Calva Louise - The Prince Albert, Brighton 13-3-19

Calva Louise popped up on my radar last year after seeing their name about often in glowing terms and so I investigated their singles and discovered another hugely exciting new band. They announced they were playing Brighton around the same time they dropped the album Rhinoceros - an album which sits unchallenged as my favourite of the year so far - and I resolved immediately that I was going.
I went into this gig with genuine excitement and no little anxiety - how would they come across live, and have I dragged my mate to something he'll hate? The Prince Albert was almost deserted on arrival, which kind of contradicted my comments about how they should be playing somewhere bigger -even suggesting The Haunt.
Opening act Short People came on and delivered their brand of Small Faces meets Brit Pop to a building crowd that greeted them warmly but it was semi local (Hastings) band Kid Kapichi that shifted things up a gear, bringing with them a sizeable following. It's hard to place their sound but it's somewhere between Punk and '70s Rock - a bit like early Manic Street Preachers. By the end of their set the room was packed and you feel feel the excitement building.
Shortly before Calva Louise were due the photographers appeared, a sure sign of a band with forward momentum and the room was now getting very hot - full as it was now.
Then the lights dipped, the music faded out to be replaced with the Countdown 30 second clock. A perfect way to increase the anticipation before the band hit the stage and launched straight in to I'm Gonna Do Well - a statement of intent if ever there was one. Jess and Alizon bounced around the stage and the sheer enjoyment both on and off the stage was unavoidable. Outrageous followed and the crowd went with it. Between songs Jess chatted away about the tour so far and what some of the songs meant. Moments of calm  before they launched into the next number. There's no doubt that Jess is a remarkably charismatic presence in stage. Her distinctive vocals never faltered no matter how much she careered around the stage, screamed or thrashed at her guitar. Alizon and her would occasionally face off like in some ritual challenge before wheeling away in unison, all whilst drummer Ben keeps everything tight. Almost the entire album was played before a rousing Getting Closer finished the show. Everyone had thoroughly enjoyed themselves but they were out of songs by now and it was time to unplug and pack away. In the midst of this the crowd broke into a chant of 'one more song'. 'Are you sure?' asked Jess before the band nervously looked at each other, laughed and committed themselves. Picking back up their instruments and plugging back in the treated us to an improvised rendition of long retired song Eleanor -  a cracking track in itself and apparently the only other song they know.

And with that they really were done. All that was left was to swing by the merch and picked up a copy of the comic book - apparently all Jess's work too. I got there to discover Alizon on the desk who promptly insisted I have a signed poster too and he dragged the others over to complete the set. They all stayed and chatted and a good 20 minutes was spent chatting with them all - it seemed the band enjoyed this show as much as we did.
We all agreed they should play Brighton again. I fully expect that to be a bigger venue next time!
The only downside was all my photos came out pretty blurred but I won't be forgetting this one any time.

Calva Louise have raised the bar high for gigs for the rest of the year and staked their challenge for my favourite new band. They're looking tough to beat right now. I too think they're gonna do well.

Tundra Love Single Launch w/ Murmur, Guru and Dreamwaves at The Green Door Store 12-3-19

Tundra Love pulled a canny trick for their debut single launch at Brighton's Green Door Store by lining 3 supports acts that were all local and were all guaranteed to draw a crowd. More than one person mentioned they were all 'bigger' than the headliners. It ensured a packed venue on a cold Tuesday night and a lively evening and many local acts turned out for this one with members of Projector and Grymm spotted in attendance

Dreamwaves opened proceedings and were a solid start, they occasionally reminded me of Black Rebel Motorcycle Club during their more driving numbers but I couldn't help feel that the singer's voice was a little quiet in the mix and he seemed a little static on the night. That said I came away from them with the impression that they could be worth keeping an eye on.

Murmur were next and truth be told they were the reason I was there. Their brand of Alt. Rock and Grunge has impressed me from the moment I first heard them and their name had been bandied about by people whose opinion I take note of. They tore in to opener Cradle and follow up Common Me with gusto and played a 6 track set of mostly unreleased material - Sane being the only officially available release on their social media, although a live video of Common Me exists. They had a strong following with them and yet when they exited the stage you could tell they'd won new admirers too. Apparently the lack of online material is to be rectified soon and is mainly due to some line-up changes in recent times. I have no idea why their set list says Murmur & The Nips

Guru were next up and to say I'd been warned about them might sound harsh but I wasn't expecting to enjoy them at all. Turned out they were pretty damn good. Strong musically and with the kind of frontman that will be idolised by some and viewed strongly the opposite by others. A huge presence on stage, without dominating over his fellow members, charismatic and full of wild staring eyes that would make Jaz Coleman smile with approval. A band to watch for sure and the biggest crowd of the night.

Tundra Love, then finally took the stage and delivered a decent set of Post Punk Indie that brought to mind someone like Editors. It would be harsh to criticise them but following Guru was a tough call and by this point I'd been sidetracked into a conversation so my attention wasn't fully on them. The crowd did thin out a little but those who remained appeared to be thoroughly enjoying it.

Grymm at The Pipeline 7-3-19

Having been suitably impressed by their support at Allusinlove a second jaunt to see Grymm perform was always on the cards and they didn't wait long before dropping news of another support at The Pipeline.
As a venue it may well be the smallest in Brighton and possibly the smallest actual venue I've ever seen a band perform in. The Pipeline's downstairs bar is tiny and there's not a lot of space upstairs either. It looks remarkably like someones living room more than a live venue.
Nevertheless after a couple of warm up beers it was time to head upstairs, arriving just in time to see the opening notes of their set. Grymm were the openers and they began with the same 2 unreleased tracks as last time before going into the more familiar Gravity they were every bit as accomplished as before. There were clearly a number of people there for them and the whole show had an intimate feel to it. There were jokes between the band and audience, a loan of some tissues from one punter, audience participation was brought in via some assistance in preventing the kick drum from falling off the stage and best of all a competition to guess how often bassist Emily has accidentally undone the strap mid performance and dropped it.
There was another unnamed new song before Br-ea-the, which is my personal favourite for now before the they finished off in style with what seems to be their current set closer and the satisfied crowd filtered downstairs and outside for a break before the next band arrived.
Having seen what we came for the rest of the night was spent chatting and their was an opportunity to meet and pass thanks to Grymm themselves for their impressive work.  Apparently the new tracks are recorded and due to be released in the coming month or so.
Maybe next time I will be able to give them a name.

Demob Happy, Sick Joy, Heirloom - Concorde 2 - 2-3-19

On a cold and windy March night Demob Happy concluded their latest UK tour in their adopted hometown of Brighton at one of its largest venues. Bolstered by fellow Brighton bands Heirloom and Sick Joy it was very much a local event.

The night began slowly with only a smattering of attendees present as Heirloom took to the stage. With only four songs officially available there were a couple of unfamiliar numbers in their set, but their Nick Cave and Polly Harvey style dual vocals and gloomy Indie backing received a warm and appreciative applause from an ever growing crowd.
   Perhaps this was down to Heirloom's assured performance as much as it was in anticipation of Sick Joy taking the stage next. The Alt. Rock/Grunge 3 piece have been steadily building their reputation recently and delivered in spades. There's a definite Nirvana flavour to their work but it isn't derivative and it doesn't feel like a parody. Opening with recent single Dissolve Me and then playing current single Heaven towards the end, this band are clearly looking forwards and judging by their performance here could well break out into wider recognition very soon.

Demob Happy, alongside Tigercub, are certainly Brighton's biggest current band not to have reached UK chart recognition although a support to Jack White certainly broadened their fanbase. Originally form Newcastle they moved down south to find a more vibrant scene and things have taken off for them so far. This felt like a triumphant homecoming show, with a now near-capacity crowd chanting their name and the band revelling in the moment. Their set consisted of a mix of singles and tracks from both their albums, climaxing with a 9 minute medley of Be Your Man and The Beatles' Helter Skelter and if the band can harness good fortune and capture the right moment they could enjoy success similar to Biffy Clyro or Queens Of The Stone Age

Keith Flint - 1969-2019

It happened around midday today. I casually flicked on my phone and there it was - the news that Keith Flint, co-vocalist and front-man of genre blending electronic pioneers The Prodigy, had died at only 49 years of age.
     It took a moment to sink in but after the initial shock the thoughts to to how and why.  Had some cruel disease taken him. Or some heart condition or organ failure, perhaps brought on by his years of excess? It turns out it is much worse. Reports suggest he had taken his own life. Exactly how I do not know but for me, right now, it doesn't matter as much as the question of why. I would never claim to know the man - I never got to meet him but he always seemed like someone who had grabbed hold of life and bent it to his will. That the simple act of living was everything that mattered. How this changed I can never fathom or hope to try. So I won't I shall simply say what Keith, and The Prodigy meant to me.

1991 - My friend Chris and I went to visit a friend in Tunbridge Wells and made our useful trip to the local independent record shop - The Longplayer. Many brilliant records had been bought there over the years and on this occasion Chris bought Charly by The Prodigy. I'd never heard of them and it hadn't charted yet. It was a 'techno/rave' record according to him and he liked that sort of thing lately. I fucking hated that sort of thing but I had to admit the cover was quite cool looking. We put it on later and it sounded awful to me. Annoying keyboard noises that darted over an in your face woozy grind. With one of those awful dance beats underneath and a totally irritating sample from an old public safety film. It was shit, I thought.

The public disagreed. It was a huge hit an ushered a wave of copycat records, all of which were even shittier.
Then came Everybody In The Place, Jericho and others. I fucking hated The Prodigy and I hated rave music and the culture that went with it. There were a couple of early Shamen songs I liked but that was it and I convinced myself it was because they were cleverer than the rest.

Frankly, I was closed of to dance music and it was spoiling the charts.

I'm not quite sure when it happened or why but sometime in 1993 or maybe '94 I realised that The Prodigy had shifted styles slightly. I applauded their anti-establishment ethos but they were still electronic dance music, and therefore the enemy yet they were more sophisticated and embracing influences I liked. Music For The Jilted generation featured Pop Will Eat Itself, and they mimicked Nirvana on Voodoo People. It was Poison that turned me into a fan though. I don't know why but it was harder and meaner than anything before and I loved it. I bought it and I bought the album too, and embraced them. I love Jilted Generation now - it's probably their best album even if it's not my favourite.

When they played the Phoenix Festival in July 1996 I was there down the front. They'd not long ago released Firestarter and topped the UK charts for the first of two number ones. Keith was now identifiable by a silhouetted haircut alone, such was their fame. At Phoenix they were unstoppable. Were it not for David Bowie coming on afterwards they have been the highlight of the Festival.
I was lucky enough to see them again in October 1996 at the Brighton Centre with essentially the same set. Again they were stunning.
As time wore on and my tastes changed I would lose a bit of interest in the following albums but 2009's Invaders Must Die was a blistering return to form. It is my favourite album by them and one of my all-time favourites by anyone.
After that they dipped in form again but were always interesting and good to have around.

It may be true that Liam was the driving force and chief creative talent, but without the charisma and style of both Keith and Maxim, the wouldn't have been the same. They united ravers, metallers, industrialists and all kinds of disparate groups in a shared love of their groundbreaking, genre-melding brilliance.
Without The Prodigy - and by default, Keith - I would not have opened my eyes to some great music. I would never claim to love techno or dance music but they gave me a window to appreciate acts like Leftfield, Orbital, The Chemical Brothers and many more that I may never have done without them.

And for that I will always be thankful to them and to Keith.
He will be missed but never forgotten.
R.I.P.

P.S. -- Charly is a great record