Phoning it in

Dispatches from the back of the venue

RIYL: Henry Cow

  • Stereolab

    Stereolab

    For a band who were on a 10 year ‘indefinite hiatus’ until 2019, Stereolab really seem to be making up for lost time. They’ve been touring extensively all over the globe since then and this year surprisingly released a brand new record ‘Instant Holograms on Metal Film’ which has been getting rave reviews. For my money it is their best since Scary Monsters 1997’s electronic exoctica masterpiece ‘Dots & Loops’ – and brings with it a much needed message of hope & unity.

    I’ve seen a fair few shows since they returned to active service and each time they had a different set – picking from their 11 studio albums and myriad of EPs, mini-LPs, obscure 7″s, compilations and bonus tracks. To the innocent bystander their can sound a bit ‘samey’ – the old joke “Stereolab (or insert other band name here) have made their album again” has been applied on occasion. In fact they are a band who have traversed through many different phases. There is Camden lurch noisy Lo-Fi Stereolab (my fave I have to say) there is weird Lo-Fi loungey exoctica Stereolab, there is weird Hi-Fi loungey exotica Stereolab, there is freewheeling abstract Art Rocker Stereolab, retro-futuristic electronic Pop Stereolab… All these stereolabtypes merge together rather satisifyingly on the new record – which is just as well as it will form a large portion of their current live show.

    The Ritz is packed and at full capacity and even though we’re well into Xmas party season (Manchester is heaving with civilians and office partygoers in Xmas jumpers) and indeed maybe because it’s the Xmas party season – I get the sense everyone is in here for something a bit more cerebral and thoughtful. The crowd are a real mix of ages too – and that strident, progressive new album seems to have a resonated with a younger generation which is heartwarming to see. The new album tracks get cheers of recognition – they have been paying attention.

    The Groop tonight are mainstays Laetitia on lead vocals, synth, guitar and tonight playing a mean trombone, Tim on rhythm guitar – giving it some serious Northern Soul riffage, the mighty Andy Ramsey – the absolute heartbeat of Stereolab since 1992 on drums – (always a joy to watch) – joined by relative newbies Joseph and Xavier on Keys & Bass. Tonight isn’t going to be about favourite old songs so I settle in to watch them clearly loving playing this material which has energised them and gives them the chance to go off piste and take it for a walk around town on more than once occasion.

    It’s good stuff and easy to warm to with each song having moments where the band can really explode into fireworks after some meandering and occasional freeform noise bursts. The oldies are not the obvious ones but ‘Peng 33’ from their debut LP is a real treat – and a blast of their remarkable ability to take a simple melody and make it sound epic. A couple of tracks fall a little flat – ‘A Flower Called Nowhere’ never did it for me in the 90s and seems to be glued to the setlist since 2019 – ‘Household Names’ – is a rather nondesript b-side from 2000 that clearly means more to them than it does to me – but those are the exceptions. For the most part the band are on top form and playing with a mixture of earnest seriousness and playfulness.

    Closing the main set is ‘Electrified Teenybop’ from the new album – an instrumental which sounds outrageously massive as a live performance – up on the balcony I find myself watching heads bobbing and moving linbs- it’s a huge, imaginary orchestral film theme scaling the walls of the venue and earning the band a very raucous call for an encore. It might have to be a live staple if they return to playing oldies again.

    One of the best sets I ever saw Stereolab do was touring ‘Emperor Tomato Ketchup’ in 1996 and that night was much like tonight – leaning heavily into the new record with just a few oldies – so this is very much true to form. Tonight can’t quite measure up to that because they had the sort of extended line-up 90s music biz budgets could stretch to – High Llama Sean O’Hagan on keys, members of Tortoise popping up on percussion and – amazingly – Sonic Boom of Spacemen 3 who spent the entire gig smoking and prodding at a huge modular synth (30 years before they became fashionable again). Here’s a clip of that version of The Groop – with song that resonates today more than before:

    However, this leaner unit does capture the sheer joy of playing music that they’re energised by and want to play – and play with. They leave us with an extended and rapturous ‘Cybelies Reverie’ also played at that 1996 show. This ain’t no ‘French Disko’ (the closest they came to a hit and one that felt it was becoming a bit obligatory on the last couple of tours tbh) but it’ll do nicely

    It’s fantastic to see them entertain 1,500 people with such an uncompromising set and take people along the ride with them – I think everyone realises there is nobody quite like Stereolab – in attitude, approach, outlook and the unlikely combination of sounds and influences they cram together – they’re a bigger deal than ever.

  • North Sea Radio Orchestra

    North Sea Radio Orchestra

    The thing about being a Cardiacs fan is there are all sorts of curious leads to follow in their wider, cinematic universe of associated bands and offshoots – each with some connection (literal or spiritual) to the late great Tim Smith. Not far upstream I find the amazing North Sea Radio Orchestra. Formed by Cardiacs alumnus Craig Fortnam, the NSRO are described as a “contemporary music ensemble and cross-disciplinary chamber orchestra (plus chorus)” and have already clocked up 20 odd years of dizzyingly accomplished work before johnny-come-lately here caught up with them.

    Fortunately for me a mysterious promotion outfit located over Snake Pass from me – going by the name of Buds and Spawn are also immersed in all things Cardiacs and beyond and are dedicated to presenting ‘semi irregular nights of semi-irregular music’. They have managed to get the entire NSRO – 10 piece ensemble with woodwind, strings and archaic organ – up from down south to Sheffield to perform in a lovely little theatre tucked away in the University corner. This is their only show outside London on this current round of performances to promote the new LP ‘Special Powers’.

    It’s a 5.30 start – perhaps to give time to get the ensemble back home before the witching hour. The early start, and the cosy theatre venue sets the scene nicely – the atmosphere is hushed and studious with none of the distractions of a typical ‘gig’ (nobody chatting or getting beery) – this is music to get immersed in – so let’s get into it.

    First up is another Cardiac, William D Drake and quite rightly everyone is here already to catch his performance. No missing the support act who is well known to a large proportion of the audience. William performs on piano with assistance from NSRO keyboard player James Larcombe alternating between two different Hurdy Gurdys (what else). Drake (a distant relative of yer actual Nick Drake) plays a set that leans stylistically into early music, madrigals and goes deep into a folky undergrowth. So far, so mediaeval and those unmistakable twisty-turny chords and strangely arcane melodies sound both ancient and modern. What a way to begin!

    NSRO take to the stage – 10 strong with violin, Cello, woodwind of various denominations, drums, keys, bass and vocalists -all led by Craig who for the most part sports an acoustic guitar which he uses in place of a conductors baton to lead the players and singers- and I’m really struck by how he plays- picking the elaborate songs out and often forming the bedrock of the music (much like Sean O’Hagan when High Llamas play live) and occasionally getting into a hypnotic strum as if he was just busking these remarkable pieces of music.

    It feels ‘classical’ – the musicians are reading from sheet music, playing these carefully arranged songs – sitting quietly or eyes closed when they are not required for a particular piece – but it’s not staid or stuffy – and I really like the fact this is kind of a art-rock gig in disguise really (notably Craig almost forgets to give the band – sorry – orchestra a proper conductorly flourish to start the first piece).

    They start by playing the new album in full – with a knowing apology – but it’s excellent anyway and there is plenty of time for a sublime selection from the NSRO catalogue including ‘Heavy Weather’ and a fitting tribute to Tim Smith ‘Morpheus Miracle Maker’. The encores include a track from Craig’s solo LP ‘Ark’ which is a highlight and sends me off into his solo catalogue – another Cardiacs tributary to float my musical barge down.

    Cardiacs aren’t the only reference point – a lot of what NSRO do hits that sweet spot of British art-rock / ROI (Rock in Opposition) and the Canterbury scene of the 1970s – so Henry Cow, Robert Wyatt, Soft Machine, Caravan as well as Syd Barrett.

    A joyous, intriguing evening – and hats off to Buds & Spawn for bringing this amazing music to Steel City

  • Anthony Moore – ‘Home of the Demo’

    Anthony Moore – ‘Home of the Demo’

    Anthony Moore has an extraordinary CV that brilliantly straddles the deeply experimental vs some of the most mainstream Pop musical imaginable (of it’s time). How about this – he was part of the collective around the serious-as-your-life avant-rockers Henry Cow and formed the offshoot Slapp Happy – a huge influence on groups like The Fall. He also followed that Rock in Opposition trajectory and produced records with the likes of This Heat – Art Rock royalty basically. So it may come as a surprise that he also wrote a song called ‘No Parlez’ the title track of the gazillion selling Paul Young album (that famously seems to replicate itself in charity shop shelves, such was its ubiquity). He’s a key part of the post-Roger Waters Pink Floyd, collaborating on songs such as ‘Learning to Fly’ but has also worked on countless experimental and exploratory works and art installations which I’m still discovering. His most recent solo release is called ‘Arithmetic in the Dark’ – enough said. He’s comparable to someone like John Cale, or latterly Jim O’Rourke – able to work in mixed media, high art but, as this compilation demonstrates he has an appealing voice and a way with words and song.

    This very satisfying compilation collects lots of unheard material from his archives, mostly home recorded (hence the title and the cover – with Anthony unwinding a C90 with a pencil) but this is no scratchy lo-fi set – bar a few cheap sounding synth and drum machine patches, and you soon forget you’re listening to home demos and just enjoy a smart and intriguing set of would-be Pop hits. Floyd fans will home in on ‘Earthbound Misfit’ (which became ‘Learning to Fly’) but there’s lots more to enjoy. ‘Lucia Still Alive’ is a crunchy take on ‘Low’ era David Bowie, and ‘Coralie’ is a fab Velvet Underground/Roxy style strumfest. Best of the bunch is ‘Me and Neil Diamond’ featuring the unmistakable croon of Ian McCulloch recorded sometime in the mid-80s. It sounds like a song that 10 years later could have set Britpop era Radio 1 ablaze (and perhaps a counterpoint to ‘The Ballad of Tom Jones’) with it’s Easy Listening reference and ‘I can’t stop smoking and drinking and having a good time’ refrain – except that Moore uses a wrong-footing time signature that threatens to derail poor Ian but perhaps reflects the ‘all at sea’ motif in the lyrics.