31

OCT NOVFREE

THE WALKMEN METRONOMYFUJIYA & MIYAGI SPINTO BANDBILL DRUMMOND HERCULES & LOVE AFFAIRCUT COPY MERCY ARMS RUN TOTO RUN

EDITOR - Richard Cheetham - rich@highvoltage.org.uk FEATURES EDITOR - Adrian Barrowdale - adrian@highvoltage.org.uk

REVIEWS EDITOR - Fran Donnelly - fran@highvoltage.org.uk NEW BAND EDITOR - Liam Pennington - liam@highvoltage.org.uk

LISTINGS EDITOR - Mike Caulfield - listings@highvoltage.org.uk

DESIGN - Andy Cake | Soap | www.soapforall.co.uk

CONTRIBUTORS - Alex Barbanneau, Hannah Bayfield, Sarah Boardman, Hannah Clark, Neil Condron, Phil Daker, Ella Swain,

Anne-Marie Pattenden, Lauren Holden, Chris Horner, Hannah Clark, James Morton, Sophie Parkes, Liam Pennington, Andy Porter,

Alice White, Gareth Roberts, Benjamin Thomas, Simon Smallbone, Jack Titley, Megan Vaughan.

OCT/NOVISSUE THIRTYONE

featuresIntroducing… Mercy Arms

& Run ToTo Run SIXSpinto Band SEVEN

Cut Copy EIGHTHercules & Love Affair NINE

Metronomy TENFujiya & Miyagi ELEVEN

The Walkmen TWELVEBill Drummond TWENTYTWO

RegularsManchester news FIVE

Single reviews FOURTEENAlbum reviews SIXTEENLive reviews EIGHTEEN

New Noise NINETEENManchester Listings TWENTY

For more reviews, interviews,comment and info on all

HighVoltage activities log on tohighvoltage.org.uk

See highvoltagesounds.co.uk forlabel info and new

HighVoltage releases

two three

This issue is brought to you in amazing mono colour and inassociation with letters in Arial and the number 31. I Would justlike to say a massive thanks to Adam Farmer for taking on designduties for the last issue and doing a great job of it!

HIGHVOLTAGE NEEDS YOU!!

Are you a budding writer? Itching to flex your vocab muscle? Pentup with a flow of words with no where to flow them? Answer thisquestion... You have a tenner in your pocket; you need to buyfood. Which shop do you go to? a) Tescos b) your localindependant record shoppee?? If your answer is ‘b’ check the adon page 21 and get in touch with Rich the Editor. Andy Cake

five

oct/Nov_News...

Event ofthe Month...

Words: Fran Donnelly

It’ll have been and gone alreadywhen you read this, but at thetime of going to press HV weregetting ready for what looked setto be one of the best In The Cityfestivals ever. But even as thedelegates head back south,we’re just beginning a veryexciting couple of months to see your diary take a battering.Undoubtedly a lot of you will have had your eyes

on this year’s hot risers Foals and last year’s

CSS early in the month at the Academy. But

Manchester’s underground is where the real buzz

is at this Autumn -just ask Friends Of Mine, who

celebrate their fourth birthday on October 31st at

The Deaf Institute with a staggering night

featuring Delphic, The KBC and Lucy & The

Caterpillar.

A ‘Beepfest’ at the same venue packs HV

favourites Jim Noir, The Beep Seals and

The Answering Machine for a Saturday afternoon

of sweet sounds (18/10), but if you prefer your

melodies altogether more disorientating, then

a night in which the warmth of The Shortwave

Set at Night & Day (07/11) will get feverish for

sure.

Meanwhile, Keith are back, sounding seriously

better than ever before with new single ‘Up In

The Clouds’. Catch the launch at N&D to see that

we’re not lying on November 15th. Similarly

psyched, post-rock gems volcano! showcase

their wondrous new album at the Roadhouse

(09/11) before impressive new Deaf Institute

clubnight Now Wave bring Kitsuné-endorsed

We Have Band on November 12th supported

by Darlings Of The Split Screen.

Down Store Street, the late nights come thick and

fast at The Warehouse Project starting with Annie

Mac’s ballsy combination of Black Kids and Kissy

Sell-Out on October 25th. Chibuku bring

favourites like Justice and The Presets (08/11)

whilst Erol’s got Hercules & Love Affair and Diplo

for a typical rave-up .

Phew. When you’re done with that lot, you’ll

be begging for the Christmas break!

Back when I turned 17, me andmy mates went down TorkyPark with a load of WhiteLightning and listened to TheSeahorses. The premier musicvenue in Manchester hassomething a little better on thecards...Delphic are the essential new band in town this

year and as such they’re the essential headliner

for the Saturday (November 29th) night.

Uncompromised in their mix of dance and indie,

the local lads are not “now” - they’re the future.

We said so.

But equally the haunt of rock n rollers is about

times old too. John Bramwell is a familiar face

and voice to Manchester music at large but

Night & Day is where it all began, and it’s there

the I Am Kloot frontman will return for a

heartwarming solo troubadour shows on the

Thursday (27th) opening celebrations.

Stephen Fretwell - some guy who just used to

work the till - then plays a sold out night on the

Friday. Fans missing out can catch him at the

start of his tour, November 8th.

Expect friends and drinking, drunks and new

friends. And a top music hat-trick.

four

Night & Day’s 17th Birthday

CompetitionOn 7th November, Sunday Best are staging

a winter reunion of their Bestival faves for the

most eclectic Warehouse Project yet,

bringing hot young indie-heads Florence &

The Machine, chart-bothering producer

superteam Dan Le Sac vs Scroobius Pip and

the legendary De La Soul to the Piccadilly

Shelter.

If you fancy in then we’ve got a pair of tickets

to give away if you can answer us this one

question: Which Radio One DJ is the brains

behind Bestival and Sunday Best?

Answers to fran@highvoltage.org.uk before

4th November for your chance to win.

sevensix

The Australian band now arriving on a tide of expectation and outrageoussartorial elegance is Mercy Arms,whose staggering live shows havewhetted the appetite of many on theseshores eager for a taste of a new-romanticism of such intensity it’svirtually obscene. Their guitarist KirinCallinan is one reason why theirdistinctive sound is now making its wayhere, so reasonably enough he wantedto say a few things to High Voltage.

Grunge flavoured Mercy Arms formedat Christmas 2005, Kirin admitting to “a small fib” helping him to join. “We allmet again,” Sydney based Callinanexplains, “where I confessed to my liesabout being a pianist. We busked onthe Crows Nest steps all night, notmaking any money but it was merry.”

The four-piece, completed by bassistAsh Moss, drummer Julian Sudek, andsinger and main writer Thom Mooe,are nothing sort of a revelation basedon a hurried few years sharing stageswith The Pixies, Editors, The DirtyThree and, befitting their statusamongst their countrymen, Nick Cave& The Bad Seeds. Their sound is amature and long overdue kick up thebackside for alternative rock, giving thepost-punk sound something more thanteenage poetry.

Kirin explains that key influences wereshared and exchanged, “but I think our, um, ‘sound’ developed fairlyorganically. That is, we never tried tosound like anyone but, ugh this soundsbad, ‘ourselves’“We tend to get variedcomparisons, even like Sigur Rós, andyes it’s a compliment. But because oursound may remind someone of a greatband certainly doesn’t mean you are agood band. I much prefer if someone says wesound like nothing else!”

Musically assured and free-form,although Kirin dismisses any post-rock comparisons, the honest lyricsare another standout point. Writtenessentially as a group affair, manycome from the “personal space” of lead Thom Moore. Kirin says“Personally, my lyrics are usuallystories, with the odd truthfulexperience thrown in to keep even my family guessing.”

Their new album, simply titled “MercyArms”, acts as both introduction andconversation, with styled guitar riffs bashed againstthunderous and expansive solos andbrutally honest vocals to boot. By anact of barbeque-melting providencethe steering hand, and not always fair with his firmness,was famed producer Tony Cohen, the typical Australiancharacter helping such an untypicalAustralian band.

Kirin agrees with bassist Ash Mosswith his praise for Cohen’s productionwhich helped bring out some of themost honest confidence in songs like“Caroline” and “Shine A Light Down.” Moss has spoken of the raw energy in the studio, a feeling Kirin echoes. “Tony is aclassic, a genius. The recordingprocess didn’t really change thesongs, it captured them.”

Red-wine drinking Kirin – “the morebeer I drink, the more I slowly turninto a bloke” he says, a statementwhich would be at odds with hisnationality were it not for his wardrobedoing that already – is looking forwardto the chance of Mercy Arms beingcalled to arms in the UK. As for theunusual dress-sense, it can onlycome from one please. “Ourwardrobe”, he helpfully explains.

Liam Pennington

Rachael Kitchenside has been afamiliar name to Manchester’s musicfans for some time. Her early jazz-tinged solo recordings showcased a rich, breathy voice that shone like a diamond amongst Didos. Now Rachael’s collected a band and a whole new musical manifesto, andRun Toto Run are going to charm the pants off you.

“I’d been working with Mike on guitarthe whole time, then tracked Jamesdown because I really wanted a double-bass to bring a wholedifferent dynamic to the music. Then Matt kind of found us,” explainsRachael. “He’s a real violin virtuosoand said he could see where wewere going and wanted to help usget there, but I was like ‘Oh, I don’twant a violinist really…’ But then hetold us that he did a lot of electronicsas well.”

Rachael is open about the influencethat electronic music has had on hersongwriting, as well as her greatervision for Run Toto Run. “There’s a band called British ExpeditionaryForce that triggered it for me. What they’re doing is so beautiful, somelodic, and the harmonies are juststunning. It’s so uplifting, Sigur Rós-y but more electro. And peoplelike Radiohead have a hardelectronic edge but it’s still beautiful. There are still flutes and acousticguitars though, so hopefully we’resomewhere in between SufjanStevens and The Postal Service.”

Run Toto Run’s first release was thelusciously arranged ‘Your Face’, a split single with fellow Mancunianfolkie Stickboy, and its sweetrecorder revival coupled withRachael’s Marilyn Monroe vocals ispure pop unfussiness. “I usually startwith the vocal melody,” she says. “I come from a writing background - I did a masters in Literature - and I like to craft the words the makesure everything falls into place, even before the music’s there. It’s a collaboration between fourpeople though, and I bring songs to the band to jam around with. It’s nice to see how it changes fromthe original idea.”

With a show at In The City and hostof new fans gathered on their OnYour Floor Tour (“We ended up in a crack den on the first night so Iphoned my friends to come to ourrescue!”), Run Toto Run are certainlygathering pace.

Get the ‘Your Face’ single from The Lost And Lonely Singles Club.

Megan Vaughan

INTRODUCINGMERCY ARMS

Born out of a box oflead singer NickKrill’s grandpa’slyrics, The SpintoBand rose out of thebasement to hit thebig-time in 2005.Having producedseven self-releasedalbums since theirformation in 1996,they burst onto thescene with a massiveback catalogue,landing them supportslots for the likes ofArctic Monkeys andArt Brut. Three years of touring and a debutLP later, they’re returning to the UKto claim back their fans. “Wehaven’t been in a while,” explaineddrummer, Jeff Hobson, as wecaught up with him ahead of theband’s hectic three-month touringschedule.

“I’m super excited just to get overthere, and in the past we’ve hadpretty decent crowds.”

The fans themselves have a bigrole to play in The Spinto Band’sshows, and the latest attempt tobridge that audience/performer gapcomes in the form of the ‘RoySpinto Mask Competition’. Fans areinvited to take photographs of themselves donning thedownloadable mask in the mostunusual of circumstances, with thebest winning the top prize of aniPod. “They contribute to ourexistence and participation ishuge,” said a humble Jeff, “If wecan get people to put on ourmasks, that’s all we can ask for.”

Keeping up with the local livescene is important to Hobson, whosaw My Morning Jacket just a fewnights ago, but playing In The Cityhas him looking to the UK for upand coming talent. The band’spopularity on this side of theAtlantic has seen them touring withsome of the most successfulnewcomers of the last few years,including old friends, The MysteryJets, of whom Jeff is a big fan.

“We’ve become good friends.They’re real cool guys.”

Fans have had to wait almost ayear to get their hands on theband’s own new material, since itwas recorded in 2007 with previouslabel, Radiate Records. After astressful year of being maderedundant and signing with newlabel, Fierce Panda, they can’t waitto get their new sound out there.The new material is more upbeatand poppy than debut album, Nice

And Nicely Done, but still holds onto The Spinto Band’s talent forcreating strong harmonic melodiesover a rich backing track.

“It was a fresh start forus. We recorded it outin Los Angeles, so itwas fun to stay therefor a month and seethe city.” But the firstrelease from Moonwinkis a real piece ofnostalgia, from theirdays as a basementband from Delaware.

“We recorded that song [‘SummerGrof’] back in 2002 as a basementnumber. We were thinking of songsto make an album with and thatone came to mind, so we startedreworking it. It may even turn out tobe the most popular song.”

This time round, the lads are takinga more personal approach topromotion via their website.Practicing every day at Jeff’sparents’ house gives rise to uniqueways of unveiling new material inthe form of home videos, the bestof which features the band playingpossible future single, ‘Later On’.It’s done using things you wouldfind in an ordinary kitchen, andmanages to produce a surprisinglycomprehensive sound. “We’re just

goofing around, thinking of coolways that we can keep peopleinterested.”

These ventures into the world ofacting and directing films arenothing new for lead singer,Thomas Hughes. As ideasformulate about future singles andpromotion, the possibility of makingtheir own music videos is on thecards.

“Thomas made a video for ‘OhMandy’ - not the one with the icetown, but a different one. So I guess we’ve already started todo that. Any video that we’re doingof our music, we have extremelyheavy input on everything.”

In the coming months, the band will release further new material,with ‘Pumpkins and Paisley’ beinga definite possibility for a single. But for now the road leads toManchester, and the dauntingprospect of playing to rooms ofA&R scouts and a fanbase they’ll have to work for.

Sophie Armour

http://www.spintoband.com/

The album, ‘Moonwink’, is out nowon Fierce Panda

THE_SPINTO_BAND

eight

"Dude, your jeans arefucked…"gaspsdrummer Mitchell, liftinghis sunglasses,"…isthat what happens ifyou go out there?"

Cut Copy are yet to venture beyondthe Creamfields festival backstageafter a night's downpour. Have thetrio ever done the camping thing?

"Yeah at our first Glastonbury butwe couldn't even put the tent up,"starts singer Dan. "The sun wasgoing down and the instructionswere wrong, so about half an hourinto the endeavour we gave up andjust left the tent. We put newspaperdown in the van and spent threenights in there. Glamorous, I know."

They might be a bit soft, but CutCopy have been cult favourites inthe UK for synth-pop fans eversince 2004's Bright Like NeonLove. Expectations were high for a follow-up, but few could'veimagined how much it wouldsurpass the debut this summerwhen In Ghost Colours surgedstraight to number one in theirnative Australia whilst receivingglowing reviews across the board.When the band came back toGlastonbury it was our turn to givethe surprise.

"We thought it could be a little bitrubbish," admits Dan. "Most of thebands started on the Friday so wethought what the fuck are we doinghere on Thursday? But wow…"

The Dance Village was teemingwith people – so much so thatgetting into Cut Copy's spacioustent half an hour before theirevening slot was impossible.Timely, the rain came down and theplastic ponchos danced outside forthe first time that year. For an outfitmore used to club shows in thiscountry, what do they make of theunique UK festival experience?

"The weather's a bit intense,"observes drummer Mitchell."You don't experience it anywhereelse in the world but here. You guysare more resilient and aredetermined to have a good time nomatter what. Everyone's all smiles,it's kind of strange. Probably thedrugs."

Possibly, but this sound bathes in feel-good vibes even withoutchemical assistance. FromMelbourne to Ibiza; a warm four-to-the-floor thump going into thehands-in-the-air chorus leads theloose euphoria of a Cut Copy show.

As Tim puts it; "The audience isvery much involved in what we'redoing. It's not exclusively aboutwhat's happening on stage – ittakes dancing to make it complete."He laughs, "I'd like to think it's a generally positive experience."

You'd hope so considering theAntipodeans spend the yeartravelling in an eternal sunshine,leaving the northern hemisphere'ssummer for Australia's in Decemberand showcasing the new LP that'smonopolised the live set. With theshimmer of 'Out There On The Ice'

and the Balearic wave of 'Hearts OfFire' bringing the heady bounce ofTechnique-era New Order to the21st Century, it's easy to feel theplace this album's at, but where did it begin?

"When we stopped touring,"answers Dan. "We suddenly hadthe time to listen to a load ofrecords that was new music to us…lots of 70s American pop likeFleetwood Mac and ELO.

"I guess working with [DFA co-owning, The Rapture producing]Tim Goldsworthy shaped things a lot in terms of giving us a disco-band direction. But then whatcaught me about writing music inthe first place was being able to listthe stuff that inspired you, beforegoing nuts doing whatever youwant."

Given its reception, does In GhostColours feel like a significant stepforward?

"With the first record itwas like a step out intothe unknown," thesinger continues. "Thesecond progressedfrom that and capturedmore what we'relooking to sound like.But next time we'redefinitely going to takeit further.”

"I think we'd like to have anotherrecord out sooner this time – it'ssomething that we want to be alittle more organised about. If allour festivals for the summer gotcancelled, I wouldn't be that upset,you know? I'd be happy to get rightback down to it."

Cut Copy's growing internationalstatus must have tested theirtouring dynamic somewhat. InManchester they played acompactly vibrant Night 'n' Day gig,whereas back home they play tostadiums, where the profile of popmusic has changed thanks to theircompatriots Midnight Juggernauts,The Presets and just the wholeModular roster in general.

"In Australia dance music's morerelevant now," reckons Mitchell."We've not really a rich history in itother than a few acts, but it'scrossed over into the mainstream.

"It's exciting for us to have a wholenew audience for our music, but wealways like that challenge ofcoming over here and wiping theslate clean to win people over. We have to work a bit harder."

Timely, the sun now comes out andwith our increasingly acceleratedsummers becoming more and moreabout the lights and music, 2008will always be remembered by CutCopy's soundtrack.

Fran Donnelly

www.myspace.com/cutcopy

Cut_CopyUnforgettable Season

The outlandishly hipAndy Butler – gingerhair shaven at thesides, shades andearring-ed – has justbeen vaguelyattempting describe hismusic with Hercules &Love Affair to millions of Radio One listeners.But when he comesacross High Voltage anhour before playing theCreamfields mainstage, something elsehas his attention;

"I see some people on some crazyrides over there." He points pastthe press tent to a distantlycatapulting Inverter and smiles,"We don't do a techno party withrides and a fun fair. It's super cool –I love coming here and seeing howpassionate people here are. In terms of festival culture, Englanddefinitely trumps America.

"I think in general, UK crowds tendto be a bit more spirited. The liveshow has had a very warmreception in the States but incontrast we're not playing festivalswith people coming to see Hercules& Love Affair. The sheer numbersand the open-minded enthusiasm is the real difference."

HV: You've only been playing livefor a few months now – how farhave you come on?

"We've developed so much as agroup. There was a lot of pressureafter positive response to therecord added expectations, andthen obviously Antony [Hegarty]wasn't gonna be able to tour withus. All of these things put heatunder us but I think we've done a really good job and the show'sgotten a lot tighter than we could'vebeen initially."

HV: What do you think it's like towatch live?

"I'm not sure. We were talkingabout this recently – I think there'sa spirit of community that exists onstage that I can't help but thinkwould be infectious and translate toan audience member. There areeight of us on stage and we allcome from totally differentbackgrounds, different races,sexualities, genders, everything."

You'd expect nothing less to comefrom the city of the Stonewall riotsand of course the era-definingsounds of their DFA home. Like labelmates LCD Soundsystem,the band are very much a NewYork one, albeit somewhat morecolourful counterparts, driven bythe oscillating androgyny ofvocalists Nomi, Kim Ann and theaforementioned Hegarty.

"Our show is about bringing a lot ofdifferent people together becauseof music and I think that's a nobleendeavour. It used to happen a lotat dance clubs and raves when it

was all about this sort of utopiancommunity building. There's alsojust a lot of shit to watch on stage,so it can be kinda spectacular inseeing the horn players and seeingour singers."

Pulled together by the mythicalquality of its aesthetic, thereferences on Hercules & LoveAffair's debut album map the soulfulevolution of early dance music viaCandi Staton, Giorgio Moroder,Inner City and the Danceteria. It'sclassic in every sense of the word,harking back to a time when DJssaved lives – but how important isdance music these days?

"The power or influence of it hasn'tbeen used as effectively as it hasbeen in the past," asserts Andy,formerly a DJ himself.

"People don't explore that aspect ofit as much anymore – it's moreabout scenes that are created, a silly party night out rather thananything more sincere."

HV: Do you think the potential'sstill there for dance to be aserious social force?

"I do, it's just not being mined for allit can do. A lot of listeners dismissdance music as superfluous orfluffy and illegitimate. I come from a really different stance – it can bea really serious, really meaningfulsort of music and I hope artists willstart to approach it in that waymore and more. I think there couldbe some sort of wonderfulrenaissance, with some reallygenius music being made."

HV: So you actually believe thatthere could be anotherrevolution driven by danceculture?

"Definitely. It comes in waves –disco, house, techno. It could doagain. Hopefully we'll be a part ofit."

Watching them on stage, youwouldn't doubt their chances. Full of fashionista allure andconfidence, Hercules & Love Affairhave soundtracked Chanel, andtheir tours are cosmopolitan foraysstopping only at cultural epicentreslike Paris, Berlin, Milan andManchester. Although apparentlyit's not all it's cracked up to be asAndy explains;

"You think it would be glamorous or fun," he sighs, "but we're usuallyonly in a city for say sixteen hoursat a time, it's really quite gruelling."

Saying this, Butler pauses andlooks around him.

"But it's not a drag," he smiles. "It's hard, but there's a lot of joythat's unique to being in Hercules & Love Affair. I'm on the road witheight people that I love, and I'mplaying music. That's what I'vealways wanted to do with my life."

Fran Donnelly

www.myspace.com/herculesandloveaffair

HERCULES_LOVE AFFAIR

Most people knowMetronomy as aremixer extraordinaire,reworking hits by popluminaries like KateNash, Gorrillaz, andGoldfrapp into wonkynuggets of brilliance.He’s even put BritneySpears and U2 throughhis strange laboratoryof skewed disco,although theirrespective labelsweren’t hugely keen onhis unique vision oftheir mega hits and theremixes remainedunreleased.

Many people who only know him as someone who turns out versions of other people’s songs will bepleasantly surprised when theyrealize his new album, Nights Out,is a fantastic piece of disco-tingedpop in its own right. For mainmanJoe Mount, it’s both a blessing anda curse being known for his owninterpretations of other people’smusic. “It can be annoying,” he muses, “but I guess I can’tcomplain because it’s where a lot of people hear about us from, and

I do really enjoy doing my ownversions of people‘s songs”.Whereas with debut album “PipPaine Pay the £5000 you owe”, heshowcased his uncanny knack forcatchy instrumentals that stick inyour hear for weeks, the newalbum is a far more song basedaffair.

“I think I just got more confidentwith my singing as we played livemore and more,” explains Joe,“ sowith this album I was really trying to make it more like a traditionalalbum, based on song writing, asopposed to Pip Paine, which wasmore like a collection of all thedifferent things I’d done. A lot of itcomes from trying stuff out live, andit’s often easier to connect if it’s gotlyrics and singing rather than beingcompletely instrumental. With thisalbum I felt like I was writing thesongs with the thought of playingthem live as a band always at theback of my mind, like what partsOscar and Gabriel will be playing,as opposed to before where Iwouldn‘t have really taken that intoconsideration much”. Whereas inthe past they might have neededgimmicks such as shoddy danceroutines and costumes with flashinglights to keep audiences’ attention,they have become a prettyengaging live band in their ownright now. The woozy melodies thatformed the backbone of tracks suchas You Could Easily Have Me andBlack Eyed Burnt Thumb are stillpresent, but now they play secondfiddle to Mount’s surprisingly strongvoice and turn of phrase.

The album has a loose conceptualtheme of going out; the glossypromise of hedonistic thrills and thereality of drunken lows. From introto outro it’s clearly a thought outaffair rather than the charminglyramshackle nature of their debut.

“I think to a certainextent these dayspeople don’t reallylisten to albums fromstart to end like theyused to, it’s more acase of listening toindividual mp3s on aplaylist or whatever. I wanted everythingfrom the artwork to thesleeve notes to be rightbecause you don‘treally get that with anmp3. With “Nights Out”I wanted it to be morelike a cohesive wholefrom start to finish thana fairly randomcollection of singles.”

This may be the case, but such ishis ear for a hook that most trackson the album sound like potentialsingles anyway.

The tables will be switched for thefirst time with this album, with otherproducers being unleashed on hisoeuvre rather than the other wayround. “I still don’t know how I feelabout people remixing my songs”,he laughs, “I find it quite strangelistening to them. I generally let thelabel sort out everything like that.We’re really looking forwards toplaying this album out live becausewe‘re really pleased with it, andhopefully people will get into it.”Expect the homemade brilliance of Nights Out to be part of yournightlife for the foreseeable future.

Alex Barbanneau

METRO_NOMY

ten eleven

Unlike many of thebands around today,Fujiya and Miyagi havenot come to people’sattention riding on anovernight tidal wave of hype and industry“buzz”, but insteadhave slowly built up a reputation for qualityover the past fewyears.

Mysteriously appearing out of theblue over six years ago with theirfirst 7” release, no one knew muchabout the secretive duo apart fromthe fact they were probablyJapanese. Which, of course, theyaren’t. Steve and Dave hail fromsomewhere a few miles west ofTokyo, namely Brighton. TheirKrautrock influenced disco releaseson respected label Tirk gained themthe attention of dance music fansand indie kids alike, and theirtracks started popping up in mixesby tastemaker DJ’s such as JamesMurphy and Erol Alkan. Their sparse yet solid grooves suitthe dance floor just as well as thestage, which is one of the reasonswhy their new album, Lightbulbs, is meeting with such rapturousreception. It’s been a long timecoming, but they are finallyreceiving the sort of attention theydeserve.

This critical praise seems to havepassed singer David Best bycompletely however. When I askhim how it feels to start receiving a lot more positive attention, heseems quite taken aback. “Oh, arewe?”, he asks, mildly surprised.“That’s nice. To be honest, I haven’treally read any reviews or anythinglike that yet. I haven’t really left thehouse much in the past couple ofweeks really. I’ve been looking aftermy girlfriend’s cat” With such alaidback attitude towards therelease of his new album, I’m notsurprised that he doesn’t share theworld-conquering ambitions of hisformer label mates New YoungPony Club, who also started to getnoticed from their early singles onTirk. “I don’t think we really havethe same sort of aims as bands likethat,” he muses quietly. “I supposewith them their sound is a lot moretraditionally “pop” than oursanyway. I mean, it would be reallynice to be that big and sell thatmany records, but as long as wecan carry on making the recordswe want to and keep releasingthem that’s good enough for us.”

In fact, Fujiya and Miyagi arealready more concerned with theirnext album than the one that hasjust come out. “Yeah, we’re alreadythinking about the next album,”laughs Dave, “we just want to getstraight on with it. I think the nextalbum we’re going to move awayfrom “groove” songs a bit, so it’ll bea bit freer with less structure, muchmore experimental I think. I guessthat sort of Kraut sound is what a

lot of people know us for, so it’ll beinteresting to try something new”The influence of German off kiltermasters Can certainly does loomlarge over a lot of Fujiya andMiyagi’s work, from the metronomestaccato drum beats to theendlessly looping guitar phrasesand tight bass lines. Many songson the new album belie aninfluence from the other side of theAtlantic though.

“Yeah, we werelistening to a lot of Soulwhile we were makingLightbulbs” explainsDave, “a lot of NorthernSoul stompers andearly Motown stuff. A lotof those tracks werealmost like earlyversions of house, theway they had a reallysimple beat andrepetitive phrases. Ithink you can hear it ontracks like “Uh” and“Sore Thumb”.

The chord structures and vocalsespecially.” It’s definitely true thatLightbulbs has more of a confidentswing to it as a whole than many ofthe rigid rhythms of their previouswork. “I think a lot of that comes

from playing more and more live,getting more confident with thevocals, and then that translated tothe new songs.” The songs aremore certainly more playful thanbefore, with the stream ofconsciousness ice cream anthem“Knickerbocker” opening the albumin a gloriously surreal style. Youcould do a lot worse than get lost inthe hypnotic world of thismysterious duo.

Alex Barbanneau

FUJIYA_AND MIYAGI

twelve thirteen

on iTunes. “Yeah, on this we really

wanted to make a long and

complex album that you can listen

to over and over. So we ended up

with something that isn't that flashy

or hip but, in my opinion, something

ultimately much more satisfying to

perform every night. Its more in line

with the old albums that we actually

listen to every day.”

In fact, speaking of albums, it’s

noteworthy that this is possibly the

album that best rewards hard work.

The success of singles like ‘The

Rat’ from 2004’s Bows+Arrows was

richly deserved, but perhaps

misleading as the band have gone

on to make songs that, whilst no

less compelling, are maybe ‘hidden’

more than previously. Has this

been intentional? “That's great.

We definitely were not consciously

trying to put together an album of

‘non-immediate’ music.” So what

do you think it is that shapes the

albums? “We just tried to make

songs that sounded good to us and

that were solid enough to withstand

live shows and long recording

sessions. The ones that made it

through, that we didn't get sick of,

are the ones on the record.

So they've been well tested.”

The new album comes almost

exactly two years after 2006’s A

Hundred Miles Off which is by no

means slacking, but there has been

much talk of the way the album

was “pieced together” – why was

it so complex? Was it challenging

to make? Walt continues…

“A lot of our songs are

formed from separate

pieces of music that

we've come up with

independently. We put

some songs together

like puzzles. And others

happen more quickly

and organically.

Whichever way things

happen, the songs get

picked apart over and

over and edited and

rearranged until we

think they are bullet-

proof. 9 out of 10 songs

die in the process”

That sounds like hard

work…“Getting together

14 songs takes a

fucking eternity.”

Perhaps more so than on any

previous album, You and Me mixes

the oppressive gloom and

occasional hollow of the band’s

sound with some of the more

upbeat lyrics and Hamilton

Leithauser's natural ear for an

uplifting melody, albeit one swathed

in reverb and off-kilter Dylan

intonations. Why was that

something you felt important to

do this time? Walt tells us “I don't

really know. We like to mix

everything up and to not let

anything get to happy or too dark.

Like ‘Canadian Girl’ starts very light

and happy and gets a little dark just

in time. I like that song. Its the

newest of the bunch.”

So what does that mean is next for

the Walkmen? Does it get darker

from here or is this the sign of a

band shaking off ‘demons’?

“Some people think this record is

really dark. We sorta though it was

pretty dark when we finished it. You

never know what people are gonna

think. We're a pretty jolly bunch

though so maybe our next record

will reflect that even more.”

And if it is, you can be sure that it’ll

be worth checking out. At the time

of writing, The Walkmen were

advertising for local musicians to

join them on stage for their forth-

coming UK tour, an offer that made

HV wish we’d really kept up with

our trumpet lessons. Still, maybe

next time with their ‘jolly’ album,

we can bring our duck whistle and

comedy hats eh?

Adrian Barrowdale

The new LP You & Me is out now

on Fierce Panda records

The Walkmen

With New York’s favourite band

releasing their fourth album

You and Me this month, we thought

it might be a good opportunity to

get them in and have a chat. After

all, there aren’t too many bands

that get HV so excited that the

mere mention of their name has

writers furiously air drumming on

desks and howling like wolves, but

The Walkmen are that band.

We chatted to Walt and got all the

answers we’d ever need…

The Walkmen have been knocking

around making beautiful sounds for

six years now, following the end of

Jonathan Fire*Eater, so was album

four an important milestone to

reach? Walt says, “I don't

know…I'm very proud of our new

record though. I'm happy we

survived long enough to make it.”

‘Survival’ might seem a strong

word, but bearing in mind how

Jonathan… vanished in a haze

of mistrust of commercial success,

maybe it’s apt. After all,

The Walkmen are a band with a

serious ‘cult’ following but limited

mainstream success. We wanted to

know if this was something that had

been cultivated through adherence

to a specific ‘sound’, something

that’s identifiably Walkmen…

“No, I didn't realize that at all!

This record sounds most natural to

me - like the kind of music we all

love. And a lot of that music is

older. We're just more comfortable

with those kinds of sounds.” And

‘those kind’ of sounds are what will

grab anyone new to the Walkmen;

that, and the fact that they’re one

of the few bands still making

‘albums’ rather than 14 songs that

happen to appear on a record

together, something that might

escape newer, more fashionable

bands obsessed with selling tracks

Them and us

fifteen

Friendly Fires - Paris XL Recordings

Any dance geek worthy of the nameknows that Berlin is the place to benow, so quite why this Kompakt-humping trio want to relocate toParis is a bit of mystery.Nevertheless, they do a convincingjob of stating the French capital's

case in this re-recorded version oftheir old single, boasting someadditional backing vocals from AuRevoir Simone. As ever withFriendly Fires, percussion is thewinner, with tribal drum patternspropelling the track busily along. It makes it a must for the immediateworld of the dancefloor, though inmore permanent form - such as ontheir forthcoming self-titled album -

it may prove unable to outlive thehedonism of such moments. Until that realisation dawns though,there's beaucoup de bonhomie tobe had.

Neil Condron

Cats In Paris - ColdProducts(Kruger Singles Club)

Well, where to start? Based on thesheer lunacy to be heard on thisrelease, Manchester four-piece Cats InParis have been locked away in a darkroom somewhere in a monkeys-with-typewriters kind of way, creating anextended other-worldly din untilreaching a Eureka! moment where

each member turns to the samemusical page for a song’s duration.‘Cold Products’ is one part terrifying acidflashback to two parts whimsical walk-in-the-woods orchestration, the warmglow of holding hands for the first timecruelly stolen away by your loved one’sface melting. It’s a kind of Grizzly Bearmeets Disney face-off, a warmembrace of cartoon sentimentalityforever tainted by the knowledge thatthe animator has been secretly placing

phallic symbols in the background.Another stellar release from Krugerthen, and with enough intrigue andeyebrow-raising to put the incoherentcraziness of Cats In Paris firmly on themap.

Harry Garne

Run Hide Survive -Dyson/Pigeon(Show Off Recordings)

If ever there was proof required thatthere’s more to Sheffield than identikitMonkeys-alikes then this is brilliantly,outrageously IT. Run Hide Survivechannel the twin energies of Justiceand Simian Mobile Disco in this doubleA-side to create a glittering electro car

bomb, packed with disco filth and outof control beeps and squeals. Terrificchainsaw itchy-glitchiness directlydescended from Daft Punk’s‘Aerodynamic’ courses through theveins of ‘Pigeon’, somehow marryingall of the elements of theaforementioned French acts with anundeniably British brutality; it couldn’tbe anything but party central. ‘Dyson’kicks it just as spectacularly, conjuringup a basement rave with beats and

pieces to steal for. Based on the sheer,highly adulterated power of this, theirdebut release, Run Hide Survive willfind themselves high up on the StoreStreet bill if the Warehouse Projecthave any sense.

Harry Garne

Sky Larkin - Fossil, I(Wichita)

Considering Sky Larkin have beenflitting around the scene for a goodcouple of years it is frankly bizarre thatthis is their very first proper single. Builtaround leading lady Katie’s finest KarenO wail ‘Fossil, I’ is a fine slice of smash-and-grab bluster without ever reallythreatening to tear up any rule books.

It is certainly pleasingly beefy, a briefsonic air raid aiming to grab the listenerthrough raw power rather than simplequotability, but it’s lacking that magictouch that made their previouslyreleased 7” ‘One Of Two’ so essential.A separated-at-birth comparison can bemade with touring partners LosCampesinos!, with Sky Larkinrepresenting the spoilt teenager to LosCamp!’s geeky older brother, but it’ll

take a bit more gas in the follow-up forthem to truly grab the attention their liveshows prove they deserve.

Harry Garne

It Hugs Back - Work Day(4AD)

Not to shine boots at 4AD, but withBlonde Redhead, The Breeders andStereolab they have a pretty impressivealumni. So Matthew, Jack, Dimitri andPaul of folk lo-fi It Hugs Back, hailingfrom Kent, have a lot to deliver. The newsingle ‘Work Day’ is a gentle pop piecewith melodic guitar and warbling synth

accompanied by Matthew’s sweet-softvoice (with slight American accentbecause they want to be a mellowSonic Youth as we read in the pressrelease, ahem).

The four-piece could be an incrediblyrelaxed Pavement, with a dreamystargazing sound, and to go all out oncomparisons… a hint of the tweeness ofMoldy Peaches too. B-side ‘Take Apart’

is compatibly scuzzy with ambientsegents, hitting the melancholy hard.

With debut album expected early nextyear, It Hugs Back are hotly tipped tohelp to maintain the rebirth of youthfulambient lo-fi.

Alice White

fourteen

Keith - Up In The Clouds(Lucky Number)

After a summer of caning a setof what’s almost all newmaterial, the boys are back andthey’re significantly better thanbefore. And given how muchHV loved Keith’s 2006 debutRed Thread, that’s sayingsomething.

Fans shouldn’t worry as thissingle doesn’t abandon theKeith blueprint entirely –there’s still that groove, thoseorgan keys and Oli’s bowlcut –but it does mark a hugeimprovement. Having

harnessed the much in-demandskills of pop superproducerDan Carey (he co-wrote Kylie’s‘Slow’ - nuff said) they’resounding like absolutebastards, much louder andmore confident to make olderrecordings sound sluggish.

Highlight of the new set, ‘Up InThe Clouds’ starts with typicallypsychedelic notions, spirallingaround before peaking in anauseous ascent into the titularrealm before crashing backdown on Will Seargent-esqueguitar wails. B-side ‘WelcomeTo My Fairground’ is a similarlyheady bout, signalling Keith’s

heady ambitions for theirsound.

The album’s due in the NewYear. Get excited.

Fran Donnelly

singlesSingle of the month

Hot Club De Paris - My LittleHaunting(Moshi Moshi)

Warning! Any public attempts to dance to thissingle’s ADHD beat will inevitably make you looksomewhat twattish and probably repel you to theopposite sex forever.

Built around some busy awkward funk guitarworkout and sticks a-flying beat, the scouse trio’slatest dip into second album Live At Dead Lakeis just what you’ve grown accustomed too fromthe group’s previous highly charged single cuts.

But for all its clever instrumental breaks, lyricalquirks and what sounds suspiciously likesomeone running a vacuum cleaner through thestudio whilst the red light is on, you have to workseriously hard to recall a second of it once thesong is over.

Given the impressive musicality the trio are onlytoo willing to flaunt you can’t help but hope thatbetter things aren’t too far off.

Mike Caulfield

The Slips - Superbeat(Lucky Egg)

It seems like a lifetime since Fischerspoonerawoke the sleeping beast that was big, campelectro. Justice et al have carried the mantle inmore recent times, however it’s the originalprotagonists whom The Slips pay most homage.

‘Superbeat’ is, by its own definition, a storminglyenergetic number which succeeds where lesseracts trying to break into the ‘credible electro’bracket have fallen by the wayside. Theirconsiderable experience working as studioengineers for the likes of Massive Attack andBjork has clearly given them a knack forweeding out a tune, and they don’t disappointhere. Look out for the equally pleasing Mirwaisremix which provides another dimension to greateffect.

Mike Caulfield

The Walkmen - The Blue Route(Fierce Panda)

Taken from new album You & Me, the new TheWalkmen single ‘The Blue Route’ is a drunkenwaltz with a metric pint of melancholy. Regretseeps through the record with such life-affirmingassurance the yellowing autumn leaves of thetree opposite this reviewer’s bedroom windowappeared to plummet to the ground in a show ofsolidarity.

The track has all the elements of languidrejection, and is all the more beautiful for itshaunting honesty. No-one brings back postcardsfrom the bleak side of life with such eagernessas The Walkmen, which is a trait to becelebrated with all the strength of a New Yorkwinter.

Liam Pennington

More often than not, traditionalfolk music from Britain’s remotecommunities is either half-arsed and limp, or so fired upby rural hardship and loverslost at sea that you’re in tearsonly a few songs in. Kentuckyborn Will Oldham strikes aperfect balance with this livealbum, which was recorded inEdinburgh in 2006.

Taking some of Scotland’sfinest folk players on tour,Oldham breathes new life intohis back catalogue ofAmericana. ‘New Partner’retains his warm countrytwang, but deep swathes offiddle and Caledonian backingvocals place the songsomewhere between Nashville

and Loch Ness. Similarly, thisceilidh violin cheers up theperennially miserable ‘AriseTherefore’.

‘Molly Bawn’ is a traditionaltune that has been passedfrom generation to generation,but re-arranged for Oldham byfriend and collaborator AlisdairRoberts to include 1960s Doorsorgan and waves of twistingmelodica. Although the story ofMolly Bawn is a powerful one;murder, despair andhopelessness fill every verse,this is not one of thoseuncomfortable moments ofpublic heartbreak. Thedifference between this versionand the countless othersbefore it is that Oldham and

Roberts have remembered thatmusic should be a pleasure tolisten to. Their ‘Molly Bawn’ isa groove, a dark one, but onethat you can nod your head to.And that, of course, is whatmusic is for, traditionally…bedoing a lot worse.

Megan Vaughan

What is standard practice formost acts five months after therelease of an album? Get backout on the road to counterfalling sales? Release singlenumber six? Disown the entirerecord? If you’re sprightlyCardiff seven-piece LosCampesinos! you defy allconvention and release anotheralbum. “Surely it’s just crappyout-takes and rejected B-sides!” I hear you cry. No itain’t. It’s better than the debut.

All the elements that caughtthe attention in the first placeremain – the shouty boy-girlvocals, the unharnessedenergy, the (you guessed it)unmistakable twee – but

everything has been turned upa notch. ‘We Are Beautiful…’ is‘Hold On Now Youngster…’ inpanoramic vision, designed forbigger venues but with addedwarmth and higher highs tocounter any lost intimacy. Lineslike “you said he got his teethfixed/I’m gonna break them”pepper throughout, razor sharpturns of phrase just the rightside of amateur poeticpondering: a line occasionallycrossed on the debut butgloriously incisive here. ‘You’llNeed Those Fingers ForCrossing’ is gleefullymelancholic stuff, ‘Ways ToMake It Through The Wall’ isan agenda-setting barnstormerof an opening – indeed the

only real problem is that such apowerful start provesimpossible to sustain.

‘We Are Beautiful…’ is asurprisingly assuredsophomore effort, expertlycombining the uncontrollableenthusiasm we’ve come toexpect with a newfoundambition and added scope. It’s still geeky and vaguelyawkward, but is now muchbetter dressed. Roll onFebruary for album numberthree…

Harry Garne

Exciting and unpredictable, AbeVigoda come with an album which istheir first easily accessible to UK fans,even if some of the treble-heavycarnival punk is too much of anassault on the ears. The new LAscene is throwing out some mightyexamples of unpredictable bands aspart of an ongoing underground circuitnow running amok on both sides ofthe Atlantic.

The breathless Abe Vigoda areirreverent to the extreme, taking amuddle of de-tuned guitars andmuffled drums and turning them intosenseless, manic three minutecreations taking into a laboratory two

parts My Bloody Valentine and onepart runaway ice-cream van. At theirmost extreme, guitarists JuanVelazquez and Michael Vidal throwriffs sounding more like steel drums,befitting the self-styled 'tropical punk'approach. Throwing much more thanmere caution at the mixing desk, atleast a track like 'Visi Rings' comes asa terrifically unexpected respite in aflurry of jumbled, distracting songs withthe vocals turned into surrogate bass-lines.

On the flipside of all this exhaustiveinsanity, however, is a lingering doubtabout the band specifically and theirscene more generally. Much tidying up

and sensibility would make this bandand their albums all the better, butperhaps that is not quite the point...

Liam Pennington

Bonnie 'Prince'Billy - Is It TheSea?(Domino)

Los Campesinos! -We Are Beautiful, We Are Doomed(Wichita)

Abe Vigoda -Skeleton(Bella Union)

seventeen

With the Final Execution longfaded into memory, the time hascome for a final compilationthat's as madly eclectic andniche as those legendary nightswere.

Electric Chair was never somuch defined by a sound as it was by its attitude. Butnonetheless, this comp has thesounds of the Music Boxbasement right down. Grantedthough that half the time youcouldn't care less what wasplaying cos it always had enoughshake n bounce to keep youmoving.

Fearsome start with the crowdcheering intro to Shut Up AndDance settting the tempo before

Fluke drops the first big bomb ofthe seventy-five minutes. Over that time From breakbeats,to funk to jackin' house. TheHuman League and Metro Areaeven fill in a poppy gap.

Best of all though, the mightyRoy Davis Jr's 'Gabriel' makes a big-time push for the club hitfinale when Rufus' 'Ain't Nobody'goes against Frankie Knuckles.Having veered into every danceterritory - from the undergroundto the overground - it's classicstuff to wrap things up in theclub's true spirit.

For the most part it is essentialstuff, and it's all given a typicallyfluid Unabombers treatment.Such is their style, even our

"Promotional CD – Not For Sale"watermark has been coollyvocodered into the mix.

Undoubtedly, Electric Chairis/was one of the Manchesterinstitutions of the modern era. A record could never really aptlycapture what was fun about anight with them, but grab atin ofRed Stripe, cheer along with thecrowd and you could.

Fran Donelly

albumsAlbum of the month

sixteen

There is one theory that states any band who have a tap dancer hail fromGimmick Hell and should be sacrificed on an altar made from Hendrix’scharred Stratocaster. On the other hand though, any band who go onstagewith a tap dancer surely have more balls than a Metallica fan convention. On the evidence of O, the third and (probably) breakthrough record from Tilly And The Wall, the truth lies somewhere between the two.

O doesn’t exactly “kick off” with opener ‘Tall Tall Grass’; rather, it’s like thepolite jangle of a shop door, its dual harmonies so sweet they give you sugarrattles in less than three minutes. Next thing you know however, ‘Pot KettleBlack’ is yelling at you with grungy guitars and Riot Grrrl attitude. SuddenlyTilly And The Wall have found a bass guitar that can only be picked up byyour bowels.

Thankfully, no return is made to saccharine purgatory, and layers ofstampeding percussion (thank you, tap shoes) bring the whole sound alive.‘Dust Me Off’ nods to the empowered nonchalance of Chrissy Hynde, while‘Falling Without Knowing’ is an experiment into gloomy Depeche Modesynths, with a wonderfully suffocating darkness to match.

Granted, O throws up the odd Pipettes chorus (‘Alligator Skin’, ‘Beat Control’)but these moments are vastly outweighed by gravelly distortion andelectronics straight out of The Menace by Elastica. (You know, that noisefestthey made with Mark E Smith when they were all on smack…) If only therewere points available for Most Improved.

Megan Vaughan

No one act has symbolised the indie-dance crossover spirit of the last twoyears more than Brighton-based South Central. Except maybe DIOYY?.And Late of the Pier. And the Ghost Frequency, and Friendly Fires, and...well, OK, every fucker. But SC are different - while the rest sign up for gigsat matter and the WHP, Rob and Keith are running the wrong way down thestreet, taking their dirgey dance to toilet venues up and down the country.

Live, SC are like five hurricane seasons arriving at once, their self-madeanalogue synths battling with a full rock band for sonic supremacy. On record, it's pretty much the same deal. However, listening back to theiroutput, compiled here on The Owl of Minerva, it's the moments of crystalmelody that attract the ear, not the abrasive beats.

Take for example the Braxe-esque Dolls, all fat chords over half-pacedrhythms, or the shattered glass notes of new track Aeon, hinting atunchartered depths on next year's full debut. As beastly as Golden Dawnand Fall rip-off Nothing Can Go Wrong may be, its sounds like these thatcould nudge them ahead of the maximal house pack.

Not that the hard stuff isn't a riot - most of SC's releases to date have beenthe match of anything by, say, Alex Metric or Japanese Popstars . But they know it's time to move on. The Owl of Minerva is the sound of apage turning - albeit very, very loudly.

Neil Condron

Various Artists -Electric Chair SavedMy Life (mixed by:Unabombers) (Tirk)

Tilly And The Wall - O(Moshi Moshi)

South Central -The Owl of Minerva(Egregore)

nineteen

“Ooooh we’re all getting oldnow,” whispered a lady in thecrowd at the Bridgewater HallTindersticks performance. She was a 40 year-old womanwho has supported the 12-pieceband hailing from Nottinghamfor as long as she canremember. Which might havebeen quite some time, seen asthey’ve released 10 albums.

The audience swirl into theinterlude bar at Bridgewater Hallfor wine and chat beforeTindersticks. They consist of a) middle-class middle-agedcouples b) 8 year-olds, and c) One Goth in his thirties. What an interesting bunch andyou don’t even want to hearabout the afterparty.

Tindersticks play the majority oftheir seventh studio album, The Hungry Saw, minus co-founding member DickonHinchcliffe, in this huge arena,having emerged from a five-yearholiday and ready for some hotlive action.

The album is just as broodingand cinematic as previousmaterial, as in ‘The Turns WeTook’ and ‘The Hungry Saw’,Stuart Staples’ unmistakablevocals (that sound a little likesolo Brian Ferry in thisreporter’s opinion) flow deepand now are surprisingly sharpand clearer than in previousperformances.

‘Come Feel The Sun’ and ‘All The Love’ provide a pop

Tindersticks, with saccharine-sweet melody and harrowingballad.

Tindersticks’ amazing capacityfor inventive arrangements withover fifteen different instrumentsremains, and individualmembers’ passion remainsclearly evident. They spanthrough genre, with melancholyand joy and create a pop-rock-cum-jazz movement that isundoubtedly moving, andbeautiful for any age.

Alice White

Foals with HolyFuck -Academy 1

Tindersticks -Bridgewater Hall

Along with Sven Vath and RicardoVillalobos, Richie Hawtin is one of themost in-demand techno DJs today,and yet the man’s history cannot beunderstated; heading the secondwave of Detroit in the early 90s withJohn Acquaviva, his Plus8 labelturned into Minus in 1998 with theethos that less is more. After what theEnglish-born legend and his alliescreate tonight, you’d struggle to argueagainst.

Tonight’s 9.30 to 6am stretch hasbeen extended especially for Minus’Manchester debut, and Hawtin’s long-overdue return to the city. It’s not untilmidnight that the music graduatesfrom Barem’s humming warm-up,when Troy Pierce works in someincredible peaks, building over tenminute stretches before ruthlessly

cutting us down to size with a barebeat.

Next up is tantalisingly billed live showfrom Jon Gaiser. Exactly how live hisset is we can’t easily tell. High upbehind his laptops whilst vibrant whiteminus signs scroll across the stagefront, the man seems to be hard atwork, but it’s no real change of pace.His own ‘Nasty Girl’ adds a touch offamiliarity at least.

But at 3am when the blonde bossemerges, his presence alone isenough to give you a second windand you can feel the crowd getting ittoo; densely packed in the middle,dancers spill out into the bar areagiving the warehouse a rare club feel.Sticking with his trademark that’s notquite as minimal as the rest of the

night Hawtin powers through technothat's robust, cold and driving.Moreover, it’s utterly mesmeric anddanceable.

Another truly special night.

Fran Donelly

After a long set from support act, HolyFuck, who were received almost aslong as the headliners, the band we’rehere for are holding things up.

Foals finally arrive onstage only totease us with several minutes of noisemaking, with the only light comingfrom rows of blue bulbs providing thebackdrop, as people scramble forwardto catch a glimpse of what’s going on.The excitement hits when they kickthings off with ‘The French Open’. The fans might not understand thelyrics, but they don’t seem to carewhen it comes to a good chorus.

The temperature rises to sweat-dripping heights for ‘Balloons’ thesingle that got them here. The pitsproduced by Holy Fuck die down

as an uncontrollable desire to dancetakes over.

Foals performance is as tight as ever,even as lead singer, YannisPhilippakis, takes advantage of solosand instrumental breakdowns to runabout the stage in desperation forcontact.

But for the anthem the album forgotthat is ‘Hummer’, the barrier breaksdown. The atmosphere is electric andYannis can’t keep out of it any longer.He abandons his guitar and dives intothe crowd. There is a surge forwardand bouncers lose him in the carnagefor a while as the sea of his checkedshirt-donning lookalikes engulfs him.

They return for an encore with ‘TwoSteps Twice’ and things get a bit out of

hand. Dancing, jumping, crowdsurfing, no-one knows quite what’sgoing on any more. And before youget the chance to glance up at thestage once more, it’s over. But we’dhad enough heat for one night.

Sophie Armour

liveGIG of the month

Bikini BlackSpecial

The electro-rock Bikini BlackSpecial are the five-piecewith the heart and soul of agang on a mission to fuel arevolution. Pounding dancebeats fuel rich vocals withsly, vicious lyrics, they arefire-raising live prospectwhose intelligence fastbecoming one of the namesto know on the eve of theDecember release date oftheir debut album. If theenticing lyrics don’t drag youinto their delicious trap, themagnetic music willundoubtedly flash up onyour radar.

Key track: ‘Electric Eye’

www.myspace.com/bikiniblack Paddy - 07919 537467

Send your new band tips torichard@highvoltage.org.uk to appearin the next New Noise round-up…

NEW NOISEPulled ApartBy Horses

The Leeds based noisebotherers and self-styledmelodramatic punkstersshould not be strangers toanyone with twofunctioning ears.Celebrated by many, thewhirling live sets and high-octane songs feed the souland shake the foundations.“Meat Balloon” and “HighFive Swan Drive” are justtwo delicious slices ofdirge-rock from the samestables (sorry) as MotherVulpine and ConcentrationChamp. Already noted bypacking the BBC stage atReading the band are nowkicking down the door ofevery gig-night at whichyou’ve ever danced-to-death.

Key track: ‘Meat Balloon’

www.pulledapartbyhorses.comJames - 07986694842

TheStrangeways

Sounding like Editorsbeing tickled, TheStrangeways arenonetheless a moodybunch. It really worksthough, all the mentions ofsweat running downspines, hotel lights, andbeing left with nothingmuch in the world but ahaunting voice andskittering, echoing guitars.The band are boisterousand smart, whosemelodies are –appropriately enough –instantly arresting.“Engage” and “Bone Idol”will ensure any negativeattitudes about the youthof today will be blown outof the water.

Key track: ‘Left’

www.myspace.com/strangewaysmusic Sean - 07870587826

The Cities

Full of vim, heart, and thekind of melodies you cantake home in a bucket, TheCities are a slight return toguitar-band with the honestyoften missing from thebigger boys. Tales of lost-love are nothing new, butfilled with a lyrical twist hereand rolling riffs there, liftingup the sound into somethingvery special indeed. Thesense that they could roll upout from a van with amoment’s notice to providekiller grooves miles awayfrom poser Killers sounds.

Key track: ‘Cold’

www.myspace.com/thecities

The Von Kemps

Coming across with all theorder of the HodgeConjecture, Von Kempsare a mad bunch ofrockers who turn theirhands to rap, whosegroove kick in with hubrisand arrogance. Theybundle a rare old numberof emotions into songswhich genuinely shock andsurprise. Still taking baby-steps in the live scene oftheir native Manchester,great strides aredoubtlessly to follow.

Key track: ‘Revenge’

www.myspace.com/thevonkemps

Richie Hawtin withGaiser, Troy Pierceand Barem - Minus Presents...

The WarehouseProject

eighteen

Friday 28th Night & Day 17th Birthday feat StephenFretwell @ Night & Day CaféPlump DJ’s @ Warehouse ProjectWolf Parade @ The Ruby LoungeRoisin Murphy @ Academy 1Estelle @ Academy 2Think Floyd @ Academy 3Bad Manners @ Club Academy

Saturday 29th Night & Day 17th Birthday feat Delphic @Night & Day CaféAttack Attack @ The RoadhouseErol and Friends @ Warehouse ProjectBauer @ The Ruby LoungeDuffy @ The ApolloThe Complete Stone Roses @ Academy 1Carjack Mallone @ Academy 2Ezio @ Academy 3Show of Hands with Miranda Sykes @Club Academy

Sunday 30th Leonard Cohen @ The M.E.N ArenaDuffy @ The ApolloLooking Rough at 30- Jarvis Cocker @Academy 1 Zucchero @ Academy 2Numania 2008 @ Academy 3

CLUBLISTINGSOct-NovMondayRevolver @ The Roadhouse 11pm- 2amMonday @ The Ritz 10pm- 2amUp The Racket @ Joshua Brooks 10pm-2am

TuesdaySex With Robots @ The Roadhouse11pm- lateWay Back When @ Po Na Na 9pm- 2amClick Click @ Font Bar 9pm- 1amThe Alternative @ The Venue 11pm- late

WednesdayRetro @ 42nd Street 10pm- lateKlub Knowhere (3rd p/m) @ JoshuaBrooks 10pm-2.30am Tramp @ Club North 10pm- 2am

ThursdayFrom Manchester With Love @ 42ndStreet 10pm- 2am Don’t Think Twice… @ Font Bar 9pm-1amRomp @ One Central Street @ 9.30pm-3am In The City @ The Venue 11pm- lateRisky Business @ Joshua Brooks

FridayLong Live Rock ‘n’ Roll @ TheRoadhouseFriday Feeling @ 5th Avenue 10pm- 3amKeys, Money, Lipstick @ Star & Garter Glamorous Indie Rock n’ Roll @ 42ndStreet

Popscene @ The Brickhouse 10.30pm-2.30am Relief @ Club Alter Ego 11pm- 4am Another Planet @ South 10pm- 3amHomoelectric @ Legends 10pm- 4amTwist and Shout @ The Venue 10pm-3amDon’t Miss This @ Retro BarGuilty Pleasures @ One Central Street10pm- 3am Club Clique @ Mint LoungeDirty Tourism presents Bigger Than Jesus(last Fri p/m) @ Joshua BrooksLocked (2nd fri p/m) @ Joshua BrooksAudio Salad (3rd fri p/m) @ JoshuaBrooks

listings Oct- NovGIG LISTINGS OctoberSaturday 25th Up To The Rafters, Vib Gyor @ Night &Day CaféAnnie Mac Presents @ WarehouseProjectAlphabeat @ Academy 2The Jamm @ Academy 3George Borowski & The FabulousWonderfuls @ Club AcademyBeth Rowley @ RNCM

Sunday 26th The Datsuns @ Night & Day CaféTonight is Goodbye @ The RoadhouseThe Mystery Jets @ Academy 3Spunge @ Jilly’s RockworldAllerjen @ Satans Hollow

Monday 27th Team Water Polo @ Night & Day CaféCheeky Cheeky & The Nosebleeds @The RoadhouseM83 @ The Ruby LoungeThe Unholy Alliance- Slayer, Trivium,Mastodon @ The M.E.N ArenaNitin Sawhney @ Academy 2Noah & The Whale @ Academy 3No Half Measures Tour feat TheHolloways @ Club AcademyMy Emergency! @ Music Box

Tuesday 28th Marry Another @ Night & Day CaféThe Temptations @ The ApolloChaka Khan @ The Bridgewater HallThe Bronx @ Club Academy

Wednesday 29th The Sadies @ Night & Day CaféJersey Budd @ The RoadhouseColin Macintyre @ The Ruby LoungeThe Walkmen @ Academy 3Jonathan Coulton with Paul & Storm @Club Academy

Thursday 30th Noasis @ The Ruby LoungeBryan Adams @ The M.E.N ArenaElbow @ The ApolloTaste Of Chaos- Atreyu @ Academy 1Dreadzone @ Academy 3Francis Dunnery @ Club Academy

Friday 31st The Kabeedies @ Night & Day CaféDavid R Black @ The RoadhouseGroove Armada @ Warehouse ProjectKatie Melua @ The M.E.N ArenaCascada @ The ApolloKill Hannah @ Academy 2Stop The Black Light @ Academy 3The Black Seeds @ Club Academy

November Saturday 1stCarjack Mallone, Air Cav @ Night & DayCafé

The Research @ The RoadhouseExhibitionist @ Warehouse ProjectBabylon Fire @ The Ruby LoungeHot Chip @ The ApolloWhole Lotta Led @ Academy 2Ian McNabb @ Academy 3Dirty Circus @ Club Academy

Sunday 2ndWilliam Control @ The RoadhouseHamell On Trial @ The Ruby LoungeGoldfrapp @ The ApolloBring Me The Horizon @ Academy 2Gabriella Cilmi @ Club Academy

Monday 3rdAl Green @ The M.E.N ArenaRancid @ Academy 1Hanoi Rocks @ Academy 2Ron Sexsmith @ Club AcademyThe Warriors @ Satans HollowJulie Fowlers @ RNCM

Tuesday 4thDamien Jurado @ Night & Day CaféAugust Burns Red @ The RoadhouseMicah P Hinson @ The Ruby LoungeElliot Minor @ Academy 1Dan Reed @ Academy 3Anathema @ Club AcademyDeaf Havana @ Music Box

Wednesday 5thInfadels @ The RoadhouseGLITCH presents DMX Krew @ TheRuby LoungeNow. Wave Presents- UndergroundRailroad @ Deaf InstituteQueen & Paul Rodgers @ The M.E.NArenaMercury Rev @ Academy 1Adrian Edmondson & The Bad Shepherds@ Music Box

Thursday 6thDark Captain Light Captain @ Night &Day CaféThomas Truax @ The Ruby LoungeEastpak Antidote Tour 2008 @ Academy 1Todd Rundgren @ Academy 2The Aggrolites @ Academy 3Cold War Kids @ The Ritz

Friday 7th Bestival Re-Union @ Warehouse ProjectThe Stranglers @ Academy 1Karma @ Academy 3Cage The Elephant @ Club AcademyPaul Heaton @ The RitzTrash Fashion @ Dry Bar

Saturday 8th The Chibuku Party @ Warehouse ProjectAirbourne @ Academy 1Seth Lakeman @ Academy 2The Alarm @ Academy 3Laura Marling @ Club Academy

Sunday 9th Neon Neon @ The Ruby LoungeAlter Bridge @ The ApolloJoe Bonamassa @ Academy 1Fleet Foxes @ Academy 2

Monday 10thThe Ruby Suns @ The Ruby LoungeScouting For Girls @ The ApolloCardinals feat Ryan Adams @ Academy 1Soilwork @ Club Academy

Tuesday 11th The Bosshoss @ Night & Day CaféScouting For Girls @ The ApolloMGMT @ Academy 1Altamont Never Say Die! @ Academy 2

Wednesday 12th The Rifles @ Academy 2Midterm Break @ Music BoxTony Christie @ RNCM

Thursday 13th The Grammatics @ Night & Day CaféKing Kurt @ The Ruby LoungeAn Evening With My Morning Jacket @Academy 2Never Forever @ Academy 3Peter Bruntell, Michael Weston King @Club Academy

Friday 14th Nick Connors @ Night & Day CaféCocoon @ Warehouse ProjectMotorhead @ The ApolloMarillion @ Academy 1Kora @ Academy 2Sham 69 @ Academy 3Limehouse Lizzy @ Club Academy

Saturday 15th Goodgrief 8th Birthday @ WarehouseProject Fat Freddys Drop @ Academy 1Hey @ Academy 2The Alarm @ Academy 3The Addiction @ Club Academy

Sunday 16th Bullet For My Valentine @ The ApolloLess Than Jake @ Academy 1Taio Cruz @ Academy 2Paul Gilbert @ Club AcademyJohn Martyn @ The Lowry

Monday 17thJames Yorkston @ Night & Day Café Kanye West @ The M.E.N ArenaThe Feeling @ The ApolloJackson United @ Academy 3Hayley Westenra @ The Bridgewater Hall

Tuesday 18th Youthmovies, Adam Gnade, Cats In Paris@ Night & Day Café Paul Weller @ The M.E.N ArenaExtreme @ Academy 1Uriah Heep @ Academy 2The Notwist @ Academy 3Low @ Club Academy

Wednesday 19thFucked Up @ The RoadhouseNow. Wave Presents- Jay Reatard @Deaf InstituteGavin Degraw @ Academy 2The Faint @ Academy 3MexicoFALLZ @ Music Box

Thursday 20thStephan Lynch @ Academy 1Wednesday 13 @ Academy 2Mugison @ Academy 3Ida Maria @ Club AcademyThese Arms Are Snakes, Russian Circles@ Star & Garter

Friday 21st The Lucid Dream @ Night & Day CaféCadenza Records Presents @Warehouse ProjectJools Holland @ The ApolloNew Found Glory @ Academy 1The Whip @ Academy 2Sara Bareilles @ Academy 3Kieran Hebden & Steve Reid @ ClubAcademy

Saturday 22nd Ape Presents Beatdown @ WarehouseProject101% Pantera @ The Ruby LoungeMcFly @ The M.E.N ArenaThunder @ Academy 1The Alarm @ Academy 3Flipron & Mistys Big Adventure @ ClubAcademy

Sunday 23rd Will Young @ The ApolloOpeth @ Academy 1Steve Forbert @ Academy 3Anberlin @ Club Academy

Monday 24th I’m From Barcelona @ The Ruby LoungeWill Young @ The ApolloLadytron @ Academy 2My American Heart @ Academy 3Tony Hadley @ The Bridgewater HallDividing The Line @ Satans Hollow

Tuesday 25th Bad For Lazarus @ Night & Day CaféWorking For a Nuclear Free City @ TheRuby LoungeCliff Richard @ The M.E.N ArenaNick Cave & The Bad Seeds @ TheApolloThe Fratellis @ Academy 1Gary Louris & Mark Olson (TheJayhawks) @ Academy 2Go: Audio @ Club Academy

Wednesday 26th The Stills @ Night & Day CaféCliff Richard @ The M.E.N ArenaThe Script @ Academy 1Boo Hewerdine @ Academy 3

Thursday 27th Night & Day 17th Birthday feat JohnBramwell @ Night & Day CaféSimple Minds @ The M.E.N ArenaRunrig @ The ApolloFailsafe @ Satans Hollow

twentyonetwenty

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“All recorded musichas run its course,”begins the new bookfrom Bill Drummond,“It has all beenconsumed, traded,downloaded,understood, heardbefore, sampled,learned, revived,judged and foundwanting.”Founding member of The KLF,ex-manager of Echo and TheBunnymen, and the man whoinflamed more than just paperwhen he burnt one millionpounds in 1994, Drummond hasnow washed his hands both ofnostalgia, and the shackles ofmelody, notation, even lyrics.

Inspired by the sound of his LandRover, in 2003, he vowed only tolisten to music beginning withone letter of the alphabet everyyear for 26 years, and his questto reinvent music continued witha series of ‘scores’ inspiringinstinctive responses from a choirof untrained singers. As soon asthe recording has been made, hedeletes the files.

Coming from a man who plannedon cutting off his own handduring the 1992 Brit Awards, it allseems pretty logical, but HV metDrummond to separate the mid-life crisis from the madness.

Do you think this has comefrom an overexposure torecorded music?

Obviously, there’s still going to berecorded music. It’s not going todisappear, but it’s not going tohave that central place. For thepast almost 50 years it’s been soimportant for each generationgrowing up that, to begin with, I thought ‘maybe it’s just apersonal thing, maybe it’s an agething, or the fact that I’ve gonethrough the things I’ve gonethrough’ but then I noticed my 13 year old daughter’srelationship with her iPod; shewould download hundreds oftracks and just flick throughthem. It really doesn’t meananything. Even when you’re atthat stage in life, just getting intomusic, it’s almost irrelevant.

When you’ve restrictedyourself to bands onlybeginning with the letter B, forexample, do you get the urgeto listen to high-profilereleases such as In Rainbowsor The Seldom Seen Kid?

That one letter thing didn’t reallywork in re-engaging me withmusic. If I was to hear the Elbowalbum, and this might soundterrible, I know that I’d just hearthis thing that sounds like it wasfrom the 20th century. At the endof the day it’s recorded music.It’s like looking at pottery. Youcan reinvent pottery but it’s stillpottery. Or mosaic, even if it’svery good mosaic, it’s still justmosaic. It’s from another era, like a music hall act.

So in 50 years time, will wehave taken everything back tolive vocal performance?

Oh no, not at all. I’m not sayingThe 17 is the future of rock’n’roll.It’s my way, as a bloke in mymid-50s, to re-engage withmusic. There’s also going to be19, 20 year olds out therewanting to make music andthey’re not going to want to makestuff that people just skip throughon their iPod, or just have in thebackground; they’re going towant to make somethingimportant and vital that reallycaptures people’s imaginations.Sticking with the old formula ofthe album isn’t the way tocapture people’s imaginations,not in a great way, making astatement about where we are inour culture. Even if you win theMercury Prize, there was a

Mercury Prize last year and therewill be another one next year.

Why is deleting the recordingsso important?

The music that I’m doing withThe 17 wouldn’t stand up to belistened to over and over again.You have to be there, that’s theimportant thing. Part of whatgives music its power is theoccasion, the event, and what it’scelebrating becomes part of it.Members of The 17 can’t helpbut put something of themselvesinto it. One of the things aboutrecorded music, as it evolvedthrough the 20th century, was ithad to be music that peoplecould listen to and listen to andlisten to and never get bored of,but this works as a one-off eventthat you’re actually part of. If youhad it on a CD or iPod, you’d justgo ‘what the fuck’s that?’

17 is out now from BeautifulBooks, or you can visitwww.the17.org to downloadthe scores.

Megan Vaughan.

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