Benin City - Fires In The Park

Music and poetry collide spectacularly in a kaleidoscopic array on this debut album from trio Benin City.

And is is hard to know where to start singing the praises of Fires In The Park, so why not start at the start with opening track, People Will Say, a mid-tempo moody beast that lurches along with a loose jazz fusion groove, more than adequately taking the weight of the heavily thought through vocal delivery.

It is this enchanting way with words that provides just one of a handful of focal points on this release, taking the jam-packed nature of rap, which when used properly can say so much, and slowing it down to an almost spoken word pace that still manages to ride along with the music, and certainly, the comfortable pace gives the words room to hang in the air, ripe for picking, and almost every listen provides me a new favourite couplet or another line that I can relate directly to my own life.

Another plus point that works in the albums favour is the vastness of musical skills that are flexed across an everchanging soundscape, where the first track lurches, the second one bounces, fuelled by a driven pulse that grows into a full on electro-samba, Faithless quickly demonstrates Benin City's capabilities, and across just two songs they have grabbed my attention and refuse to let go.

The beautiful lament of Wha Gwan from which the album takes its title is a fragile and emotional plea that is as uplifting as it is heartbreaking, tugging at heart strings as it builds, and then Pencils drops with a slow bass walk that pulls us through a vitriolic vocal performance that is virtually spat straight into your face, switching from raised spirits to an almost confrontational throwdown .in a mere heartbeat.

This is surely why Benin City are ones to watch, and ones to watch closely, ones to study with great intent... because they are worthy of the attention.

I've only waxed lyrical about four tracks so far from a thirteen track album, and already I have said more than I ever usually find to say about almost any act I have had the fortune to review.

I could seriously continue breaking down the album into bite-sized chunks, but it is the full scope of this band that make them so appealing, for those yet to be turned onto Benin City, the shades of Wretch 32 colluding with Saul Williams should provide an ample jumping on point for both hipsters and mainstream hip-hoppers, whilst the musical diversity shown by Crystal Fighters and Faithless (the band, rather than the aforementioned track) should point you roughly in the right direction of an act that squirms against generic pigeon-holing.

And again we stumble upon another focal point, for Fires In The Park can simply be listened to, and enjoyed, or it can be voraciously consumed, taking the time to pick over the enjoyable experimentation of the band's productions, richly layered and magically uncompromising in its subtle nuances of strange effects and distortions that bleed faultlessly into the vaster picture, hiding in plain sight and demanding to be discovered.

Music and poetry colliding, that just doesn't do Benin City any justice at all, in fact it is almost demeaning to boil such complex tapestries of sound down to two simple specifics.

Those that merely read this review won't understand, and music and poetry colliding will be all they take away from this, but I'm hoping that it incites further investigation and that Fires In The Park will invite further word of mouth reactions in those curious enough to dig deeper.

Crystal Fighters: Live @ Shepherds Bush Empire

Crystal Fighters' debut album 'Star Of Love' has pretty much been on constant rotation in my girlfriend's car for everything from the supermarket run to trips down motorways on course for weddings and back again.

The vastly layered and intriguingly experimental long player has now been deeply embedded in both our minds and trepidation and excitement of seeing how this translates live has brought us into the heart of the Shepherds Bush Empire.

I was genuinely surprised, and possibly a little downheartened as opener Solar System was played by something resembling a rather standard band set-up, with a pounding drum-kit and ferocious guitar sound wrapping itself around what on record is a bass-driven stomper of a dance-influenced beast.

But this was merely a tease, as three songs in and the familiar, assimilated dub-step drop of Swallow remains wholly intact for the live rendition, prompting me further into the throng of bodies tossed around with abandon before the stage as I throw my own shapes with joy.

It is within the crush of the crowd that you truly experience Crystal Fighters and all of their energy, delivered by the movement of people, and yet it is still possible to find yourself, with your hands in the air and with your own personal space to dance and be free, whilst the sweat drips down your back and spilt beer squelches and slips underfoot.

The band follow the twists and turns of the album live, proving themselves evermore eclectic and fascinating with each song, whether it be the manic pneumatic drumlines and harsh dance vibes of I Love London that is tailor-made for a Shoreditch scenester's rave, or the blissed out summer calypso sound of Plage that transports you to far-away beaches with dreams of dancing without end.  Every track is delivered effortlessly to a crowd that truly believe in this band, and by closing track At Home, with the lights up, the entire venue, from the lower stalls, to the ascending balconies, are in thrall, and singing back the chorus' simple refrain with unbelievable passion.

A crowd this dedicated are not fooled though, and no sooner have the band exited the stage do the cries for Xtatic Truth begin.  And sure enough they return, taking a brief detour via a cover of a 'Golpes Bajos' number before arriving at the called for crowd pleaser.  This is it, the end of the night, and the nearing of the end of the journey that Crystal Fighters have taken in support of their spectacular debut album.

Xtatic Truth pulls no punches, it is what everyone wanted and everyone gets exactly what they expected.  One last chance to jump around, dance around and sing, a dizzying euphoria flows in waves as the heaving, sweaty mass move together as one, jubilation spread by a powerful and hypnotic performance before being evicted from this fantasy and back onto the streets of Shepherds Bush and the ever nearing signs of Autumn.

At Home by Crystal Fighters

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

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