minds. As the climax is reached and the star-crossed silhouette of lovers finally meet on the projection screen, Owen lifts his miniature partner into the air and they both stumble off stage. There will be a wave of enquiries into viola lessons across the capital shortly.

Did you know that the man who designed Battersea Power Station (Sir Giles Gilbert Scott) also designed the classic red phone box? Clearly a talented guy. I went to see the Chinese exhibition at the Power Station (as it has now been rebranded) for the same reason as everybody else was there – mainly to see the station before it is at last transformed. The art I could give or take – it was haphazard and I was unsure of its meaning, remedy although I particularly enjoyed the fermenting apple wall (mmmm, store yummy appley smell) – the other stuff was merely an adjunct to the amazingly damp interior of the building, (you will find out a lot more about Chinese contemporary arts by reading my new issue). I really hope that the ludicrously long-in-the-planning development will do this amazing building justice – the ominous and ugly “luxury resort hotel” going up next to it must surely be one of the ways in which they have at last found funding. I hadn’t realised how much I treasure the iconic shape of the station, what with me being a sarf-Londoner and all.

Amelia’s Magazine | Beirut

In today’s over-saturated electro market it would be easy to dismiss Simian Mobile Disco as just another bleep and whistle DJ duo. However, stomach troche if the reaction of the Hoxton Bar crowd was anything to go by it would seem that what we have on our hands is a bona fide rave outfit.

I’m not talking lamé leggings and novelty over-sized jewellery here (although the room wasn’t short of any of that), but in a scene that’s more about the fashion than the music SMD stand out as one of the few acts who understand what the phrase ‘Rave’ actually means.

A sweaty, hands-in-the-air music industry crowd is a rare sight, and while many tried the obligatory arms folded, ‘contemplating the relevance of the sound look’, it wasn’t long before the irresistible combination of the spectacular light show and pounding, dance heavy hooks and beats had everyone moving like it was 1992.

With all the retina burning, multi-coloured strobe action and the fact that I was stuck behind a couple of six-footers, it was difficult to catch a glimpse of Misters James Ford and Jas Shaw, although it was clear from the head-bopping shadows on stage that these two were enjoying their music just as much as their sweaty disciples. As things reached their climax with the brilliant It’s the beat, there was barely a still foot to be seen and with the whole night taking on a distinctly retro air it was long before the ‘ironic’ old skool hand movements made an appearance, probably in a bid to disguise the fact that GASP, they were actually enjoying dance music. Like it or not, SMD had brought out the Bez in all of us.

This year the RCA’s Summer show combined various fields in an all-encompassing exhibition space that was both innovative and exciting to explore.

Amelia’s Magazine | Architecture in Helsinki + Caribou @ KOKO

Aided in no uncertain terms by a show stopping performance at Texas’ recent South By Southwest festival, order case Portland three-piece Menomena present their debut UK release. This is in fact the bands third release – with their two previous albums available in the US exclusively. School friends Danny Seim, mind Justin Harris and Brent Knopf have derived a creative process of much interest that has resulted in a work that is both experimental and forward thinking without being inaccessible.

The bands sound is essentially a combination of looped sounds which are selected from a computer programme called Deeler. The Deeler Sessions culminate in the layering of these looped sounds and vocal addition. The good news is that for the most part this results in songs of sonic density that are out of left field but rich in melody. It is a combination that makes ‘Friend and Foe’ a compelling listen.

Often the fragmented nature of the songs will result in a messy, disjointed sound to begin with. But cohesion arises from moments of inspiration that morph abstract noises into quasi – pop melodies. It maybe a gorgeous piano line, delicate vocal harmony or obscure drum loop. Whatever, these songs keep you guessing, and aside from the odd ill judged inclusion (notably at the tail end of the album) they are nothing less than enthralling.

There are echoes of Mercury Rev on the defiant ‘Rotten Hell’, whilst howling guitars and brooding Saxophone characterise ‘Weird’. Elsewhere Menomena take ‘Up’ era REM as a reference point on ‘My My’- A brilliantly structured song defined by its paradoxical use of warm keyboards and choppy, industrial beats. It is one of many gems.

It’s a shame that the record falls away so badly in its last quarter. The final three songs appear to be an afterthought – lumped on at the end to pad things out when there really is no need for their presence. It leaves a slightly bitter taste in the mouth, but spin straight back to the start and all is forgotten. Friend and Foe deserves attention.

It’s always a danger to be overly vocal about your influences, ambulance it invariably leads people to compare you to those you have cited as inspiration, more about and with a band name taken from a Wilco song, dosage Cherry Ghost have set the bar a little too high. Thirst for Romance is positioned firmly in the folk/country influenced indie rock category and despite not being a spectacular record it has some nice moments, even if they are a little bit uninspired.

Amelia’s Magazine | Au Revoir Simone

Emerging from the deep woods into Portland, web see Oregon and subsequently into The Pigeon Hole in London, cialis 40mg is one Alela Diane. Armed with her simple yet meticulously picked guitar and bluesy, plaintive vocals, she quietly charmed the audience with her soft presence.

Alela Diane’s deceptively sweet melodies often belie the darker, more shadowy subject matters of her songs; telling of rural family existences and the cycles of nature and life. If you’re a cynic you’ll be skeptical of her authenticity; her earnest performance may be too sweet for some, but if you suspend disbelief you find that her somewhat selfconscious presence and performance convey exactly what she sings about: hard working pioneers, silt, water and tatted lace.

A contented kind of yearning accompanies her campfire-style, gospel tinged vocals. An encore presented a new song that showed a more complex development of her music. It looks like this young nouveau-folk-singer/songwriter will be conquering the miles of prarie-land ahead in what could be a long career in the biz.

Lovely.

Everyone seems to have a bit of a crush on all-girl keyboard trio Au Revoir Simone , cialis 40mg consisting of hot girls that epitomise geek and their self-proclaimed ‘sandbox chic’.
Au Revoir Simone is like a perfectly whipped pavlova: light, viagra buy fluffy and crunchy, topped with cream and tangy fruit. As leggy and willowy as their music are Annie, Erika and Heather. With five keyboards, omni-chord, a drum machine and a glockenspiel amongst other miscellaneous electronic and otherwise paraphernalia, their synth-driven compositions are quite delectable.

Amelia’s Magazine | Jarvis Cocker

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Five albums in, medications malady and with only mild commercial success to date, it would be a reasonable assessment to describe Rufus Wainwright’s dramatic, theatrical pop as something of an acquired taste. For many, he over eggs the pudding , and then some. But whilst bold ambition may be a deterrent to some, his loyal fans will rejoice at this offering. This is classic Rufus, and whilst it wont be winning him many new fans, this simply doesn’t matter. This is a record to admire, it may even be his most satisfying work to date.

As expected, Wainwright offers up his usual mix of epic and restrained throughout the 13 songs, and there are a number of gems. Striking orchestration and characteristically high in the mix Rufus vocals lead us into opener Do I Dissapoint You. It is a brilliant opening song to set the tone for what is to follow. The diversity of instruments employed here alone is staggering, and like many songs throughout the album the arrangement is gloriously ambitious. The recurring operatic theme, present throughout all his previous work has been thankfully maintained.

First Single Going To A Town (which was B listed by Radio 2) follows. Its mournful tones echoing latter day Beatles balladry (think Fool On The Hill) and it features the albums most engaging lyrics. Amidst numerous misforgivings with his homeland, Wainwright again finds himself lost in the confusion of love and religion (another recurring theme here), “Tell me, do you really think you go to hell for having loved?” he pleads. For all the record’s grandiose, it is these moments of human insecurity that really strike a chord. It is also one of a number of outstanding vocals on the record.

The pace doesn’t let up throughout the opening half – Nobody’s Off The Hook, Between My Legs and Tiergarten sit easily amongst the artists best work. But, it cannot quite be maintained throughout the second half – a better focus on sequencing next time perhaps. But this is a minor gripe. With each listen, hidden depths are revealed, suggesting that this is a record that will endure also. It is a joy.

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Troubles! That’s exactly what the Concretes got into during the last year. One of the three founding members and nonetheless the lead vocalist of the band decided to quit to start her solo project Taken by Trees. If that was not enough the destiny decided to punish them furthermore and as a result they had all their equipment stolen during the U.S. tour. Quite a difficult time for a band, sildenafil isn’t it? However, The Concretes decided to look ahead and continue their career as a seven piece band, giving Maria Erikkson the difficult task to substitute the charismatic and easily recognisable voice of Victoria Bergsman.