Tag Archives: The Fierce & The Dead

The End Festival 2015 in Crouch End, part 1 (November 12th-15th)

11 Nov

The End Festival, 2015

When I was growing up in north London, Crouch End was the “next village over”. It was the place where I went to primary school and first heard song by Neil Young, Steve Winwood and The Kinks (strummed out and sung in assemblies alongside battling hymns from the civil rights movement) and where I began sharpening my hunger for musical knowledge on the rich ranks of vinyl LPs in Hornsey Library. Over the years, I’ve continued to associate the neighbourhood with music – other people’s memories of old art-rock and punk gigs at the Hornsey College of Art; the star traffic through the Church Studio at the bottom of Crouch Hill (owned in turn by Eurythmics and Paul Epsworth), where you might find Erasure or Sisters of Mercy catching a mid-session coffee in the local café; and the Gareth Malone wet-dream of the Crouch End Festival Chorus, a local choir with a national reputation.

That said, Crouch End’s day-to-day music scene has always struck me as lacking. There have been exceptions to the rule – the steady reservoir of blues and roots playing at the Kalamazoo Club; the string of house concerts that Jenni Roditi ran at her loft between 2002 and 2009; more recently, a flowering of rootsy events at the Earl Haig Hall. But generally speaking, Crouch End has always seemed to me to export or traffick in music rather than play it, becoming an increasingly upmarket and bijou neighbourhood where shoppers vastly outnumber giggers; easily eclipsed by the musicality of other London neighbourhoods like Camden Town, Dalston, Shoreditch, even Tooting.

Well, more fool me. It turns out that I’ve regularly been overlooking and missing The End – an annual, musically expansive Crouch End festival that turns all of my gloomy observations about the neighbourhood’s gig shortcomings to dust – at least, for two weeks. As my penance, here’s the first half of an overview of everyone playing at this year’s festival, which starts tomorrow (all ticket details are to be found via the info links or at the festival website).

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Lowpines + Forced Random + Ylja (Earl Haig Hall, 18 Elder Avenue, Crouch End, London, N8 9TH, UK, Thursday 12th November, 7:30pm) – £8.80 – information

The festival kicks off with a concert navigating the blurry margins of folk and lo-fi alternative rock, with headliners good enough to warrant a post all of their own. The crepuscular but lovely Lowpines have been racking up an unending stream of plaudits for their Anglo-Americana atmospherics, which recall old phonographs playing whispered, heartspilling songs in dusty basements, laced with judicious drums, intricate campfire fingerpicking and stargazing whistles of feedback like psychedelic pedal steel lines. Support comes from Oliver Girdler’s one-man lo-fi project Forced Random (which drifts ghostlike from instrument to instrument and from one slow soft-edged song to another) and from Reykjavík folk-rock trio Ylja (initially based around female harmonies and lap-style slide guitar but expanding into a broader palette that encompasses and recalls not just Fairport Convention, early Clannad and Pentangle but also the glowing starfield details of Sigur Rós and 1972 Pink Floyd).



 

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The Fierce & The Dead + a.P.A.t.T + Markers (Downstairs @ The Kings Head, 2 Crouch End Hill, Crouch End, London, N8 8AA, UK, Friday 13th November 2015, 7.00pm) – £8.80 – information

The first of several events at The Kings Head hosts assorted sprigs from the thornier of British art-rock. Headlining are prog-punk quartet The Fierce & The Dead (no strangers to this blog) who bring the rumbling immediacy of their quick-flaring complicated avant-garage instrumentals to the valley for the evening. In support, hazmat-suited Liverpudlian performance art troupe a.P.A.t.T, play “progressive pop that owes as much to Kurt Schwitters and the Chapman Brothers as it does to ABBA and Zappa”, drawing on a shifting tag-team of ‘Pool talent and bring strong flavours of the absurd, the deceptive and the cunning to whatever they do.


Opening the evening, Markers reunites two old friends from the omnivorous ferment of the 1990s London math rock scene – Jodie Cox (Ursa, Narrows, Exes, Rohame and Earth) and Jason Carty (Geiger Counter, Foe, Art Of Burning Water) as two electric guitarists without a singer, a rhythm section, any other instruments or much in the way of signal processing. Expect carefully poised, bare-branching instrumentals somewhere between Slintian maths, precise Fripp and Summers interplay, and the minimum-lines/maximum-impact approach of a Japanese ink painting or minimalist film.

 

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Kate Jackson & The Wrong Moves + Oh800 + YLJA (The Crypt Studio, 145a Crouch Hill, Crouch End, London, N8 9QH, UK, Friday 13th November 2015, 9.30pm) – £8.50 – information

Kate Jackson (the former Long Blondes singer (and sometime British Electric Foundation/Heaven 17 collaborator) brings her current band The Wrong Moves to The End. She’ll be playing music from the upcoming “mysterious” album she’s been writing and recording with Bernard Butler over the past six years (though from what I’ve heard of it it’s more assured than mysterious – a muscular, classic pop rock mix with Kate’s big vocals and Bernard’s bright, sometimes startling guitar work).

Also on the bill are Oh800, a currently secretive new supergroup featuring Eoin “Oh Ruin” O’Ruainigh plus members of The Duke Spirit and F.U.R.S. The project is still enough under wraps not to have any tracks available to share, so you’ll just have to guess what they sound like, though it’s possible that the old Oh Ruin ingredients of blues, campfire tunes, Irish folk and fingerpicking will get a look-in. In addition, Ylja will be playing their second support slot of the festival, following the previous day’s appearance with Longpines.

 

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Joseph & Maia + Charlotte Carpenter + Annalie Wilson + Storme (Rileys The Ice Cream Café, 32 The Broadway, Crouch End, London, N8 9SU, UK, Friday 13th November 2015, 7.00pm) – £5.50 – information

An intimate gig of classic pop styles in one of Crouch End’s favourite drop-in cafes. New Zealand duo Joseph & Maia headline, playing songs from their debut album ‘Sorrento’ (a record which shows both their indebtedness to American songbook player-writers both old and new – Buckingham and Nicks, Ryan Adams, Paul Simon, Patsy Cline, Noah Gundersen – and their absolute assurance in working the same seams). Armed with a deeper and more ambiguous folk-blues approach, Northamptonshire-born Charlotte Carpenter sings songs of doubt and connection, softly, but with great emotional power held in check (like a surge pushing at a levee).


Rounding out the bill, acoustic festival favourite and all-round performer Annalie Wilson brings straight-ahead conversational, coffee-house songs on piano and guitar: while concert opener Storme (a Swedish singer-songwriter who’s come over to London to develop her songs, reversing the usual trend) is bold and dramatic enough to be a headliner, since her heavy-weather synth-pop aims for the same stadium-friendly altitudes as Florence + The Machine, Chvrches or even the more crowdpleasing moments of Björk .


 

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Becky Arundel + Nora Grefstad + Kloak (Kiss The Sky, 18-20 Park Road, Crouch End, London, N8 8TD, UK, Saturday 14th November 2015, 3.00pm) – free

The first of the Saturday gigs is a celebration of young female songwriters. Becky Arundel writes and delivers muscled, determined folk-rock in the Melissa Etheridge vein, moving from unplugged strum to bursting electric explosions. Norwegian singer Nora Grefstad , who generally trades as Noraslittleworld, slides her path midway between Elkie Brooks and Beth Gibbons (offering slightly wonky, jazzy trip-hopped pop or full-diva piano balladry – in each case with a hint of smeared-lipstick, morning-after feeling). While there seem to be plenty of people contributing to Kloak, in essence they’re two sassy-wise white girls – Georgia Meek and Gabrielle Mallett – putting together R&B-tinged electropop with a strong flavour of Eartha Kitt (those bent notes and divan stretches; that conversational yawp in the voice).



 

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Cortes + Bea Munro + Orfan (ThisIsWIRED @ Rileys The Ice Cream Café, 32 The Broadway, Crouch End, London, N8 9SU, UK, Saturday 14th November 2015, 7.00pm) – £7.70 – information

Showcase night ThisIsWIRED (which, since its initiation in Shoreditch seven years ago has incubated the early budding careers of musicians including Ellie Goulding, Raleigh Ritchie and Michael Kiwanuka) rolls up to a Crouch End ice cream parlour for a north London jaunt. Tonight’s players include crisp power-poppers Cortes and belting 22-year-old ‘60s-rock-siren revivalist Bea Munro; but for my money the likely star in the pack is gig opener Orfan, who uses his multi-instrumental skills to hone captivating yearning songs which touch bases with such odd-bedfellow influences as Nico, Prince and Boo Hewerdine.



 

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Farrago + Ylja + Frida Wallin + YLJA (Before the Gold Rush @ The Haberdashery, 22 Middle Lane, Crouch End, London, N8 8PL, UK, Saturday 14th November 2015, 7.00pm) – £5.50 – information

In keeping with The End’s origins, peripatetic roots night Before The Gold Rush curate an outright folk & Americana evening. A truly enchanting set looks likely from Farrago, the psychedelic folk vehicle for the lucid, highly literate work of London songwriter Ian Bennett – vivid short stories couched in rich, longing arrangements and with colourful, falling poetic imagery. There’ll be a third appearance by Ylja, perhaps opening up to their lusher dream-folk tendencies. With flavours of honky-tonk and Grand Ol’ Opry, rising festival favourite Frida Wallin brings us the End’s most straightforward country music set to date. (She’s actually Swedish. Don’t let on or anything…)



 

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The Battles of Winter + Metro Verlaine + MOSES (The Crypt Studio, 145a Crouch Hill, Crouch End, London, N8 9QH, UK, Saturday 14th November 2015, 7.30pm) – £5.50 – information

While Before The Gold Rush keeps the Americana and folk covered for the evening, the people at the Crypt hold down the indie and punk rock side of things. The Battles Of Winter embrace a driving post-punk indie sound compared to Echo & The Bunnymen, Interpol and The Doors. French “pop sauvage” trio Metro Verlaine are noisy electric romanticists inspired by the rush of Patti Smith/Richard Hell punk and the latterday spark of The Kills, as well as drawing on the original poète maudit fury of their namesake. The evening is opened by guttural punky rock’n’roll noise from M O S E S, who draw a London parallel to Wolf Mother and The Subways.



 

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The Wave Pictures + The Oreilles + Victor Lovlorne + Beverly + Pony & Trap + Nadine Khouri + Kindling + Annie Rew Shaw + Ryder Havdale + Kloak + Aphty Khea + Hudson Scott + Esther Joy Lane + others tbc (Hornsey Town Hall Arts Centre, The Broadway, N8 9JJ, London, UK, Saturday 14th November 2015, 7.00pm) – £16.50 – information

The big one. For this concert, at least thirteen performers will be taking up temporary residence in the battered but still beautiful Art Deco rooms of the former Town Hall, running quick-changeover mini-sets in the Supper Room, Committee Room and Council Chambers. Like a spontaneous party, the actual participants and their playing order seem to be in constant flux – as I quickly put this post together, the following seems to be the current setup.


Two bands are down from Yorkshire – The Wave Pictures (rattling Byrds-and-Motown garage-indie from Wymeswold) and teenaged Halifax trio The Orielles (a surf pop band from a landlocked town, teetering on the balance of their love of Riot Grrrl and the la-la-la). From America, buzz-pop Brooklyneers Beverly can’t quite make up their minds over whether to stick with Slowdive or Lush or to hit the accelerator pedal towards Surfin’ USA; pellmell Massachusetts indie-punks Kindling provide some rocket-powered shoegaze pop of their own. From Canada via Berlin, Ryder Havdale of The Mohawk Lodge might or might not come good on his promise to salt the lonesome indie-country rock of his main band with some Berlin-inspired electronics.



Several performers bring in captivating moods and stories. The blend of murmur, smouldering torch and cool eyed-vision in the work of Lebanese-British songcrafter Nadine Khouri has drawn comparisons with Patti Smith, PJ Harvey and Mazzy Star. Athenian-in-London singer Aphty Khea (a.k.a. MantRah) deals in self-produced slow-drag abstract soul and hip hop ideas; Texan gospel choir escapee and human love-wreck Victor Lovlorne in unsettling lo-fi basement ballads in a Will Oldham, Sparklehorse, Beefheart or Redbone vein. Piano singer Annie Rew Shaw mingles Christine McVie melodicism and wit with an eerie ghost-haunted songwriting style.




Of the rest, Kloak make a repeat appearance (this time unplugged) following their slot at Kiss The Sky earlier in the afternoon; Pony & Trap mix crisp girl-about-town rhythm-box funk with buzzy post-punk guitar hooks); and Oxford electropop diva Esther Joy Lane puts in an appearance, as does the elusive and underplugged Hudson Scott (at the moment, just a name on a wobbling list…)


 

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Emma Pollock + Ylja (Earl Haig Hall, 18 Elder Avenue, Crouch End, London, N8 9TH, UK, Sunday 15th November 2015, 8.00pm) – £8.50 – information

The last gig of the week features Scottish alternative rock heroine and onetime Delgados songwriter Emma Pollock, now three records into a solo career as well as being branched out into poly-genre supergroups (The Burns Unit) and socially-minded collective projects (The Fruit Tree Foundation), with her varied collaborations stretching well beyond her bright indie-pop beginnings to involve folk music, theatre work and string quartets. If you’re good, she might play you some songs from her upcoming album ‘In Search Of Harperfield’. Ylja, who by now are starting to look like the End’s house band, will play their fourth and final support slot of the festival at this gig.



 

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That’s all for this week, but I’ll try to put together a rundown of next week’s End gigs over the weekend…

 

Upcoming London gigs for 3rd July (Shiver/The Fierce & The Dead/Alex’s Hand in Camden, and The Spiders of Destiny in Deptford); Tim Bowness tours in August; a release date for Levitation’s ‘Meanwhile Gardens’

30 Jun

More art-rock roars coming up…

Facemelter, 3rd July 2015

Shiver, The Fierce And The Dead, Alex’s Hand @ The Facemelter (The Black Heart, 2-3 Greenland Place, Camden, London, NW1 0AP, UK, Friday 3rd July, 7.30pm – £8.00/£6.00)

A night of insane math rock, prog, jazzcore and experimental riffs from some of Europe’s finest.

Shiver are the latest group from Acoustic Ladyland and TrioVD guitarist and producer Chris Sharkey. The trio have been challenging audiences perceptions of music for just over a year, sitting as comfortably at EFG London Jazz Festival as they have when headlining the PX3 stage at ArcTanGent Festival. Stretching the span of instrumentation and the imagination, this trio flits between solid, head-nodding riffs, ambient spaces and frantic electronic cacophony. Tonight they will be playing new material from their recently released third album.

The Fierce & The Dead are a hugely respected and critically acclaimed noisy pronk four-piece from London. Their precise musicianship and schizophrenic, immensely complex, yet catchy music has earned them headline slots all over the UK. Featuring internationally renowned guitarist, loop artist, blogger and all-round independent music guru Matt Stevens, TFATD have shared the stage with bands including PHILM, Knifeworld, Thumpermonkey, Anathema, Cleft and Lost in the Riots. Tonight they will premiere unheard material from their upcoming EP.

Formed in Seattle a few short years ago, experimental four-piece  Alex’s Hand subsequently relocated to Berlin and have been wreaking havoc on Europe’s DIY noise, post-punk and garage ever since. They’ve shared the stage with MoRkObOt, which must have been a bizarre evening. As at home on stage as they are playing avant garde installations (such as 24 hour festival Avant Garden) in a punk squat in Berlin, this will be their first venture to the UK.

More details here, and tickets available here.

I should put in a particular word for Alex’s Hand here, having watched them grow and sprawl over the past few years along a meandering but inspiring path from arch art-pop parodists to noisy song-brawlers and most recently to a kind of spontaneous noise-prog ensemble. There are a few ‘Misfit City’ reviews of their earlier material – one for ‘Madame Psychosis‘ and one for ‘This Cat Is A Genius‘. Although I’ve not covered Shiver yet, I do also have reviews of early Fierce & The Dead material (here and here), as well as a look at the band’s Matt Stevens playing a solo slot.

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If you’d rather spend a free evening with Uncle Frank, The Spiders of Destiny are playing another London gig of Zappa music on the same day. As ever, expect some of London’s most accomplished art-rockers to work their way back and forth through the Zappa catalogue. The Deptford venue they’re playing this time has plenty of history, whether under its current name, its old monicker of The Oxford Arms or any other title it’s enjoyed over several hundred years. If you don’t spot Frank’s ghost leaning on the sound desk and having an appreciative smoke, you could try looking out for the ghosts of Dire Straits or Christopher Marlowe instead… Up-to-date details here or here, with two-as-yet unnamed bands to be added to the bill.

The Spiders of Destiny (The Birds Nest, 32 Deptford Church Street, London, SE8 4RZ, Friday 3rd July 2015 – 7.30pm, free)

The Spiders of Destiny play Zappa, The Birds Nest, July 5th 2015

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Tim Bowness live flyer, August 2015Looking further ahead, Tim Bowness is out on a very brief tour in August, playing a handful of dates in England and Poland to promote his imminent album ‘Stupid Things That Mean The World’ as mentioned last month. His band features his usual cohorts of Andrew Booker (drums – also of Sanguine Hum), Michael Bearpark (guitar – Darkroom, Henry Fool), Stephen Bennett (keyboards – Henry Fool) and the more recent recruit Colin Edwin (bass guitar – Porcupine Tree).

The Lousiana, Wapping Road, Bathurst Terrace, Bristol, BS1 6UA, UK, Tuesday 25th August, 7.00pm – tickets here and here.

The Boston Music Room, 178 Junction Road, London, N19 5QQ, UK, Wednesday 26th August, 7.00pm – £17.00 – tickets here and here.

Ino Rock Festival, Theatre Letni, Inoclaw, Poland, Saturday 29th August – 35.94 euros – tickets here (other acts at the festival are Fish, Motorpsycho, State Urge and Millenium).

Playing support at the Bristol and London gigs will be Improvizone, the flexible live-ambient improvising collective led by Bowness band drummer Andrew Booker. The rest of the Improvizone lineup looks as if it will be drawn from the current Bowness band (Michael Bearpark is a frequent Improvizoner) so perhaps you should expect the same band playing in two very different configurations. Up-to-date news will be here.

*****

Levitation: 'Meanwhile Gardens' (2015 issue)

Levitation: ‘Meanwhile Gardens’ (2015 issue)

Another follow-up from last month – there’s now a release date from Flashback Records for the lost Levitation album ‘Meanwhile Gardens’. Mark Burgess of Flashback posted the following on the Facebook fan page for the band’s lost recordings yesterday:

There is at last a provisional release date for ‘Meanwhile Gardens’. 23rd October 2015! Pre-orders will be available in due course from the Bandcamp site and elsewhere. The album is now with the pressing plant, but the lead time on the vinyl is long (pressing plants are straining under the pressure of so much vinyl at the moment, hence the provisional nature of the release date). You should all give yourselves a pat on the back and raise a toast to this group because without this page it might never have happened. Thank you all for your enthusiastic support!

Levitation, circa 1992

Upcoming gigs this weekend – Daylight Music in London (with Jo Mango, The Great Albatross, Circle Meets Dot), Matt Stevens house concert in Rome

11 Jun

Here are the details on this weekend’s Daylight Music event in London…

Daylight Music 193: Jo Mango + The Great Albatross + Circle Meets Dot (Union Chapel, Compton Terrace, Islington, London, N1 2UN – Saturday 13th June, 12pm to 2pm)

Glasgow-based multi-instrumentalist Jo Mango’s second album ‘Murmuration’ was released in 2012 to great acclaim. This wonderfully wistful album combined unique selections from Jo’s eclectic musical instrument collection, with inspiration from her adventures: travelling the world as a member of Vashti Bunyan’s band; her experiences completing a Doctorate in Musicology; her collaborations with David Byrne, Devendra Banhart, Coco Rosie, Teenage Fanclub and Admiral Fallow amongst others.

The Great Albatross is the indie music project of singer/songwriter A. Wesley Chung (formerly of Boris Smile). The project was formed in Glasgow, Scotland in 2011 and consists of an expansive, international list of contributors and collaborators. The project has performed both in the US and UK, including both days of the 2013 Count Your Lucky Stars/Topshelf Records SXSW showcase in Austin, TX. The Great Albatross have performed alongside the likes of Into It. Over It., Admiral Fallow, Miaoux Miaoux, Jo Mango, Owen, Joan of Arc, Empire! Empire! (I was a lonely estate), Joie de Vivre, and Football, Etc.

Sparking with the energy of a brand new meeting of minds, Circle Meets Dot is an emerging collaboration between Wesley Chung of The Great Albatross and Jo Mango. Soaring summer melodies steeped in California sunshine meet cloudy-day Scottish literary lyricism

Ed Dowie will be providing some light bird music in between the acts today/on Saturday. Using his mouth, his keyboard, some Max/MSP twiddlings and a whole host of bird recordings, he hopes to soundtrack the audience’s toilet and coffee breaks, as well as providing a backdrop to some cardboard bird spotting around James Cubitt’s beautiful building. Ed has been making music since the late 1990s, firstly as one third of Parlophone’s Brothers in Sound, then later a solo act under the name Redarthur. After a 5-year hiatus which he spent living in University libraries & music technology labs making strange bleeps, he returned to the music industry to join The Paper Cinema, a puppetry/animation/theatre/music hybrid (that tours both internationally & in Hackney).

Free entry, but donations are (as ever) encouraged.

Or if you’re in Rome, looping guitarist Matt Stevens is playing a house concert in the Batteria Nomentana district in the evening. As it’s a private gig, public information is scarce, but tickets and details are available here. For an earlier account of Matt in action, here’s a live review of his appearance at Roastfest from a few years ago. Matt will be performing again in the UK shortly with The Fierce & The Dead – more details on that soon.

REVIEW: The Fierce & The Dead: ‘10×10’ single, 2011 (“post-glum”)

12 Jun
The Fierce & The Dead: '10x10'

The Fierce & The Dead: ’10×10′

So they’re trying on some sparkle, now? The last time I heard Matt Steven’s improv-rock trio they were lurking and cruising somewhere in the loose territory between bluesy prog, smoky space music and easygoing math-rock. They were promising, but they weren’t upsetting much: their initial statement was more of a drawl than a grand pronouncement. However, having shambled forward and established themselves, The Fierce & The Dead are getting down to more serious play. Ideas that were only hinted at last time, down in the small details, now wriggle forward.

For starters, 10×10 itself scrunches up and throws away the idea that this band is just Matt Stevens and pals. Bass player Kev Feazey, a solemn support musician on the band’s opening shot, steps up and all-but-leads the band on their second. His slithering springy bass line, full of New Wave funk, recalls both turn-of-the-’80s Talking Heads and long-lost London math/surf rockers Kenny Process Team: gentle arty neurosis, pinned to a love of groove. A spluttering, stuttering synth break adds a raw danceable edge.

Meanwhile, Matt is quietly at work all over the background – catching a surf of noise in the distance, opening out the landscape beyond with torch-beams of sustain guitar. Some looping, arpeggiating guitars dragged along after the bassline draw their drive from a long-gone, edgier New York: skitchers grabbing velocity from a speeding car, or Robert Fripp’s cyclic proto-‘Discipline’ Manhattan patterns. There’s even a dash of rave dynamics as a delicate, dewdrop-fine piano break spins us around for a look at the dawn. In the cloud of “post”-widget names that swarm around art-rock music these days, pick “post-glum”.

The second track, Foreign Languages is even livelier. A blues-rock grind on bass over mechanical drums; spankingly sharp fingerpicked guitar and a bubbling, ground-shimmying feel of dub.An old ‘Galaxian’ game in the corner of the studio seems to have joined in too, adding zips and lassoos of gurgling analogue sparkle. There’s a tremendous sense of free play – old familiar elements reshuffled and re-zested, and looked at afresh. Since ‘Part 1’, The Fierce and the Dead have recharged their time machine, and now skip merrily between the dreamy psychedelia of the ’70s and the boggling pluralism of the post-punk ’80s with ease and a yen for reinvention. Where next?

The Fierce & The Dead: ’10×10′
Bandcamp
Download-only single
Released: 4th April 2011

Buy it from:
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The Fierce & The Dead online:
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REVIEW: The Fierce & The Dead: ‘Part 1’ EP, 2010 (“David Gilmour filtered through Slint”)

31 May

The Fierce & The Dead: ‘Part 1’

On his own, Matt Stevens is a contemporary guitar virtuoso and solo looper. Buzzing and rebounding (in the space he’s carved out somewhere between Graham Coxon, John Martyn and Robert Fripp), he shreds his way through dramatic, heavily rhythmic acoustic improvs and echo-pedal tickling. He’s not generally the kind of person who needs to beef himself up as part of a trio – for players of his kind, they’re often restrictive – but for The Fierce & The Dead he does just that, accepting those restrictions along with anything else that comes along.

For their first statement (and for nearly nineteen minutes) Stevens, Kev Feazey and Stuart Marshall pour out a continuous stream of low-key improvised space-rock – all pared down to a sparse math-rock or post-rock aesthetic, but peering backward to earlier times when it was OK to showboat a little more. The general feel is of musicians keeping a careful foot in both camps while trying to surreptitiously rub their ankles together and fray a few escape tunnels. For instance, Matt’s impressive guitar skills are still present, but slowed down and judicious. They make themselves felt in a shimmying ring against the strings; in curled and rising fragments of blues like scraps of burning paper; or in retrenchments of tempestuous noise leashed back to a distant roar.

The rhythm section, meanwhile, provides the bulk of the band’s math-rocking. Kev’s grumbling, economical bass sits close up against Stuart’s discreet, spacious drum patterns. Avoiding outright grooves in favour of careful pulses, they soften the mathematical edges, leave rhythms as suggestions. Left free to explore, Matt plays against the mechanisms. His own melodies, textures and double-backs add the human element – questioning, pushing back, and wandering loosely into various styles from minimal clanging to careful soloing to low-key jazz chording.

Over those nineteen minutes, the band takes a long lowering drive through close-linked moods. Sometimes they’re meditating, sometimes decorating; sometimes they’re passing into drones of steel-wool guitar, synthesizer-scour or glowering bass-pedal. It’s part indie-rock jam-band; and part David Gilmour cruise, filtered through Slint. It’s also by no means complete. This is just a dip in the water, a thoughtful flexing of instruments. It noodles along thoughtfully, slyly upturning post-rock aims along the way, implying and wheedling that there’s room for a old-school guitar-slinging power-trio in that strict church of ego-melt and anti-rock-posturing. Some purists are probably going to consider that reactionary treason, or at least a backward step too far. I suspect that with the prog-fanciers who’ve always migrated into post-rock zones, this is a battle well lost long ago.

Yet there are hints that The Fierce & The Dead may have more to offer than being a cautious Groundhogs for post-rock brainiacs. For example, there’s Stuart’s digression into breakbeat crunch at the halfway point, or the unsettling final minute: a coda of skirling and looping up the scale via feedback, microtones and cheap electronics, ending with an abrupt slam into silence. I’m guessing that they’re not intending to stay on cruise control forever: Part 1 is, after all, just the start of any story… But more proof and less scribbling next time, please.

The Fierce & The Dead: ‘Part 1’ EP
The Fierce & The Dead (no catalogue number or barcode)
Download-only EP
Released: 3rd January 2010

Get it from:
Bandcamp

The Fierce & The Dead online:
Homepage Facebook Twitter MySpace Bandcamp Soundcloud

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