9Blind: Live @ Camden Underworld

'We're 9Blind'

Those unacquainted with the North London rock band were served the briefest of introductions before the four-piece lunged headlong into their opening salvo of all new tracks, played in celebration of the 'Union EP' that had been uploaded to stream earlier in the week, ahead of its forthcoming official release.

Those that have followed 9Blind and contributed to their ongoing success had already familiarised themselves with the likes of Sincere Regards and Deleted Scenes, avoiding potentially embarrassing scenes of eager crowds shuffling awkwardly to dreaded 'new songs'.

The tracks played from the EP held no real surprises, and I doubt their fans would have it any other way, a change of direction would have been unwelcome, soaring guitars, drums being pounded into submission and vocals that flit from a screamo tendency to heartfelt and rousing singing are all part of the 9Blind signature sound that stands firm and these new songs bolster an already impressive arsenal of metal standards.

The wrapping up of new tracks laid out for those gathered was quickly followed by a diversionary blast through The Killers' Mr Brightside, given a testosterone injection and cranked up to 11 so that all the indie sheen falls away, leaving a chugging, metal monstrosity of a cover version.  And the singalongs continued with a brief clutch of familiar tracks plucked from last year's Negative Response To Change rounded out the night, headed up by my personal favourite, My Heart Bleeds.

One lowly drunk's careless and selfish moshing sadly halted the band whilst he was quickly ejected by the close-knit North London Bromance Core that follow 9Blind, this hold-up, combined with over-running supports and an impending clubnight in the same venue vastly truncated the headline set.

Having time for just two more songs before having to leave the stage, the evening was a joyful exhibition of a band's creations, though also troubled by minor inconveniences along the way, the most inconvenient of all being that physical copies of the EP that was due to be launched this very night, was sadly unavailable due to unforeseen circumstances.

Watching a band that hail from the same suburb as I do, facing such adversity when given an opportunity to shine is frustrating, but it is rewarding to watch 9Blind admirably battle on regardless.

credit where it's due:

photos courtesy of Chris Lawrence (DotCLP)

Getaway

Through my many years as a musical connoisseur and journeys of discovery I have acquired a taste for more eclectic stylings and more obscure artists.

But occasionally the timeless combination of guitar, bass and drums will rescue me from the possibility of disappearing up my own arse.

And the latest addition to my generic mp3 player, sends thoughts of electronic noodlings scurrying with its rollicking rock'n'roll sound.

The Essex and London based three-piece, Getaway released their 6 track mini-album, IC, earlier in the summer, following on from their debut EP last december.

It unabashedly ploughs its influences from a fertile field of rock history repeating itself, delivered with a no-nonsense policy.

Recorded and mixed entirely in a garage in Waltham Abbey, it is a very true representation of a down-to-earth band that i have keenly watched flourish since their very first gig last March.

As the mini-album kicks off with The Stomp, Getaway assert themselves with a pounding drumline twinned with a toe-tapping guitar riff that builds as the track courses and swells with a playfull bounce.

The slightly more brooding 7A follows with a harder edge to the bluesy sound set out in the opener before Walk The Line lyrically gives a more whimsical and upbeat stance atop their take on the deep south-via-essex that carries the release to its halfway point.

It quickly becomes possible to pinpoint a number of musical touchstones referenced by Getaway's sound, the recycled garage rock sound that saw The Vines and The Datsuns hailed at the start of the decade and the grunge-hangover of Queens Of The Stone Age.

The remaining three tracks travel a similar path, with Benny's Carmen and Gemstone both owing a debt to the likes of The Black Keys and The Raconteuers.

Indeed, the influence of renaissance man, Jack White looms heavily through his incarnations in the White Stripes and The Dead Weather, with a new-take-on-an-old-sound guiding their sonic identity right through to closer Never Wanna See You Again, following a quiet-loud-quiet formula that yet again mixes up the various styles that have already served them well.

Getaway could hardly claim to be reinventing the wheel with their sound, but until we've finally mastered and mass-marketed hoverboards, what's wrong with the wheel exactly the way it is?


 download Getaway - Never Wanna See You Again
taken from the EP, IC

glasswerk review roundup: august

as we bid adieu to the month of august i thought perhaps i should point you off in the directions of the various reviews that i have cultivated for glasswerk and have a quick recap of what they have had me listening to.

and to be honest, this month just gone i have mostly been listening to Crystal Fighters.  With a re-release for their album and standout single Plage both coming out early in August, and both of them arriving for me to review i must admit that i really can't get enough of their monumental dose of uplifting energy that takes its cues from so many disparate sources and filters both spanish folk music and bass-heavy dance music into perfect summertime listening.

Plage single review here.

Star Of Love album review here.

  stream Plage by Crystal Fighters

I was also lucky enough to get my name down to see the sold-out solo gig from Scroobius Pip as he worked his way through his debut album live infront of an audience for the very first time, some fans may have walked away disappointed that the setlist was entirely void of Dan le Sac collaborations, but the new material showcased held it's own without falling back on past glories and showed a much heavier side musically than was present on Angles and The Logic Of Chance.

Scroobius Pip live review here.



less impressive and hardly worth a mention was the album Veritas by Alex Skolnick Trio, which was practically a jazz-metal fusion album made for dinner parties.

by a strange twist of fate, my 9blind article also debuted on glasswerk before hitting this blog, and tonight I shall be attending the album launch of Gazelle Twin, whose album The Entire City, i reviewed for glasswerk in June.

  stream Gazelle Twin - The Entire City

9Blind

It is nigh impossible to be acquainted with Enfield's burgeoning music scene and not be aware of 9Blind.

Whilst other local bands have come and gone, 9Blind, despite their fresh faces, are something of stalwarts in the game.

In the days when Myspace was still a blossoming social network and the first stop for anything and everything music, 9Blind were one of the first local bands to make themselves known to me when I launched the Enfield Music profile in an attempt to gather together all our musical hopes and spread the word on gig news, this then resulted in their first featured article in The Enfield Advertiser by my predecessor, Deano Sharp, whilst they were still a small 3 piece band known for putting on backroom gigs at the Bush Hill Park Tavern.

Since then they've really devoted themselves to the cause, adding an extra member and making serious noise hitting up venues in and around London, forming a fervent following as they went that lead to the recording and release of 4 eargerly awaited tracks in 2009, known as the Immune EP.

And things have been on the up and up ever since, in early 2010 the fourpiece took to the studio to put together their debut, full length album, A Negative Response To Change, which was an instant fan favourite when shared amongst their fanbase last April.

The overwhelming response to the quality of songs on display has seen the boys signed and added to the roster of strikes 12 records, taking the album to a wider audience as it launched across major music download platforms.

As time marches on, so have 9Blind and their 'North London Bromance Core', taking 2011 by storm by maintaining their gigging ethic and holing themselves up in Milton Keynes to record the forthcoming Union EP.

Such is the devotion shown to the band, that I have seen followers all clad in 9blind tees, witnessed gigs where the crowd sing back every word, and even met a couple of fans that are so inspired by the band that they are now bearing 9Blind tatoos for the rest of their lives.

The launch of 'Union' shall be heralded with a headlining gig at The Underwold in Camden, with support from fellow Enfield boys Deeds Of The Dying this coming Saturday, September 3rd.

stream: 9BlinD - Promises

London Riots

Sunday 7th August.



I turn on my computer at around half six in the evening, intending to review the Crystal Fighters album that was re-released last Monday... but of course I log-in and check my facebook first.

And as the stream of most recent posts loads up i am greeted by photos of my local high street in the town that i live, that i work and that i have grown up in, with windows smashed, a police car with it's front window put through and degenerate youths running wild.

It was the first that I had seen or heard of any expected trouble in Enfield, following the devastating scenes of Tottenham that many woke up to on Sunday morning.

Any mind to do anything is soon forgotten as i quickly text friends and constantly refresh my twitter and facebook feeds, shocked by the few skirmishes that had broken out in broad daylight, but as darkness fell, and news networks finally began arriving, the trouble, and twitter rumours, only worsened, and i, like many other Enfield residents kept Sky News on repeat throughout the night.

In the cold light of day, it seemed that many problems had been overstated, none of Krispy Kremes, Cineworld or Nandos had gone up in flames the night prior and warnings of petrol bombs thrown on the A10 were pure chinese whispers that had quickly passed as fact.

Enfield Town itself was bewilderingly serene, as curiosity brought in those wanting to see the damage done, but as the afternoon drew on and grey clouds drew overhead, the atmosphere visibly changed, talk of offices recieving advice to evacuate prompted an ominous vibe that hung heavy in the air.

Thankfully we did not witness a repeat of the same scenes in Enfield Town.

Although sadly, the devastation continued across London and the UK.

Among the casualties of the widespread chaos was another Enfield location, and one significant to the country's music scene, as Sony's distribution centre, housing the entire back catalogues and stocks of many independent record labels was nothing more than a smouldering wreck by morning.

As opportunist thugs have channeled their energies into emptying the shelves of JJB sports, upstanding citizens have been co-ordinating marches and clean-up operations in response.

And I'm certain that more creative types will be using the current climate of social unease to inspire new music.

Whether it be joining together as a sign of unity at underground raves, or politically aware activists with a guitar strapped to their backs as they take to the streets. Genre, race and religion will be irrelevant.

Just like any other disaster of conflict faced, I'm sure we will get back on our feet again, soundtracked by musicians providing their very own social commentary.

My thoughts and prayers go out to everyone that is suffering and involved and caught up in this in anyway through no fault of their own.

  stream: I Love London by Crystal Fighters

The Legacy of Amy Winehouse

On Saturday 23rd July 2011, the newest member was inducted into the hallowed halls of the legendary 27 club.
 

As is the norm these days, most people found out via facebook, twitter or text, that Amy Winehouse had been found dead in her Camden flat.

In the hours and days since, many have commented that Amy Winehouse's death was 'sad news', certainly it was, we have lost a real talent at an unbelievably young age, yet no-one seems to have been shocked by it.
 

Her problems with drink and drugs were played out across tabloids, paparazzi were there to capture every intoxicated stumble, and increasingly worrying liveshows saw crowds bearing witness to mumbled lyrics, erratic behaviour and a performer in need of serious help.
 

And sadly it will be these memories and the everlasting lineage of youtube videos that will continue to define her for years to come, creating yet another rock'n'roll legend whose mythology will be as closely intertwined with drugs and tragedy as it is with their musical back catalogue.
 

It is a shame that with only two albums to here name, Amy Winehouse doesn't leave more music behind, yet it is easy to forget now that these two collections have helped to shape today's musical landscape dramatically.
 

As always, posthumous sales have rocketed and her past hits are played out as some mourn her passing and others celebrate her life.  

 

But I'm sure that behind the scenes, the pressure will now be on to polish any demos and unfinished recordings that were being lined up for album number 3.  I wouldn't be at all surprised to see a new Amy Winehouse album rush-released before Christmas, but it is questionable whether her personal demons will have served her well until the end or eventually tainted her natural talent.

 

If the loss of Micheal Jackson to my generation was comparable to Elvis, then it is possible that Amy Winehouse will now be immortalised as the 21st century's Kurt Cobain; leaving behind a small, yet significant musical body, complete with the the cautionary tale of the dangers of drug-addiction and the tragic trappings of fame.

Amy Winehouse - Stronger Than Me 

Busta Rhymes @ the Hard Rock Cafe, Las Vegas

4th of July weekend and i'm on The Strip with my girlfriend, as the whole of Las Vegas is buzzing with a party atmosphere, all the pretty people are out in force in a destination already renowned for it's hedonistic reputation.

And of course there was no shortage of place to be or be seen, the only problem was picking one popstar's party over another.

Rihanna was performing at Mandalay Bay before 'hosting' an after-party back at our hotel's exclusive club, also 'hosting' further down the strip was B.O.B and Wyclef Jean would be putting in an appearance at another of Vegas' many nightspots.

But i'd already been tempted by the name daubed large across the Hard Rock Cafe's neon guitar frontage, one whole floor of gift shop and musical-related merch, the next floor the ubiquitous rock themed restaurant, and tonight, Busta Rhymes would be hitting the stage of the restaurant's intimate top floor venue.

The steep $60 price tag for tickets seemed somewhat justified after making enquiries, sincere staff said that it would be 'a proper performance' as opposed to a money-grabbing club appearance, with a full support and 11.30pm headline slot promised we handed over our foreign currency and looked forward to the night ahead.

As expected, DJs threw down some crowd-shaking hip-hop bangers and a jubilant vibe was in the air by the time a local live-rap band took to the stage, whipping up a tangible excitement in the room and putting in a respectable performance to boot.

What followed should have been the highlight of an already amazing holiday, but as the filler DJ set drew out longer and longer, the mood in the room dramatically changed.


it was later still when another DJ took over and a compère's promises that Busta Rhymes was 'in the building' and that he would be onstage 'in around fifteen minutes' were swiftly proved as dishonest as time dragged on and the previous DJ switched back again.

As the time stretched on with no indication of a headliner forthcoming anytime soon, DJs and compère were both booed and scuffles in the crowd broke out as impatience and growing unease spread throughout the building, a number of people even walked out in disgust as DJs resorted to playing the very same tracks they had already played earlier in the evening, proving them to be fatally under-prepared for the job they were there to do.

When Busta Rhymes did eventually take to the stage infront of an agitated and diminished crowd, the performance was far too brief and wholly unsatisfactory to have warranted such a high price tag, rapping over a distorted backing track that hadn't even had the vocals removed for the opening salvo, before moving onto two of his own tracks.

His talent is genuinely not in question, a quick run through of a couple of old hits was hardly 'crowd-pleasing' but were proof of his exceptional skill and inimitable style.

Then we got two guest verses from other artist's tracks and then it was over.

it really was far too little, far too late.

For an artist of Busta Rhymes' calibre, with an impressive back catalogue spanning fifteen years, to simply saunter up and essentially grab the money and run is a disgusting example of hip-hop stars trading on their own success by putting in as little effort possible, whilst still receiving a handsome reward.

This practise should not be tolerated any longer, it is disrespectful to the very fans that have put them in such lofty positions and graced them with lavish lifestyles, but in this culture of celebrity worship i fear that worse is yet to come, and that paying good money is simply not enough to make us worthy of Busta Rhyme's precious time.

Busta Rhymes - Look At Me Now (BreakBomb dubstep mix)