FEATURE: Noisestra

*Originally published for The Journal newspaper (7/8/12)


What do you get when you mix international exponents of avant garde music with 12 young turntablists in the North East? Well, quite a bit of noise. Charlotte Krol finds out what Mariam Rezaei's ambitious project Noisestra is all about.

"I feel very strongly about young people having a say in what they take part in. Music really is an identity for them and they can drive it forward in such a huge way.”

Twenty seven-year-old professional composer, improviser, performer and DJ Mariam Rezaei speaks with an old head on young shoulders.

“Turntablism is dying a death in this economy and I want to preserve it as an art form.

“The only way for it to survive is through collaboration and it is young people who are most willing to learn the skills.”

With the growing trend of DJs using laptops to create music by “simply pressing play on iTunes”, Mariam has been on a mission to keep vinyl turntablism alive by teaching DJ skills to young people based in the North East.

But rather than falling into a regressive trap of teaching DJing for the sake of tradition, Mariam has devised ways to be progressive when learning a skill that is becoming more and more outdated.

Since January, alongside weekly DJ workshops, the participants have been creating graphic scores to interpret music from.

The design work is in advance of the group’s collaborative performance with Anton Lukoszevieze’s award-winning experimental ensemble, Apartment House, at The Sage Gateshead on Friday.

“There has never been an ensemble of instrumentalists with an ensemble of turntablists before,” says Mariam. “This is groundbreaking. It will make history in music.”

The graphic scores were created from distorted photographs of Newcastle taken by the participants, including images of the Sage, the Quayside and Grey’s Monument.

“Noisestra has really allowed people to have their own voice and to develop themselves professionally.

“Some participants have used the project to not only learn a new skill, but to help them with their art work, for instance, or on their journalism by writing Noisestra blog posts for The Sage’s website.”

Local graphic and web design company, El Roboto, has guided Noisestra with the graphic scores, but it has also provided the group with vital work space in their studio.

Johan Berg, of El Roboto, says: “Even though we mainly work with multinational companies, whenever we have the opportunity to do something for someone who is really motivated, like Noisestra, it’s nice to help out.”

Mariam is more than grateful for the company’s help, saying that she doesn’t know what she would have done without them. “El Roboto has offered Noisestra unprecedented help. It’s something that I really appreciate.

“The same goes for The Sage Gateshead. Performing in such a fantastic venue adds to the professionalism of the project and it’s a brilliant example of the North East supporting its own artists.”

The project is part of NE-Generation and is funded by the Legacy Trust UK, an independent charity set up to promote a sporting and cultural legacy from the Olympic and Paralympic Games around the UK.

Mariam has performed as a DJ with ensembles in the past but felt she was a “gimmick”.

“This time, I wanted to see how the instruments in an ensemble would work with turntables – not the other way round.

“I’ve worked with Apartment House before and the experimental way in which they perform and think about music fits perfectly with Noisestra.”

“Experimental” certainly describes Noisestra’s sound. From pass-the- parcel noise compositions to minimalist pieces interpreted from graphics of trees, Mariam is very aware of the project’s unique identity.

“It’s something that people either love or hate because it’s very out there. But now there is a new group of trained turntablists in the North East. I think that’s really exciting.”

REVIEW: Micachu and the Shapes - Never

*Originally published for The 405 (23/7/12)

It's been three years since Micachu and the Shapes won critics over with their improbable pop debut, and a year since their high-brow live recordings with the London Sinfonietta, but their latest offering, Never, is where they have truly found themselves.

That said, there doesn't seem to be anything startlingly different with the music on Never. It just oozes more confidence. On 'Easy', the nasty, discordant post-punk sound of their debut, Jewellery, returns, with detuned guitars spasming over chop pop textures and homemade instruments dancing together. It's nice to hear they've still got a trusty vacuum cleaner to provide some of the drone effects, but what is really different is the assuredness that emits from every clash, bang or wallop, or how well 'Easy' and 'Never' flow into each another.

'Low Dogg', taken from their 2011 live album Chopped and Screwed, has received a new energy on Never. Menacing synths replace the original Sinfonietta's stringed instruments, which sound bizarrely similar to the twisted synth progressions on Grimes's, 'Oblivion.' It's not necessarily an improvement on the live recording, but the sound is sharper and really lifts the slightly dulled hip-hop rhythms. Lead singer Mica Levi is full of character here – her East London growl snuggled comfortably between beats.

Another track that has made its way over from Chopped and Screwed is the rather doomy and introspective, 'Fall'. It's a depressing little number with deformed jazz chords hopping between gloopy reverb and purring drum rolls. The lyrics are hard to discern, but the dark, cinematic sounds towards the end of the track seem to speak of an inconsolable situation. Whatever its meaning, 'Fall' is an immersive and enthralling listen.

Many albums are loaded with their strongest tracks at the beginning or end, but the best songs on Never are actually clustered in the middle. 'Holiday' is laced with rewound cassette tapes and light hearted chants: "I can't wait for my holiday, I've had my work cut out for me." It's catchy with ooh-and-ah harmonies and it really feels like the trio had boundless fun putting this track together.

A nostalgic, fairground tune whirls throughout 'Slick' as vocals gargle between snap-happy percussions, but the following track, 'OK', is even more attractive in sound. Keyboardist Raisa Khan and Levi sing, "Are you sure you're ok? Couldn't be better," in call-and-response over thick, industrial noise, yet the track offers an earthier, psychedelic sound with dreamy vocals and synths mimicking prog-rock guitars. Like 'Holiday', the song has conventional structures and accessible lyrics, propelling Micachu and the Shapes into their most poppy territory yet.

'You Know' and 'Glamour', sadly, fail to fit anywhere between the band's admirable experimentalism and organised chaos, falling quickly behind the overwhelming amount of solid tracks on the LP.

The definitive track of the album comes in the sonic-sized form of the oxymoron entitled, 'Nothing.' Lying somewhere between a sedated Ty Segall track and a warped 50s rock 'n' roll ballad, 'Nothing' sees gritty guitars and rich harmonies married together as handsome male vocals carry the verses. Smart lyrical arrangements ("We had everything to lose, so I stood on a cigarette, and decided we weren't finished yet") anticipate an explosion of quivering synths, choral singing and broken guitar solos, leaving your brain suitably fuzzy and warm at the close.

Micachu and the Shapes have retained their knack for producing an accomplished smorgasbord of sound on Never, but have done so without alienating listeners or sounding tired. Their new material is stronger than ever and, for better or worse, edges just that bit nearer to pop music. Who knows what they will come up with next.

8/10

REVIEW: Friends - Manifest!

*Originally published for the Oxford Music Blog (29/6/12)

Brooklyn’s Friends are the new funk-punks of pop, the crème de la crème of cool and, quite literally, the kind of people you want to be friends with. Stick on their debut album, Manifest!, and you’ll feel that little bit closer to their world of street parties, hedonism and don’t-give-a-fuck mantras. With last year’s, ‘I’m His Girl’, going sonic on the blogosphere, have the five piece lived up to all the hype?


Coincidentally, opener ‘Friend Crush’ is all about vocalist Samantha Urbani’s unabashed desire for friendship: “I want to be your friend, I want to ask your advice on a weekday, I want to plan something nice for the weekend.” It’s this honesty that makes her just so damn cool – sassy vocals surfing over growling bass lines and drums burning with her desire to kick start a new relationship. ‘Sorry’ is very Vampire Weekend-esque, with fluttering synths, bouncing cow bells and alternating ‘ooh/ahs’ making it also instantly likeable and soft on the ears.

As expected with a band from Brooklyn, there are the token 80s moments. ‘A Thing Like This’ is a lethargic regurgitation of effects-laden New Order guitars, RnB-kissed vocals and disco synths. The lullaby-like ‘Stay Dreaming’ is just as retro in its sound, with its lush new wave textures beaming Cocteau Twins’ ethereal sound.

Buzz-song, ‘I’m His Girl’, effortlessly demands your attention with a thumbed bass circling Urbani’s half-rapped/half-sung vocals: “When you see me walking around with him, I’m not just another chick, I’m his girl.” Rhythm lies at the heart of the song, with more of Lesley Hann’s bossy bass lines thumping against the rest of the troupe’s jungle percussion.

Unfortunately, Friends’ authenticity crumbles at ‘Ruins’ (pun intended). Two minutes of painfully try-hard thrashy and trashy post-punk spoil the preceding chic of the earlier tracks and it sticks out like a sore thumb. Furthermore, you’d be forgiven for thinking a 90s J-Lo song had gatecrashed the party in ‘Ideas of Ghosts’, with its Mediterranean guitars and pulsating bass. But at the same time there’s something quite captivating about Urbani’s unearthly wails.

Towards the end of the album, ‘Proud/Ashamed’ challenges the idea that Friends are all about rhythm. Close harmonies coo over oscillating synths and it doesn’t sound unlike Braids with its dream pop progressions and netted vocals.

But it’s ‘Van Fan Gor Du’ that really shows Friends at their best. Fresh funk pop seeps from every snare snap, hand clap or call-and-response shout. This, along with the muddy bass and bongo drums of ‘Mind Control’, sums up everything about the band. Fun.

Friends aren’t reinventing music on Manifest! or swallowing fifteen minutes of buzz-fame. They’re just hosting a party, and everyone’s invited.

8/10

LIVE: Suzanne Vega @ The Sage, Gateshead

*Originally published for The Journal newspaper (21/6/12)

Suzanne Vega is quite the veteran performer, with 27 years' experience on and off the road.

But for all her wisdom, she took to the stage of Hall One with the playfulness of youth, top hat at a jaunty angle for 'Marlene On The Wall' and oak-smoked vocals resonating with warmth.

The first half hour of the set was littered with early hits, including delicate guitars and heavy metaphors in 'Small Blue Thing.'  The audience seemed gently lulled by these folky numbers, which lent themselves to Vega's conversational singing style.

But Vega's talents do not stop there. Slotting a fake cigarette between her fingers and losing her guitar, she suddenly transformed herself into Carson McCullers, the ambitious protagonist of her musical, Carson McCullers Talks About Love. She confidently presented a trio of Broadway-like tunes, but they seemed a little humdrum and out of place.

'Blood Makes Noise' is a strange number live. Vega danced trance-like, while her pal on guitar looped effects frantically for an industrial-rock sound. By experimental standards, the song was brave and sounded fresh 20 years on, but it jarred noticeably against her earlier acoustic work.

After the catchy chorus and rhythms of 'Tom's Diner', Vega once again brandished her mighty acoustic. 'Some Journey' and 'Luka' really charmed the audience at the set's close with full-bodied guitars and glorious, chiming vocals.

Clearly, it is her early work that still pleases audiences most.

FEATURE: Ninetails

*Originally published for The Generator's 'Tipping Point' blog (29/5/12)

Ninetails are certainly creating a buzz on the underground music scene, but that’s no thanks to their Pokémon-fuelled title. With extensive plays on BBC 6 Music, an EP sold out within two weeks, a record deal with Superstar Destroyer and support slots with Alt-J, Three Trapped Tigers, Errors, Dutch Uncles and Jonquil, it looks like the Liverpool bunch are set for great things.

Their latest single, ‘Blue Bottle Flu’ is tantamount to the hype, with an impulsive I-want-to-click-the-replay-button motion kicking in before the song has finished. At its opening, a slender delayed guitar kisses muted strings before math-rock percussion and angular bass rhythms splash at every direction. It’s very, very Antidotes-era Foals – as much as the band may squeal at such comparison – but that’s nothing to be disheartened about. In fact, to achieve a sound that projects as much musical precision as Foals but bears arguably richer melodies is something to be proud of.



Further still, when you think you have the jist of the song, the foursome takes you on another journey for the remaining thirty seconds. Balmy string slides and celestial harmonies seem a whole world away from the electrifying throbs, crashes and scurrying guitars of the preceding few minutes and the juxtaposition is an absolute joy to listen to.

Ninetails are surely set to get the recognition they deserve.

REVIEW: Emma Gatrill - Chapter 1

*Originally published for For Folk's Sake (22/5/12)

Musicians, like film stars and television broadcasters, are some of the most important cultural icons in history. Furthermore, instruments can carry as much, if not more, powerful symbolism than musicians themselves. Take the electric guitar, for example, and Jimi Hendrix and Eric Clapton spring to mind. Or the piano: Elton John and Stevie Wonder. Or even the wobble board and, you guessed it, Rolf Harris pops up. In folk music, one of the prime instruments is of course the acoustic guitar (Neil Young, Bob Dylan, Joni Mitchell and Laura Marling are all a dab hand at it) but what about the harp?

It’s not so common, Joanna Newsom aside, for this instrument to be the centrepiece, yet it has as much merit. It’s also what really makes Emma Gatrill’s debut album, Chapter 1, stand out so much. Within moments of listening, it’s clear that Gatrill is substituting the traditional folk guitar for the harp and it’s to no detrimental effect. ‘Hold On’ allows the harp strings to flutter around Gatrill’s soft soprano vocals like a gently strum acoustic with a deeper mystique. It’s enjoyable to hear something different in a landscape where countless twee singer-songwriters have guitars glued to their fingertips.

Gatrill’s voice is as equally captivating as her instrument of choice. Her quivering vocal always feels as if it’s just about to break; thawing at the higher notes in ‘Twisted Threads’ or cooing unpredictably in ‘Black Dog’. Gatrill’s known association with Rachel Dadd is completely understandable here; both artists trick the listener into thinking their voices will give way at any second while knowing they have complete control.

Away from the harp and the vocals lies a host of other instruments. Acoustic guitars feature quite prominently in ‘Josephine’ and ‘Squiggles and Balloons’, with guitar and harp interlocking in the former as violins paint Gatrill’s fairy tale battles in the air. The guitar holds a real intimacy in ‘Squiggles and Balloons’ and it’s easy to conjure an image of Gatrill at a friend’s kitchen table, swaying to the strokes of the acoustic and singing her Alice In Wonderland-like lyrics: ‘monkeys climbing brambles, elephants on motorbikes, turtles twist with me and you.’

The free rhythms of the majority of the songs on Chapter 1 are counteracted in ‘Jobe’ where drum rim taps and finger-clicks create wonderfully syncopated rhythms. Minor notes flux between the harp and the guitar and harmonies echo sounds of the occult. The movement in this track also breaks the album up at a clever point; some of the earlier songs’ liberal rhythms can become, paradoxically, a bit repetitive and stale.

‘The Birds’ has a darker, archaic feel, where Gatrill talks of lust and unrequited love: ‘I’m in love with a man whose wild heart runs free, I’m in love with a man who doesn’t love me.’ The literary references again come thick and fast, bowing down to the album’s apt title, with a brooding Heathcliff character running between Gatrill’s harp strings.

Towards the end of the album lies ‘Soul Lovers’ with its sickly-sweet lyrics but charming musical texture and melody. Grave strings add depth to the airy, alternating harp rhythms and Gatrill litters the song with erratic notes that are strangely pleasant to listen to. She allows the music to run in a stream of consciousness like a poet’s mind to paper, and this musical freedom is inspiring and truly demonstrates Gatrill’s creative talent overall.

With the harp at its core, Chapter 1 will unquestionably get people thinking about the ways in which different instruments can be used in folk music. The harp will not suddenly become the genre’s iconic instrument, but it should put Gatrill on the map. And deservingly so, too, because Chapter 1 is a sterling debut effort.

FEATURE: Idles

*Originally published for The Generator's 'Tipping Point' blog (8/5/12)

It’s not often that I come across a band who are as to the point as Idles are. The upcoming Bristol 5-piece aren’t huddled away in the crevasses of cyber-space, but are right out in force with a recent support slot for London psych-rockers S.C.U.M and a superb website that tells you everything from the band’s history to their influences and interests (hurrah for music journos)! But it’s their music that really shouts out loud; post-rock creations laden with rugged guitars, chunky basslines and raucous vocals.

New song, ‘Meidei’, taken from their forthcoming EP ‘Welcome’ (out August 6th), is completely wrapped up in these aforementioned sounds. High-hats chomp on chugging basslines, while vocalist Joe Talbot screams over needle-sharp guitars that splutter with distortion. You can definitely nit-pick out the obvious Walkmen, Buzzcocks and edgy Joy Division influences, but Idles swallow them whole and regurgitate a rather compelling sound that is full of their own gritty energy.

'Meidei' is also strange to listen to because it features just guitars, bass, drums and vocals – there are no glockenspiels, casio keys or kitchen utensils here to make the sound (used by many, but not exclusively to those uber-cool hipster types) - but this isn't a problem. It's modern rock ‘n’ roll at its best and the band are surely set for a bright future.

(Tip for The Generator comes courtesy of Sam Betts at Fear Of Fiction).