The Montague Arms, 289 Queens Road, Peckham, London, SE15 2PA, England
Saturday 11th March 2017, 7.00pm – information here
What’s on the invite:
“Ghost Car are inviting you to the launch party celebrating their debut single ‘Stuck In The Mud’ (released on New York label Greenway Records), on Saturday 11th of March at The Montague Arms, with support from Secret Tongues and Strange Lipsticks.”
What you get:
From Ghost Car – careening, shifting, minor-key garage rock with sweet’n’sour organ punches plus flavours of bolshy girl-group and of honey-and-yoghurt Gallic pop (despite the fact that, although the members hail from a wonderful pre-Brexit splatter of Spanish, Irish and British roots, none of them are French). The video for ‘Stuck In The Mud’ is a little low-budget hymn to female tensions – office-girl restlessness, transposed rage at impenetrable masculine spaces. It’s a collage of impeccable makeup methods, fusty corridors, and slammed or locked doors, with a nod to the way in which the women’s toilets can double as a sanctuary, a place to compose yourself, even a rallying zone.
From Secret Tongues, you get relatively conventionally dreampop indie. Permeated with a lazy but lipsmacking eroticism, it switches between languorous, scenic verses and upbeat, jouncy choruses. Recent single ‘Glass Beach’ is typical of their work – a song of arousal, of “pheromones playing with our hormones” (and it comes with a sloppy-sensual video full of orality and come-hither eyes).
For my money, the most persuasive reason to pitch up for the gig is for show opener Strange Lipsticks, a.k.a. singer-songwriter Mary Fritz. Over the times during which she’s shuttled between London and Boston, her music’s evolved from lo-fi tick/echo/strum songcraft (orchestrated with tremolo, warble and skate) to a shifting, half-moored folk sound interpolated with background noises and a wan tone of solitary council-estate psychedelia. Mary’s weary folk-chant of a voice (a little reminiscent of the unsettling intonation of Scottish post-folker Pinkie Maclure) remains the key note: breeding her songs’ atmospheres of ill-health and of a disturbed, distracted intelligence feeling its way around, angling for clarity.
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What’s on the other invite:
“Hanging Valleys is an alternative band founded by Thom Byles in 2016, in which he’s joined by Mike Phillips (guitar, vocals) and Alexis Meridol (beats, synthesizer). Their music is centred around soaring falsetto vocals accompanied by ethereal atmospheric phrasing on electric and acoustic guitars, which combine to create a rich shifting soundscape. An unusual percussive playing style on the acoustic is blended with percussion and self-produced samples to create pulsing rhythms with captivating crescendos. The band’s debut EP will be released on 10th March 2017.
“Swan Levitt is an English singer-songwriter from the Isle of Wight, UK. Blending together acoustic folk with refreshingly modern themes, his emotionally charged voice lets you in on a personal level, taking intricate melodies and crafting them into a fully cinematic experience. Uniquely adept at songwriting, Swan Levitt carries the listener on a character building journey. Using his personal struggles and his passion for science to create music that is acoustic at heart, yet interwoven with subtle electronic atmospheres. Levitt is currently recording his debut album at Studio Humbug on the Isle of Wight with accomplished production duo, Boe Weaver and Organ Records.”
What you get:
Beyond the initial hype (and the little cloud of thumbs-ups from various people at BBC Radio 6), you get two acts coalescing from their initial post-folk vagueness. For the past year or so, as they built themselves up from being Thom’s solo project into being an actual band, Hanging Valleys have been dotting Bandcamp and Soundcloud with individual tracks. On the positive side, they’ve got an exquisite, downy, murmuring sound which – if anything – their press releases undersell. On the other, they’ve sometimes used it to be over-evasive, apparently more interested in capturing the perfect curve of a shadow-croon or the glint of a guitar-string harmonic over anything requiring a commitment of story or setpiece. Their most recent track, ‘T.B.D’, seems to indicate that they’re finally hitting the right balance.
As for Swan Levitt, he initially came to general attention last year thanks to two softly pained, quietly dramatic post-Damien Rice-ish singles – ‘Alive’ and ‘Singularity’ – which sounded gorgeous but also on the lazy side of sparse: as with the early Hanging Gardens stuff, songs which seemed to prioritise furnishing over content. His third single, ‘You Were Human’, is a big step forwards; a mourning, brush-drummed lament with an offbeat, unsettling perspective, casting an eye on the destructive vortex of male desire and sentimentality while weaving together ideas of artificial intelligence and human feeling cribbed from ‘Blade Runner’ and ‘Ex Machina’ (and blurring the lines between lovesong and murder-ballad). He’s a lot more interesting now that he’s come out as a questioning geek instead of just being a beautiful attic voice.