Later this week, I’ll be writing a review of the new Martin Rossiter album, The Defenstration of Saint Martin. I’ll mention what a glorious return it is for the ex-Gene frontman (who’s now based in Brighton, obviously). I’ll note how there’s obviously been a lot of pain in Martin’s life, and comment on just how eloquently this is put across in the ten minute opener Three Points on a Compass. I’ll note how the instrumentation – just voice and piano – makes it both simple and powerful. And I’ll feel slightly daunted about putting some words together when my command of the English language isn’t a patch on his.
In the meantime, here’s a video of one of the standout tracks from the album – Drop Anchor:
If you missed British Sea Power at the Duke of Yorks on Friday Night providing a live soundtrack to From The Sea to the Land Beyond then fear not, because the film itself is being shown on BBC4 at 9pm tonight (Sunday 19th November), and also on Wednesday at 00:00 (which is actually late on tuesday night).
From the Sea to the Land Beyond is a film about the British coast made from 100 years of our film heritage stored in the British Film Institute collection, edited by Penny Woolcock with a soundtrack by British Sea Power.
I didn’t make it down on Friday, and haven’t seen the film yet, but with a title like that, the soundtrack just has to include British Sea Power’s track To The Land Beyond:
We thought it would be worth posting up a few of this weekend’s gigs, since there’s so many great ones going on (and so many that we won’t be able to get to, but want to make sure you know about them). Tonight, Restlesslist play a set at the Prince Albert of their first new stuff that they’ve put together since the brilliant Coral Island Girl which they’ve been playing all yeat. Over the road at the Green Door Store, Ninja Tune’s Grasscut are playing a homecoming gig, and out in Hanover, The Bobby McGees are bound to entertain at the Horse & Groom. Meanwhile, The Resonators will be playing tracks from their new album The Constant at the Blind Tiger.
Tomorrow, our friends over at Some Of It Is True are hosting Bellman at the Palmeira, and Flash Bang Band are supporting. Cupboard Music are hosting a night called Hey! Fever at the Green Door Store, with Speak Galactic and Soft Arrows on the bill, and British Sea Power are playing a live soundtrack to a new film called From The Sea To The Land Beyond at Duke of Yorks.
Then on Saturday, Catherine Ireton plays her final Treasure Tracks 4 in association with Source New Music. Who knows exactly where that’s going to be! Our final pick of the weekend is Anneka who’s supporting Plaid at the Concorde 2.
It’s been nearly two years since the last Fujiya & Miyagi album Ventriloquizzing came out, so we’re about due another one. As it happens, we’ve got two. Or maybe none. Confused yet?
The next couple of weeks sees the release of Grave Goods by I Am Ampersand and the eponymously titled Omega Male. I Am Ampersand is the solo project by Matt Hainsby, Fujiya & Miyagi’s bass player and Ampersand. Omega Male is a collaboration between David Best and Project Jenny Project Jan’s Sammy Rubin.
Both albums start off sounding like they could be Fujiya & Miyagi’s own work. Omega Male, the opening track of the Omega Male album Omega Male (sorry, I couldn’t resist) reuses a technique David Best used on Ankle Injuries, repeatedly slipping in parts of the band name into the lyrics. The vocal style is unmistakeable and the track sounds like Fujiya and Miyagi with a heavy dose of electronics. I am Ampersand’s opener Lights and Radios also showcases Matt Hainsby’s contribution to Fujiya & Miyagi, with a bit rolling bassline and fizzing analogue electronics at the end. After the openers, the albums take on their own distinct personalities.
There are several options for you if you’re in a band but you want to pursue a side project – you could take what you do in the band and see how that works with other musicians, or you could use the opportunity of being free from the band’s style to do something rather different, and the two albums here show both those choices.
Fujiya & Miyagi and Project Jenny Project Jan have collaborated in the past, touring together and making the track Pins & Needles which appeared on Project Jenny Project Jan’s Colors EP back in 2009, so it’s no great surprise to see David Best working with Sammy Rubin again. David Best’s trademark vocals, emphasising each syllable (there’s a track about saying sorry called Uh-Pol-Uh-Jet-Ik), make the album sound very familiar to those who know Fujiya & Miyagi, and work well combined with Sammy Rubin’s electronica. It’s not a dance album though – You Bore Me To Tears revels in Serge Gainsbourg’s long shadow, and the album’s closing track. Buildings Like Symphonies, is probably the most beautiful song I’ve heard this year. An 8-bit electronic melody opens things sounding like digital birdsong. A simple string line starts at the same time as Best’s hopeful lament. Over a verse or two, the strings build, joined by subtle horns. Halfway through a loose drumbeat kicks off, the strings are soaring, and you truly believe Best when he sings that “Rumours were circulating / that we could build / Buildings Like Symphonies”. It’s the magical chemistry that makes tracks like Unfinished Sympathy by Massive Attack or Gorecki by Lamb the classics that they are. Breathtaking.
I Am Ampersand also has another of my favourite tracks of the year on it – 20 Seas 4 Oceans has received heavy rotation in these parts since it received an ultra limited release on 7″ earlier this year. I was enjoying it for the music, sounding a little bit like an acoustic country-folk take on Spirit In The Sky, not paying nearly enough attention to the lyrics which, now I’ve read the press blurb, I can hear are all about the song’s narrator being a Merman living in a city wanting to return to the sea. Obviously. The rest of Grave Goods is lovely pastoral psychedelic folk-pop, at times sounding like some of Gruff Rhys’ quieter moments, never losing it’s edge and lapsing into something “nice”. Fujiya & Miyagi loom large on Eko, an uptempo instrumental midway through the album, and then it’s back to the wonky pop on the first proper single Holding The Negative Up To The Light. The album closes with the title track Grave Goods – the archaelogical term for possessions buried with bodies. Three and a half minutes of country twang ruminating on life and death, and everything you accumulate inbeween. A fitting close.
Omega Male by Omega Male is released on Full Time Hobby on 12th November, and play at the Blind Tiger on Tuesday 20th November as part of Melting Vinyl’s Oui Love night.
Grave Goods by I Am Ampersand is released on Great Pop Supplement on 19th November.
Last thursday night, The Blind Tiger was the place to be in town as the great and the good of Brighton crowded in for the launch of Jennifer Left’s new single Diggory. Spotted amongst the crowd were other local artists, producers, record label bosses, magazine editors and photographers. Not bad for a chilly November evening.
The May Birds
Support came from The May Birds, one of the latest bands to pass through Tim Bidwell’s Clockwork Owl studio. Despite missing their piano player, a beautiful sound came from the stage – lovely harmonies and lush arrangements. I look forward to hearing their EP once Tim’s finished working his magic. If only the crowd had appreciated them a bit more though – In my opinion, the level of background chat was quite insulting. It might have been people not paying too much attention to the support band, or the acoustics in the Blind Tiger, or the May Birds being quite quiet, but if you’re at a gig have a bit of respect, eh? It’s not just me that thinks it’s bad manners – it was top of the list on the Source’s recent Gig Charter.
Jennifer Left
I mentioned last time I saw Jennifer Left that she’s had a bit of a transformation of late into more of a pop star. It could be the sharp bob haircut she now sports, or the more extravagant stagewear, or just the confidence from having your songs played on the radio, but whatever it is, she continues to get better and better. There’s more communication with the audience, there’s less fiddling between songs, the musicianship seems slicker – again, it’s not just a single thing that you can put your finger on that’s improved. The set opened with their first single Black Dog, and rattled through a whole load of tracks which will end up on the upcoming album Hushabye as well as their gorgeous Bossa Nova version of New Order’s Temptation. The cover is one of the b-sides to Diggory, which the band closed their set with.
Despite appearances, 1996 was a good year for Saint Etienne. Although it was two years since Tiger Bay came out and another two years before they would release Good Humor they weren’t resting on their laurels. I would regularly see them DJing at the Heavenly Jukebox at Turnmills, alongside the likes of The Chemical Brothers. It seems kind of crazy to think that you could go clubbing where the Chemical Brothers were residents, but remember that Dig Your Own Hole didn’t come until 1997. If it wasn’t the Chemical Brothers headlining the night, it would be David Holmes, or Richard Fearless from Death in Vegas, or Jon Carter from Monkey Mafia, or Andy Weatherall. Only in retrospect can I see just how stellar the line ups were.
Saint Etienne have had one foot in the charts and the other on the dancefloor ever since Pete Wiggs and Bob Stanley decided to cover a Neil Young song because they hadn’t yet written any songs of their own. The 7″ version of Only Love Can Break Your Heart is a Balearic classic, but Andrew Weatherall’s Mix of Two Halves (a nod to the fact that Saint Etienne are named after the football team rather than the French town) was the first of dozens and dozens of remixes which were as good, if not better than the original.
In 1995 the limited edition run of Saint Etienne’s first best of, Too Young To Die, came with a bonus disc of remixes which went down a storm. The following year this bonus disc got a full release with an extra cd. Casino Classics hit the shelves and featured remixes by The Chemical Brothers, Aphex Twin, Way Out West, Underworld, Monkey Mafia and Death in Vegas. Where the first disc was previously released mixes, the tracks on disc two were brand new unreleased remixes. Some were remixes of tracks that hadn’t even been released, and tucked at the end of the compilation was a remix by Broadcast, who at the time had only put out one EP and had yet to sign to Warp records.
Over the past three years, Saint Etienne have slowly been reissuing remasters of all of their old albums, and it’s now Casino Classic’s turn. Where each previous reissue has included an extra disc of material, the deluxe reissue of Casino Classics comes with two discs of additional material covering some of the best remixes since the original release all the way through to the release of London Conversations – the remastered Greatest Hits which kicked off the reissues. On the new version we’ve gained remixes of tracks by the likes of Paul Van Dyk, Faze Action, Tiesto, Aim, Add N to X and Hybrid, as well as US-only remixes of Only Love Can Break Your Heart and Nothing Can Stop Us by Masters at Work. There’s also some more remixes from the older days which weren’t included on the original Casino Classics including Pete Heller’s piano house take on Kiss and Make Up which only ever came out on 12″ over twenty years ago. Completing the circle, things finish with their Cola boy remix of The Method of Modern Love – the last single from the period covered. Cola Boy was another project that Pete and Bob were involved with in the early days of Saint Etienne, who only released two singles in 1991.
It’s hard to know where to start with recommending tracks from this compilation. I’ve already mentioned the Andrew Weatherall remix of Only Love Can Break Your Heart, and the Broadcast take on Angel. David Holmes remixed Like a Motorway before he got the funk, and is an amazing thirteen minute acid-techno wig out. The Monkey Mafia remix of Filthy is a big beat classic. The Faze Action mix of Sylvie is ten minutes of brilliant Latin house. Cool Kids of Death mixed by Underworld has been slimmed down by four minutes from the original to be able to fit more tracks in, but you still get more ten minutes of it. Their foray into drum’n’bass – when PFM remixed Down By The Sea is also reduced by half, but across the four cds (and the bonus downloads), you get a monster 54 tracks. It’s astonishing for any band to have that many remixes in the first place, let alone so many over so many years of such consistently high quality.
Casino Classics is out on Monday 12th November. On the same day, there’s also a deluxe reissue of Sarah Cracknell’s solo album Lipslide. Saint Etienne get a mention because Pete’s a Hove resident these days, but since Sarah isn’t a Brightonian I won’t be writing about what a great single Anymore was, or about how Summer Song (previously issued as a Saint Etienne song on the fan club only Boxette) is one of the absolute very best things to have come from the Saint Etienne camp, or about the mystery of multiple inclusions of some songs at the expense of the lilting acoustic bossa nova of b-side Oh Boy The Feeling When You Held My Hand (which you can buy as an mp3 from Amazon here). Oh wait, hang on…
Saint Etienne play the Concorde 2 on 13th December
Here’s four videos to keep you entertained. Two for new songs, two for some not so new songs. Jennifer Left and Abi Wade released their new singles yesterday (and Jennifer Left is having a launch party for hers at the Blind Tiger on Thursday). Mosaic by Fear of Men and Spectre by Curxes both came out earlier in the year, but the videos have only just appeared:
Last night, Bat for Lashes made a triumphant return to the Brighton stage. It’s been three years since Natasha Khan has played her hometown, but last night’s gig at the Dome showcasing her new album The Haunted Man was a wondrous thing. Brighton was the last date of her UK tour, and the audience was full of fans and friends alike. Her set was predominantly taken from the new album, with a sprinkling of tracks from her previous records, with the closing track predictably being her biggest hit Daniel. It was a real joy to see her at the Dome – the venue suited her perfectly. The stage was big enough to turn the event into a visual spectacle, and the sound was impeccable. Natasha’s voice was an absolute marvel.
Click on the thumbnails below to open open the gallery and view the pictures large:
Last Monday, Dark Horses released their debut album Black Music. We’d have written about it sooner, but we were waiting to tie it in with the launch party on halloween, and we’ve been shellshocked ever since.
Black Music, put simply, is the most powerful album to be released by any Brighton Band this year. It’s sleazy rock’n’roll. It’s filthy electro. It’s teutonic Krautrock. It’s the soundtrack to the film that Quentin Tarantino hasn’t made with David Lynch. It’s the smell of oil, leather, sweat and blood. It’s amazing. By about now, you should have stopped reading and opened up another browser window to order the album (try here).
Dark Horses got Death In Vegas main man Richard Fearless in to produce the album, and he’s the perfect choice. Black Music recalls some of the best bits from The Contino Sessions or Scorpio Rising. Around two thirds of the way through the album, the pace drops and things quieten with a few cover versions, the first being a song called Sanningen Om Dig by singer Lisa Elle’s Swedish compatriot Tomas Andersson, and the second a surprisingly delicate take on Talking Head’s Road To Nowhere, featuring harp and a doo-wop backing.
Dark Horses
Live, Dark Horses were as fearsome a prospect as the album, playing up to the myth with each band member dressed in black,, minimal lighting and dry ice filling the stage, and Lisa Elle adding to the mystique by talking in Swedish between the tracks. It was also daunting for me to take photos of the band – Dark Horses are one of the first acts I’ve come across who’ve given their photographer equal credit alongside each band member. They also manage to transcend the feeling that we were watching a local act – driven by their stage presence primarily, but also the following the band have, not coming to see them because they’re local, or because they’re friends with one of the members, but for what a great band they are.
This is my third visit to the Hanover Community Centre this year. Last time I was there was a few weeks ago for the Hanover Beer Festival, and back in the summer I was there for a non-Christian christening type affair. It’s not your usual live music venue. That didn’t put people off though, with the room full to the brim before anyone had even played a note.
First up were Do You Feel What I Feel Deer, a folk duo augmented with violin, a smaller arrangement than when I saw them supporting Mice Parade a couple of weeks ago. Their tight harmonies held the room, and the song themselves felt at the same time both progressive yet timeless. The audience was spellbound, as was I.
The second support was Crayola Lectern, whose album The Fall and Rise of Crayola Lectern is due early next year. Crayola Lectern don’t write normal songs – their tracks don’t follow a verse / chorus / verse structure, and can sometimes stretch for ten minutes as different turns are taken. There’s humour, but they aren’t a novelty act, and some songs convey an astonishing level of tenderness and emotion just with the music. There aren’t really words that can truly describe Crayola Lectern. They’re completely without comparison ; brave and individual, and while they confused some of the audience, they should be applauded for doing their own thing.
Crayola Lectern
Finally it was time for Mary Hampton Cotillion. She could call the additional musicians that joined her her band, but they felt a bit more special than that. Seeing Mary Hampton live is an amazing experience normally, but with a band she takes things to another level, bringing in rich harmonies and lush arrangements. Their set felt like it was over too soon, taking in around half a dozen folk songs which sounded like they could have been written at any point in the last five hundred years, including last years single Honey in the Rock, and a brand new track which the band spent the previous day recording. It was beautiful. And while it could be argued that it was a short set, nobody in the room could have felt short changed with such great night.
Brighton Music Blog 